MYRBEIN

In 1979 Mats Krouthen (piano, organ, clarinet) joined the the band which officially became a quartet for the rest of its existence. MYRBEIN began to play live and performed three times in Stockholm as well as an appearance in Sundsvall but never engaged in a proper tour. In 1981 MYRBEIN released its one and only album MYORNAS KRIG (The War Of Ants) which was recorded in Östersund and then broadcast on Tonkraft (Sveriges Radio P3). The band's experimental excesses were too much for many to take and these guys have been referred to as the earliest Swedish math rock proggers for their incessant knotty angularities that punctuate otherwise accessible progressive rock motifs. The album originally was only released with 1000 copies pressed making the original vinyl one of those sought after collectibles but the album found a 1993 CD reissue and is now available digitally as well.

The album features eleven wild and unpredictable tracks that taken on all the aforementioned influences and then some. Apparent are the Swedish circus music moments that were made popular by Samla Mammas Manna but the band delivered many moments of King Crimson angular guitar dissonance as well as crazy keyboard runs. It's fair to say that the band did an excellent job of coalescing all its influences into its own little slice of prog heaven. The nerdy abstractness of Henry Cow with the heavier prog of KC along with circus music, symphonic prog and adventurous quirky math rock jitteriness has made this band a true cult legend for its bold and unapologetic roller coaster ride through moody darkness and back to a more upbeat day at the carnival. The band was also notable for its self-deprecating lyrical output although exclusively in the Swedish language thus taking a cue from Zappa and Canterbury whimsy.

MYORNAS KRIG is truly a wild ride as it's utterly unpredictable in its direction. The track "Ur spår!" is the perfect example. It begins as moody dark dreadful, then jumps into some sort of 60s pop song and then a raucous keyboard attack before hairpin turning into a highly syncopated art rock extravaganza. The entire album is chock filled with one surprise after another which is a boon to many but a bane to those of us who crave these brutal prog expressions that don't give a flying [%*!#] about commercial aspirations. After the release of the album the band attempted a tour but after a mere four appearances the band began to disintegrate and soon broke up. There was a short reunion around Christmas 1985 where they played at a local ANC-aid concert in Östersund but would never reunite after that. Overall this is one of the most adventurous albums to come out of the early 1980s Swedish underground and an enjoyable companion piece to lovers of bands like Kultivator. A must for those seeking out the most adventurous musical expressions in the world of progressive rock.

Starting out as a Crimson cover band in the mid-70's, by the time Myrbein released their sole album in 81, they had become a full-blown RIO group (with some Zeuhl touches and some definite Canterbury twists), obviously inspired by their countrymen of Samla Manna Mama (who were in their Von Zamla phase in the early 80's). You will also find some Zappa quirks, some grotesque/burlesque (future) Miriodor attitudes, some Present ambiances, some Wyatt weirdness, a few GG reminiscences, frequent time sig changes, and a general Muffin-based policy of ever-changing musical themes and ideas.

In some ways, they remind me a lot of the other sole-album group from Sweden, Kultivator, who released their album roughly around the same time. The quartet manages to intrigue, baffle, dazzle, amuse and even irritate (sometimes all at once), as the succession of short tracks is rather aimless (only half of them are sung) and can lose the listener. In many ways a lot of groups that will be categorized later as Avant- prog will take many of the traits and characteristics you will find here on this album. Of the 12 (rather-short) tracks making the album, you will be taken through a wild but weird series of climates ranging from the absurd folk theme of Fyra Standen (all of the members are multi-instrumentalists and they can make a full brass section) to the more serious RIO climates of Raus, silly singing (the Swedish language being sung is not helping in this matter) and all-around over-abundant energy (they seemed like a wild bunch on stage, by the looks of the photos), a semi Hatfieldian-Present feel of Kurt Pa Taket and an ever-ending stream of short humorous music ideas, that never hang around long enough (sometimes this is very frustrating, as you'd like them to expand on the idea) for you to get used to them.

The Cd reissue comes with a Crimson LTIA Pt2 cover recorded in 93 for the reissue, which adds nothing to the original or the album. Rather spectacular aural pleasure, even if a trained ear is a must to approach such a weird album. While not exactly what I would call essential RIO/Avant, this is exactly the type of album that will give a good depth to your collection, along with the afore-mentioned Kultivator album.

Three stars because the album doesn't really have a centerpiece and suffers slightly from stop-start RIO syndrome - no long notes and the occasional 7/8 time signature that doesn't enhance the song - but don't let my personal reservations put you off.

Not easy to find on CD these days due to it's limited distrubution, but their homepage allows you to download the whole album on mp3 legally for free in addition to bonus live material from the same sessions as this album was recorded. That also includes an excellent live performance of King Crimson's "Lark's Tongues in Aspic, Part II", who was added to the CD release as a bonus track. Fans of the RIO/Avant genre should definitely check this album out, not essential but excellent nevertheless.