Origins of Art-Rock

Influences in Music

Summary of Influences on Swedish Art-Rock

Compilation of music groups in Tonkraft during the 1970s

Composition, Arrangement, and Form

Instrumentation

The Lyrics

 

Music Groups in Tonkraft 1970-80

The selection of groups belonging to art-rock in Sweden has been made based on the previously presented criteria and the foreign groups mentioned as influences for these groups in literature and interviews. The selection criteria have been applied while listening and analyzing LP/CD and tape recordings from the radio program Tonkraft, and while reviewing articles and reports in the magazines Musikens Makt, Grendel, and Ny Musik.

The starting point for the selection from Tonkraft is program lists from Tonkraft.

Groups formed before 1974:

Anna Själv Tredje, Bo Hansson, Horizont, Samla Mammas Manna, Solar Plexus, Trettioåriga Kriget, Trotsålderns Barn, Ragnarök, Älgarnas Trädgård

Formed in 1974 and later:

Alter Ego, Blåkulla, Cosmic Overdose, Delirium, Dice, Dimmornas Bro, Enars Camel, Extra, Fantasia, Harem, Hybris, Isildurs Bane, Kaipa, Kebnekajse (as an art-rock group), Miklagård, Moder Svea, Overture, Östan Sol Västan Måne

 

Presentation of Swedish Art-Rock Groups

The following alphabetical presentation of ‘Swedish art-rock groups in the 70ties’ is based on Tonkraft recordings, literature, and interviews with musicians.

(MM = Musikens Makt, BR = Bonniers Rocklexicon, NM = Ny Musik)

 

ALTER EGO

The Stockholm group Alter Ego existed between 1975-79. The group members were Hans Hagström – electric guitar, Hans Lövgren – vocals (75-76), Mikael Wedberg – guitar and vocals (77-79), Ingmar Hill – keyboard (75-77), Lars Guldbrand – keyboard (77-79), Henrik Nordgren – electric bass, Charlie Lidström – drums (76-78), Per Alsing – drums (78-79).

The composer of the group was Hans Hagström, but Lars Guldbrand, Mikael Wedberg, and Ingmar Hill also composed music. The composition style was group arrangements of pre-existing musical pieces. The lyricist was Mikael Wedberg, ‘unknown pensioner,’ and Charlie Lidström. In 1975-76, the group used texts from “The Lord of the Rings” as a compositional template before their own lyrics were created. Sample titles include “Erimiten,” “Axel i Stan,” “Hem,” “Dvärgsamba,” “Gulnat Vatten,” “Tänk Om,” “Falska Banor,” “Daffodils,” “Innan Strax Före.”

The group performed their music live at schools, rock pubs, youth centers, concert venues like Jarlateatern, and music festivals. The greatest influence on the group was Gentle Giant, but Yes, Genesis, and Greenslade were also sources of musical influence. A clear influence from Jethro Tull can be heard in the recording on the Tonkraft album. In classical music, Gustav Holst and Vaughan Williams were the main influences for Hans Hagström. The group also made arrangements of Holst’s “Capriccio.” They don’t consciously have a Swedish folk music influence, but some inspiration comes from fusion in 1979. Instruments that created the group’s timbre included male vocals, electric guitar, acoustic guitar, organ, synthesizer, clavinet, electric bass, and rock drum kit.

Discography: Tonkraft album, Alter Ego “Daffodils,” Caprice, CAP 3011, 1978, Compilation LP from Caprice, (CD Alter Ego (Musea) 1997 release in 1997)

 

ANNA SJÄLV TREDJE

The group was active from 1970-77 and was based in Gothenburg. ‘Anna Själv Tredje’ was a “sound-image group” with visuals, film, and music as a collage to enhance the musical experience at concerts.

Composers were Mikael Bojen and Ingemar Ljungström, and the group’s composition style was experimental group composition. “…Mikael and Ingemar experimented with sounds, ideas that form the basis of the music Anna Själv Tredje makes today.” (2) Some examples of song titles and excerpts from an article about the group demonstrate the group’s ideas about the musical context: “Ankomster utanför tiden,” “Barbariska söndagen,” “Mossen,” “Snöfall och daggyra,” “Tusen år och sju timmar.” “Our purpose has been to convey emotions, ready to be used for inner journeys. Influence has come from the forest and the sea, both in its large and small components. Meditative programs have been composed where stationary sound mats consisting of a mix of tone loops, sound clusters, and concrete sounds formed the foundation.” (1) The ethereal and instrumental music is meant to allow the listener to fantasize and participate in the music. Musical parallels can be drawn to Älgarnas Trädgård and foreign groups like Tangerine Dream and Third Ear Band (2). The composition “Snöfall och Daggyra” has clear influences from minimalist modern classical music with composers like Terry Riley and György Ligeti. The first part features organ figures that fade into the concluding part with floating sound mats.

Ingemar Ljungström (alias Gasleben) was later a member of the groups Cosmic Overdose and Twice A Man. Members on the LP “Tussilago Fanfara” in 1977 were Mikael Bojen, Ingemar Ljungström, Tommy Hansen, Maria Kinger, Barbro Svensson. Bojen and Ljungström played organ, piano, synthesizer, electric guitar, saxophone, percussion, cello, flutes, and ‘concrete sounds from the world.’ Hansen, Kinger, and Svensson formed the Choir on one of the tracks.

Discography: “Tussilago Fanfara,” Silence, SRS 4646, 1977, Tonkraft album, Anna Själv Tredje “Snöfall och daggyra,” Caprice, CAP 3011, 1978. Citations: (1) H. Gatu, MM nr 11/12 1977 p. 35. (2) Information sheet from Silence 1977 for LP release

 

BLÅKULLA (not included in Tonkraft)

Group members were Bo Ferm – organ and piano, Dennis Lindegren – vocals and chimes, Mats Öhberg – acoustic and electric guitar, Hannes Råstam – electric bass, Tomas Olsson – drums. The group composed music and set poetry to music, for example, Gustav Fröding’s and Elmer Diktonius’ works. They also arranged a rock group version of “Drottningholmsmusiken” Movement 1, “Allegro Con Spirito” by Johan Helmich Roman, which is released on their record.

The lyricist was Dennis Lindegren, and some sample titles are “Frigivningen,” “Sirenernas Sång,” “I Solnedgången,” “Världens Gång,” “Erindran.” These are typical titles for art-rock. The instruments that created the group’s timbre were male vocals, organ, piano, acoustic guitar, electric guitar, Rickenbacker electric bass, drums, chimes.

Discography: LP “Blåkulla,” Anette ALP 218, 1975

 

COSMIC OVERDOSE

A synth rock-oriented group from Gothenburg that existed from 1977 to 1981. They were primarily influenced by German, English, and Japanese synth music and created music with sounds from the art rock genre. “Lyrically and sensitively oriented towards synthesizers and keyboards, with a sound that was considered to represent a distinctive Nordic sound abroad.” (1) “A fusion of punk’s aggressiveness and spacey sounds.” (2) The group aimed to create a unique sound, leaning stylistically towards the synth music that emerged in the late 1970s, with predecessors like Kraftwerk. “We’re trying to break out of the usual rock framework. We lose some variation possibilities when we play without a bassist, but it’s easier to bring out nuances in the music.” (2)

Examples of song titles also show influences from punk and German synth music: “Cyklon,” “Bomber,” “Care,” “Dada,” “Dead,” “En av dom.” The group’s composers were Dan Söderqvist (from Älgarnas Trädgård) and Karl Gasleben (alias Ingemar Ljungström from Anna Själv Tredje), who were initially the only members. In an interview in Musikens Makt 1980, the group revealed their approach to arrangements and music: “Our songs are very tightly arranged.” (2)

Members and instruments: Dan Söderqvist – electric guitar, synthesizer, and vocals; Karl Gasleben – synthesizer, string machine, and vocals. From 1978, Regnmakaren (Kjell Karlgren from Älgarnas Trädgård) joined with synthesizer and drums, and from 1980 (for LP 3 and 4), Thomas Andersson joined with synthesizer, electric guitar, and vocals.

Söderqvist and Gasleben later formed the group Twice A Man in 1981, which achieved significant international success. They also composed music for films, TV, and theater during the 1980s and 1990s.

Discography: Single 1 “Observation Galen,” Silence, ZING 108, 1980; LP1 “Dada koko,” Silence, SRS 4659, 1980; LP2 “4668,” Silence, SRS 4668, 1981; Single 2 “Tonight,” Silence, ENG 302, 1981; MC1 “Final koko,” Xenophone International, COS 001, 1983. Citations: (1) BR 1994 p. 598. (2) Dan Söderqvist, MM no. 1 1980 p. 12

 

DELIRIUM

This music group from Stockholm existed from 1976 to 1978 and performed instrumental music with influences from King Crimson, Yes, Genesis, funk, and jazz rock. The composer was Öhrström, but improvisations by all musicians during rehearsals formed the basis for compositions. (1)

Members were Björn Lundquist – electric bass, Stellan Ekegren – drums, Pocke Öhrström – electric guitar, Mats Lindberg – keyboards, saxophone. The group performed at festivals, youth centers, and schools, mainly in the Stockholm area. The music movement had little significance for the group, as they did not have lyrics or any explicit political message.

Lundquist has been a freelance musician since then, collaborating with Tore Berger, Bolon Bata, among others. Other members also pursued freelance music careers.

Citation: (1) Interview with Björn Lundquist, June 1995

 

DICE

An art-rock group from Lidingö in Stockholm that was active from 1974 to 1980. The group’s origins date back to the early 1970s when Leif Larsson (keyboards and vocals) and Örjan Strandberg (guitar and vocals) started composing together in school. The musicians who joined in 1974 were Fredrik Vildö – electric bass and vocals, Per Andersson – drums and vocals, and from 1978, Robert Holmin – vocals and saxophone.

The group’s venues included music clubs, schools, concert halls, and music festivals. Their view on their music and public performances was, “We wanted to be extravagant and have fun… at the same time, there was some kind of youthful pathos to go out and say something about the cause of madness, schizophrenia, and such things, stories of doom.” (2)

Composers were Strandberg and Larsson, and arrangements were made collaboratively within the group. Their goal was to create program music in a rock format from the outset, which is why the suite “The Four Riders of the Apocalypse” was composed in 1972-73 before the group was formed.

Influences in the group’s music, according to an interview with Strandberg, included Emerson Lake and Palmer, Genesis, Gentle Giant, Focus, King Crimson, Tempest, Procul Harum, Uriah Heep, Deep Purple’s “Gemeni” suite, D. Brubeck, F. Zappa, Stravinsky, Musorgsky, Ravel, Debussy, and program music.

The instruments that created the group’s timbre were male vocals, WLM organ, piano, Korg synthesizer, Hohner Pianet, Mellotron, Gibson Les Paul 6+12 double-neck electric guitar, acoustic guitar, Fender and Rickenbacker electric bass, Ludwig drums, percussion.

The music movement had no significance for the group; it belonged to an earlier generation where music was in the tradition of Träd, Gräs och Stenar.

During the 1980s and 1990s, Larsson worked as a freelance musician with artists like Pugh Rogefeldt, while Andersson became a drummer with Marie Fredriksson, Kaipa, and more. Holmin transitioned to Folkoperan, and Örjan Strandberg pursued a career as a freelance musician, composer, and music studio owner.

Discography: LP1 “Dice,” Marilla 1978 (reissued as Bella Antique 8906C in 1993); LP2 “The Four Riders of the Apocalypse,” Bella Antique 9225, 1992; LP3 “Live Dice,” Bella Antique 9340, 1993

 

DIMMORNAS BRO

Dimmornas Bro was Nyköping’s only well-known art-rock group, active from 1975 to 1981. The group took its name from the Swedish translation of the film “Waterloo Bridge.” Their most notable “symphonic” composition was “Symfoni för rockgroup och symphonic orchestra,” written in collaboration with composer Lars Tilding and performed by the group alongside Nyköping Symphony Orchestra.

Members were Staffan Hellstrand – piano, organ, synthesizer, and vocals; Peter Blomkvist – electric guitar; Kjell Thunberg – electric bass; Mats Jonstam – electric guitar; Adri – drums.

Mats Jonstam and Staffan Hellstrand composed music together, which was then arranged within the group. Text and vocals were essential, and the lyrics always dealt with societal issues. Examples of song titles include “Låt det inte gå ut över mig,” “Tokyo,” and “Göm dej.” The group believed the lyrics’ message needed to be conveyed in Swedish.

Their influences included Pink Floyd, Genesis, The Beatles, and “English white rock.” Instruments that created their symphonic timbre included string machines, Mellotron, and ARP synthesizers, alongside traditional rock instruments like organ, electric guitar, electric bass, and drums.

The music movement had little significance for the group; it had mostly faded by their formation. The group’s lyrics weren’t aligned with the more “fluffy” part of the movement but contained radical themes.

After 1981, Hellstrand continued as a musician in the group SH and pursued a successful solo career and production work. Jonstam composed theater and film music during the 1980s and became a music video producer, including producing music documentaries.

 

ENARS CAMEL (not included in Tonkraft)

This art-rock group came from Umeå and was active from 1974 to 1977. Members included Torbjörn Falkmer – bass, Gunnar Olofsson – vocals, Jan Larsson – guitar and vocals, Anders Lundström – drums and vocals, Stefan Gadnell – keyboards, Kerstin Lindström – vocals. Their musical influences were English art-rock, “Symphonic rock, inspired by Yes and Genesis, with lyrics reflecting the spirit of the times.” Like in most other groups of the 70s, group composition was the norm: “Own compositions by the whole group.” (Jan Hofverberg “Rock i Umeå 1958-83”) The instrumentation was slightly different from other art-rock bands, as they used both male and female vocals, while most other art-rock groups had only male singers.

 

EXTRA

The group Extra existed on the periphery of the art-rock style, with elements of New Wave, and they released two LP recordings: “Extra” and “Artxe.” They were active from 1978 to 1983 and were based in Gothenburg.

Members: Henryk Lipp – keyboards, Anne-Lie Ryde – vocals, Mats Johansson – vocals, Håkan Henriksson – guitar, Jan-Olof Leandersson – bass, Eric Forsmark – drums. Composers were Lipp and Henriksson, with lyrics by Anne-Lie Ryde. Examples of song titles include “Botten,” “Fri,” “Funky Frank,” “Het sol över Durango,” “Marche Militaire D-dur (F. Schubert),” and “Den lilla tvisten.”

After Extra, Ryde continued with a successful solo career (7 LPs), and Lipp participated in the duo Blue For Two and the group Cortex.

Discography:

• LP1 “Extra,” EMI 1980
• LP2 “Artxe,” EMI 1982

Quote:(1) BR s 60

 

FANTASIA

Fantasia was a spin-off from Kaipa, started by guitarist Roine Stolt and vocalist Mats Löfgren in 1979. The group continued into the 80s and was based in Uppsala. Their music started as art-rock but evolved into more mainstream pop/rock, as heard on the 1982 LP “Fantasia.”

Members: Roine Stolt – guitar and keyboards, Mats Löfgren – vocals, Thomas Arnesen – electric guitar and piano, Michael Stolt – electric bass, Håkan Hiltman – drums and percussion. The main composer was Stolt, but the music was arranged collaboratively within the group.

Fantasia’s venues included clubs, student union buildings, and the same venues as other art-rock groups. The music movement had little impact on the group; their interest in art-rock was limited due to changing musical preferences.

Roine Stolt was a member of the group Flower Kings in the 1990s

Discography:

• LP1 “Fantasia,” Metronome 1982

 

BO HANSSON (not included in Tonkraft)

J.R. Tolkien’s “The Lord of the Rings” inspired many rock musicians. Bo Hansson’s LP “Sagan om Ringen” (The Lord of the Rings) in 1971 received significant attention, even internationally, and is one of the most interesting adaptations of this book.

Bo Hansson’s musical background included 60s pop with the group Merrymen and the jazz duo Hansson & Carlsson (organ jazz in the style of Jack MacDuff) with extensive tours and three recorded LPs.

The music on “Sagan om Ringen” originated from improvisation, forming the musical foundation before adding more instruments in the studio. The compositions reflect Hansson’s jazz background, infused with folk influences from Mike Oldfield, rhythms from Santana, and guitar elements from Kebnekajse. The music was based on the idiomatic characteristics of the instruments.

Quote:

• “We were lying there reading ‘The Lord of the Rings’ and then we just recorded it. It was all improvisation.” (1) “The songs are compositions that build on the feelings and moods that sounds, melodies, and instrumentation evoke.” (3)

Mike Oldfield’s influence on Hansson is evident, even though the music includes “organ jazz.” Hansson’s instrumentals draw inspiration from fantasy books by authors like J.R. Tolkien and R. Adams.

The instruments that contributed to the LPs’ flowing timbre included organ, Moog synthesizer, electric guitar, flute, baritone saxophone (violin LP3), electric bass, tambourine, and drums. These instruments were played by Bo Hansson, Rune Carlsson, Sten Bergman, and Gunnar Bergsten.

Bo Hansson also composed music for a musical in 1980 (“Mitt i livet” with Håkansson), as well as for theater play “Svart Dagbok” and the TV movie “Hotet mot Anna Anderssons liv.”

Discography:

• LP1 “Sagan om Ringen,” Silence 1971
• LP2 “Ur Trollkarlens Hatt,” Silence 1973
• LP3 “Mellanväsen,” Silence 1975
• “El-ahrairah,” YTF 1977

Quote:

• (1) NM nr 2 1974 s 4,5 by Lars Stahre
• (2) Review MM nr 9 1977 s 19 by Bertil Håkansson
• (3) Release information from Silence 1973

 

HAREM

Harem was a group from Eskilstuna with members Björn Hultsten – vocals, clarinet, flute; Tommy Larsson – vocals and guitar; Eva Sanner – vocals and guitar; Lars Skoogh – guitar; Lars Ederstål – keyboards; Hannu Venäläinen – bass; Lars Lindsjö – percussion; Tomas Opava – percussion; Alar Suurna – drums. Composers were Suurna and Larsson. Their music was a blend of Anglo-Saxon folk music, medieval ballads, and fusion influences.

An analysis of “Badvisa” from the Tonkraft album in 1978 shows that this group was partially inspired by British folk music. The song had typical folk music-style melodic formulas, with flute as the melody and guitar, bass, piano, and drums as the foundation. The vocal melody was rhythmically spoken (similar to today’s rap) and drew lyrical inspiration from J.R. Tolkien’s “The Lord of the Rings.” The music transitioned from folk musical elements to fusion-inspired sections with flute solos and harmonized melodies on flute and guitar, sometimes with flute and electric bass, returning to fusion and folk music.

Alar Suurna later became a well-known studio technician in the 80s and 90s, working on many successful recordings, including with Roxette, and he became a producer.

Discography: “Harem Badvisa,” Caprice, CAP 3011, 1978

 

HORIZONT

Horizont was a fusion-influenced art-rock group from Upplands-Väsby near Stockholm, active from 1972 to 1981. Their composers were Jonas Isacsson, Tommy Nilsson, and Christian Rosenberg. The musicians composed and arranged the music collaboratively. Instruments contributing to the group’s sound included male vocals, Elka and Solina string machines, Minimoog, Hammond organ, Moog Taurus bass pedals, electric guitar, acoustic guitar, electric bass, marimba, glockenspiel, drums, and percussion.

Influences on their music were rock and fusion bands such as Yes, Genesis, King Crimson, Gentle Giant, Focus, Kansas, Return to Forever, and Weather Report, as well as classical music including works by Sibelius and Stravinsky.

The lyrics were important to the group, striving for a “poetic” quality. Lyrics were written by Nilsson and Isacsson, with song titles like “Samtal vid Horisonten,” “Undran Vid Havet,” “Skapelsens Frukt,” and more.

Horizont performed in high schools, music pubs, and clubs across the country, but not in music forums. The art-rock movement had no significant impact on them as they formed at the end of the 70s when the movement’s influence had diminished. They also recorded under a CBS label, which wasn’t favored by the art-rock movement.

After Horizont, Isacsson became a freelance musician working with artists like Eva Dahlgren and Roxette. Nilsson pursued a solo career in France and Sweden, while Gällhagen and Lövgren continued as musicians in various contexts.

Discography:

• LP1 “Horizont,” CBS 83114, 1978
• LP2 “Horizont,” CBS 7472, 1979
• LP3 “Horizont Delirium Fetisch,” Caprice 3011 CAP, 1978

Quote: (1) Interview with Jonas Isacsson, June 1996

 

ISILDURS BANE (not included in Tonkraft)

The group Isildurs Bane recorded “Sagan om den Irländska Älgen,” an LP released in 1983. The group was formed in the late 70s and is one of the art-rock groups not documented through Tonkraft. Musicians who participated in the LP were: Mats Johansson – keyboards and vocals, Mats Nilsson – electric guitar, Jan Severinsson – flute, vibraphone, and glockenspiel, Ingvar Lingon Johansson – electric bass, Bengt Johansson – saxophone, Kjell Severinsson – drums, vibraphone, xylophone, percussion, Anneli Nilsson – backing vocals.

Composers for the group were Mats Johansson and Mats Nilsson. Examples of song titles include “Sagan om den Irländska Älgen,” Uvertyr, Saga eller Verklighet, Sex Minuter, En vilja att leva, Evighetens Visdom, Marlboro Blues, Fredrik. Instruments used for the recording to create the group’s sound were male vocals, keyboards, electric guitar, flute, vibraphone, glockenspiel, electric bass, saxophone, drums, vibraphone, xylophone, percussion, and female backing vocals.

Discography: LP1 “Isildurs Bane,” YXR-Rock 1983

 

KAIPA

The most well-known group within the art-rock with symphonic influences was the group Kaipa. Originally named Uri Kaipa, they existed from 1974 until the mid-80s. Uppsala was their starting point for tours, rehearsals, and recordings.

This music group is one of the few that show a clear influence of Swedish folk music in their compositions. They also had songs with direct folk music connections like “Visa i sommar” and “Tajgan.” Musicians in Kaipa over the years were: Hans Lundin – keyboards and vocals, Roine Stolt – guitars (1974-79), Thomas Henriksson – bass, Ingmar Bergman – drums, percussion, and vocals. Mats Lövgren joined on vocals from LP3 in 1978, and Max Åhman – guitar, Mats Lindberg – bass and bass pedals, Per Andersson – drums, and percussion joined on LP5 in 1982.

The keyboard instruments used to create the ‘symphonic’ sound were mellotron, string synthesizer, Hammond organ, Minimoog, Polymoog, Korg Polyphonic Ensemble 2000, Yamaha string synthesizer, grand piano, Fender Rhodes, Hohner clavinet, and Moog Taurus bass pedals. Roine Stolt used the latest guitar technology, which was a significant part of Kaipa’s 70s sound. He used instruments like the Hagström synthesizer Patch 2000 with Oberheim synth components, Roland Chorussound Amp, Electro-Harmonix phaser, and octavmultiplex, various echoes, and compressors. The guitars he used on the LP “Solo” were Gibson, Fender Stratocaster, Shergold 12-string electric guitar, Pearl 12-string, and Ovation 6-string acoustic guitars.

The composers were mainly H. Lundin and R. Stolt, but group compositions also occurred. The music creation was described as “a collective creation with much quarreling and joy,” “a music that clearly works with an audience.” Some music, however, was arranged for the group by the composer before rehearsals.

Kaipa, initially a trio with a keyboard associated with ELP, evolved their sound which had folk songs at its core and aimed to develop them into a sort of “musical journey.” Their music was influenced by Yes, Genesis, Contact, Merit Hemmingson, Made in Sweden (Roine), and popular classical music like Mozart and Beethoven.

The group toured extensively and performed in music forums, schools, festivals, clubs, discos, and music associations. The significance of the music movement for the group was mainly as an opportunity to perform, especially in the beginning (1974-76) when they played mostly in music forums around the country. Many music forums were less political and welcomed all interesting music. However, Kaipa was often criticized for their lyrics not being radical enough.

The lyrics from the LP “Inget Nytt Under Solen” with the composition “Skenet Bedrar” were reviewed in Musikens Makt no. 1, 1976, as “pretentious drivel.” But they also received some support from parts of the music movement; “Kaipa – a band without much support from the music movement. But where they stand, a little to the side – heavily criticized – they have many experiences and opinions of great importance.” The lyrics were important to the group, aiming to make people think about their situation and to let go of old thought patterns. They had a touch of societal critique, too.

Typical titles for art-rock groups and Kaipa were: “Musiken Är Ljuset,” “Uppvaknandet,” “Inget Nytt Under Solen,” “Skenet Bedrar,” “Korståg,” “Respektera Min Värld,” “Sist På Plan.” Textwriters were H. Lundin, R. Stolt, I. Bergman, and M. Lövgren.

The group continued with LP recordings into the 80s. Roine Stolt and Mats Lövgren left the group in 1979 after the LP “Solo” and formed the group Fantasia in 1980. During the 80s and 90s, Roine Stolt worked as a musician, producer, and technician, and in the 90s, he formed the art-rock group Flower Kings. H. Lundin released a solo LP “Tales” in 1984 and continued his music career during the 80s and 90s. I. Bergman is in the music publishing industry.

Discography:

• LP1 “Kaipa,” Decca 1975
• LP2 “Inget Nytt Under Solen,” Decca 1976
• LP3 “Solo,” Decca 1978
• LP4 “Händer,” Polar Music 1980
• LP5 “Nattdjurstider,” Polar Music 1982.

Quote:

• (1) Interview in MM no. 7, 1976, by Per Guldbrandsen
• (2) Grendel no. 1, 1984, interview by Graf with Hans Lundin
• (3) Review of the LP “Solo” in MM no. 7, 1978, by Odd Clausen
• (4) Interview on June 18 with Roine Stolt

KEBNEKAJSE

Kebnekajse was a group from 1971-77 that performed Swedish folk music with rock arrangements. In 1978, the group transitioned to become an art-rock band with the album “Vi drar vidare” (“We Move On”), incorporating fusion and rock influences. The group reorganized and reemerged as a more symphonic rock band, drawing inspiration from bands like Yes and Genesis (1). Other influences during this period included Anglo-Saxon rock, African folk music, and jazz/fusion. Art-rock influence also shaped how the songs were woven together into a concert to form a cohesive whole; “the way to weave a program… it becomes like a musical theater where things happen. The music goes up and down, and there are long passages… like a complete symphony, even though there are many songs…” “They wove together long segments and after twenty minutes, they took a break and introduced the band… then they played for another forty minutes…” “a musical journey that demands quite a bit from the listener.” (2).

Since the early 70s, Kebnekajse had a unique ‘sound’ rooted in folk songs that they tried to further develop into a kind of “musical journey.” They aimed to find their own direction in their songs, partly through their lineup…(2) The instruments that created the group’s sonic palette in 1978 included male vocals, violin, mandolin, electric guitar, organ, synthesizer, mellotron, African percussion, electric bass, and drums. Composers were M. Glenngård, P. Holm, P. Lejring. The music group engaged in group composition, where musical ideas from anyone within the group were collectively developed.

Members and instruments from the 1978 LP6 were: Mats Glenngård – violin, mandolin, electric guitar, vocals; Bah Hassan – percussion; Tomas Netzler – electric bass, drums, vocals; Per Lejring – organ, synthesizer, mellotron; Pelle Holm – drums and vocals.

The lyrical content for this version of Kebnekajse was described in an interview as “down-to-earth, everyday lyrics about the struggles of life.” (2) However, they received strong criticism from the Music Movement in a review in MM for their lyrics, which were considered vague and unclear. Lyricists were Per Holm, and some song titles like “Sjuan,” “Stigfinnaren,” “Stupet,” “Ur gropen i hålet” provide insight into the themes of the lyrics.

The group was one of the most significant for the music movement in the early 70s, which provided a solid foundation for extensive tours across the country. However, by 1978, the influence of the Music Movement had declined as the group took a new musical direction.

Glenngård released a solo LP after Kebnekajse and participated in various recordings during the 80s and 90s. He was also a member of the band Green during the 90s.

Discography: LP1 “Resa mot okänt mål” (Journey to an Unknown Destination) – Silence 1971, LP2 “Kebnekajse” – SRS 1973, LP3 “Kebnekajse III” – SRS 1975, LP4 “Ljus från Afrika” (Light from Africa) – SRS 1976, LP5 “Elefanten” (The Elephant) – SRS 1977, LP6 “Vi drar vidare” (We Move On) – Mercury 1978 (art-rock LP), LP7 “Kebnekajse” – Silence 1990. Quotes: (1) BR p. 308. (2) Interview with Mats Glenngård, June 1995

 

MIKLAGÅRD

The only art-rock group from Gotland that participated in Tonkraft was Miklagård. This trio originated from Visby and was active from 1975-80. The group’s collage-oriented music was influenced primarily by ELP and Samla Mammas Manna, as well as folk music influences. Other influences included Kebnekajse, Exception, Blå Tåget, Bela Bartok, and Mussorgsky. Keith Emerson from ELP was mentioned in an interview as a significant inspiration for Tomas Sundström on keyboards and vocals. Other members were Björn Rothstein on drums and percussion, Leif Lerman on electric bass and vocals, and from 1979, Björn Aggemyr on electric bass.

Composer and lyricist Tomas Sundström’s ideas were arranged within the group through collective improvisation. “Individual musical moments were pieced together” “the songs became a mix of various ideas” (3). The instruments that created the group’s sonic palette included male vocals, electric piano, organ, synthesizer, mellotron, drums, percussion, and electric bass.

Lyric writing was a process without any specific inherent significance or more profound message. A quote from the LP1 sleeve notes reflects the group’s view on their lyrics; “The lyrics do not express personal values. Alongside the music, we want them to convey images and moods from a bygone era of penny dreadful atmosphere.” (1) Song titles provide a glimpse into the medieval and Renaissance moods the group aimed to convey; “Kastraten,” “Trälen,” “Astrologen,” “Narren,” “Häxan,” “Soldaten.” Miklagård also used lyrics written by authors such as S. Delblanc and L.U. Kangas. The significance of the Music Movement for the group was limited; they were outside the movement and also “half a generation younger” (2). However, the group did perform at some Music Forums. Other venues for their music included theaters, schools, clubs, and primarily festivals on Gotland. The group also worked as an orchestra in theaters.

After Miklagård, Sundström created music for film, TV series, musical theater, and theater during the 80s and 90s. Rothstein worked as a freelance musician with artists like Roger Rönning.

Discography: LP1 “Miklagård” – Edge 1979. Quotes: (1) LP1 sleeve notes, 1979. (2) Björn Rothstein interview, June 13, 1995. (3) Tomas Sundström interview, June 13, 1995

 

MODER SVEA

The Stockholm group Moder Svea operated as an art-rock group until 1980, but the group continues to exist as a music group, focusing on playing cover songs today. Their music was primarily influenced by early Genesis. Other influences mentioned during interviews were Gentle Giant, King Crimson, Yes, and classical music.

Their music evolved through arrangements and compositions within the group. “A basic idea with… chord progressions, then singing was improvised over it, and arrangements for the song were made” (1). Singing was a crucial part of the music, but the content of the lyrics was not the main focus. Lyrics were created after the music was arranged. “Influenced by other lyrics… it sounds a bit ‘Hoola Bandoola’ from the 70s, often with some political connection or some quirky fairy tale form… thought-provoking lyrics” (1). Song titles like “Björns Trädgård” (“Björn’s Garden”), recorded on the Tonkraft record, reveal clear Genesis influences. The lyrics demonstrate the group’s attempt at social satire, depicting the tragic aspects of urban life.

The instruments that created the ‘symphonic’ and art-rock sound were Wurlitzer electric piano, Hammond organ, mellotron. Members and instrumentation included Glenn Kindberg on vocals, Tony Kindberg on vocals and guitar, Calle Lindstam on guitar, Tore Mattsson on keyboards, Cary Lindfors on bass, and Magnus Larsson on drums.

 

OVERTURE

The art-rock group Overture from Stockholm existed from 1975-80. The group’s music was originally very ‘symphonic’ with influences from Genesis and Yes, which can be heard on the recording from Tonkraft. However, the music became more pop-oriented after 1979, with inspiration from the Police, and others, which can be seen on the only LP Ansikten (1980) that the group recorded. Members and instruments: Mats Ström – vocals, percussion, acoustic guitar; David Carlsson – guitars and vocals 1975-76; Clarence Öfwerman – keyboards, guitar and vocals; Hans Alsing – drums and glockenspiel; Mats Reiniusson – electric bass, 12str guitar, bass pedal and vocals; from 1978 Bengt Lundberg on guitar and vocals. The group toured mainly in central and southern Sweden. Venues included high schools, festivals, youth centers, rock pubs, rock clubs and a few music forums. The importance of the music movement was also for this group as a concert opportunity, Overture had no political profile or explicit political message. The lyrics were in Swedish (all but two) and in narrative fairytale form with some moral in the message about music and success, family relationships or violence. Title examples: The Source of the Music, Alexander the Great, Wings of Envy, The Fugue, Family Games, Mastermind 2001, Wolf Pack, Salt Peanuts, Look at Me. Composer and lyricist: C. ôfwerman, D. Carlsson, M. Reiniusson, B. Lundberg. The method of composition was the arrangement and development of the musical material in the group from someone’s idea. “Free rein within certain limits for each musician.” (1) Instruments that created the group’s timbre: Male Vocals, Grand Piano, Yamaha Electric Piano, Arp Pro Soloist, Prophet V, Logan String, Moog Taurus Bass Pedal, 12 String Guitar, Gibson Les Paul Electric Guitar, Acoustic Guitars, Glockenspiel, Gretsch Rock Drum Kit. After Overture, Öfwerman continued in the groups Raj Montana Band, Ulf Lundell, Roxette and as a producer for Roxette, Jacobi, Creeps, Jensen and others. Lundberg participated with the Ulf Lundell Band and other bands. Carlsson with Raj Montana Band, Mikael Rickfors. Alsing with Magnus Lind, Green and other bands, Reiniusson in Katze, Tattoo, Green and composer of film music during the 90’s.

Discography: EP1 Salt Peanuts Overdub Records 1976, LP1 Faces R&P 1979

Quotation: (1) Interview Clarence Ôfwerman June 13, 1995

 

RAGNARÖK

The only art-rock group from Kalmar that was part of Tonkraft was Ragnarök. The group was formed in the fall of 1972 and played a distinctive, meditative style of music. “The band places great emphasis on the lyrical and gentle as opposed to the aggressive, playing a mix of acoustic and electric instruments, with or without vocals.” (4)

In a 1972 interview in MM about their music, “We have all grown up in Kalmar, an old and beautiful medium-sized Swedish town with a calm rhythm of life and a harmonious environment. That’s what our music is like; lyrical and non-aggressive.” (2) By the fall of 1973, they adopted the approach of Kebnekajse to play Swedish folk music, further distancing themselves from blues influences. Other influences included musical styles similar to ‘Träd, gräs och stenar’ (Trees, Grass and Stones) and ‘Samla Mammas Manna’. Inspiration from Tangerine Dream, Mike Oldfield, and Henry Cow can also be heard on their LP1 in 1975.

The group didn’t have an official composer, and their music was created through group composition. They aimed to showcase an alternative to blues and rock rhythms, “stretching the old standard themes and harmonies and bringing forth something new and innovative from the music. Rhythms are broken and rebuilt.” (2). An attempt at music analysis was made by H. Lahger in DN, stating “Ragnarök’s music describes the aftermath’s reverberations. A state where the worst excitement has subsided.” (3)

The group is primarily instrumental. Some song titles are “Promenader,” “Dagarnas Skum,” “Polska från Kalmar.” Initially, they played at youth centers and prisons, and from 1974, they also performed at outdoor festivals and Music Forums in central and southern Sweden. They developed a quirky style with music, sketches, film screenings, and discussions about drugs, sex, anxiety, etc. From 1976, they began collaborating with the children’s theater group Byteatern, which also introduced musicians Thomas Wigert from Kung Tung, Dan Söderqvist, and Kjell Karlgren from Älgarnas Trädgård.

The Music Movement and the Kontaktnätet (Network) had a significant impact on the group. They were active in the movement and gained strong political and social awareness. They recorded under the non-commercial label Silence, received positive coverage in Musiken Makt, performed at Music Forums, and were one of the well-established and liked groups within the movement.

Members and instruments: Peter Bryngelsson – guitars, Henrik Strindberg – electric guitar, flute, saxophone, Staffan Strindberg – electric bass, Lise-Lott Larsen on vocals until 1974, Peder Nabo – guitar, flute from 1973. Stefan Ohlsson – drums from 1974. Lars Peter Sörensson – drums joined for LP1 in 1975. For LP2 in 1979, participants included P. Bryngelsson, H. Strindberg, Thomas Wigert on drums, Dan Söderqvist on guitar, and Kjell Karlgren on saxophone. The group was reformed with various members from the original lineup in subsequent years.

Bryngelsson was also involved in groups like Triangulus, Vinterhjärta, Kung Tung, and composed music for film, TV, opera, and theater during the 80s and 90s. Söderqvist and Karlgren were part of the group Cosmic Overdose and other bands.

Discography: LP1 “Ragnarök” – Silence 1976, LP2 “Fjärilar i magen” (Butterflies in the Stomach) – Silence 1979, LP3 “Fata Morgana” – Silence 1981, LP4 “Three Signs” – Silence 1983, “Well” – Slask Rec 1991

Quotes: (1) BR 1994, (2) Jan Härstedt, MM no. 3, 1976, p. 20, (3) DN 16/11-79 Håkan Lahger, (4) Information sheet from Silence, 1975

 

SAMLA MAMMAS MANNA

The widely known art-rock group Samla Mammas Manna (SMM) was formed in 1970 in Uppsala. The group’s music is a collage of various styles, ranging from Afro-American to Baroque music. Influences mentioned in Lilliestam’s essay about the group include Frank Zappa, Miles Davis, Weather Report, Stravinsky, rhythmic folk music, King Crimson, Gentle Giant, ELP. (1 p. 9) Some quotes from the essay illustrate this: “Influences from Afro-American music,” “Swedish folk music,” “echoes of, for example, Baroque music, brass music” (1 p. 45). The group often uses musical commonplaces. “SMM themselves speak of working with musical ‘clichés'” (1 p. 15).

The group composes together during rehearsals, and their music often consists of figures and ostinato bass lines and drum patterns that are idiomatic to the instruments. “…the music is created directly on the instruments. Most of the time, songs aren’t composed ‘in the head.'” “Many figures – not to say most of them – are instrument-idiomatic for the instruments the group has at its disposal,” (1 p. 43) “Bass lines and drum patterns… because they are often ostinato.” (1 p. 14). Example titles: “Dundret’s Delights,” “Folk Tune in Morse,” “The Minaret,” “Circus Apparatha,” “The Music-Milking Machine.”

The instruments used by the group for music creation are important, as they compose instrumental music with idiomatic instruments. The instruments included electric piano, accordion, guitar, electric bass, double bass, accordion, guitar, electric guitar, rock drum set, vibraphone, percussion.

Performance venues for SMM included schools, festivals, music forums, jazz clubs, and music pubs. The group toured during “Rikskonserter” (National Concerts) at schools in 1971 and 1972. “It’s been very good work for Rikskonserter and very significant for our musical development.” (H. Bruniusson, 1 p. 5). Music forums were important for engagement in 1973 and 1974. “In the spring of 1974, it really started with the Music Forum venues. Then it was almost all Music Forum in 1974.” (C. Apetrea, 1 p. 5). The group was also one of the favorites within the music movement.

Members and instruments: Lars Holmer – electric piano, accordion, guitar, Lars Krantz – electric bass, double bass, accordion, guitar, Hans Bruniusson – drums, vibraphone, Henrik Öberg – percussion until 1970, Coste Apetrea – guitar and piano 1972-76, from 1977 Eino Haapala – guitar.

An interesting analysis of Samla’s music and presentation of the group can be found in the essay “Samla Mannas Manna – A Musical Analysis” by Lars Lilliestam, 1976.

Discography: LP1 “Samla Mammas Manna” – Silence 1971, LP2 “Måltid” – Silence 1973, LP3 “Klossa Knapitatet” – Silence 1974, LP4 “Snorungarnas Symfoni” – MNW 1976, LP5 “Schlagerns mystik/För äldre nybegynnare” – Silence 1978, LP6 “Familjesprickor” – Silence 1980, LP7 “Zamlaranamma” – Urspår 1985, LP8 “No Make Up!” – Urspår 1984. Quotes: (1) The essay “Samla Mannas Manna – A Musical Analysis” by Lars Lilliestam, 1976, University of Gothenburg

 

SOLAR PLEXUS

A notable art-rock group from the start was Solar Plexus from Stockholm. With the professional lineup of Carl Axel Dominique – keyboards and flute, Monica Dominique – piano, vocals, and organ, Georg Wadenius – electric bass, electric guitar, and vocals (1969-70), Tommy Borgudd – drums and percussion (1971-75), Tommy Körberg – vocals, electric guitar, and percussion, and Bosse Häggström on electric bass, they attracted attention. The group was described as a ‘super group’ in the press and existed from 1969 to 1981. C-A Dominique’s background included being a music director, soloist classes, and piano concert studies at the Royal College of Music in Stockholm. In 1970, he formed the group Bäska Droppar together with Monica Dominique, which later became Solar Plexus. Wadenius, Häggström, and Borgudd came from the interesting and talked-about jazz-rock group Made in Sweden. Körberg originally came from the group Tom & Mick & Maniacs and then pursued a solo career.

Their music, as per an interview with C-A Dominique, was an attempt at an “all-music” approach, “…originally an idea to play all kinds of music,” “inspired by ‘Blood, Sweat and Tears’ because they crossed boundaries… they played ‘Satie’…”, “…a mixture of very good rock music and very good jazz music,” “all-music group was our goal” “it ended up being Handel and Stravinsky.” (2)

They also enjoyed experimenting with music, and they were amused by different time signatures like five-beat, seven-beat, eleven-beat when they started playing together, which was common among art-rock groups. There’s also a folk music influence from Swedish folk musicians, and influences range from Hendrix and Frank Zappa to Cannonball Adderley. Other music that influenced the group included Chicago, Blood Sweat and Tears, Yes, Emerson Lake and Palmer, and experimental groups from the 60s like Tages.

The primary composer was C-A Dominique. The approach to composition was often “teamwork” (2) between C-A Dominique and Borgudd. However, “Concerto Grosso” is a prime example of group composition.

The lyricists were C-A Dominique, Tommy Borgudd, Kent Andersson, and several other external writers. The lyrics had to be of high quality, and they also used lyrics from recognized authors like Lars Forsell and Nils Ferlin, shaping the music to reflect the text.

Sample titles: “Hellre gycklare än hycklare” (“Better a Jester Than a Hypocrite”), “Inledning och Signaturmelodi” (“Introduction and Signature Tune”), “Sagorna” (“The Fairy Tales”), “Red is the Color.”

The music movement considered Solar Plexus to be too commercial, but the group participated in alternative festivals (against the Schlager Festival) and also advocated against P3’s “uninformed noise.” (1)

After Solar Plexus, Körberg pursued a solo career with numerous recordings spanning from pop to Birger Sjöberg, also with an acting career. The Dominique couple continued to be significant figures in Swedish music as musicians and composers, with multiple recordings and concerts. Monica also pursued acting. Borgudd and Häggström continued as freelance musicians, and Wadenius was a guitarist in Blood Sweat and Tears, also having a solo career in fusion and composing and releasing children’s music.

Discography: Double LP1 “Solar Plexus” – EMI, 1973 (Swedish and English versions), LP2 “Solar Plexus II” – EMI 1974. Quotes: (1) from an interview in Musikens Makt magazine. (2) Interview with Carl-Axel Dominique, June 1995

 

TRETTIOÅRIGA KRIGET

A point of pride for Saltsjöbaden as an art-rock group was Trettioåriga Kriget, or Kriget as they later referred to themselves. They were formed in 1970 and played “heavy rock from Saltis” (1) until 1981. Members included Robert Zima (1971-79) – vocals, Christer Åkerberg (from 1972) – electric guitars, Stefan Fredin – electric bass and vocals, Dag Lundquist – drums, percussion, vocals, violin, Mats Lindberg (from 1977) – keyboards, saxophone, Olle Thörnvall – lyrics. The group’s music, like Samla’s, was riff-based, and their CD sleeve describes their music from the last LP: “Europa from the last LP is again based on one of Steffe’s and Kriget’s typical bass riffs.”

Influences they mentioned in interviews were from art-rock bands like King Crimson, Yes, Genesis; experimental rock bands like November, Cream, Led Zeppelin; classical music composers Stravinsky and Bartok; the group played original and appreciated music. The main composer was usually Fredin, but Lundquist and Åkerberg also contributed. The music was developed within the group and was based on someone’s idea, often a riff or sometimes a lyric. “…Dagge and Christer as usual have been involved in shaping arrangements, themes, etc., during countless rehearsals.” (4) Regarding the relationship between lyrics and music in composition, “The lyrics came by themselves… and then Steffe made the music.” about the song ‘Krigssång’ (4), “The words and Steffe’s bass riff came about independently.” (4) The music was reviewed as “Difficult music…” (2). It was structured with abrupt changes and shifting time signatures; “the songs often constructed by short loops that tie together” (2).

A clear influence from Deep Purple and Colosseum can be heard, and the music also shares some characteristics with progressive rock, such as attitude in performance, a strong rock sound, and melody/harmony.

The instruments that contributed to the group’s sound were male vocals, electric acoustic-slide guitars, electric bass, and drums. During studio recording, they also used violin, synthesizer, clavinet, string machine, Mellotron, bass pedals, saxophone, percussion, gong, temple blocks, and balalaika.

The lyricist was Olle Thörnvall, who functioned as a sixth, invisible member of the group (he played with Lundquist and Fredin before 1973). Vocals and lyrics were important for the group; they had radical Swedish lyrics about societal issues without taking a political stance. “Singing poetic lyrics with gently flowing rhythm.” (1) “…dealing with issues, universal human, societal issues. With clear advocacy for change.” (1). The group performed their music at high volume live, but the text and vocals had to be heard. “You can hear the singing and distinguish the words amid all the decibels.” (1) Sample titles: “Handlingens skugga” (“Shadow of Action”), “Fjärilsattityder” (“Butterfly Attitudes”), “Dag om natten” (“Day in the Night”), “Moln på Marken” (“Clouds on the Ground”), “Dagspress” (“Daily Press”), “Om Kriget Kommer” (“If the War Comes”).

Music forums, music associations, discos, high schools, rock clubs, and music festivals were the performance venues for Kriget. The music movement had limited significance for the group. “We experienced surprisingly little interest in music within the music movement. There were so many other things that were important; we felt that we suffered from that because we were completely focused on the music.” (3) For most Swedish art-rock groups, the music movement was mainly a platform for performances.

After Kriget, Fredin made the LP “Fredin Komp” with Fredin, Åkerberg, and Lundquist. Lindberg participated in the group Tredje Mannen, Åkerberg became a studio musician, and Lundquist continued as a studio engineer/producer during the 80s and 90s at the Decibel studio. Zima was involved in importing technology for music studios.

Discography: LP1 “Trettioåriga Kriget” – CBS 1974, LP2 “Krigssång” – CBS 1975, LP3 “Hej På Er” – Mistlur 1978, LP4 “Mot Alla Odds” – Mistlur 1979, LP5 “Kriget” – Mistlur 1981, “War Memories” – 1992, CD1 “Om Kriget Kommer” – MNW 1996. Quotes: (1) from an interview in NM magazine, issue 4, 1974, p. 13, by Anders S Fröberg. (2) Review in MM magazine, issue 8, 1974. (3) Interview with Dag Lundqvist, May 1996. (4) CD text from “Om Kriget Kommer” by Olle Thörnvall, 1995

 

TROTSÅLDERNS BARN

This Umeå-based group was active from 1973 to 1976 and created programmatic music dealing with topics such as war, work, or escape. The message in the lyrics was important, and it was also meant to be political. The group was musically influenced by “rock and pop with inspiration from Patto, Wishbone Ash, and Genesis.” (1) Members and instruments: Mats Törngren – rhythm guitar and vocals, Stig Källström – lead guitar, Tomas Melander – bass, Erik Amkoff – drums and vocals (1973-74), Alf Egerbladh – drums (1974-76), Birgitta Egerbladh – piano and vocals (1974-76), Åsa Hällgren – flute, violin, and vocals (1974-76), Cleas Rydbäck – vocals.

Discography: “Tonkraftskivan, Trotsålderns Barn” – “Ingen av oss,” Caprice, CAP 3011, 1978. Quote: (1) Jan Hofverberg’s compilation “Rock i Umeå 1958-83”

 

ÄLGARNAS TRÄDGÅRD (not included in Tonkraft)

Älgarnas Trädgård from Gothenburg influenced the development of meditative and eventually synth-based music in Sweden through its members and music. The group drew inspiration from modern, medieval, electronic, and folk musical sounds. “Medieval…” “modern sounds… typical pop sounds and also electronic sounds” “The old Swedish folk music has left its mark…” “…Indian music…” (1) Influences from Gong and Tangerine Dream and electroacoustic music can be heard. They also used sound manipulation techniques like backward-played tapes and music fragments from different LP records, perhaps influenced by The Beatles and The Rolling Stones in their experimental period. Folk music influences are evident from Nordic, Indian, and Eastern music, heard in musical passages where instruments from various cultures are played idiomatically in folk music styles.

Älgarnas Trädgård composed their instrumental music through group collaboration, and their LP1 featured an unusual instrumentation compared to other art-rock groups: classical (cello, violin, flute), folk (rebec, guitar, sitar, zither, jaw harp, tablas), and electronic (Moog synthesizer, VC-3 Putney synthesizer).

Members of the group were: Dan Söderqvist – guitar, Sebastian Öberg – cello and sitar, Kjell Karlgren – saxophone, Andreas Brandt – violin, Mikael Johansson – organ, Dennis Lundh – drums, Jan Ternald – bass and electronic sounds.

The group gained attention early in the 1970s for their experimental and interesting music, and their song titles hint at their ‘metaphysical’ and musical ambitions: “Framtiden är ett Svävande Skepp Förankrat i Forntiden” (“The Future is a Hovering Ship Anchored in the Past”), “Saturnus ringar” (“Saturn’s Rings”), “Tristans klagan” (“Tristan’s Lament”), “Viriditas.”

After Älgarnas Trädgård, Öberg became a musician with bands like Stadion and Fläskkvartetten, Söderquist with Twice A Man, Karlgren in Ragnarök and other groups.

Discography: LP1 “Framtiden är ett svävande skepp förankrat i forntiden” – Silence, SRS 4611, 1972. Quote: (1) Information sheet from Silence, 1972

 

ÖSTAN SOL VÄSTAN MÅNE

Members of this group with this imaginative name were: Anders Nilsson – vocals, organ, and electric piano, Kenneth Arnström – flute, Lars Ekholm – electric guitar, Teddy Walter – electric bass, Jörgen Johansson – drums. The composer of the music was Nilsson. The lyrics were taken from J.R. Tolkien’s “The Lord of the Rings,” and an example of a song is “Galadriel’s Song,” which is recorded on the Tonkraft album. The instruments that created the sound of this music group were: male vocals, organ, electric piano, flute, electric guitar, electric bass, and drums. After Östan Sol Västan Måne, Walter continued as a well-known musician in various contexts.

Discography: Tonkraft album “Östan Sol Västan Måne Galadriels Song,” CAP 3011, 1978

 

 

 

Where did the groups perform?

Places where it was possible to perform this music were primarily schools, music clubs, youth centers, festivals, student nations, music associations, discos, and music forums (especially in the early 1970s). In schools, it was mainly in high schools where these groups played most frequently. They would create some sort of “program” for the students, covering everything from how instruments were played to various social or societal topics. The music and lyrics served as an illustration of what the musicians tried to convey to the students.

Groups more closely associated with the Music Movement and its ideals also performed in prisons and other institutions. Youth centers also provided opportunities for interaction with the audience, but the venues were often small and their financial means were limited. Music clubs where groups performed were primarily in larger cities. In Gothenburg, Errols and Sprängkullen were well-known venues, while Stockholm had Bullerbyn, Magnus Ladulås, Engelen, and others. Malmö’s Baroviac, Uppsala, Lund, and other student cities had their student nations.

Festivals were occasions for the vast majority of music groups in Sweden to perform their music. Hagafestivalen and Norrtäljefestivalen were the larger ones in central Sweden in the latter half of the 1970s. Particularly, Hagafesten continued for several years and attracted large audiences. It was a great opportunity for Swedish groups to showcase their music.

 

Where did they come from?

The geographical origin of art-rock groups that participated in Tonkraft was larger cities. Stockholm had nine groups, Gothenburg had three, Uppsala had three, and there was one group each from Umeå, Eskilstuna, Nyköping, Visby, and Kalmar. The dominance of Stockholm and Gothenburg is likely due to the greater availability of new music in the form of recordings and concerts, especially when it comes to foreign art-rock groups and their concerts. The opportunity to perform their music was greater, and new styles and trends usually found their first foothold in the larger cities.

 

Why play art-rock?

In this study, attempts have also been made to clarify why musicians chose to play art-rock. An important reason seems to be the technical challenge that exists in art-rock. Musicians had the opportunity to experiment with intricate arrangements, rapidly changing rhythms, and technically demanding instrumental parts. “Musicians with technical brilliance believed they were symphonic composers, took liberties, and did things in odd time signatures…an experiment with music.” Quotation from an interview with J. Isacsson of Horizont. The art-rock style was also a new phenomenon that many young ‘new’ musicians of the new generation were curious about. Similar musical challenges for musicians are found mainly within jazz/fusion, which many were inspired by.

For the groups that were formed in the early 1970s, the new freer musical form and experimentation with relatively new instruments such as the synthesizer and sounds from all kinds of music were important factors. A common thread among all art-rock groups was the desire to do something different than playing rock music solely based on the traditional rhythm and blues, and the desire to create ‘their own’ music free from the musical limitations of styles.

Where did the musicians go?

Most musicians in Swedish art-rock groups continued their careers as musicians and have had significant success and influence in Swedish music life during the 80s and 90s. This influence comes from their contributions as composers, arrangers, producers, sound engineers, and performers.

Some of the most well-known names are Carl-Axel and Monika Dominique, Tommy Körberg, Georg Wadenius (Solar Plexus), Anne-Lie Ryde (Extra), Tommy Nilsson (Horizont), Staffan Hellstrand (Dimmornas Bro), Coste Apetrea, Lars Holmer (Samla Mammas Manna). Several others have continued as musicians in various contexts, with a selection mentioned here; Dan Söderquist (Älgarnas Trädgård) and Ingemar Ljungström (Anna Själv Tredje), who later formed Twice a Man, Sebastian Öberg (Älgarnas Trädgård) in Fläskkvartetten, Leif Larsson (Dice) with Pugh Rogefelt, Kenny Håkansson (Bo Hansson) in Dag Vag, Jonas Isaksson (Horizont) with Eva Dahlgren, Hansson de Wolf United Roxette, Clarence Öfwerman (Overture), Pelle Alsing (Alter Ego) with Raj Montana Band and Roxette. In the jazz realm, Rune Carlsson (Bo Hansson) and Bo Skoglund (Bo Hansson) in jazz and blues. In theater, TV, and film music, Tomas Sundström (Miklagård) and Mats Jonstam (Dimmornas Bro), known sound engineers who influenced the sound of Swedish rock and pop during the 80s and 90s—Alar Suurna (Harem), Dag Lundquist (Trettioåriga Kriget). Most other members of the groups have continued to work as musicians or in the music industry in various ways, from technical imports to music publishing. The group Moder Svea is the only one that has continued to play together throughout the years. Some of the groups have reunited in later years…