4 LOCAL V/A COMPILATIONS: Musikpuls / Umeå Rocks Vol. 1 / Först Värnamo... sen världen... / Linköpingsrock '82

Region specific compilations are often very hit and miss, with more misses than hits. There might be some nuggets hidden away there, but it's admittedly a dirty work finding them. Also, their main purpose is often demonstrating the musical breadth of a region, meaning they're usually stylistically inconsistent. That certainly goes for the four discs presented here.

 

MUSIKPULS (Wisa, 1981)

Featured artists: Axels Misär / Gathering Freak / Exodus / Untermensch / P-Nissarna / Hellzephyrs Poporkester / Spader Madame / Decerth / Sunshine Explosion / Skilda Världar / Starglide

Swedish vocals, English vocals

International relevance: * 

From Dalarna in the middle of Sweden comes this ragbag collection of blues, punk, heavy metal, post punk pop,ska and FM rock. The best known bands are P-Nissarna (punk) and Hellzephyrs Rockorkester (pop/rock with Janne Goldman and Arbete & Fritid connections). Gathering Freak's ”Skywalker” is a slightly under-rehearsed heavy metal track but still probably the best cut on the album, featuring future metal band Six Feet Under's vocalist Björn Lodin.

 

UMEÅ ROCKS, VOL. 1 (Brute Force, MC, 1981)
Featured artists: Steve Roper Band / Döbelns / The Pinheads / Arrows / Ma Connection / Nylle & Nallarna / Peppes / Vampires / Europa / Street Level / Boi Top / Checkpoint Charlie / Caligulas Barn / La Machine / Incontinents / Unknown artist
Swedish vocals, English vocals, instrumental

International relevance: **

Probably the most interesting item in this quartet of V/A's, but also the one hardest to find as it was released on tape only. It was the first issue ever on Brute Force Records that later would morph into Garageland Records. Some names wellknown to progg heads here, most notably Steve Roper Band, Ma Connection and Checkpoint Charlie, while The Pinheads might be the most widely familiar name overall. As expected, ”Umeå Rocks, Vol. 1” is all over the place genre-wise but there's a couple of interesting tracks here. Ma Connection's ”Cascade Of Love” is a great slow blues that might be better and moodier than anything on their album ”8691” with some really heartfelt guitar playing from Jan Bjuhr. Vampires were a very obscure synth based band with bass and electric guitar augmenting the cold synthetic sound that (to my knowledge) only ever released this one track ”Stake At The Hard”, an ominous instrumental with faint krautrock traits, almost like a drowsy post-apocalyptic Cosmic Overdose. Incontinents are in a similar vein only with a lighter mood and more adept lead guitar. Not as good as Vampires but still one of the highlights of the tape.

The unknown band at the end of the tape is exactly that, an unknown band. Whoever they are, they deliver a pretty bad cover of The Who's ”Substitute”.

I don't think there ever was a second ”Umeå Rocks” volume.

FÖRST VÄRNAMO.... SEN VÄRLDEN... (Värnamo Musik, 1981)
Featured artists: Abcess / Paj-Cana / Snubbelfot / Omar / Luftgrop / Chronicle / Moder Jord / Akupunktur / Fladderhälarna
Swedish vocals, English vocals
International relevance: **

Värnamo is part of the Swedish bible belt, situated in the Småland region. Although all bands on this album are from Värnamo, there's not much religion to be found here. The best known group here is Omar featured with one of their better tracks, ”Opium”. They're actually one of the most accomplished bands in this lot too, as many of the other contributing combos surely would have benefitted from a few more rehearsal hours. The emphasis is on rock sometimes reaching into punk and hard rock, although there are occasional ska/reggae influences heard in Abcess and Luftgrop. The most ambitious track comes from hard rock/prog outfit Moder Jord – actually a bit too ambitious for their technical prowess. The curiously named ”Fiskmuskler” (=”fish muscles”) is nevertheless one of the best tracks in this generally pedestrian collection.

The album title means ”first Värnamo... then the world...” which obviously is intentionally ironic, or at least proved to be. Except for perhaps Omar, none of these bands reached very far beyond the city limits.

 

LINKÖPINGSROCK '82 (Studiefrämjandet, 1982)
Featured artists: Articats / DR/DR / Wallraff / Glamour / Axewitch / Midwinter / Dr. Pollon / Bulldogs / Bädda / DNA / Müsk / Skenet Bedrar

 Swedish vocals, English vocals

International relevance: *

Time to go to Linköping, home to Kultivator, Mendoza and Erik Aschan and an album released by the study circle Studiefrämjandet in 1982. Linköping has always been a musically active city keen to provide rehearsal spaces to young bands, and ”Linköpingsrock '82” is a testament to that. The bands are well rehearsed although the musical styles aren't particularly interesting. There's a bit of formulaic punk, dull funk rock, pedestrian pop rock and mediocre synth pop. Again it's the heavy metal kids that bring home the medals. Axewitch's ”Nightmare” has an effective riff, and they're the most professional sounding band in this collection. No wonder they actually had a career following this compilation, with several albums out during the first half of the 80s. Artifact didn't – ”A Tribute To You” is the only thing they released – but their mix of heavy metal and symphonic rock might appeal to some readers.

Musikpuls full album 
Umeå Rocks, vol. 1 full album   
Först Värnamo... sen världen... full album   
Linköpingsrock '82 full album

RAGNAR GRIPPE – Sand (Shandar, 1977)

Instrumental
International relevance: ***

Ragnar Grippe was originally a EAM composer who studied for musique concrète pioneer Pierre Schaeffer in Paris in the early 70's, and also recorded some works in Luc Ferrari's electronic music studio that was released on ”Electronic Compositions” on Swedish classical label BIS in 1977 along with other earlier works. It is however his other 1977 album that gained most recognition over the years (and the only one to fit this blog), ”Sand”, released on Shandar, a French imprint made legendary by a back catalogue including Gong affiliate Dashiell Hedayat, Pandit Pran Nath, Steve Reich, Karlheinz Stockhausen and several free jazz luminaries such as Sun Ra, Cecil Taylor, Albert Ayler and François Tusques.

The reputation of ”Sand”, inspired by the abstract art of Indian artist Paris Viswanathan, has grown with time, and it's easy to see it's appeal to fans of the kosmisch side of krautrock à la the Roedelius/Moebius camp, Ralf & Florian, and Tangerine Dream circa ”Phaedra”. It certainly fits in with that lot yet never quite sounds like any of it. Heavily echoed electronic sounds hover above a simple and persistent rhythm before it evaporates into distant remnants thick with delay. Never dense but transparent almost simplistic, it holds a certain charm. Not on par with the German stuff, but if you aren't used to more ambitious electro-acoustic music that can be quite rough on the unaccustomed ear, this would still be an easy and inviting listen. It should be pointed out though, that both parts are a bit overlong at 25 minutes each. They could have been shortened a bit without losing essence.

"Sand" is the only Grippe album that fits here, and his later activities are pretty puzzling. After "Sand", he recorded a new wavish disco (!!!) album in 1980 entitled "Lost Secrets", showing no resemblance whatsoever to his previous work. What was his ambition? To become a Swedish low-calorie Giorgio Moroder? Even later, he turned to soundtrack composing, making music for plenty of Swedish movies including blockbuster movie "Jönssonligan".

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"

HANS EDLER – Elektron Kukéso (Marilla, 1971)

Swedish vocals, instrumental

International relevance: ***

 

Hans Edler is one colourful character with so many tricks up his sleeve that it's almost easier to say what he's not done than to explain all his actual doings and dealings over the decades. He was practically born into music. His grand dad was a folk fiddler from Jämtland in Sweden and his mother was a music teacher. Hans Edler first band was The Mirrors in the late 50's and early 60's. When the beat craze struck Sweden he turned pop with a couple of bands, including the rather popular We 4. He took a course in electronic composition at EMS (Elektronmusikstudion, ”the studio for electronic music”) in Stockholm 1969. He studied mathematics simultaneously, and soon became a studio assistant at EMS. With full access to the studio's equipment he recorded ”Elektron Kukéso” in 1971, only using computers and electronic utilities.

”Elektron Kukéso” is one of the most visionary albums made in Sweden. Blending psychedelia, pop and electroacoustic music, it creates a peculiar inner landscape with Edler's vocals and melodies infusing the songs with an ephemeral melancholy. It's further out than both The United States of America and Fifty Foot Hose, it's more focused than Silver Apples, it's more bizarre than White Noise, less cheesy than most of what Edler's compatriot Ralph Lundsten did. But comparisons to others fall short. This is a singular album, moving in strange spheres only Hans Edler had access to. His baryton voice channels and opposes the soaring melodies at the same time to a great, tense effect. Some songs are plain captivating, especially ”Jag hör ett skrik” despite the obvious quotes from The Supremes' classic ”You Keep Me Hanging On”. Other tracks are decidedly weirder, like ”Leka med ord” and the instrumentals ”My Third Eye”, ”Miscalculation” and ”Lovedust”, sometimes predating glitch music and EAI (electro acoustic improvisation) with several decades. Everything moves and pulsates like a tidal wave, reaches for new mental continents. Not everything is good, but just about everything is fascinating.

Hans Edler released the album on his own label Marilla which he ran throughout the 70's. He released numerous album ranging from dance band music to children's albums, from accordionists to neo-rockabilly. Edler has worked with television, composed choral music, and been a succesful concert promoter. He's still active, usually performing in retro styled shows. Hes released several albums of his own – he even ventured into disco with his ”Space Vision” album in 1979 – but he never made another album like ”Elektron Kukéso”.

Full album playlist

ROBERT BROBERG – The 'Zero' years 1979-1981

Motsättningar (RKOB, 1979)
as Circle O Zero on Uma N.E

Swedish vocals

International relevance: **

After fighting mental issues, Robert Broberg invented a new persona. Perhaps to escape himself, or perhaps to become himself. He chose Zero as his new moniker, but the full unwieldy artist name on ”Motsättningar” is "Robert Broberg presenterar (= ”presents”) Circle O Zero on Uma N.E", and the album contains songs written between 1974 and 1979, including one translation of a track from ”Tolv sånger på amerikanska”. ”Would You Like to Be My Object for Tonite?”, here entitled ”Vill du vara mitt sexualobjekt ikväll?”

Possibly due to the timespan of the songs and maybe because some of them are recorded live, the album is all over the map. There's funk in ”Sprucken i tusen bitar” and ”Farbror Anders funk”, blues in ”Du har Pinochet i garderoben!”, a bit of Little Feat in ”Doktor Jekyll och Mister Hyde”, circus music in ”Cirkuslåten/Två knappar längst ner!”, an a capella waltz named ”Jag tar ofta på mig min kofta” etc. The best track however is the very beautiful and melancholy ”Jag ska inte ligga lik” – actually one of his best ever songs.

The diversity of the music is most likely a reflection – conscious or not – of Broberg's fragmented mind at the time. The album title is certainly telling enough: a possible translation of ”Motsättningar” would be 'conflicts'. So, not a consistent album but a revealing one.

Kvinna eller man (Silence, 1981)

as Zero

Swedish vocals, English vocals

International relevance: *

After a decade of self-released albums, Robert Broberg/Zero joined the Silence roster in 1980. Perhaps the proper record deal helped him get a hit with ”Vatten – sta'n är full av vatten”, for a while overplayed by Swedish Radio. The track is relatively representative of the album as whole; ”Kvinna eller man” is Broberg's most accessible album since the 60's. The most interesting tracks are the final two, the English language ”Don't Lean Out of Your Head”, like many of the album's tracks dealing with self-image and identity, and ”Tom Top” which is by far the weirdest song here, pointing towards Broberg's next effort ”Am I Your New Toy”. ”Tom Top” became a novelty hit when released as the album's pilot single in 1980. 1980 also saw the release of the fine Paul McCartney inspired non-album single ”Nothing's Gonna Stop Me Now”.

Am I Your New Toy (Silence, 1982)

as Zero
English vocals

International relevance: ***

 

One of Broberg's quirkiest albums, and given his earlier ones that says a lot. Broberg plays all instruments himself, using a drum machine for rhythm keeping. A certain Devo influence can be traced on tracks like ”You Make It Happen” and ”Your Clothes Talk”, but don't forget to add Brian Wilson's most bizarre Beach Boys moments and sprinkle a bit of Paul McCartney's 1980 album ”McCartney II” on top.

But the crucial element is of course Broberg himself. This album doesn't sound like anything else, at least nothing made by a well-known artist. It's as if he took pieces of familiar music, put them in a telepod from the 50's horror movie ”The Fly”, teleported everything to the other telepod. looked at the curious product of his experiment and then released it on record. Of course the album soon entered obscurity, and few casual listeners probably know it even exists.

After this album, Robert Broberg propelled back into full-scale stardom with sell-out shows and the love of the people. But once he did, he lost a fair bit of the peculiar grandeur of his extended 'forgotten' decade.

Motsättningar full album playlist
Kvinna eller man full album playlist

Am I Your New Toy? full album playlist
"Nothing's Gonna Stop Me Now" full single playlist

ANNA SJÄLV TREDJE – Tussilago Fanfara (Silence, 1977)

Instrumental 

International relevance: ***

Ranked #24 on the blog's Top 25 list

Sometimes very much in the vein of Tangerine Dream and Ash Ra Temple, Anna Själv Tredje would have fit nicely in with kraut rock's more cosmische acts, but to write them off simply as epigones is unfair. There's something decidedly Swedish to them, a strong sense of a mystical fir forest blended in with the outer space soundscapes. Or if you like, they are constantly travelling the border between a wonderful dream and a haunting nightmare.

Their three dimensional sound is highly evocative, and halfway through ”Inte utanför tiden” a distant fuzz guitar kicks in, hinting at emotions provoked by the majestic Älgarnas Trädgård. ”Tussilago Fanfara” is a 40 minute floating journey through the inner and outer space.

Anna Själv Tredje, who took their name from Leonardo da Vinci's painting ”The Virgin and Child with Saint Anne”, managed to release this one album only, but they did several sessions for Swedish radio show Tonkraft. One track from such a session was included in the compilation series ”Tonkraft”, on the ”1977-78” volume to be precise. ”Snöfall och daggyra” is only available on this various artists compilation, and their full Tonkraft recordings serve as an additional album since they consisted of entirely exclusive material. It's well worth tracking down those rare recordings if you like ”Tussilago Fanfara”.

Leonardo da Vinci's painting, c. 1510. 

Band members Mikael Bojén och Ingemar Ljungström founded Anna Själv Tredje already in 1971. It's unclear though when they eventually split up. This is how parts of the story goes: When Ljungström met Dan Söderquist from the aforementioned Älgarnas Trädgård, they formed Cosmic Overdose in 1978, together with Ragnarök's Kjell Karlgren. Cosmic Overdose released two albums (plus a few singles and a cassette-only album) of excellent electronic post punk. Ljungström took the stage name Karl Gasleben (sometimes Terminalkapten Gasleben) and Karlgren performed as Regnmakarn. In 1981 Cosmic Overdose became Twice A Man after Karlgren/Regnmakarn left the group. It seems possible though that Anna Själv Tredje and Cosmic Overdose had overlapping careers for a while, as one Per-Axel Stenström claims he played with Anna Själv Tredje for a while the early 80's, i.e. after Cosmic Overdose already was in full swing. So it's possible that Anna Själv Tredje gradually folded as Cosmic Overdose were catching speed.

At one time in the early 90's, Bojén played morning and evening shows in Slottskogen (the Central Park of Gothenburg, the stomping ground of both Anna Själv Tredje and Cosmic Overdose). According to one attendant, the performances sounded a lot like Klaus Schulze.

The stunning cover art to ”Tussilago Fanfara” was designed by the prolific Tom Benson, a noted photographer whose exceptional and suggestive photographic montages has been exhibited several times in art galleries in Sweden. Benson also took the picture of Nynningen for their ”För full hals” album, and he was a close friend of Freddie Wadling, one of Sweden's most remarkable vocalists ever. Benson unfortunately died in 2008. The cover of ”Tussilago Fanfara” fits Anna Själv Tredje's music perfectly.

Tussilago Fanfara full album
Tonkraft 1978