IMP INK – Imp Ink (Piglet, 1980)

Instrumental

International relevance: **

Probably the most interesting album on Uppsala's elusive Piglet label, and also the first LP on the imprint. Imp Ink (sometimes stylized as Imp.Ink and Impink) straddles the line between kraut rock, free jazz, avantgarde, progg, folk, and dark dreamy soundscapes. Members aren't mentioned on the sleeve, but the line-up is known to include Roland Zinder and Jonas Palm. It's a wild ride, sometimes scary and even the quieter moments have an arresting intensity. At times they're moving towards a Träd, Gräs & Stenar and Third Ear Band territory, but with a greater outcome, more dramatic and a lot more captivating results. Occasionally, it even hints at Italian 70s horror movie soundtracks. The underground vibe is palpable and adds meritoriously to the general mystical, sinister feel of the music.

While the different segments have individual titles, but not being song based, the album should be listened to in one go for optimal effect.

Being one of the better yet unheralded obscurities of the progg era, this is definitely an album to seek out. Especially if you're into the darker side of improvisation. Keep in mind though that it's very rare and therefore a bit on the pricey side. Given the small editions of other Piglet releases, I assume it's a pretty fair guesstimate that no more than 500 copies were pressed, if that. It exists with three cover variations, although I think they were all released simultaneously. It's highly unlikely there was any demand for a second pressing at the time... Today though, it screams out for a reissue.

Side A

Side B

FRIZ BE – Hmm... (Piglet, 1981)

English vocals, instrumental

International relevance: **

Certainly one of the most peculiar albums on this blog, and some would probably argue it isn't progg at all. But, while it's perhaps closer to experimental and minimal synth, I've decided it has enough progg credentials to warrant inclusion. First of all, it was released on Uppsala label Piglet which also put out albums by Teddybjörn Band, Kaipa, Musikgruppen RAA, Jonas Palm and other strongly progg related acts. Also, it's not that far removed in attitude from Psynkopat. Which is a different way of saying that this is a clueless mess of being experimental and weird for the sole reason of being experimental and weird. Which, in turn, is to say this album is irritating beyond sense.

The brain behind Friz Be is one Roland Zinders who was also involved in another Piglet act, Imp Ink. The voice you hear is by Bengt (you know – Bengt). Bengt's lack of vocal talent perfectly matches Zinder's lack of musical direction and substance. I have a hard time finding any redeeming qualities in this album, but after trying the best I'm capable of, ”Half Brain Naked” is OK in a Njurmännen ballad kind of style (even the title sounds like something off a Njurmännen release). The dark instrumental that wraps up the album, ”Hommage au Muzak” is decent too, and reminiscent of Jonas Palm's soundscapes – is it possible that Palm, whose ”Ze Wörmnest” was another Piglet release, is somehow involved in this album?

”Hm...” was inspired by Gothenburg's Dan Fröberg of GOG cult fame. (GOG is known for their excessively rare and wildly avantgardist 1979 ”Beatless E.P.”) It was recorded in a barn in five days, but I doubt even years of recording sessions would have made it any better.

Some call this a classic. I call this a piece of shit.

I Throw Punches

Now Is The Time
Brosk Conversation

Half Brain Naked

Lufituaeb Eb Ot

Elegant But Very Fast 

Here We Go 

JONAS PALM – Ze Wörmnest (Piglet, 1980) / De-compositions (Djuring Phonogram, 2011; recorded 1981)

Ze Wörmnest (Piglet, 1980)

Instrumental
International relevance: ***

Usually considered a synth/minimal artist, but there's really no reason why Jonas Palm shouldn't be included here. His main influences came from kraut bands, obviously early Tangerine Dream and less obviously Can, plus 70's ambient and 20th century composers like György Ligeti. He began exploring the possibilities of the synthesizer in 1975 but his only album release at the time was ”Ze Wörmnest”. It's close to Anna Själv Tredje's "Tussilago Fanfara", only with darker undercurrents. If Anna Själv Tredje is the sound of nature right before dawn, then Jonas Palm is the sound of nature by late dusk. Or perhaps the place where the city ends and a no man's land of the mind begins. A compelling album.

De-compositions (Son of Ze Wörmnest) 

(Djuring Phonogram, 2011; recorded 1981)
Instrumental

International relevance: ***

Palm's second album went unreleased for a full thirty years before industrial/darkwave/avant synth label Börft unearthed it and released it through their Djuring Phonogram subsidiary. The album is subtitled ”Son of Ze Wörmnest” and it is pretty much an extension of Palm's original album. It begins with ”Ängen är grön, ängen är giftig” (”the meadow is green, the meadow is poisonous”) with ”Zeit” era Tangerine Dream-like soundscapes illuminated by cold lights of unknown origins before slowly evolving into something even more sinister.

Sometimes ”De-compositions” sound like what I imagine Anna Själv Tredje spin-off Cosmic Overdose would sound like if they were all instrumental and had an even sparser sound. But when push comes to shove, neither of Jonas Palm's albums need any comparisons. They both stand tall in their own right.

Ze Wörmnest full album

"La Città Futura"