ANEKDOTEN

This is another one of those albums that would have been absolutely awesome if it weren't for the vocals!! The instrumentals in this album are awe inspiring and send shivers down any spines. The heavy instrumental segments are the heaviest you can get without actually venturing into Metal, which is quite the achievement. The brooding atmospheric segments are reminiscent of King Crimson's best gentle moments mixed with an extra tinge of terror. Somehow, unfortunately, the vocals manage to ruin it for me. They are incompetent and drag along for way to long, and sounds rather uninspired. That's not to speak for the lyrics, which are pretty decent. If only the vocals were either cut out entirely, this would be an absolute masterpiece!

This album marks a departure from Anekdoten's traditional Red-era King Crimson-esque sound, making it's way into territory traversed by Radiohead and Muse. Despite distancing themselves from progressive territory, Anekdoten manages to develop a new, more mature personality. Instrumentally speaking, this album is far less complex than its predecessors, given the lack of strange time signatures. Emotionally speaking the band has lifted itself away from the deep, dark, suicidal dismay into a more hopeful melancholy, particularly evident in the vocal melodies. Notably, the vocals are immensely better quality than previous Anekdoten releases. The advantages here are the development of a distinct emotional richness, while sacrificing instrumental complexity. This certainly will not appeal to hard head Red-era King Crimson fans, but will certainly appeal to those who enjoy King Crimson's more emotional side such as in 'Book of Saturday'.

Anekdoten's From Within finds the band still ploughing the old mid-1970s King Crimson furrow which serves as the basis for their sound. However, whereas I was initially impressed with their first two albums but became disillusioned with them over time, at first I was unimpressed with From Within but I have found that it has grown on me. There's a subtlety and delicacy on display here, from the title track onwards, which sees Anekdoten move towards a more distinctive and individual identity for themselves, which makes the album a richer and deeper prospect than their previous work. The opening number, with its crashing intro and its fragile lyrics, grabs the listener's attention instantly and the album doesn't let go for its entire running time.

In 1999, the Swedish band ANEKDOTEN, led by Niklas Barker, created one of the most impressive albums in progressive rock: FROM WITHIN. This album is full of mellotron sound, and impressive bass lines, that together with the guitar, drums and other keyboard instruments, such as a hammond organ, this album is consistent, powerful, mesmerizing. All the songs have Anekdoten's essence that has maintained from the very first album, and Barker's voice, which sounds a bit different to an average singer gives the final touch to the wonderful creations shown in here. The opening track "From Within" is really amazing with the excellent drum nuances, good guitar riff and the fantastic bass sound; from this moment and on, all the songs have a high level, and the last track "For Someone" is an excellent acoustic conclusion for an album that takes you to a rollercoaster of emotive and powerful music!

I know Vemod, Nucleus and From Within are people's favorite albums of the Swedish band ANEKDOTEN., they are mine as well; however, GRAVITY is my special album. I love every single song in this album, and my top favorite is Ricochet, it is kind of emotional for me. The rest of the album ranges from peaceful and relaxing songs to heavier and proggier sounds. This album is the most accessible of the first 4, maybe that is why people think it is not the best, but let me tell you something, ANEKDOTEN's albums deserve a rating of 5 stars, because they are far better than many other albums of other bands.

King Crimson comparisons abound for Anekdoten's debut album Vemod and rather than presenting a dissenting view, I will just join the choir on this one.

Just about everything familiar, alien, loved or loathed from (primarily) ca.-Red era King Crimson can be found on Vemod: keen dynamic awareness and exploitation of the massive power in jumping from the calm to the chaotic in wild abandon, throwing out more minimal atmospheric focus for powerful, musically busy aggression by the flick of a switch along the way. The similarities do of course not end there, but continue all the way down to the sound of the instruments. Along the way you will recognize the unstable, neurotic melodies and slight atonality and chromaticism of Fripp (coupled with the equally familiar angular, uncompromising riffs), the muscular, distorted and dominant bass lines, soaring Mellotron and a mix of forceful and dexterous drumming. Even the moods come across as rehashed: twitchy, neurotic melancholy, sad reflectiveness, a ray of wondrous light in the midst of aching sorrow. Plain old fun if you're into the brooding or dark side of stuff! Take any of those feelings, transport it by a dense, ominous buildup of slightly malevolent sounds and let it explode in a cathartic eruption of frustrated, crashing instrumental thunder.

But it isn't identical. Out goes the violin, in comes the cello. Not the most dramatic of changes, but it definitely brings more fullness to the soundscape. However, the major differences, as I see them, are two. Or possibly three. Because when peaking in intensity, there's a streak of more hard-hitting aggression and speed to the music, making it feel more contemporary metal or heavy rock. It's just a stronger crossover into that world than King Crimson ever tried to accomplish; more riff-driven and direct, rawer and more "honestly" energetic, if that makes sense to you. Some of the grittier parts are sometimes spectacularly heavy, but also rather fast and rhythmically bouncy. Funnily enough, the other main difference I would identify is found in the very opposite end of the music. When in mellower territories, there's a streak of vulnerability and sensitivity to both the clean, precise vocal lines (sometimes even lacking in power) and melodies I don't really associate with King Crimson, something that could be described (perhaps wrongly) as a touch of a more ethereal, introverted indie/alternative-influence. The addition of piano fleshes out these bits and serves as an excellent indicator of the third difference: a will to enrich the arrangements, a search for more melodious fullness ( even mildness) and a decidedly more organic and agile approach to the compositions than the mid-70s-King Crimson, who despite even improvisation can come across as a bit formal and disciplined (perhaps even academical) to this reviewer.

I thoroughly enjoy Vemod, but think the band paid just a bit to much tribute to their apparent heroes here. There is individuality to be sure, but it's a bit underdeveloped and raw at this point, and the band would go on to make more interesting albums later. And sadly, things tend to stay a bit same-old-same-old as well, with songs morphing into each other at a bit too high a rate. This is made even more obvious due to the similarity of mood throughout the album, causing just a bit of listening-fatigue.

A nice addition, a good debut, but far from essential.

3 stars.

//LinusW

Anekdoten's album refines the approach of Vemod, taking the King Crimson-inspired style of that album and amping up the heavy, at points almost grungy guitar riffs. It's an intoxicating mix which at its best threatens to beat the 1990s King Crimson at their own game, but once again it doesn't quite hold up over the course of the album; the tracks begin to blend together and my attention invariably begins to drift at about the halfway point. Though they do manage to do slightly better at judging when to throw in a quieter section to keep things varied, the different quiet and loud sections all begin to sound like each other after a while. OK if you're addicted to Red-era King Crimson, but I'd rather just listen to Red again.

Anekdoten's debut album finds them already mastering their chosen style - a style heavily inspired by King Crimson from around the period of Red, with a combination of raging guitar, a jazzy rhythm section and melancholic Mellotron creating an air of nostalgia and yearning on each track. In fact, this is my major criticism of the album - each track seems devoted to exploring precisely the same sort of emotional mood in precisely the same way. The lack of variation eventually begins to wear on me over the course of the album, though King Crimson fans who seriously miss the Red era will doubtless find it endlessly entertaining.

Vemod First of all, this album is not heavy prog. Could hardly get further away from Rush ' Porcupine ' The Mars Volta, and still play prog. Rock. The better choice would be Neo-Eclectic Prog

Vemod means 'a mood of sentimental sadness', as in your lost love is still haunting your soul, and you feel this sweet sadness thinking about good things passed, never to come back. Cant help wonder if it (at least in part) was reffering to the music from days long passed. There is no doubt that Anekdoten was inspired by 70's music, even though they allways sounds like Anekdoten. Vemod was the debut, and this is often where you can expect to find the the closest link to the main inspirators, in this case King Crimson, the link is there, but not enough to make this a Neo-Crims recording. The studio sound on Vemod is a bit 'rough' compared to the sound they would develop later, maby due to the equipment getting better, maby a choice, but it sounds a bit unpolished. The album is good, as a collecters choice, its a must, beeing the debut, one of the 90's prog classics. As a Anekdoten album however, its may not be the best choice to get this one first, its seems like they havent yet fully found there own unik style, that would later make them one of the best prog acts, to make a neo prog. with roots in 70's Crimson, as opposed to those many bands with roots closer to 70's Yes/Genesis. The highlight is the last track Wheel (7:52), (on some editions followed by an 'extra':Sad Rain) A supreeme old style 'Crimson'ish' track, makes my ears flip with pleasure. Sad Rain, as mentioned an edition on some versions, is a 10 min.+ Epic, very closely related to Tracks like 'Epitaph', not very original, but still great. Vemod is a very nice album, that I truely love, but its not the masterpiece. All in all the album deserves a small 4 stars, It's essential, its excellent, I just miss something, that i cant put my fingers on.

This is a GREAT prog album!

The album is GREAT all the way through, and my absolute farorite Anekdoten album. No bad tracks here, though some are more interesting than others.

Anekdoten sound is very distinctive, with lots & lots of Mellotron and dramatic singing.

It starts strong with "Monoilt" and "Richochet", in my book the best songs on the album. These two tracks are one of Anekdotens finest moments ever in my book.

"What Should But Did Not Die" is a drone song very similar to "The End" by The Doors. Great song. "SW4" is another beautyful drone song with backwards vocal effects.

"Gravity" hits you strong with hard Mellotron all over the place. Epic ending.

"The Games We Play" and "Seljak" are great, but not my favorites.

A great album, and an essential album in the collection.

4,5 stars.