KEBNEKAISE III

KEBNEKAJSE's third album was released in 1975 and it was the second album where they played Swedish folk rock. This album follows the same musical direction as their previous album "KEBNEKAJSE" (1973) with fuzzy guitars, fiddles and magnificent songs, but there were some tracks that were different though. They were Kenny Håkansson's instrumental country tune "StJohn" and Ingemar Böcker's instrumental jazz-folk-rock ballad "Balladen om björnbär och nätmelon". This small but noticeable musical change were perhaps the turning point for KEBNEKAJSE. They released three more albums "Ljus från Afrika" (1976), "Elefanten" (1977) and "Vi drar vidare" (1978) before they went separate ways. None of these albums were bad but they never reached the same heights as Kebnekajse's first three albums.

And of course I have to mention the beautiful cover artwork by Kurt Netzler. Also listen to: Kenny Håkansson "Springlekar och gånglåtar" (1978).

3.5 stars really!!!

After such a stunning second album, I was hot on the heels in finding their next album, but when I did find it, deception was at hand. Do not get me wrong this album's content is a pure and excellent folk album, but I was expecting amore of what Kebnekaise had given us on their previous album, this superb fusion of folk, psych rock and Latino beats. So past the initial deception, this album is not quite the same, but it is sticking (much) closer to trad folk, which of course makes it of a much lesser interest for the proghead.

Although we can still feel the influence of their superb preceding album, as in a few tracks, Harjedaien or Eklundapolska , the album could be seen as serious step backwards if one did not understand that Kebnekaise's goal was a return to origins. You can get a better idea of this by listening to Spelman or Bingsjo. However, the centrepiece of the album is the 13-min Bjornbar, which makes the album worthwhile even if not quite as essential as their previous effort.

Still definitely worth the occasional spin in your deck, this album is for confirmed fans of folk and by the same path of folk prog. But start with their second album or better yet try the electric mountain compilation. Further albums will be more world music-influenced, just thought I'd warn you.

This album is a definite improvement of everything else that so far has been conceived by Kebnekajse! It's clear that the band had evolved enormously since their self-titled sophomore album and the direction of the music feels much clearer than previously.

The music on Kebnekaise III is much less guitar driven and instead the melodies are greatly complemented by the use of harmonica, violin, mandolin and congas that are a lot more prominent in the mix. The sound production and mixing have been greatly improved by 1975 which means that the sound is much clearer, meaning that every instrumental contribution now actually adds to the music instead of just polluting the recording with even more muddy sound. Still it's the composition quality that has improved the most this time around. The first three numbers titled Leksands Brudmarsch, Polska Från Härjedalen and Eklundapolskan feel like an interconnected concept piece where each of the following tracks picks up on the themes from the previous one. This is also where Kebnekajse shows the most development in their craft of fusing great folk melodies with rock music arrangements.

Skänklåt Till Spelman is a pretty traditional sounding performance that I would have probably enjoyed even more without the vocals that make it sound dated in comparison to the rest of the music on the album. While the 13 minute Balladen Om Björnbär Och Nätmelon is one of the band's completely original compositions that has become a huge fan favorite over the years. The track starts off with a long buildup that halfway through the performances transforms into a upbeat section most notable for Kenny Håkansson's guitar work and the congas drum sound from Bah Hassan. The performance is then followed up by unexpected Spanish-flavored Mariamá that serves as a completely unexpected, but highly welcomed, surprise conclusion to the album.

Kebnekaise III is easily my favorite album of this classic Swedish band that have recently reunited for a few live performances around the country that have even resulted in a new studio album. As for this 1975 release I highly recommend it to fans of traditional folk music with rock arrangements. For everyone else this is definitely an excellent addition to the prog rock music collection.

***** star songs: Leksands Brudmarsch (4:29) Polska Från Härjedalen (3:09)

**** star songs: Eklundapolskan (4:19) S:t John (3:51) Skänklåt Till Spelman (3:07) Polska Från Bingsjö (3:19) Balladen Om Björnbär Och Nätmelon (13:01) Mariamá (3:14)

Do a little dance, make a little love - get down tonight. Swedish style!

Up here in the cold north, we have a very similar sounding folk music. Whether you travel to Sweden, Denmark or Norway - there are definite trademarks of an old kind of music that has been in existence for many many centuries. I've actually grown up on this music, and I remember my grandparents dancing along to this unique sounding waltz music quite clearly, and I guess it goes way back into my early childhood years. They were dressed up in traditional costumes - my grandmother wearing a red dress with some kind of apron on top of it. Wooden clogs on her feet - just like my grandpa, and all these other superfluous clothes items, which at the time seemed completely ridiculous to me, as they were on the verge of swinging wildly around on the dance floor. Keeping warm should be the least of their concerns, but what did I know? I clearly remember thinking to myself, that these two strange persons, whom both were part of my family - looked remarkably like Christmas elves, especially my grandpa, who always wore a red woollen pointy pixie hat.

Then the music started and you were instantly thrown into this wild riding violin lead folk ditty - catapulting the dancers into one another -twirling around themselves in some kind of human generated vortex. Bizarrely enough, that is about the best description I can think of regarding this very release. The music on Kebnekaise's third outing, aptly named lll, does the same sort of thing, and I find myself deeply immersed in these old mental pictures of frantic folk dancers twirling wildly about, each and every time I put it on. Yes the music is largely focused on the old Scandinavian folk music, and yes the violin sounds hectic and skewed, spiralling around itself - keeping the beat, yet there is so much more to this album than what meets the ear.

In a most alluring kind of way, Kebnekaise's albums never really sound the same. You'll probably pick up some subtle similarities suggesting that it's the same band, but each album has something new to say. Whereas the self-titled second album sponsored a distinct psychedelic feel to it, sounding like a decisively folky type of Krautrock to yours truly - this one elaborates on the folk tendencies. The first track Leksands brudmarsch is a perfect example of this natural progression. The musical theme is taken directly from a bridal march, though here it is heavily infused by congas and all around fuzzy and frenetic instrumentation. Like all the other tunes here which rely on old school Scandinavian folk thematics, the feel of the thing is somewhat split into the authentic vibe often coming from the duetting violin and guitar, and then what happens around it: a far more psychedelic and rhythmically enhanced pseudo psychedelic music that simply defies description. I guess we're back at those twirling dancers again...

Just like another Swedish band I reviewed not too long ago called Archimedes Badkar, you get the impression that Kebnekaise were trying to challenge the sonic framework of this old national music - adding African and Spanish percussions to the mix. Throwing some psychedelic fiery electric guitars in there - lighting things up nicely.

Then again, when you think you've got this album pinned down, it throws a piece like St. John at you, and alakazam! We're in Benny Hill country! Taking the role of soundtrack to one of England's favourite silent funny men, you're tempted to start all over in your pensive philosophizing about this band's true nature. Well don't you worry, because while this track delivers some brand new musical impressions, and you're most likely imagining this long train of people maniacally chasing Benny around the lawn - the emphasis on folk is still there, albeit in a slightly different dressing. Great you might say, - we finally hit the nail on the head and we can safely pop this mother up on the right shelf - stick this bun in the oven flick it on high and start worrying about dish washing, feeding the koala and other such important things. Hhhmm yeah well maybe not entirely, because when you get to the centrepiece of lll, the second bitch slap occurs. Full blown Krautrock all of a sudden pours out of the speakers. Sticky, gooey and slimy music shambling its way into unknown territories. The guitar takes the lead, the drums transform into old Indian callings - ghost dances - foggy soundscapes - confused expressive earthworm on its belly - emanating this soothing type of salute to the soil. Swoosh - and the worm is gone, maracas march on forward - what sounds like mandolins take off gently - persuading the music for a loftier climate - delivering some welcomed wings to the piece. All of this manufactured in true Krautrock style - focusing on jamming instrumental freedom. Goes without saying that this particular track, Balladen om björnbär och nätmelon (The Ballad of blackberries and Musk-melon), is my favourite out of the lot. I just love it - and I have this unbridled urge to lick it .

I know I've probably tainted this release in an unfair traditional folk light, but just remember that all this sonic candy comes across in a totally original way, which is both highly psychedelic as well as being extremely danceable. If it's been far too long since the last time you aired your wooden clogs to a good waltz, then by all means go ahead and get this. I promise you, you'll never look at a pair of clogs quite the same again - let alone that one true love of yours after the somewhat bizarre cheek-to-cheek you had during Polska från Bingsjö. Someone should probably have told you guys, that you were dancing to a polka....

Kebnekaise were off to a hot new start with the folkier direction they took with ''II'' and the band was performing about a hundred times per year, establishing themselves as one of the most popular bands in Sweden.Recordingwise they did not change a single factor, heading for a third album, they still were part of the Silence label, they revisited the Decibel Studios in Stockholm and the brand new album, simply entitled ''III'' was launched in 1975.

With this work they deep more into a Folk Rock style, influenced by the Scandinavian tradition, the strong psychedelic elements start to fade away and the sound is based on the full violin-driven sound, backed up by the electric textures and the very tight and consistent rhythm section.''III'' is filled with romantic tunes and full-blown violin-driven themes with lots of solos and rhythms on strings, sometimes supported by heavy use of percussion and the always solid work on electric guitars, which find a comfort between psychedelic and jazzy moments.As expected, much of the material has this strange melancholy of Scandinavion music taste, but there are also extremely joyful parts with quirky and playful instrumental interactions.Vocals are pretty limited, of course all sung in Swedish, while the 13-min. ''Balladen om bjornbar och natmelon'', the only composition written by Ingemar Bocker, is the most progressive effort of the band, no doubt.A return to their early roots and a Heavy/Psych mood with doomy and dark rhythm guitars, dramatic Scandinavian music colors and melodies and lots of abstract electric solos, featuring some beautiful mandolin parts by Mats Glenngard and even some slight bluesy touches.Very good piece and a bit out of the general direction.On the other hand the acoustic/percussion-heavy ''Mariama'' shows edges of African Music and comes as a new addition to the band's ethnic repertoire.

Solid attempt on combining Scandinavian Folk and Heavy/Psych.Some great instrumental tracks, a generous and attractive long piece and several optimistic tunes.Recommended.