RITUAL

I believe that everyone who saw this band in the early '90s recognized their immense potential and expected them to become the next big thing. I saw them live several times and assumed they would dominate progressive rock for years to come. However, things didn't quite turn out that way. The band didn't fully realize their potential on their records. It wasn't until 2007, with the release of *The Hemulic voluntary band*, that their potential and talent began to shine through, showcasing the quality the band possessed.

Fast forward to 2024, and the band is finally displaying their inherent potential. Now we hear what Ritual truly is. The album opens with a melodic and high-tempo track in the band's unique style and sound. Ritual is difficult to describe but can be likened to a blend of Jethro Tull, Gentle Giant, and Kaipa. They effortlessly move between classic progressive rock with significant folk music influences and a variety of other styles. This concept album, the first of two parts, often maintains a high tempo and bursts with joyful playing. The band can just as easily slow down the tempo, creating a sense of melancholy and mystique.

The group has always excelled at using acoustic instruments, from guitar to flute, mandolin, and many others, which are a natural part of their style. For me, this album marks a joyous return, as they release the record they've had within them all these years. Finally, the band's quality is evident, and this album ranks among the top three releases of 2024. It's an album of very high caliber, worth listening to repeatedly over a long period, and deserves a larger audience. Highly recommended!

Despite the passing of 17 years since this band's last studio album release, their distinctive sound and style of prog is immediately recognizable: delightful blend of folk-infused storytelling not unlike bands like MOON SAFARI, NEEDLEPOINT, THE DECEMBERISTS, RISHLOO, JEAVESTONE, JETHRO TULL, Guy Manning, Khatsaturjan, and even Frogg Café.

1. "A Hasty Departure" (6:28) interesting use of the Wild West-sounding upright "saloon" piano within/beneath the overall weave. (8.875/10)

2. "The Inn Of The Haunted Owl" (4:47) as the music of this album flows and coalesces I find myself filled with this strange feeling that I'm a part of an Ian Anderson-guided Tolkein adventure. Great song, so engaging, with a totally- awesome chorus and great vocal performance. (9.25/10)

3. "Dreams In A Brougham" (3:39) an instrumental interlude that provides a delightful and often hypnotically soothing emotional journey. Why don't more artists make this kind of sincere, honest music? For sure a top three song. (9.5/10)

4. "Chichikov Bogd" (4:19) so they want to bring Gogol into the picture, do they? Admirable! A dynamic song that picks you up and carries you away whether you were ready or not--especially in the GENTLE GIANT instrumental weaves between the vocal verses. (9.125/10)

5. "Mr. Tilly And His Gang" (3:09) a song that bears a remarkable similarity to a BEATLES' song of similar title: Mr. Kite" (8.875/10)

6. "Through A Rural Landscape" (3:03) another travelers instrumental--this time through some open soundscaped, piano-based slow-rolling hills. (8.875/10)

7. "The Feline Companion" (5:40) quite proggy with its heavy bass and thick syrup outpouring of Mellotron, the story continues--here with Patrik performing multiple voice parts. There's quite a little of the presence of vocal legend Freddie Mercury in Patrik's performance here. (8.875/10)

8. "Read All About It!" (4:17) has a pace and styling that is remarkably fitting for such a title and topic. The banks of choral vocals also seems surprisingly appropriate--giving the music even more of a stage musical feel. (8.875/10)

9. "Forgotten Qualities" (6:16) the sounds of stream water flowing with distant cave-played lyre or zither (Jon Gamble's bouzouki and mandolin with Patrik's acoustic guitar) opens this one before Patrik's bard continues to sing the story-- this time with some wistful sadness (despite singing about "a pretty day"). A powerful prog folk song. (9.25/10)

10. "The Three Heads Of The Well" (3:57) I ahve to admit to being quite surprised at the Yossi "Sassi" Saharon/Orphaned Land Middle Eastern direction the music of this song took, I like it! Great vocal from Patrik. (8.875/10)

Total Time 45:35

Though my only other Ritual album, 2007's The Hemulic Voluntary Band, did not receive super high marks in my review from 2011, the album has remained firmly planted in my brain and has received more frequent replays than I would have thought. Back then my Prog Folk ear was still under development (I still have little interest and/or patience for Jethro Tull songs, albums, or music--and, at the time, detested the genius albums of The Decemberists). While my developmentally-challenged brain still remains occluded to lyrics and their messages, I definitely have learned to appreciate the vocal instrument that Folk and Prog Folk artists are so reliant upon. Patrik Lundström is one of the good ones.

Based on the late Finnish cartoonist and children's author Tove Jansson (1914-2001)'s series of novels about the Moomintroll family, The Story of Mr. Bogd, Part 1 definitely runs along as one continuous story with some songs bleeding over into the next (or making their delineation points almost indistinguishable to the listener). Ritual's music has been my introduction to Ms. Jansson's writing and I have to say that getting to know this album has inspired me to start to get to know the Moomin series.

Musically, I truly appreciate the band's wonderful attention to detail and sincere emotional conveyance. I'll ask it again: Why aren't more bands/artists making this kind of music? We should be thankful! We should be rewarding this band!

A-/4.5 stars; a minor masterpiece of progressive music--the kind of music progressive rock should be making. To Patrik and company: I look forward GREATLY to the next installment of the Tales of Mr. Bogd and the Moomins but please take your time: make it as good as this one!

This 4-piece Swedish Prog band made a few albums in the 90's and early 2000's and then disappeared, but has now re-formed and re-emerged after a 17-year hiatus with a fantastic new album, of which this is the part of a series (2nd part coming out later). The band features a varied musical approach incorporating classic progressive rock with folk, punk, and various modern elements. Great diversity and originality, from classically-influenced melodic instrumentals to hard-rocking modern prog, and they also feature many eclectic acoustic instruments, such as bouzoukis, mandolins, flutes, harmonica, etc. well-integrated into their sound. The Story of Mr. Bogd is a concept album following the varied adventures of the mysterious Mr.Bogd. One minor criticism is that there is no ending or conclusion to the album, it just ends abruptly. I recognize that this is just the first part of the story, but when the parts are released separately as individual albums, there should be some sense of conclusion to this part at least, so that the album can stand on its own. No doubt with the second part, this will be remedied, and that may actually make this first part make more sense, but it did leave a very unfinished feeling to the project. But, overall, a quite wonderful excursion. Best tracks: Chichikov Bogd, Dreams in Brougham, Read All About It, Through a Rural Landscape, Forgotten Qualities. Rating: 4

I cannot be the only proghead who was surprised when Ritual made their presence known in 2020 with the release of an EP, 'Glimpses From The Story of Mr. Bogd' featuring songs from the next two albums. They had been so inspired by working to a narrative with 'A Dangerous Journey' that they decided to take it to the next level, writing music and lyrics based on a story written by band's bassist and main lyricist Fredrik Lindqvist, which totalled 90 minutes and will be released over two albums, of which this is the first. Even though they may have been out of the public view for many years, the band are still the same quartet of Patrik Lundström (vocals, guitar), Jon Gamble (keyboards, harmonium, harmonica, vocals), Fredrik Lindqvist (bass, bouzouki, mandolin, flutes) and Johan Nordgren (drums, percussion).

I am very glad indeed that I listened to this after playing their 2007 album, 'A Dangerous Journey' (which was the previous release) as here they have taken everything they did on that and lifted it to a new level. This never sounds like a band who have come back to the scene after being away for a long time, but rather it sounds as if it could have been released the following year. It is rather like Tolkien, who was asked by his publisher to write a sequel to 'The Hobbit' and came back with something which was obviously very related but also somewhat different, for which he apologised (his letters are well worth reading), 'Lord of the Rings'. The band have not changed what they were doing in terms of their approach, but everything has been amplified ? with no deadlines to work to, or if there were originally they were soon passed by, it has allowed the band to produce something which is sheer class as they have managed to do so without muddying the sound by doing too much. There are times when it is just an acoustic guitar, with other instruments joining, while the use of folkier elements certainly provides a lot of depth and Gentle Giant is never too far away.

This album has been out a few months now and I find it difficult to comprehend that it has only one other review on PA, and none from any other collaborators, yet I am happy to put this in my Top 10 of the year as it is a progressive rock album which is very special indeed. It shines, it soars, and it never seems as if Ritual have been away as we get taken on a wonderful journey which encompasses lots of styles and themes. Even if you have never heard their earlier albums then be confident in getting this as this is prog which has been elevated

It was about 20 years ago when I first came across Swedish quartet Ritual when I was sent a reissue of their debut album, which was originally released on Musea in 1996. I was very impressed with it, even though I noted that Patrik Lundström (here providing lead & backing vocals, electric & acoustic guitars) had also fronted the pop trio Blond at the Eurovision Song Contest in 1997. I was also fortunate enough to hear their 2006 live release, which I thoroughly enjoyed, and this was the next studio album, released in 2007. The band had kept the same line-up between the debut and this their fourth, with Patrick joined by Jon Gamble (grand piano, Rhodes, clavinet, harmonium, backing vocals), Fredrik Lindqvist (bass, Irish bouzouki, dulcimer, whistles, recorders, backing vocals) and Johan Nordgren (drums & percussion, nyckelharpa, backing vocals), while violinist Lovisa Hallstedt joins them on their epic, "Dangerous Journey".

When I reviewed them previously I said they reminded me a great deal of Gentle Giant in their approach, while they also brought in plenty of influences from folk, and that is very much the same here. They may be indicated as being crossover prog on PA, but I think that is more of a case of this being obviously progressive rock but doesn't really fit in any single sub-genre as it is crossing over so many, and given there is a great deal of melody in their music this was a good place to put them. This never feels like an album from 2007, but rather it could easily have come out 30 years earlier, or even been part of the 90's underground scene, back when the only people writing about it were photocopying their own little magazines trying to spread the word. There is an incredible depth to this music, and it is nothing but sacrilege that it has taken until now for me to come across it, but 2007 was the year after I moved to the other side of the world and had taken some time out from reviewing. Their time signatures can be quite unusual, while they use many different instruments which give them a very distinct flavour, while they are also not adverse to using harmony vocals when they feel the time is right. "Waiting By The Bridge" is one of the most Gentle Giant numbers I have ever come across not recorded by that seminal British outfit, and is a blast.

However, it is not possible to write about this album without mentioning the last track, "A Dangerous Journey" which is more than 26 minutes in length where they allow themselves to really spread their wings both instrumentally and within the arrangements which are massively complex and layered, yet also somehow quite simple with lots of folk in the introduction. They had previously referenced the Moomin series by Tove Jansson, and here they took inspiration from his 1977 book in that series, "Den Farliga Resan" which translates to "The Dangerous Journey". This is undoubtedly one of the highlights of their career, and is solid Seventies in the core with its breadth and complexity, making for a piece which is a perfect introduction to the band in so very many ways. It is deep, it is passionate, yet it is also easy to listen to, with so many different styles taking us on a journey to where we know not where. This song would impact the band more than anyone expected, including the band themselves, as it would be 17 years until the next album.

1. A Hasty Departure well we have to admit that Patrik's voice hasn't changed since the start; after the sound either, still the violins, the organs of the time and the vintage folk prog atmosphere, flute in front and bouzouki behind Fredrik; in short a vintage Scandinavian sound in their vein 2. The Inn Of The Haunted Owl continues with the nasal voice that can make one think of that of JETHRO TULL, of Martin BARRE's singer rather; Jon abuses his organs for a sound already returned and consensual 3. Dreams In A Brougham continues with the typical Irish sound, yes that of 'Local hero'; we are far from the vicissitudes of life, the pipe seems to slow down time; a beautiful bucolic dream interlude 4. Chichikov Bogd follows, yes the sequence of pieces is proven; the sound increases, on a well-watered folk bourrée; the eclectic keyboard that gives a more modern sound, is far from the YES of the 90s. The variation is fresh, bringing all the instruments into a dazzling progressive melting pot; the finale is dancing, fresh, boosted 5. Mr. Tilly And His Gang continues with the country march of a Tolkienen universe; the air becomes jerky, a little bouzouki to embellish, organs of the time, a funfair, the piece taken as a military march, the passage grandiloquent, theatrical, hilarious operetta; in short a very beautiful piece with a drawer in fact

6. Through A Rural Landscape as an interlude, sumptuous, lively march with a jazzy saloon piano that sets the mood, another progressive trap piece 7. The Feline Companion continues with the classical arpeggio piano solo; Patrik talks more than he sings, talks about things, about the mysterious Mr. Bogd surely; this piece is the most symphonic with a dreamlike crescendo; well a story of a woman with a cat on her back I like 8. Read All About It! ah cinematic intro from the time when we didn't know that existed; sounds of horseshoes, a bell in the distance; an energetic rhythm, the nasal voice, in the good sense of the term, and if there was a violin with it I would sign to write that this RITUAL is much better than the JETHRO TULL, too chopped, lacking progressive tessitura. Here the sound gets worse, becomes electric, energetic, still festive; the finale explodes on a heavy riff, furious choirs showing a singular, enjoyable aspect, boosting the term vintage out of my mind 9. Forgotten Qualities and a bit of bucolic with this chirping; the acoustic arpeggio for the simple bucolic ballad, enough to settle down after all this colorful and note-filled unpacking. As a Frenchman, I find there the delicate sweetness of an ANGEL of yesteryear, magnificent, I find there the enchanting melody of a BIG BIG TRAIN, of the FLOWER KINGS; the arpeggio continues and launches 10. The Three Heads Of The Well on a wild Nordic solo that would have toured Europe; the bouzouki, the oriental toms as witnesses. A typical folk sound to help us return to port because this snubbed album is worth the trip.

I decided to write the first review after a long time about this short EP from a band which is in my opinion a wonder among contemporary prog artists (and not only). Original Swedish folk-proggers exist for some 30 years by now,having released 4 albums, last being "The Hemulic Voluntary Band" over 15 years ago. I met them in 2013 on a concert for about few dozens of listeners in a park in Gothenburg and that was among the greatest music experiences I witnessed (including my favorite prog giants such Yes, Steve Hackett, Pain of Salvation..), if not the greatest. Yet, Ritual is largely unknown, even in the prog circles which is in a way a mystery to me. I understood they don't like all marketing stuff, so they do not promote themselves much on social media... However, this band is HUGE when it comes to talent and music itself. The EP coming suddenly out of nowhere 3 years ago, sounds that aspires to be among their best music ever, having in mind that they already released albums reaching to 5 stars in the past.

On this little masterpiece, we again have a concentration of a very unique music mix with elements including Yes (at their best in early 70s or 80s) melodic sense, vocal/arrangement acrobatics of early Queen, complexity/playfulness of Gentle Giant, and important folk part reminding Led Zeppelin/Jethro Tull. We can also hear their distinctive instruments like bouzouki or nyckelharpha still in their arsenal. Lyrical concept, judging from the excerpts, reminds of The Lamb, or Tommy but more uplifting, tongue-in-cheek way as in Ritual's tradition. However not in a shallow way, it's an emotional roller-coaster. 4 tracks contain everything from the opening ultra-catchy yet complex track, through demonic lunatic carousel and frenetic Nordic folk ride, to the prog/operatic climax of The Mice. Patrick Lundstrom's voice (also Kaipa) is in a perfect shape, same 25 (!) years before this on their self-titled album. His guitar work is stellar, too. Actually, all 4 musicians (still original line-up) show again equally great performances, in their prime - astonishing amount of talent, variety, energy, musicianship and creativity. Just listen and get immersed into it.

The final question is, will the complete creation, one of the most anticipated albums of (at least) this decade, see the light of the day?

"Glimpses from the Story of Mr Bogd" really? You better produce with a title like that. Fear not, we have a little shiny gem here. Let's clear away the mud and see what we've got. Chichikov kicks off with a pleasing acoustic folk intro before driving off with foot tapping head nodding rhythm. If my knees weren't shot I'd be bopping. Tilly comes into view with a pleasingly stuttering waltz - he leads into the Hall of Mirrors at the Fairground. The three heads arrive with vocals and acoustic with an eastern vibe. The mice (9 min): apparently nobody cares. Well, we have forest paths spear wielding maidens, paths to hell ... and luckily a god wakes to help the humble mice (both mice and forest are saved - woohoo) Hmm. We have all the musical chops and changes, we are familiar with in prog and it ends with a cliched return to the acoustic & vocal and thunder rumbling in the background. It's not bad, but it's not great. So what promised to be a diamond turned out to be a quartz. A nice quartz but not an essential part of the collection. If The Mice had nailed it this would have been a 5* contender. As it is it's still an excellent addition to any collection.

I keep playing Chichikov as a pick me up. It's great.

Don't be spooked by the monsters on the cover art - see, they're wearing pretty dresses, they're trying to be welcoming and unthreatening. In fact, they're probably supposed to be Hemulens, creatures from the Moomin books by Tove Jonsson (though the band probably couldn't get a licence to put Jansson's charming artwork on the cover), since the album lyrics are largely inspired by that series. Stylistically, what you get here is very much styled after the classic prog artists of the past, with Jethro Tull-esque folk influences and medieval allusions reminiscent of Gentle Giant or Gryphon.

There's also a strong Genesis influence not so much in terms of the actual music itself (though there's the odd flash of that), but in terms of the overall pastoral mood and, especially, the strong emphasis on theatrical storytelling that early Genesis always excelled at so well. Overall, a great little piece for those who like a fat dose of whimsical fantasy and a good story nestled in their progressive rock albums.

This is a reissue of Ritual's 1995 debut album (which originally came out on Musea) and is certainly interesting, with some songs very different to other material within the current prog scene. Some of that is due to the line-up and instruments being used as while Patrik Lundstr'm (vocals, electric/ acoustic guitars) is fairly straightforward (although it must be mentioned that among his many sins are fronting the pop trio Blond at the Eurovision Song Contest in Dublin in 1997), the rest of the band are Fredrik Lindqvist (bass, bouzouki, mandola, mandolin, hammered dulcimer, recorders tin whistles, vocals), Johan Nodrgen (drums, percussion, mallets, jew's harp, vocals) and Jon Gamble (keyboards, harmonica, vocals). This does mean that the listener isn't at all sure what the songs are going to be like, one to the next. Add a guest violinist among others and here is a band that really does want to be taken as being progressive, not 'regressive'.

Some of the songs are much closer to folk than anything else, while others just belt along and of course some do both. Patrik's vocals are very clear, and he is as much at home singing gently in 'The Way Of Things' or stretching out when the need is required. That song is a million miles away from 'Typhoons decide' which is far more complex and dynamic, with lots of movement between different styles

An album that progheads would do well to seek out. They are very different to the rest of the 'neo-prog' crowd and it is always good to hear a band that are trying to take prog into new directions.

originally appeared in Feedback #78, April 2004