ANEKDOTEN

For me this was quite hard to get into, I wasn't immediately drawn by the vibes, the vocals and intrumentation, it interesred me but didn't seem to be above everage at first. It was quite hard to write this review as I had to settle my mind to make a proper analysis. I had conflicting opinions altroughout as I found some moments amazing and some very underwhelming and it's mostly because of the vocals. It's rare to find a band with two main vocalists and throughout the songs they are spread out in an uneven way, while Jan Erik sings in "Writing on the Wall", Nicklas Barker sings in most others except "Our Days are numbered". Nicklas's vocals are are far from ideal and it's much worst than Jan's vocals, his voice doesn't stand out, it killed the vibe in some of the songs because he just can't follow the intensity and beauty created by the instruments. The way he sings bothers me a bit, he streches the notes and make them deeper in the end, completelly losing the impact.

Aside from this minor issue, I quite like most of the songs, they are pretty, exciting and specially surprising as most constantly changed in very unique ways. I absolutely love the use of flute in this album but it's a shame it's only used in two of the songs and the others have a more traditional prog metal feel to them although there are a lot of melodic and quieter songs throughout. There are a lot of memorable moments, a lot of powerful melodies. My only major criticism aside from the voice is how little songs used exotic intruments like saxophone and flute because I really enjoyed the moments in which they were used.

1- Shooting Start (10:11): The song starts off with a pretty surreal mood, as lush chords play with the sound of running water. Then comes a heavy riff in the guitar accompanied by an interesting chord progression on the keys, the vibe is generally very Riverside like. Then comes a very dissonant guitar melody, the atmosphere is tense and the synth sounds are fascinating, it all creates a very rich atmosphere as the song travels through different solos and sounds, it's a joy to listen and it creates a very promising introduction. The instruments get quieter and the vocals come in.

I don't know if that's an unpopular opinion but I don't really enjoy the vocals from this band, the voice fits the vibes and the atmosphere pretty nicely but I don't really enjoy listening to it. It feels robotic and lacking in emotion and intensity, for me it's surviceable at best. Depending on the song it can sound a little better, but in general it bothered me almost all the way through. I don't like the vocals on this one but some moments are an exception, like the chorus, which I really enjoy. Speaking of the chorus I really enjoy the chords on guitar, the bass and percussion, even if it's far from my favorite part of the song.

I really like the part that follows, the riff is a blast and the guitars get intense and exciting. I specially like the sound made by the ride on drums and the pause between the riffs which leaves space for the percussion to shine. Next comes the synths and then the guitars take the spotlight, developing the melody in frenetic and unique ways. The song gets more intense, the riff moves to the background as we shuffle through guitar and keyboard solos, it's the most remarkable part of the song, the energy is impeccable.

After that comes a very emotional part, the chords expand, the guitar is mysterious and emotional and the drums continue to deliver as we get to a quieter section. The vocals really resemble those from Elder and I mean this as a criticism and also as a compliment because as is the case with this band, Nick's vocals are a double-edged sword, although they are melodical and strengthen the surreal vibes of the songs he clearly hasn't trained enough to sing specially in his early albums like Lore and Dead Roots Stirring. I get the same vibe from the vocalist of this album, his voice has a nice sound and timbre but he's awfully out of tune sometimes and it's not as emotional as Nick's voice even if they share a lot of the same problems. It's hard to get used to, it's not horrible but far from ideal as sometimes it feels like the songs would be better as intrumentals rather then featuring vocals at all. His voice almost sounds great but something in it's sound bothers me, it doesn't really follow the complex emotions of the songs and seems rather empty compared to the intrumentation.

the beautiful development of the melodies and specially the percussion in this next section really cought my attention. It's a stunning and harmonious section, but as the ending comes closer we get to the climax. Breathtaking chord progression, drums and vocal melodies, it's one of the best parts but it's followed by an even prettier keyboard solo as it end with ethereal echoey guitars playing together. It's overall a really beautiful song, although it didn't impact or interest me as other albums I've listened recently, but I can clearly see it's value and amazingly intelligent compositions. It's a really promising introduction. The album gets a lot more interesting and diverse after this song but it has a lot of fantastic and memorable moments (8.5/10)

2- Get Out Alive (7:32): Kinda blend intro, but fortunetly it gets more interesting really quickly. In 0:29 a tasteful riff comes in, the Elder vibes are really strong in this one. I don't like the vocals in this part, they feel streched, forced and just not pleasing.

I specially loved the part in 2:14 as the chords get louder and expansive, giving the sensation that you are floating or laying down looking at the sky full of stars. The development from this part onwards is a delight with very tasteful keyboard work and an intense and unique percussion, the song expands again in another incredibly surreal and floaty section. The ending has pretty chords and guitar but it's not really that interesting. In general, I'd consider this a very skippable song with not a a single moment that I'd consider impactful or memorable, but it's still great and melodic. (6.8/10)

3- If it All Came Down to You (5:52): Now we get to one of the my favorites. The atmosphere is breathtaking, the guitars are emotional and moving and the strings in combination with the flute is just perfection. I enjoy the vocals in this song more than the previous ones, they are more expressive and intense specially with the echoes. The melodies are very memorable, the vibes are chill, the guitars and chord following the flow of the vocals are magnificent. This song doesn't stop delivering.

I specially like the part of the lyrics where the vocalist sings "If it all came down to you" and a divine solo plays, it's so exciting and joyful. The flute solo by Theo Travis is heartfelt, dramatic, flowing and powerful, definetly one of the highlights of the whole album. As it comes back not long after it seems more innocent, light and sincere, it feels like exploring an unkown wonderland filled with beauty as the phenomenal melodies in both flute and guitars reflect. This song could be longer, but as it is, it's incredible. (9.5/10)

4- Writing on the Wall (9:03): I remember this song feeling like it lasted 15 minutes instead of nine for draging on too long in some section, but I will listen to it again to properly analise it. Really exciting intro, amazing chords and bassline, surprising and exciting chord progression, thrilling use of guitar and in general adding to the memorable melodies throughout. The drum groove is a delight.

I'm pretty sure there's a different vocalist in this song, both have a similar voice but I feel that this song's vocalist has a more remarkable and emotional voice, it feels like night and day compared to the last and it makes this song a lot more enjoyable. His voice is brighter, melodic, softer and generally prettier. The section from 1:45 to 4:28 is an absolute pleasure to listen, flowing melodies, amazing vocals, beautiful falsettos, guitar and synths.

The next section is wondrous and fascinating with Anekdoten's usual incredible chord progressions, guitar solos and percussions. The rhythm during the solo really caught my attention as it feels so full of life and hopeful following the everchanging melody of the guitar solo it accompanies.

The middle section between solos drags on for a while but then the next solo comes crashing through the door with amazing drumfills, keys and guitars, it's just so exciting, specially in the way it develops from an easy going melody to a more dramatic and tense melody in the end, absolutely incredible. I really underestimated this song in my first listen and I feel that it's even better than "If it All Came Down to You". (9.6/10)

5- Until All the Ghosts are Gone: The flute has more space to shine during the beginning as it plays only with a couple of guitar sounds. It floats between higher and deeper notes and then develops into an outstanding melody. The next section is breathtaking, the guitar accompaining only the vocals, creating a melancolic and powerful atmosphere as the chords and percussion come in. The harmonies are surreal and delicate as the drums and strings come crashing in.

The next section has an amazing guitar and the vocals get prettier and prettier. The flute solo accompanied by the voices is breathtaking and the guitar solo right after comprements the melody of the previous solo and makes it brighter and more intense. The voices and xylophone melodies in the end blew me away as a hopeful flute lays in the end. It's in a similar position to "If it All Came Down to you", it's in the shorter side but it still goes to a million different places and atmospheres.

It's really hard to decide which one I prefer, but I think this one is just a little bit less impactful, I enjoyed the use of flute in this song more and it has lot of memorable moments, but it stills suffers from the same problem in regards to the vocals and in this perspective I prefer "If it all Came Down to You", but it's really hard to decide as both had moments that really impacted me. I can't really point out what makes me feel this way but I think this one is a little worst but both are fantastic. (9.4/10)

6- Out Days are Numbered (8:39): Wow this one is amazing, most of the heavy riff reminded me a lot of Riverside, specially the synths solos accompanied by heavy guitars. This one is a joy to listen, it's starts off pretty chill with amazing guitars as the synths and xylophone. The song instantly changes as synthesized voices come in as they are inturrepted by an incredible bassline, exciting percussions and guitar melodies. The song keeps getting more intense as the chords change rapidly and the guitars play in harmony with the intense bassline.

The synth solo is exquisite and the riff that follows is even better. The dissonce on the chords and guitar are so exciting, it creates such an intense and interesting atmosphere. After that comes a quieter section that develops a little slower, it's the first time we hear saxophone being used in this album as it accompanies a moving guitar riff and drums, it's flowing back and forth as it slowly get more intense. The Änglagård and Shamblemaths vibes are stronger in this one specially with such expansive percussions, chords and use of saxophone. As the song gets more intense and it seems like it's screaming accompaining yhe growth of the melody.

This song takes longer to apreciate, but the synthesized voices and the slow and fantastic progression in the end as the guitar and sax get louder and more intense are an absolite joy to listen. Overall it's one of my favorites even if it didn't impact me as much as "Writing on the Wall", "If it All Came Down to You" and "Until all the ghosts are gone", it has some moments that are in the same level or even better than these songs. (9.1/10)

There is something bemusing about the abstract and dissonant sounds on Anekdoten's second studio album 'Nucleus', a 1995 recording recorded by the same lineup as the band's fantastic debut release 'Vemod'. Now, this band is one of the jewels of the underground progressive rock revival of the 90s and the immense qualities of their entire catalogue are undisputed. However, not every single corner of that catalog is as brilliant as that exemplary debut album, and the first sings of "sonic dissolution" are to be found on 'Nucleus'. Generally expanding the sounds established with the previous album, this recording features updated variations of that manic, abrasive and riff-heavy approach to progressive rock, preserving the sweeping mellotrons as well as the unfiltered melancholy of the band's lyrics and lonesome soundscapes, which makes this a great follow-up that indicates the extent of experimentation within the Anekdoten formula.

Nevertheless, 'Nucleus' jumps back and forth between impressive and memorable songs and some inconsistent compositions, which results in a somewhat mixed critical reception, with some fans enjoying the degree of frivolous experimentation, while others would prefer a more discernible rock sound. One feature of this album, characteristic of its separation from 'Vemod', is the focus on heavy writing, with many of the instrumental sections on here approaching what might be seen as avant-prog with their upfront heavy guitars and massive bass tones, resulting in some truly wild and even violent passages. Opener 'Nucleus' is a good example of that dynamic and heavy style, together with the shorter instrumental 'Rubankh'. Longer songs like 'Book of Hours' and 'This Far from the Sky' rely on a steady build-up and a sudden explosive burst of sounds, all while the mellotrons penetrate the music. The desperate mood of the wallowing 'Here' and closing track 'In Freedom' definitely seems to be a reminiscence of 'Vemod', while 'Harvest' remains the most chaotic song of them all. Weighing out everything this album offers, one could certainly conclude that 'Nucleus' is a stunner, an excellent and heavy offering from a band establishing a style of their own.

Anekdoten Live in Japan (1998)

Anekdoten is a Swedish progressive rock band composed of guitarist Nicklas Barker, cellist/keyboardist Anna Sofi Dahlberg, bassist/vocalist Jan Erik Liljeström, and drummer Peter Nordins.

Anekdoten is one of those Swedish bands that sparked a kind of new wave of prog in the nineties alongside Änglagård, Pain of Salvation, The Flower Kings, and the metalheads of Opeth and Meshuggah. Those years were very prolific in terms of music and creativity.

But Anekdoten may have been the least popular, creating a unique, obscure, and incredibly original style? a mix of classic Mellotron sounds blended with heavy tones. They crafted a kind of early King Crimson vibe with elements of classical music and alternative modern rock.

By 1997, Anekdoten had released two records: Vemod (1993) and Nucleus (1995). Both are arguably their best studio albums, with music that was darker and more haunting compared to their later work.

The band was in a period of reorganization, and it seemed they might consider making music a secondary pursuit. However, after their success European tour in 1996, they received exciting news they were invited to tour Japan, where the band enjoyed surprising popularity. This opportunity breathed new life into the band, giving them a second wind and a chance for a potential breakthrough.

Anekdoten's Official Bootleg - Live in Japan captures the band at their rawest. Recorded in 1997 during their Japanese tour, this live album is an energetic, unpolished collection that showcases the band's intensity and atmosphere, even surpassing their studio sound in some ways.

The setlist is a blend of tracks from Vemod and Nucleus, leaning heavily on the darker, heavier side of their sound. From the crushing riffs and tortured Mellotron of "Nucleus" to the ominous, creeping tension of "The Old Man and the Sea," the band conjures a mood of brooding menace that fans of King Crimson's early '70s era will feel right at home with.

The album's rough, bootleg-quality sound won't win over audiophiles?it's raw, and the mix can feel chaotic. But in the end, the listening experience is more than interesting; the rawness suits Anekdoten's sound, emphasizing the band's urgent energy. You can feel the sweat and intensity of the performance, with the crowd's enthusiasm bleeding into the recording. It's an authentic snapshot of a band at full throttle.

Nicklas Barker's guitar work cuts through with angular, jagged riffs and piercing solos, while Jan Erik Liljeström's bass throbs and snarls, carrying a weight that drives the band's darkest moments. The Mellotron?arguably Anekdoten's signature sound?is a constant, droning presence, wrapping tracks like "Karelia" and "Wheel" in a haunting, oppressive atmosphere. Drummer Peter Nordins is a force of nature, propelling the band with a mix of precision and aggression.

The album is a great listening experience in my opinion, one of the best live records I've ever heard. This record was my entry point to Anekdoten, and even today, I find everything else I've heard from them different and less enjoyable than this album. Don't misunderstand me I think their entire discography is amazing, but the energy displayed on this record is hard to match. That's why this album is so incredible.

Devastatingly beautiful, mellotron-heavy, grief-swollen, and excruciatingly abrasive - this is the sound presented by Swedish band Anekdoten on their 1993 debut album 'Vemod', one of the most significant and far-reaching albums of the progressive revival of the nineties. This is a dark, desperate and melancholic work that exhibits certain qualities pertaining to gothic rock, but at the core of 'Vemod' lies the epic, technical writing that Anekdoten mastered gracefully, jazz-tinted rhythm sections, scorching dissonance with aggressive riffs counteracted by the swirling mellotron soundscapes and gorgeous cello parts, or in a word, a fabulous work of progressive excellence, unique in its style, approach and mood, definitive of its era, and allowing this incredible band of talented Swedish musicians to go on and develop this particular groove of their own, their compelling style that blends progressive rock's complexity and theatrics, with the moodiness and ingenuity of the alternative and gothic scenes.

On 'Vemod', the cathartic musical journey of the Nicklas Berg-led quarter develops swiftly within a dense framework of sounds that harken back to some of those classic mid-70s progressive rock albums, dark and menacing, eager and visionary, and as the band exhibits a taste for King Crimson and Goblin, among others, the listener surrenders himself to an audacious rendition of these classic sounds - heavy, distorted and evidently sorrowful, rendering this debut album a fascinating and important part of the Swedish progressive scene. Manic opener 'Karelia' is a signature piece from Anekdoten, a song that introduces and encapsulates perfectly what this entire album is all about. Followed by the drab and epic 'The Old Man and the Sea', the mellotron-heavy sound dominates the atmosphere, whereas numbers like 'Where Solitude Remains' and 'The Flow' reveal the technical capabilities of each member. Tender and acoustic-driven shorter songs grace this album, too, offering an antidote to the otherwise dense nature of the longer compositions, and how could one forget to mention the pensive and mournful tone of 'Sad Rain'. 'Vemod' is a mesmerizing, hypnotic work with a unique, ominous atmosphere and a recognizable, unique sound, not much more that you can ask for from a progressive rock album.

Anekdoten are masters of prog with incredible musicianship and very powerful song structures. Until All the Ghosts are Gone is one of their triumphs along with their earlier masterpiece Vemod.

The Scandinavian band effectively capture a unique soundscape of heavy guitars interspersed with majestic keyboards. Nicklas, Anne, Jan and Peter are virtuoso musicians and it is all wrapped in a beautiful atmosphere of emotional lyrics sung with power by Nicklas.

Shooting Star is a 10 minute proggy track that seques masterfully into Get Out Alive. This track has a sensuous mellotron sound and acoustic layers.

If It All Comes Down to You is a melancholic piece featuring the flute of Theo Travis from King Crimson and Steven Wilson. Again the vocals are emotive and sweetly sung to add to the melancholy nuances. The textures of light and shade are augmented by strong keys and guitars but that flute is divine. It adds a pastoral Canterbury feel that is unsurpassed.

Writing on the Wall sounds like King Crimson with lashings of mellotron that remind me of In The Court of the Crimson King. The lead guitar break is beautifully played and there is a great section of phased keys and heavier layered guitars. This is a master-class of musicianship.

Until All the Ghosts Are Gone opens with haunting flute, peaceful verses, then builds into a symphonic Chorus. The instrumental break is Theo's twittering flute sparring off with Nicklas mellotron. It is a beautiful and ethereal soundscape that transfixed the ear.

Our Days Are Numbered is an instrumental that closes the album with a heavier sound once it builds. The guitars are a machine gun attack with an off kilter drum tempo by Nordins. The lead guitar soars and dives on this with some crazy time sig changes. Half way through it breaks with a sparse atmosphere of saxophone sounds by Gustav and a doomy baseline by Jan. This is tremendous stuff.

The album is deservedly one of the highest ranking Heavy Prog albums. It definitely merits my 5 stars too. You know a masterpiece when you hear one and this is it.

Looking back at all those Post Eighties Prog Bands I wrote about since the early 90s Swedish formation Anekdoten is one of my most beloved ones. That's why I still feel very lucky that I have seen the band twice, and for sure a beautiful and skilled female musician playing on a Mellotron is a pleasant rarity!

Anekdoten is rooted in 1990, as King Edward, performing songs from King Crimson. When in 1991 Anna Sofi Dahlberg joined King Edward this inspired them to intensify their rehearsals, to write own compositions, and to rename the band into Anekdoten. Next Anekdoten released two demo-tapes under their new name, in 1991 and 1992. With the second demo things started to roll for Anekdoten, because several Skandinavian progressive rock labels showed their attention and invited Anekdoten to make a CD on their label. But the band preferred to release their debut album entitled Vemod on their own label in the Spring of 1993. The press hailed the obviously King Crimson inspired and Mellotron drenched compositions and Anekdoten started to become a hot prog band! Two years after their highly acclaimed debut Anekdoten released the successor entitled Nucleus, this album showcased the band its huge potential and was also welcomed very warmly, by the fans and the press. This review is about their third effort entitled From Within, in my opinion the band at their artistic peak. Incredible how Anekdoten shifted from an obviously King Crimson inspired band into a progrock unit with an own musical identity, with trademark Anekdoten elements: a hugh tension between the mellow and heavy and bombastic parts, embellished with fiery and howling electric guitar, an aggressive and propulsive bass, splendid drum work, an omnipresent Mellotron, and often melancolical vocals, adding dark undertones to the music.

The only obvious King Crimson inspired track on From Within is Groundbound featuring biting Fripperian guitarwork and intense Mellotron violins, in the vein of ITCOTCK.

In the titletrack and the songs Kiss Of Life and Slow Fire the climates frequently change from mellow with twanging guitars and soft Mellotron to propulsive and bombastic with fiery guitarplay, an agressive bass, majestic Mellotron eruptions and excellent drum work, very compelling music.

And I am pleasantly surprised with the variety of the songs.

Firefly : Mellow electric guitars, cello and piano.

The Sun Absolute : A simple basic rhythm, coloured with vibraphone, cello and an intense Mellotron sound.

For someone : Twanging acoustic - and electric guitars with fragile vocals and cello.

Hole : This highight contains awesome shifting moods, from a heavy wall of Mellotron and guitar to soft interludes featuring sensitive vocals, guitar and Mellotron, and delicate instrumental passages, embellished with vibraphone and Hammond organ.

After all those years I still consider this Anekdoten album as a masterpiece, it keeps on carrying me to a Swedish Progwalhalla, To Retro Prog Heaven .... and hail to The Tron!

After the neo-prog dominated 80s, the entire world of progressive rock exploded in the 1990s with so-called prog revival bands jumping onto the scene. Bands like Spock's Beard, Dream Theater, The Flower Kings, Porcupine Tree, Tool, Symphony X and Thinking Plague were reviving the vast wealth of sounds that were incubated in the 1970s which mostly lay dormant through the music industry dominated 80s. The Swedish scene was one of the most productive with bands like Anglagard taking the lead with its outstanding debut "Hybris" in 1992 but right at its side was another Swedish band from Borlãnge that formed in 1990 and delivered its first powerhouse debut in 1993.

ANEKDOTEN formed by Jan Erik Liljeström (bass, vocals), Nicklas Berg [aka Nicklas Barker] (guitar, Mellotron, vocals) and drummer Peter Nordins took a different approach than many of its 90s counterparts. Eschewing the blatant Pink Floyd inspired space rock, the symphonic prog excesses of Yes and Genesis or the nerdy avant-prog workouts inspired by the Belgian chamber rock scene, ANEKDOTEN looked rather back to King Crimson, specifically its "Red" album and created a heavy style of art rock that implemented a bantering Rickenbacker bass, Fripp-ian guitar angularities and a turbulent atmospheric delivery. VEMOD was the debut album and in Swedish means "sadness" or "melancholy." The album indeed delivered the perfect mix of instrumentation that offered the perfect downer vibe.

Soaked in mellotron, the album featured a veritable mix of creepy atmospheres augmented by the lugubrious cello playing of Anna Sofi Dahlberg which contrasted starkly with the heavy rock workouts of the chugging guitar, bass fuzz and percussive pummelation which in tandem delivered an oddball mix of psychedelic folk style passages with heavier prog rock that verged on drifting into extreme metal territory. Also notable was the unique tender vocal style of Jan Erik Liljeström who added that detached Thom Yorke melancholy before Radiohead latched onto the same idea. VEMOD finds the extra touches of guest Per Wiberg delivering grand piano runs as well as Pär Ekström adding the occasional flugelhorn and cornet sounds.

The opening instrumental "Karelia" sets the mood with eerie old school mellotron synth sounds that burst into the KC proto-metal "Red" dissonance which dominate the band's first two albums before drifting off more into psychedelic territories. Given the uniqueness of ANEKDOTEN's sound, the opener allows an acclimation period before the album begins its vocal dominated aspects on "The Old Man & The Sea." By this time the various complexities of the instrumental interplay had been well established and then allow the cryptic English vocals to add an entirely new dimension to the band's overall effect. Taking things much further than KC ever did with "Red," ANEKDOTEN demonstrated that KC had plenty of life left after its sole offering of that particular phase of Robert Tripp's creative output and added a 90s spin that fit in with the alternative outsider music that dominated the decade.

The album perfectly balances the brooding slower passages with the frenetic and even jarring brashness of the heavy prog workouts that find the guitar, bass and drums in some sort of trance inducing psychosis but the skilled musicians maintain firm control of their seemingly uncontrollable beast and demonstrate an unshakable restraint. Perhaps the most "Red" sounding of all is the "ballad" "Thoughts In Absence" which evokes that same more chilled moment of "Fallen Angel" however ANEKDOTEN crafted a much darker, even depressive take on KC's 1974 classic. The juxtaposition of the spidery guitar parts with mellotron-soaked ambience gives ANEKDOTEN a sound like no other and despite comparisons with bands like Anglagard, Magma, Ruins and others, ANEKDOTEN remains to this day a unique prog force that somehow conjured up the perfect blend of bombastic hypnosis.

ANEKDOTEN was no one trick pony with a constant evolution throughout its run through the 90s and beyond and although every album is brilliant in its own way, for my personal tastes i still find this debut to be my absolute favorite of the lot. It not only captured the spirit of the 70s greats that launched the entire prog scene but gave it all a serious upgrade in a way that was quite effective with a multitude of interesting diversions into everything from classical chamber psychedelia to post-rock like repetition. Needless to say the band mastered all the Frippian techniques of "Red" and took them to the next level and beyond. Despite all these astute analyses, the album is just a pure joy to experience from beginning to end and one of those that i never tire of.

Everything blends together impeccably and no element is so dominant that it becomes monotonous. ANEKDOTEN delivered one of the most artful blends of classic prog with a new spin on VEMOD and delivers musically exactly what the eerie cover art depicts. While considered a form of retro prog, VEMOD excelled at true originality above and beyond the influences. This is one of 90s prog's greatest moments IMHO. ANEKDOTEN would take the extremities even further on the following "Nucleus" before abandoning the harshness altogether in favor of a more psychedelic and progressive take on the style of the space rock revival of Radiohead. While those albums are interesting, to my ears VEMOD is one of the band's finest moments.

I remember still vividly the time that I started to write about prog for Dutch SI Magazine, in the early Nineties, and as a Tron-maniac I was asked to review a few interesting new bands from Skandinavia, named Anglagard, Landberk and Anekdoten. Listening to these bands turned out to be a mindblowing musical experience, what a wonderful, often compeling and Mellotron drenched prog this was, wow! This trio speerheaded the New Wave Of Skandinavian Prog, from Paatos to Beardfish, from White Willow to Wobbler, and from Morte Macabre tot Par Lindh Project, to name a few. After all those years Anekdoten has become my favorite Skandinavian prog band, and I was lucky to witness the band two times (De Pul and De Boerderij). In my opinion Anekdoten is a band that rises to the occasion on stage, more powerful, more compelling, and, last but nost least, a more lush Mellotron sound. On Waking The Dead, Live In Japan 2005 you can experience that unique Anekdoten sound in its full splendor.

Heavy and agressive with a thunderous rhythm-section, propulsive guitar riffs and floods of Mellotron violins in Monolith, From Within and Kiss Of Life.

Hypnotizing with twanging electric guitar and soaring Mellotron female choirs in Hole, and the previously unreleased track Moons Of Mars and The Sun Absolute.

Slow rhythms with a very compelling atmosphere featuring a melancholical undertone, often embellished with a lush Mellotron violins sound in Gravity and the previsously unreleased track This Too Will Pass.

The final composition Sad Rain (additonal bonustrack on the remastered CD version of their debut album Vemod) is 'a wet dream for Tron-maniacs', due to the intense Mellotron violins soaken eruptions, an obvious tribute to In The Court Of The Crimson King. Because Anekdoten started as a prog band playing King Crimson compositions, but the band succeeded to incorporate the King Crimson hints with lots of interesting own musical ideas, thumbs up for their incredible musical development. Anekdoten is not only my favorite Skandinavian prog band, but also one of my favorite post-70s and 80s progressive rock formations.

Highly recommended .... to be more specific, a must!

WOW!!!

You call it Heavy, I call it "Eclectic".

In many ways a refreshing going back to their roots. Anekdoten has been one of those bands with releases every several years (every 3-4), this one came after a whooping 8 years silence, and to my amazement a very good album indeed.

IMHO this Swedish ensemble had one of the most amazing debut albums over the past few decades with Vemod back in 1993, with indeed a heavy KC influence. With the exception of Nucleus they did drifted into a more Scandinavian melodic music (nothing wrong with that) as Gravity is one of their best releases overall. In spite of that, they would kept their sound very much intact and only characteristic to 'Anekdoten'.

This particular last release, I found it my self right in the middle of all their previous albums, as they do mix music from both aspects of their repertoire (Eclectic and Melancholic), maybe with a more Melancholic tendency (again nothing wrong with that), blow me away the first time I listened and has grown on me exponentially after several spins.

Mr.Theo Travis (from KC fame) has contributed with Flute, and together with the Sax of Gustav Nygren have expanded their sound even more this time around.

I personally over the past few years, have come to adore wind instruments on my progressive music addiction.

Is also nice to see that Per Wiberg is back on the spot (from Vemod appearance) on Organ, and and invited Marty Wilson-Piper on Lead guitar on the album name track.

Of course, the double Mellotrons continue their omnipresence, as from the beginning of their musical career, together with Nicklas's guitar solos.

UATGAG is in my opinion a typical Scandinavian/Anekdoten affair in every sense, and at the current time writing this critique, this album is one of my favorites from this great Swedish Band.

The shortest track clocked at 5:07 and most of the material is long enough to keep you entertain. The heaviest and most eclectic song is without a doubt 'Shooting Star' followed by 'Our Days are''

My favorite track is definitely 'Our Days'' mostly because it has enough textures of heavy/melancholic passages (with some passages really recalling Anglagard, with that heavenly Mellotron presence) but what in my mind makes this track so special and good in this release, is the constant signature changes with the addition of Sax for the first time, mouth drooling!!

Judging by the way Anekdoten release new material, is probably about time to have a new album, one can only hope for'

I got my self the Japanese/Arcangelo Edition, as have an extra CD with alternate mixes of 'shooting.., If it all' and Our Days'' (which are a great inclusion in my opinion)

Overall this album would be a great addition to any prog music collection and for the Anekdoten fan a real delight. 4 Stars

Fourth album by the impressive Anekdoten!!!

So far, I have only listened to their first four albums, and without a doubt this Gravity is the one I like the most of all of them.

Unlike in From Within there is no fillers to be found here maybe with the exception of the rather anodyne The Games We Play (Sigur Ros influences here), it is not as dense as Nucleus, and without a doubt the band sounds much more cohesive and mature than in Vemod.

I even like Niklas Barker's voice better on this album! It's certainly still the band's weakest point, but here at least he sounds in tune and doesn't bother at all.

So as soon as you like heavy prog with tons of mellotron, give Gravity a try! And if you've never listened to Anekdoten, it also seems like a perfect album to immerse yourself in their discography.

Best Tracks: Monolith (hypnotic and with incredible Mellotron work), Ricochet (I especially like the verses, performed with exquisite taste, and of course the great keyboard solo), The War is Over (beautiful acoustic guitar work) , What Should but Did not Die (impressive keyboard arrangements and an anthological crescendo for what is perhaps the most intense track on the album), Gravity (the best composition on the album altogether, highlighting a punchy bass in a great instrumental interlude )

My Rating: ****