LEVITICUS – STÅ OCH TITTA PÅ (Stanley & Andrew Music, 12”, 1982)

 

Swedish vocals
International relevance: *

Although Leviticus never acheived the same general success like Jerusalem did, they were one of the major Christian hard rock bands back in the day. Leviticus were closer to heavy metal (where Jerusalem were steeped in the older hard rock tradition), and most of what they did is both too late and too metal for this blog. This debut 12” makes it by the skin of its teeth thanks to the final track of the four. The first three aren't something to waste any words on, but ”Min mästare” is more symph than heavy metal. And with its seven minutes, it becomes rather epic in scope with synths and extended solo guitar. Had it only been better mixed (drums and vocals too low, synths too loud) it could have made more impact though. ”Stå och titta på” is a bit valuable in its original vinyl incarnation and was reissued as a CD EP in the early 00's by a U.S. label, but it's not really worth seeking out. ”Min mästare” is indeed the best track in this set, but still not good enough to motivate a purchase in any format.

Full EP playlist

HJÄRNSTORM – Hjärnstorm (Slick, 12”, 1980)

  
Swedish vocals
International relevance: **

A Stockholm band rooted in punk band Skabb and with ties to Psynkopat, Boojwah Kids and Elegi and others. Hjärnstorm fit well into that lot, with arty progg in their DNA but fully aware of the then burgeoning experimental post punk scene.

This 12” technically features only two songs, but the 'A' side ”En ensam man” (=”a lonely man”) plays like two different ones itself. It begins with an uneasy section of catatonic vocals set to a cold sweat organ drone before bursting into a dance-punk like beat and guitars not entirely dissimilar to Carlos Alomar's on Iggy Pop's ”The Idiot”. Chilly industrial synth effects emphasize the steel-and-concrete paranoia.

The 'B' side is entitled ”Min skugga” (=”my shadow”) and starts with a simple but wonderful almost folksy guitar melody. Halfway through, the song changes to something that reminds me of Dom Smutsiga Hundarna before returning to the original theme's sweet melancholy. ”Min skugga” is oddly haunting, and even better than ”En ensam man”.

It's hard to pinpoint Hjärnstorm's style, because they hint at very different things without ever feeling disjointed. They were quite original, and it's such a shame they didn't stay together long enough for a few more releases. They did back singer/actor Johan Lindell on one 7” track in 1981, but that was a disappointing effort. And when Hjärnstorm emerged into the more typical sounding post punk band Stadion der Jugend, much of their original tension was lost.

Hjärnstorm's 12” was released in four different colours (blue, green, red and black for those who keep track of such things), but none of them seems very rare or sought-after, suggesting this remains something of a lost gem on the brink of genres.

Min skugga

JIMMY NIELSEN & KARMEL – Complete recordings 1980-1982

 

Försök förstå vad livet är... / Är du beredd??? (no label, 7" 1980)
released as Jimmy Nielsen

Swedish vocals

International relevance: **

Jimmy Nielsen came from Norrahammar, a part of Jönköping, the capital of the Swedish bible belt. It's no surprise then that Nielsen is a Christian singer, but his music is often heavier than your typical Jesus pop fare, possibly inspired by the commercial success of Christian hard rock band Jerusalem. Nielsen's debut came with this self-released 7” in 1980. The 'A' side isn't that heavy though, it's just a terrible perky pop tune. The flip's ”Är du beredd???” is better, although it's too light to fully work as the boogie rock Nielsen and backing band Karmel attempted.

Varför är din blick så negativ? (Karmel Musikproduktion, 1981)
Swedish vocals, instrumental
International relevance: **

After the weak debut 45, Nielsen and his band now renamed Karmel -81 went for a full length album. With a better production they come closer to what they aim for. The sound is better and the band is tighter, but the songs still aren't very good. The pedestrian blues rock and boogie stomp is diluted with some absolutely dreadful funk moves including the then fashionable slap bass technique that those who use it certainly won't get into heaven for. Neither will drummers wasting space with drum solos à la the two and a half minute ”Smurd” on side 2. Best track is ”Fort fort springer du”, a surprisingly garage-y track that was recycled for the band's final 7” in 1982 along with another album track, ”Heroin där fick du tji”.

This turned out to be Nielsen's and Karmel's only album, but it had a second pressing as Jimmy Nielsen Band with a different artwork, so I guess it was fairly successful among their Christian peers.

 

 

Maxi-EP (no label, 12" 1982)
Swedish vocals, instrumental
International relevance: **

This four-track 12” is probably the best thing Nielsen released, even though it rehashes the disgusting slap bass jazz funk instrumental ”Funk My Soul” from the LP. But apart from that, he had the good taste of dropping the constipated boogie blues for a more singer/songwriter oriented material which suits him better. Not that any of it is particularly imaginative, but I think the last track ”Misslyckad” is at least passable.

Full 1980 single playlist
Varför är din blick så negativ? full album playlist
Maxi-EP full 12" playlist

PROMILLE – Tonåring (UFS, 12", 1979)

  
Swedish vocals
International relevance: **

A small scale release with four tracks pressed onto twelve inches of vinyl. Promille had a melodic sense but also a rather heavy sound – last track ”Drömmen” for instance has a lot of AC/DC in its hereditary material. The 'political by proxy' lyrics deal with social issues of small town youth (”tonåring” means ”teenager”) and are quite well written. All songs are band originals and OK. The performances are convincing and it's clear that Promille had more talent than a lot of other obscure bands lacking the financial back-up from proper record companies. Unfortunately, they wasted it when they changed their name to Midnight releasing two dreadful AOR tracks on the Pang Records compilation ”Göteborgsrock/Ytterrock” in 1982. 

Full 12"  

HAPPY BOYS BAND – Bush (MNW, 12”, 1980)

 
English vocals, other languages, instrumental
International relevance: **

Happy Boys Band has strong progg connections as three of their members were formerly in Kebnekajse: Hassan Bah, Thomas Netzler and Rolf Scherrer. Netzler was also part of the Tillsammans collective and Scherrer used to be in Steampacket with Mikael Ramel in the 60s. Scherrer and Netzler wrote one of the 12” EP's three tracks with the other two being Bah compositions. The tracks all have a different feel to them. The instrumental ”Song To Maria (Smulan)” is unexpectedly spacey in a semi-fusion way, while ”Saturday Night” shows a clear inspiration from African high life music. ”Na Jo Na” is closer to afrofunk. Out of Kebnekajse's ouvre, ”Bush” is obviously closest to ”Ljus från Afrika”. What you think of it depends on your tolerance for African music, but even if it's not your thing, just listening to these guys play is satisfying. They're a really tight lot, and the solo contributions are top notch. Scherrer (or possibly Mats Dahlberg) delivers quite a few tasty guitar runs, especially on ”Song To Maria”.

If you're into them, you might also want to check out Happy Boys Band's Tonkraft gig from early 1981, a rather short but fiery set that at times is pretty close to Archimedes Badkar's most Afro flavoured efforts.

No links found 

MIXTURE – Dreamland (Miss Mindy Music, 12”, 1982)

English vocals, Swedish vocals, instrumental
International relevance: **

The release date on the cover says 1983 but the label states 1982 so I give Mixture the benefit of the doubt and include assuming the label date is correct.

This is not the same Mixture that had an LP on Coop in 1980. This five-piece came from Kalmar in the south east area of Sweden and recorded only the four tracks heard on this 12”. They gigged locally a fair bit and were highly regarded among their peers for their technical skills. Inspired by for instance American jazz guitarist Lee Ritenour they wanted an accomplished sound. The style isn't that exciting, somewhere between AOR and symphonic rock (especially on ”Preludium” by J.S. Bach obviously), but they were pretty good songwriters in their vein. They were skilled players especially for being only around 18 years old at the time. And I think Matz Larsson has a rather nice voice. 

I wouldn't call "Dreamland" great, but I've heard far worse examples of what music college students can cook up.

Back To Reality
Preludium
Mecanical [sic!]
Vem var hon

OMAR – Omar (12", Lucas, 1978)

Swedish vocals, English vocals
International relevance: **

A 21 minute four track twelve-inch, mentioned in ”The Encyclopedia of Swedish Progressive Music” in the postcript of 100 bands that didn't make it to the main book. All tracks are originals (three in English, one in Swedish) but none of them make much of an impression being mainly AOR-ish rock with faint symphonic/hard rock inflections. Very forgettable, and seemingly not much in demand either.

Full 12"

NJUTÅNGER – Grodden/Vem leker med dockor? (7”. Fest Produktion, 1981) / Njutånger (12”, Fest Produktion, 1982)

International relevance: **/**

Swedish vocals

A band from the northern town of Skelleftehamn, and that enjoy some interest from progg fans. Their debut 45 ”Grodden” b/w ”Vem leker med dockor” is straight ahead rock in a Rekyl/Kylans Rockorkester vein, with heavy guitars working in its progg favour. The self-titled, four track 12” EP is a bit different, with a few post punk shadings unusual to progg on ”Havet är djupt”.

Both discs were released by Manfest's subsidiary label Fest, but for their full length debut ”Bitterljuv” from 1983, the band moved to the main imprint. A reformed Njutånger recorded a couple of demos more interesting than their early material. Those and more can be heard on Njutånger's Youtube channel.

7"

"Grodden"

"Vem leker med dockor?"

”Njutånger” 12" EP
"Havet är djupt"

"Storm"

"Yrsel går över"

"Dystert och vilse"