PETER ERICSON – Rouge (Piglet, 1980)

 

Swedish vocals

International relevance: *

Ex-singer/guitarist of Mobben and sometimes known as Peter R. Ericson. This was his first album released under his own name, but using three backing bands, Uppsala Rouge, Åby Hot Rats and the better known Teddybjörn Band. Released on the ever unpredictable Piglet, this is one of the label's most straightforward rock albums. Most of it isn't very good, but it does have a couple of songs that are above the rest. ”Så ska vi vinna” has a hard driving Bo Diddley-like beat and an urgency that I can't help but falling for. The second notable track is ”Söta Klara (La Luna)” which is a most unexpected two chord garage psych paraphrase with prominent organ.

Less surprisingly, there's some good guitar playing here as Ericson was a driven axe slinger who later joined brilliant rock singer/songwriter Anders F. Rönnblom's band. He has released several more solo albums.

Full album playlist 

MUSIKGRUPPEN RAA – Musikgruppen RAA (Piglet, 1980)

 Swedish vocals, instrumental
International relevance: **

Musikgruppen RAA had existed for seven years when they released their debut album why they had enough time to amass material enough for a double LP. It's better than the follow-up ”Briggen Salta Anna”, but their idolization of The Incredible String Band is simply too much in-your-face and gets very annoying very soon. If you want ISB epigones, try UK band Forest instead.

The second disc in the set is more interesting as it's not all Robin Williamson and Mike Heron but reveals inspiration from East European folk music although they lack the authority of say RamlösaKvällar. Their version of trad tune ”Horgalåten” (known from Kebnekajse's excellent version) is fairly interesting despite some silly theatrical vocals, and I like ”Annas sång”. But it's not enough, and as Musikgruppen RAA are constantly two steps behind on just about everything they do, they end up a curious footnote to much better bands.

”Musikgruppen RAA” is along with ”Briggen Salta Anna” featured on the 2CD compilation ”RAAriteter” released in 1992 and expanded with bonus material.

Träd / Solbild / Oulistaï / Jag lever / Månkarbo-Nisse / Den heliga staden / Kajsas vaggsång / Solbild / Jungfrun i blå skogen / Så går det bra / Svart Per-Ola / Uralen / Pavanne / Flytande holländaren / Spelkarlen / Annas resa / Kycklingskocken / Horga / Gärdet / Kläpp-Konrads schottis/Finska polskan / L'oud / San Juanito / In nomine Padre et Filio / Od Granka / Ungerska vinskördedanser / Den besvikna flickan / Tamzara / Finstämt möte i O'Stemt

FRANS MOSSBERG – Tystnader (Piglet, 1982)

  
Swedish vocals
International relevance: *

Singer and guitarist Frans Mossberg was part of the Uppsala scene centered around Sub-gruppen and Störningen in the mid/late 70s, but it wasn't until 1982 his lone solo album appeared on the mysterious Piglet label. ”Tystnader” is a bad album made even worse by the digital reissue's appalling brickwall mastering. What was previously just an album of subpar singer/songwriter stuff has now become a bloody chore to sit through thanks to the ravaged sound. There's a certain place in hell for people doing this to music, be it bad or good.

Full album playlist for self-harmers

KAIPA – Händer (Polar, 1980) / Nattdjurstid (Piglet, 1982)

Swedish vocals, instrumental
International relevance: */*

Few albums have represented such a sharp turn in style as these. When guitarist Roine Stolt left the band in 1979, he took the original Kaipa style with him and left the band with something that's closer to a poppish, synth inflicted post punk with very, very little left of what characterized Kaipa's first three albums. Only instrumentals ”Regn” and ”Elgrandi” on ”Händer” show traces of their past, but those traces are so small they almost don't count.

I've never been a Kaipa fan but these albums are definitely inferior to anything they originally became known for. The early albums had a vision whereas these two sound like a band lost. Especially ”Händer” sounds exactly like it is, a band struggling to come up with something after one important member left. I almost feel sorry for them clutching for the weakest straws; stiff playing, ill-fitting production, and worst of all: bad songwriting.

”Händer” was released on ABBA:s label Polar and they were obviously not pleased, so for the next album ”Nattdjurstid” 1982, Kaipa geared down to Uppsala imprint Piglet. Maybe the decreased production values were to their advantage, since ”Nattdjurstid” is a slightly better album. Kaipa seems to have a better comprehension of their new style, the songs are tighter and more effective, and the smaller sound suits the new material better. The band simply sounds more self-assured. There are even moments of true inspiration, as on ”Zepapo” where Stolt replacement Max Åhman goes into full Robert Fripp mode. It's still not a good album though, and they probably realized that going further down this path that really wasn't theirs would only lead to further humiliation. By the end of the year, Kaipa disbanded.

Händer full album
Nattdjurstid full album

MUSIKGRUPPEN RAA – Briggen Salta Anna (Piglet, 1981)

Swedish vocals, spoken word
International relevance: *

Musikgruppen RAA began in 1973 and disbanded ten years later after a plentiful of shows in Sweden and abroad. They did reunite in the early 90's however and is still active. During their first lifetime, they also released two albums on the bizarre label Piglet, the epononymous album in 1980, and ”Briggen Salta Anna” in the following year.

”Briggen Salta Anna” is a story album about the brig of the album title, full of short songs, the shortest being only 22 seconds. It reveals two fundamental things about Musikgruppen RAA: their love for children's music their love for UK folk in general and The Incredible String Band in particular. (The reformed RAA released a full ISB tribute album in 2010.) What makes ”Briggen Salta Anna” a hard listen though are the many spoken bits that carry the story. It sounds more like a radio play for kids than an album to actually listen to. And the proper musical portions are nowhere as good as the British/Scottish counterparts that so greatly influenced them. The album is a curiousity at best, and adds to Piglet being one of the weirdest record labels.

Full album playlist

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. Occassionally, 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 

TEDDYBJÖRN BAND – Teddybjörn Band (Piglet, 1980)

Instrumental, Swedish vocals

International relevance: **

A late-coming wannabe progg band based in Uppsala with a stupid name to boot ('Teddybear Band'). Teddybjörn Band released their sole folk shaded progressive styled album on the baffingly inconsistent and diverse Piglet label, home to Jonas Palm and others.

Opening track ”Toradans” is half decent as a lead-foot Samla Mammas Manna rip-off, but marred by stiff drumming and a synth sounding as if it was nicked from ABBA. The drumming is in fact a problem to the entire album, which is perplexing once you realize there are three different drummers playing here; Hasse Bruniusson (Samla Mammas Manna), Ingemar Bergman (Kaipa), and Per Gulbrandsen (Sub-gruppen, Störningen). It's not easy to tell them apart as all of them offer up such stiff performances they make a pile driver sound like a James Brown 45.

The vocals are mostly overwrought and overbearing and the worst singer of them all is Ann Chabaan who appeares on a couple of tracks. She takes the lead on ”Du har gett upp”, sounding like a bad dream to ruin even vibrato wobbler Jan Hammarlund's sleep.

To top it off, the production is clinical, almost sounding like a Nacksving album.

Teddybjörn Band tries contortionally to come up with something worthwhile but constantly lose themselves in a morass of clichéd pretentiousness.

One of the singers in the band, Frans Mossberg, did the cover painting and released 1982 solo album "Tystnader", also on Piglet.

Full album

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"