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ONE MAN TELLS ANOTHER

Landberk

Heavy Prog


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Landberk One Man Tells Another  album cover
3.77 | 66 ratings | 12 reviews | 34% 5 stars

Excellent addition to any
prog rock music collection


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Studio Album, released in 1994

Songs / Tracks Listing

1. Time
2. Kontiki
3. Mirror man
4. You are
5. Rememberence
6. Valentinsong
7. Tell

Lyrics

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Music tabs (tablatures)

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Line-up / Musicians

- Patric Helje / song
- Reine Fiske / guitar
- Stefan Dimle / bass
- Simon Nordberg / keyboards
- Jonas Lidholm / drums

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LANDBERK One Man Tells Another ratings distribution


3.77
(66 ratings)
Essential: a masterpiece of progressive rock music(34%)
34%
Excellent addition to any prog rock music collection(40%)
40%
Good, but non-essential (17%)
17%
Collectors/fans only (9%)
9%
Poor. Only for completionists (0%)
0%

LANDBERK One Man Tells Another reviews


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Collaborators/Experts Reviews

Review by Sean Trane
SPECIAL COLLABORATOR Prog Folk
3 stars A serious letdown compared to the previous one, but to the following one also. It sounds to me very uninspired and maybe the sophomore jinx has hit them. This seems very much without directions as if they had been surprised by their success and had not really time to ponder that success. Beautiful cover art work will never replace inspiration.

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Send comments to Sean Trane (BETA) | Report this review (#4307) | Review Permalink
Posted Tuesday, February 03, 2004

Review by Dick Heath
SPECIAL COLLABORATOR Jazz-Rock Specialist
3 stars After the major disappointment of "Lonely Land", the only reason I bought this album was that it was cheap and 2nd hand. However, it is a much superior record with Landberk sounding like a prog oriented U2.

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Send comments to Dick Heath (BETA) | Report this review (#4309) | Review Permalink
Posted Monday, April 19, 2004

Review by Eetu Pellonpää
SPECIAL COLLABORATOR Honorary Collaborator
4 stars I personally liked this Landberk album very much, though I wasn't so pleased with their first album, released with both English and Swedish lyrics. The music pulses dynamically, and has very capturing depressed and anxious feeling in it. Some of their lyrics appear slightly naive, but possibly reflect the sincere thoughts of these musicians. From the songs I appreciated them all, except the track song "Tell", which seemed to fail the neurotic grip of the other compositions. Reine Fiske's guitar weeps with its recognizable personal minor tones, and studio working has been done with proper piety for detailed arrangements and subtle solutions, supporting the hazy overall end result. If you were introduced to this band from "Indian Summer" album, I recommend that you try listening this first before buying, as there are more radical arrangements done in this album, and its music has much sharper edges.

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Send comments to Eetu Pellonpää (BETA) | Report this review (#4311) | Review Permalink
Posted Thursday, March 31, 2005

Review by Gatot
SPECIAL COLLABORATOR Honorary Collaborator
4 stars An Excellent Crimsonique album!

Another band in the vein of King Crimson. In fact, the music is very similar with Anekdoten who also took King Crimson as reference point. For those of you who are longing for the return of old style King Crimson, this album might cure. Why do I say it in the vein of King Crimson? For sure the rhythm section and beats combined with the dark nuance created from almost all songs here reflect the way Crimson defined their music before Discipline album.

The album kicks off wonderfully with "Time" which combines upbeat tempo and dark nuance. It flows smoothly to the next track "Kontiki" with its mellow style and tight basslines, eerie vocal line which suits the music really well. The only difference this track with typical King Crimson's early albums is the riffs at the opening. It's not as rough as "21st Century of Schizoid Man" (King Crimson's first album) but it indicates different approach. This song is so dark especially when mellotron work enters at the background followed with stunning acoustic guitar fills. It's very King Crimson! I remember "Starless and Bible Black".

"Mirror Man" is very dark and melancholic - it has touchy melody throughout the song. The opening part is an ambient guitar and keyboard work followed with soft entrance of vocal line, wonderfully. Right after the first lyrical verse, the guitar fills enter the music as a break before next verse. What happen is that the next after lyrical verse the guitar fills performance by Reine Fiske - oh .. it's really nice! The mellotron work gives darker nuance of the song. I love the interlude part which has weird sound effects followed with wonderful guitar fills. This track has become one of my favorites.

"You Are" is another excellent track with guitar fills reflecting dark nuance followed with vocal line. Again, bass guitar plays very important role during this part and it has relatively close to the music approach. "Rememberence" continues the same style as previous tracks. "Valentinsong" is an excellent composition with great vocal line. The album concludes with another good track "Tell".

Overall, this is an excellent album from Sweden's symphonic prog band heavily influenced by the music of King Crimson. If you like mellotron and early style of symphonic prog, you would enjoy this album. The similarities in style are the same with King Crimson and Anekdoten. If you love Van der Graaf Generator, you might have a chance liking this album. Keep on proggin' ..!

Peace on earth and mercy mild - GW

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Send comments to Gatot (BETA) | Report this review (#135837) | Review Permalink
Posted Sunday, September 02, 2007

Review by ZowieZiggy
PROG REVIEWER
3 stars With this album Landberk is truly heading a heavier sound: it is noticeable in the opening and cold Time, but Kontiki holds all the aspects of the genre: drumming is pretty hard for most of the song, keyboards are hit quite frenetically and the overall mood of the first part of this song is on the heavy Crimson-esque way.

Still, the song turns into a pastoral yet intriguing mood after this. It doesn't sound very much structured (but the masters paved the way long before). Although Kontiki is not an easy listening number, it is one of the best on this Man's Tell's Another .

The first average song form this album is the jazzy Mirror Man: repetitive and little inspired; the vocals are on the dull side. This song doesn't pass the test of several spins: after a few of them, one is pressing the magic key (next, but perhaps you knew it).

A song as You Are will probably suits a lot of people, but this is really too much of an Anekdotenial affair; and it is probably what affects the most here: lack of innovation, of personality, of self input. Creativity is just missing: period.

Even if fine mellotron parts are splendid of course, they are not sufficient to re-create the great feeling of their debut. The experimental Valentinsong is also difficult to grasp to be honest. An enhanced version of Moonchild somehow.The last four minutes finally features some fine and dark symphonic music, but it was difficult to get there (you know, the press next syndrome).

Even if the closing track is my fave one and holds all the features of a great Landberk song, I can't rate this work above three stars. It is a bit of a deception for me.

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Send comments to ZowieZiggy (BETA) | Report this review (#186820) | Review Permalink
Posted Friday, October 24, 2008

Review by Mellotron Storm
PROG REVIEWER
5 stars 4.5 stars. LANDBERK are one of my favourite Swedish bands along with ANEKDOTEN, ANGLAGARD and SINKADUS. I would say LANDBERK are the less dynamic of the four yet like the others they have that melancholic mood and lots of mellotron. All I know is that I love their sound and that this band is incredibly talented.This is their second studio album and I owe a huge debt to tszirmay who sent me both this album and their final one "Indian Summer" both of which have been out of print for years. I was familiar with a couple of tracks on here which I have on the EP they released the same year, although the EP was sung in Swedish while this is in English. In comparing this album to the previous one "Lonely Land" i'd say the first one was more progressive with the attention more on the vintage keyboards, while this one puts the focus more on Fiske's guitar and the vocals. Still like the debut there is mellotron on every track.

"Time" is a top three and a song I have from their EP. The guitar leads sound bright and unique. It settles to that Swedish melancholia as vocals come in. No words can express how moving this track is for me. Themes are repeated. Nice organ before 2 1/2 minutes floating in the background. "Kontiki" is another song I had heard, this one from the Progfest 95 live album I own. A slow and heavy beat as guitar comes in then vocals. This is all so melancholic. A calm after 2 1/2 minutes. Guitar and mellotron after 4 1/2 minutes as it builds. It kicks back in around 6 minutes. "Mirror Man" is mellow with piano as reserved vocals come in. It's brighter after 2 minutes. I like it ! Mellotron 3 minutes in when the vocals return. Back to that brighter sound with guitar.

"You Are" is the other track from that EP and a top three for me. Intricate and melancholic guitar to open as vocals join in. It picks up 1 1/2 minutes in with bass and drums leading. Love this song. So emotional after 5 minutes as they let loose somewhat. The guitar and mellotron are great. "Remembrance" sounds so good to start. Vocal melodies and mellotron follow then vocals and that opening sound returns. Check out the passionate vocals and mellotron after 4 1/2 minutes. Then it settles back. "Valentinsong" features sparse piano and barely audible vocals. It stays very pastoral. Mellotron before 6 minutes. It kicks in louder 8 1/2 minutes in with the drums, guitar and mellotron standing out. Nice. "Tell" is my other top three. Guitar builds then drums and these fat bass lines from Dimle follow. Incredible sound ! Check out the guitar 3 1/2 minutes in. Vocals follow. The bass is killer 6 minutes in. Amazing sounding mellotron late.

An incredible album that rivals their Swedish sung debut.

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Send comments to Mellotron Storm (BETA) | Report this review (#250669) | Review Permalink
Posted Saturday, November 14, 2009

Review by Bonnek
SPECIAL COLLABORATOR Prog Metal Team
5 stars Landberk's second album is entirely different from the debut. Gone are the in-your-face King Crimson, VDGG and Genesis influences. Some of these influences are still present below the surface, but they are wrought into something that is entirely Landberk's own style. An immense growth, in just two years this band has become as original as their cover art.

Time incorporates flavors of melancholic indie rock, sounding like Radiohead before Radiohead sounded like this themselves. The vocals have a very distinct timbre that comes close to U2's Bono, but it is more subtle and sensitive. There's a slightly funky vibe to the main guitar theme, it's delicate, simple but most effective and adds a slightly uplifting quality to the beautiful melancholy of this song. It's 3.40 minutes and simply stunning.

Also Kontiki goes beyond the tried and true prog paths of the debut. New music is created here, featuring a slowly grinding organ and bittersweet emotive vocals. After 2 minutes, the track changes into the smoky atmospheres of a jazz bar at 5 o'clock in the morning. It's very soft and gloomy and demands patient listening. When Landberk collapsed after the next album, the bass and guitar player formed Paatos. The dreamy ambience of the best Paatos songs is not far away here.

Mirror Man is basically a lullaby, brought with that fragile melancholy again. No wonder Sweden produces so much gloomy music if babies are brought up on this. The focus on this album is on the vocals and Reine Fiske's unique guitars. There's so much feel and yearning in his playing, You Are is a fine example. He is so far ahead of his contemporaries, probably being one of the first to incorporate the post-rock experimentation of Talk Talk into progressive rock music. Remembrance continues the excellence and has all the potential to appeal to legions of music lovers.

Landberk's music is catchy but not always easy. Especially the softer songs like Mirror Man and Valentinsong need time to get under your skin. The sparse melancholic vocals and guitar playing is almost suggestive, Fiske never resorts to easy melodious solutions but builds up an abstract soundscape similar to electronic and kraut artists from the early 70's. At the end, the patient listener is rewarded with a minute of pure splendid beauty. Tell ends the album with a more accessible rock song, though the guitars stay willful and rebellious.

With this excellent album, the band was years ahead of its time. It is unique, creative, touching and has some of the best songwriting of that decade. Too bad the audiences were not ready for it yet. Radiohead would be more successful 3 years later. Generally, I try to stay clear of words like under-rated and over-rated, but I think the merit of this album has not been recognized. 4.5 stars, upped for the unique artwork.

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Send comments to Bonnek (BETA) | Report this review (#262515) | Review Permalink
Posted Tuesday, January 26, 2010

Review by Guldbamsen
FORUM & SITE ADMIN GROUP Site and Forum Admin
4 stars Melancholic beauty

Given how big of a phenomenon Porcupine Tree have become around here during the last couple of years, I find it baffling and quite unfair that an album like this remains hidden away in obscurity. From reading the preceding reviews of One Man Tells Another you're most likely going to think that it's a King Crimson affair much like Anekdoten or Anglagaard, and while that maybe true on a few occasions - what first and foremost jumps out of the music is Porcupine Tree's middle period. As a matter of fact, if you are even remotely interested in albums such as Lightbulb Sun and Stupid Dream - then you should be placing your order for this magnificent album right about now. Funny thing is, that Landberk recorded this one back in 1994, when Porcupine Tree still was in its pyjamas tripping on LSD and psychedelic mushrooms...

One Man Tells Another is in my humble opinion Landberk's strongest effort, and it puzzled me reading former reviewers equating this as U2 sounding prog rock. This album is about song writing, atmospheres, intriguing segments of understated suppressed beauty - sounding like flapping butterflies with wings of lead. What I mean by this is that the music here is soaked through in melancholy and sadness, and just like Steven Wilson's penchant for these tear jerking themes, often what you're left with here is an overpowering sense of beauty, that outside of music and perhaps paintings just doesn't reveal itself without a fight. Melting icecaps slowly emanating from your stereo - all hooked up to these bitter-sweet flavoured Swedes, who play their instruments with the feel of white burning embers and forest smoke.

So what makes me so convinced that this record is their best one? Firstly front singer Patric Helje never sounded this good. During the preceding albums, whereof the debut was sung in Swedish, Helje just didn't have this kind of power in his voice. Here he seems to have lived off elk smoothies, black ox blood and serrated nightmares, because the dark, masculine and yearning force he delivers the words with is a totally new and mesmerizing aspect to his vocal talents. The studio work is also far more inspiring on this one, and luckily so, because especially Helje's newly found fiery vocal talents deserve to be audible in the mix - a thing that in the past was neglected in favour of raw brute energy and rocking guitars. Normally I find myself attracted to the simplest of things. Music doesn't need to be overproduced or knitted into 25 different knots, recorded separately and attuned with gentle care into the mix. Somehow this is all just superfluous junk, if the stories aren't there - if there's a lack of real passion and the fire is gone. Landberk proved me wrong with this album though, and I'm kind of glad they did, because back when I got this, I was around 14 and I was all too caught up in the early punk greats, black metal and the Danish hardcore scene. Suddenly this album dropped into my lap, and I was forced to re-evaluate what I thought constituted proper music. Today that sounds pretty ridiculous, because even before my fling with all these maniacal, brutal and iron fisted musics - I always had a deep and powerful love of The Floyd, but somehow I forgot that. Landberk made me rediscover the gentleness in music. The beauty of soft melancholy and sadness.

Though gentle in nature, you'll probably also pick up on those few Crimsonian wind strokes ornamenting this album. Like the odd metered Kontiki song about Thor Heyerdal's mad expedition, that takes the listener through the terrifying waters of the Pacific Ocean - all of it conveyed through hovering eerie soundscapes and the rhythmic slashing lightnings of metallic guitar riffing.

My own personal faves from this outing are Time and Rememberence - both of them utilizing the fantastic guitar playing of Reine Fiske. Now while Fiske quite often sounds like a bat out of hell with fire and brimstone coming out his ass - here he approaches his instrument in a mellow and gentle way - making it sing and orgasm only through gentle touches, riffing and slowly alternating chords. He is truly a modern day guitar prodigy, and his fingerprints are all over this record. Furthermore these two outstanding tracks both ooze melody and clever song writing. They feel like notes from a journal or songs you'd sing to a loved one.

Whilst there are definite high points to this record, like the aforementioned tracks, there's never really any dives. It streams on by you all too quickly, and all of a sudden its finished. I've often heard this album several times in a row, because 1) I never tire of it and it brings me back to my youth and 2) It feels like the very essence of that particular place in time: There was a certain coldness and lonesomeness in the air. We, the young people were labelled as generation x - or generation [%*!#] - meaning that we were thought of having absolutely no goals or direction in our lives. This was backed up by the whole grunge thing, and what most of us were left with was an overwhelming feel of numbness. No sense of being - just empty shells lying on some beach getting beaten around by the waves. -And this is why an album like Landberk's One Man Tells Another suddenly became so important, because it injected itself into me like a violent heroin dosage - ripping me out of a state of insignificance and nihilism. It did it with simple means, melodies and loads of melancholy and I'm still very thankful for that. 4.5 stars.

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Send comments to Guldbamsen (BETA) | Report this review (#622956) | Review Permalink
Posted Monday, January 30, 2012

Review by Warthur
PROG REVIEWER
2 stars After a confident emergence onto the scene with the lovely Riktigt Äkta/Lonely Land, Landberk seemed to hit a bit of a sophomore slump with this one. Indeed, part of me wonders whether this is to blame for them being rather overlooked these days as far as Swedish prog groups originating in the early 1990s go - whilst Anglagard, Anekdoten and The Flower Kings both did a good job of building on the sound of their debuts, Landberk chase down blind alleys here.

I think the most exasperating thing about the album is the way Landberk seem determined to repeat mistakes which their influences already made. Take, for instance, Valentinsong, which contains a long minimalistic section which absolutely robs the composition - and the album as a whole - of any and all momentum it has previously established, and isn't even especially good as far as minimalistic avant-garde pieces go.

It's been compared to Moonchild by King Crimson, often cited as the only real flaw with their debut album (an assessment which Robert Fripp himself seems to agree with, if the trimming down of the section in question on recent remasters is anything to go by), and that's no accident, because it's tremendously similar in approach to that piece. In fact, for much of the album King Crimson worship is in full effect, but when that worship extends to repeating experiments which didn't work and in retrospect were clearly mistakes when the Crims tried them, that's a mimicry too far in my book.

Despite not quite sounding like Crimson clones, it's clear that Landberk here do several goofy things not because they necessarily sound good, but because King Crimson did them previously. When their debut album was so wonderfully original, I've got to view that as a serious step down.

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Send comments to Warthur (BETA) | Report this review (#862074) | Review Permalink
Posted Monday, November 19, 2012

Latest members reviews

5 stars A much-overlooked gem from the 90s--predating, as has been pointed out, the sounds and stylings that were soon to make Radiohead, The Gathering and Porcupine Tree popular favorites. Though I agree that this album shows a marked evolution in the band's development--less overt are the influences ... (read more)

Report this review (#897009) | Posted by BrufordFreak | Monday, January 21, 2013 | Review Permanlink

4 stars This album has remained one of the favorites in my collection. It's an introverted album for the most part, moody and intimate and stripped down and raw. Later Talk Talk albums such as Laughing Stock seem to me to be a better touchpoint to this album than King Crimson or Anekdoten; if you like Ma ... (read more)

Report this review (#209226) | Posted by ods94065 | Sunday, March 29, 2009 | Review Permanlink

3 stars This is definitely less interesting than "Lonely land" and "Indian summer". Simplicity, which works well on both other Landberk albums, here seems to go a little too far. At moments songs seem to be too similar to each other. Landberk is balancing here on the dangerous edge of radio-pop. I mu ... (read more)

Report this review (#76028) | Posted by kajetan | Sunday, April 23, 2006 | Review Permanlink

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