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SIMON STEENSLAND

RIO/Avant-Prog • Sweden


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Simon Steensland biography
Simon Steensland is a Swedish composer and self-taught multi-instrumentalist, though he started as a drummer at the age of 17. He releases both solo albums as well as composing for theater. His first solo release was in 1993, The Simon Lonesome Combat Ensemble, which he then followed up on with more albums, each of which had several usual musicians playing: drummer Morgan Agren and keyboards/piano player Mats Oberg. The music was said to combine elements of jazz, neo-classical, rock and folk with a wide variety of instruments and to be influenced by Univers Zero, Art Zoyd, Present etc.


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Fat AgainFat Again
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Fat Again by Simon STEENSLAND [Music CD]Fat Again by Simon STEENSLAND [Music CD]
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The Phantom Of The TheatreThe Phantom Of The Theatre
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SIMON STEENSLAND discography


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SIMON STEENSLAND top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.00 | 3 ratings
The Simon Lonesome Combat Ensemble
1993
4.25 | 8 ratings
The Zombie Hunter
1995
2.17 | 5 ratings
Under Oknar (with Sten Sandell)
1997
4.09 | 4 ratings
Led Circus
1999
2.22 | 4 ratings
The Phantom of the Theatre
2002
4.18 | 14 ratings
Fat Again
2009

SIMON STEENSLAND Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.00 | 1 ratings
Kamikaze United: Live Gang-Gang
2004

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SIMON STEENSLAND Reviews


Showing last 10 reviews only
 Kamikaze United: Live Gang-Gang by STEENSLAND, SIMON album cover Live, 2004
3.00 | 1 ratings

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Kamikaze United: Live Gang-Gang
Simon Steensland RIO/Avant-Prog

Review by TheGazzardian
Prog Reviewer

— First review of this album —
3 stars Simon Steensland's Kamikaze United is the name of the live band that Steensland assembled to actually perform some of the music he had created over the last ten plus years. It features a lot of his regular cast of collaborators, including as ever Morgan Agren (of Mats/Morgan) on drums.

Included on this album is at least one track from almost all of Simon's previous albums, including his collaboration with Sten Sandell (Ganggang) and the album of his theater pieces (Kaspar's Theme). From Led Circus we have The Return of Instant Jesus, which has been shortened by removing the vocal part. This reduces the weirdness a bit and makes the track a bit more accessible, and it works rather well (although I do still tend to prefer the Led Circus version). The stellar opening Track, Parade, hails from The Zombie Hunter. Interestingly, the only album that does not have a track featured here is his debut, The Simon Lonesome Combat Ensemble.

What is fascinating is that everything beyond those four tracks have not been featured on any of Simon's other albums, so for a fan of Simons music, there is more interest here than just seeing if he could pull off the music live.

Fans of rhythm sections will love this music, because it is very rhythmic and hypnotic. The crux of the band (to me at least) really is Simon on bass and Morgan on the drums. As with Zeuhl, there is a certain amount of repetition to the rhythms. The overall feel of the album is propulsive and challenging, and it's easy just to get lost in the layers built on top of the dominant rhythm sections. The energy is high and the band are all in top notch shape. Even the guests give stellar performances; take Pelle's trumpet part at the end of "Parade" as an example of this.

A great live album of one of the music worlds great, under-sung artists, showing now only that he and his bands have the chops to perform the music, but that there is a great passion behind them as well. The only complaint I do have is that the set list does not make use of much of Simons tracks with vocals, possibly due to the difficulty of finding a singer or of performing these tracks live.

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 Under Oknar  (with Sten Sandell) by STEENSLAND, SIMON album cover Studio Album, 1997
2.17 | 5 ratings

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Under Oknar (with Sten Sandell)
Simon Steensland RIO/Avant-Prog

Review by TheGazzardian
Prog Reviewer

2 stars This album is a collaborative album by Simon Steensland and Sten Sandell. Simon Steensland is a Swedish avant-garde artist who had already released several albums prior to this (although this is the earliest I've heard from him thus far); I can't claim to know much about Sten.

It is wrong to say that this is a Simon Steensland album with Sten Sandell guesting, or vice versa; although both were involved in the playing and/or writing of most tracks, there is at least one track each that is written and played by only one of these artists. Also playing on this album are Morgan Agren and Mats Oberg of Mats/Morgan.

Musically, this is an interesting album, but uneven. It starts off strong, the first two tracks (Song and Wrong) featuring the distinctive sound of Simons bass creating the rhythms, which Sten does some rather interesting wordless vocal work over. These two tracks definitely emphasize the vocal work more than the other instruments, but the vocals are interesting enough to deserves the center stage. (They do return later on in the album too, but to my ears these are the best instances of his vocal work here).

For me, nothing else on the album is quite as interesting or accessible as the first two tracks, which is a shame. The music is enjoyable, great sonic textures and playing, but at times it can sit on the repetitive side of things. This is definitely music that warrants several listens for the various textures to have time to sink in. And they are definitely the leading elements here.

To get the most out of this album, you must truly listen to it - leaving it playing in the background will cause you to miss a lot of the details that make the music interesting. Each note is carefully placed to build the mood and atmosphere of the music. Unfortunately, towards the end (around "7/8 + 3/4"), the album starts to drag. Still, there's lots to enjoy, especially for fans of Simons music, for his fingerprints are all over. Although it is also the least "immediate" of his works I have heard thus far.

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 The Phantom of the Theatre by STEENSLAND, SIMON album cover Studio Album, 2002
2.22 | 4 ratings

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The Phantom of the Theatre
Simon Steensland RIO/Avant-Prog

Review by TheGazzardian
Prog Reviewer

2 stars Even for fans of Simon Steenslands other albums, this album is a bit of an odd bird. It's not exactly a studio album, for the music contained on this disc was not written to be released as part of an album. Instead, the tracks here are collected as a representation of what Simon writes when he writes music for theater.

If you've heard any of Simon Steenslands other albums, you probably know that he tends to write music that is rather odd. Of course, he is listed under RIO/Avant so such is probably expected - but in reality, the stuff he is involved with are far from anything else I have heard to date. He is apparently all self taught both in playing and composing, and I think he is an artist where having an approach to music that he came up with on his own has really worked well.

Although this music is intended for the stage and is in many cases utilitarian - as he explains in the liner notes, some of the music is written to be played while the cast changes the set, etc. - there is still some really interesting things in here. They never quite go as far as his pure studio albums in terms of interestingness, and in terms of memorable moments I find a lot less contained on here. Still, the variety of sounds enclosed on here (even if some are far too short to really develop very far, with only 14 of the 36 tracks contained surpassing the 2 minute mark) does yield some interesting pieces.

You do have to read along with the liner notes to understand what was happening when the music was playing though. As I have said, Simon's approach to music is quite unique and so there is very little that fits into the conventions one might expect from music that is intended to evoke specific emotions. The sad music, for example, would probably never be heard in Hollywood (for anything really).

Ultimately, the album does suffer from the mix of different music that appears on it. There really is very little cohesiveness to it; even music that comes from the same play, is often split apart on the album. Interesting themes often rely on fade outs instead of closing in more interesting ways. These weaknesses do bring down the value of this collection a decent amount.

This collection should be interesting to you if you are a fan of the man (as I am) or simply want to hear some unorthodox theatre music.

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 Led Circus by STEENSLAND, SIMON album cover Studio Album, 1999
4.09 | 4 ratings

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Led Circus
Simon Steensland RIO/Avant-Prog

Review by Mellotron Storm
Prog Reviewer

4 stars I'm really surprised no one has reviewed this yet.This is one of Simon Steensland's best albums. As usual we get that dark intense music that is inspired by UNIVERS ZERO, MAGMA, PRESENT and ART ZOYD. A lot of instruments are used here, too many to list but of note is the harmonium, cello, sax, accordion and marimba but there is much much more. By the way Simon can and does play pretty much every instument there is but he does get lots of help here most notably from the MATS / MORGAN duo who are two of the most incredible musicians i've ever heard on keyboards and drums respectively. Some will know Mats Gustafsson on sax too.

"Instant Jesus" is the over 16 minute opener and the most difficult for me to get into. It opens with lots of marimba, drums and other sounds before these drugged out sounding vocals join in. A calm 2 minutes in with quiet vocals and darkness. Cello and other sounds arrive as it all gets louder including the vocals which get a little crazy. It all kicks in at 3 1/2 minutes. Check out the dissonant sax 5 1/2 minutes in followed by a keyboard solo then some yelling and carrying on a minute later. Intense and dark. It settles before 7 1/2 minutes with accordion and it's still hauntingly dark. It kicks in again then it settles before 9 1/2 minutes. It kicks in hard at 14 minutes. Check out the drumming ! Guitar late. Amazing track. "Pinving" is melancholic and dark with harmonium, cello and accordion standing out. It picks up 4 minutes in with some killer guitar and pounding drums. Insane. "The Song Of The 4th Monkey" opens with marimba, accordion and other sounds. It picks up quickly with chunky bass. It settles back 1 1/2 minutes in. Check out the dissonant harmonica solo after 2 1/2 minutes. I don't think i've ever said that before. This is great !

"The Dance Itself" hits the ground running with a heavy rhythm and lots of guitar. A creepy calm follows. "Psychlone" is UNIVERS ZERO-like with the intricate sounds and dark mood. Distorted guitar comes ripping in and check out the drum work. It starts to settle down 2 minutes in then kicks back in after 4 minutes. What an intense track. "Angels Without Eyes" is kind of haunting as eerie female vocal melodies join in.The electric guitar before 3 minutes is cool then the vocal melodies continue. "Dwarf Suite" is the 18 minute closer. What an intro ! It settles in and it's dark.The drums and marimba become prominant. It eases up before 3 minutes but not for long. A calm before 5 minutes with accordion. A change after 6 minutes and the intensity is building before 8 minutes. It settles 9 1/2 minutes in to a haunting soundscape. Accordion and marimba before 12 minutes. Drums a minute later. Cello before 14 minutes then it picks up a minute later. It eases up with deep bass sounds before 17 minutes.

Well if you like PRESENT or UNIVERS ZERO you probably will love this album. Easily 4.5 stars.

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 Fat Again by STEENSLAND, SIMON album cover Studio Album, 2009
4.18 | 14 ratings

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Fat Again
Simon Steensland RIO/Avant-Prog

Review by TheGazzardian
Prog Reviewer

5 stars Overview

Fat Again by Simon Steensland was one of my first RIO/Avant prog albums, and to date, I still haven't heard anything else that sounds quite like it. The players on this album play their instruments in a way that is truly fascinating to me, and it is worth many spins just to hear the unique playing of all the musicians who have gathered around Simon Steensland for this recording (including Einar Baldursson, who, as John mentioned in his review already, is also a member of Gosta Berlings Saga, another excellent band from the modern era).

The album is comprised, with two types of songs. There are the "epic" lengthier tracks, including the opener (Der Klang Von "Musik", clocking in at 16 minutes) the closer (The Lion Tamer, clocking in at 20), and Hide and Seek (8 minutes). Then their are the pieces that sound, to my ear, like little pieces of candy - short but sweet - only in this case, the candy also has a bit if sour added to it for additional flavour.

The Music

Der Klang Von "Musik" (which translates to The Sound of "Music") is, at this point, my favorite track off of the album and an excellent way to open up the album. Throughout it's 16 minutes, it shifts mood and texture multiple times, starting with an off-kilter beat, switching to a more spaced out section, using light electric guitars, thick bass, and woodwinds. From here, it builds into something a bit more electric, eventually adding very, very heavy guitars. This is not even seven minutes in, and over the nine minutes of the song that remain, it continues to twist and turn, inundating your ears with excellent music the entire time.

Next, the album gives us four "treat" tracks, the short Lost In The Ark, Merde!, Memories of Jan Josta, and Loch Ness (ranging from 0:25-2:27). The sound of these tracks ranges, from sung vocals (Lost in the Ark) to simply layered, odd-sounding wordless vocals (Merde!), to instrumental tracks (Memories of Jan Josta and Loch Ness). Loch Ness in particular, which features xylophone, lots of space, and airy backing instrumentation, is a fascinating track.

Just past the halfway point, we are introduced to "Hide and Seek", a song that is built up on top of a pattern, with various instruments playing with or against the main beat of the song, which is started once again by those haunting female vocals. The song tends to be quite hypnotic throughout it's run and is yet another of my favorite tracks off this album.

The next three tracks are the last of the short tracks, including my favorite short track and the one that got me interested in this album, "The Queen of Sweden". Xylophone (I think) plays odd tone runs while the rest of the song builds up underneath, becoming quite an appealing track, and unlike anything else I have heard in my experience to this point.

The Lion Tamer starts with a fun little drum beat before building up. In the end, it does sort of settle on a basic beat, relying more on slow build-up and subtle changes than the opener. In this sense, the Lion Tamer is a more chilled out song, and an apt way to close the album.

Visual

Visually, the album is quite interesting. There is, of course, the amusing cover art, but more amusing to me is the image imprinted on the CD, of Spiderman in the mountains wearing a baret and carrying a case of beer and a guitar. Perhaps this is Simon's creative process - dress a Spiderman, hide in nature, drink beer and jam?

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 Fat Again by STEENSLAND, SIMON album cover Studio Album, 2009
4.18 | 14 ratings

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Fat Again
Simon Steensland RIO/Avant-Prog

Review by Mellotron Storm
Prog Reviewer

4 stars Simon Steensland hails from Sweden and obviously has a sense of humour as witnessed by the album cover here. So funny. Oh and the album's title is humerous as well. Interesting because the music has nothing to do with humour, in fact it's quite dark, intense and eerie at times. I have to tell you that this album is an absolute gem, sort of a Zeuhl / Avant / Rio mix that is so well done. Simon has some incredible guests here helping him out including a host of female vocalists with there wordless melodies. Simon is a MAGMA fan having contributed a track to one of those tribute albums, and it shows here. The guitarist is the present one for GOSTA BERLINGS SAGA, I gave the album he played on 5 stars. The guy can play. And so can Simon, a multi-instrumentalist who plays a variety of instruments including cello, harmonium, guitar, keyboards, bass and more. The two guys from MATS / MORGAN help out along with other guests.

"Der Klang Von "Musik"" is a monster (maybe that's where the idea for the cover art came from). It kicks in quickly with an intense rhythm section. Organ follows and it comes and goes. I like the guitar before 2 1/2 minutes. It becomes more prominant a minute later. The heavy beat slows down until it stops 4 1/2 minutes in. It kicks back in at 6 minutes. This is heavy duty. The heaviness lets up but it's still intense. It settles after 11 1/2 minutes and it's dark. Accordion joins in. Heavy again 14 minutes in, in fact it's ANEKDOTEN-like here. The tempo picks up. Insane ! "Lost In The Ark" opens in a mellow way as female vocal melodies come in. "Merde!" is a short tune with outbursts of drums and vocal melodies. Cool sound.

"Memories Of Jan Josta" is almost catchy and it's quite dark. A haunting finish to this song as well. "Loch Ness" sounds like outbursts of vibes that come and go in a dark atmosphere. "Hide & Seek" opens with a beat as these eerie sounding multi vocals join in. Incredible sound ! The drums are excellent. This is such a trip. Very Zeuhl-like. "Frals Oss Ifran Ondo" is laid back with female vocal melodies. "The Queen Of Sweden" features some cool sounds and it turns intense later. "Petite Merde" is 26 seconds of female vocal melodies. Five ladies singing on this one. "The Lion Tamer" has so much going on once it gets going. It settles after 2 minutes with guitar, bass and drums. Very intense 6 minutes in. Clarinet before 11 1/2 minutes and it gets kind of crazy. Heavy duty 14 minutes in then it settles with female vocals. Vibe-like sounds after 15 1/2 minutes. It's spooky 17 1/2 minutes in to the end.

Music for the adventerous. Easily 4 stars.

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 Fat Again by STEENSLAND, SIMON album cover Studio Album, 2009
4.18 | 14 ratings

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Fat Again
Simon Steensland RIO/Avant-Prog

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars With a solo career streching back to the early 90's, Swedish composer and multi-instrumentalist Simon Steensland is without a doubt a gentleman that deserves to be tagged a veteran in the music business.

His latest venture Fat Again is the result of three years of labour, and the end result is an effort that should please most fans looking for truly challenging music.

While there are a few vocal passages to be found, this excursion is a mostly instrumental affair. The bass seems to be the driving instrument, closely competing with the drums for that role, and the musical foundation is probably best described as fusion. Jazz fans will find many familiar elements on Fat Again, especially from the aforementioned rhythm section.

Steensland does add quite a lot to this foundation though. Dissonances, disharmonies and cacaphonic passages unfolds on a regular basis, and lots of more or less twisted improvised-sounding sequences is a key feature, especially in the three longer tracks dominating this disc. All of this is run through an avant-garde filter, with folk-tinged and symphonic inspired themes added on occasion as a nice topping. On opening epic Der Klang von "Musik" we're even served a passage rather close to brutal metal in expression.

As far as references go, Magma is probably a band worth mentioning. But unlike the diciplinerian French outfit, Steensland allows himself and his musicians to be both innovative and creative. Not always for the better, some themes would probably have ended up better with a bit more dicipline, but the end result is most certainly a better one as far as I'm concerned - at least if comparing this years productions by these two artists.

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 Fat Again by STEENSLAND, SIMON album cover Studio Album, 2009
4.18 | 14 ratings

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Fat Again
Simon Steensland RIO/Avant-Prog

Review by avestin
Special Collaborator Honorary Collaborator

4 stars Having received this album from AltrOck, I realized I have been ignoring Simon Steensland albums long enough and I should get some of his former albums to better understand what all the fuss is about and what his music is like, having read interesting things about it. So I set out and got The Simon Lonesome Combat Ensemble (1993), The Zombie Hunter (1995) and Led Circus (1999). All of these were fine releases and in my opinion got better as they progressed chronologically. But they are not the subject of this review here.

Simon Steensland who plays here multiple instruments (bass, keyboards, guitar, glockenspiel, harmonium, cello, banjo) has been working on this release for 3 years, from 2005 to 2008 and has several musicians playing with him here: Robert Elovsson (keyboards, clarinet) and Morgan Agren (drums) both from Mats/Morgan; Einar Baldursson (guitars) from Gosta Berlings Saga; Arvid Pettersson (Fender rhodes, accordion); And a whole group of female vocalists: Aurelia Le Huche, Eva Rexed, Helena Ahlback, Ingrid Gustafsson, Sara Nygren, Anna Nygren, Elvira Van Halen, Moa Zerpe, Lotta Ostlin Stenshall, Ellekari Larsson, Birgitta Steensland.

Fat Again, out in 2009 on the fine and growing Italian label AltrOck (where luminaries like Yugen, Rational Diet and miRthkon released albums through), is a delight to listen to. With chamber prog (Thiking Plague and Univers Zero, albeit more upbeat and rough) and zeuhl influences, as can be clearly heard in the opening and closing pieces (Der Klang Von "Musik" and The Lion Tamer), superb musicianship (fantastic bass playing and drumming), this album presesnts variety in moods; from uplifting and upbeat moments to highly dynamic and darker sides; from frantic pace and style to calmer and peaceful elements prevailing through. Just by the first composition alone which I mentioned above, I can tell Simon is a very well accomplished composer that knows very well how to set a musical scene; how to plan it and execute it to the very fine details; how to make it flow seamlessly from one section to another, where each is dominated by differing elements. These two lengthy opening and closing tracks engulf seven short pieces and one medium length composition. And these are not too different from the lengthy tracks. In fact they continue their style and mood and develop them. For instance, Lost In The Ark, has female voices chanting together, with a guitar in the background and some eerie sounds as well, creating a somewhat spooky and weird mood. This escalates in Merde!, where a Thinking Plague-like sound comes in as the whole female choir sings together with the bass playing a long tone and the drums insanely going about. And all this takes only 25 seconds! Then Memories of Jan Josta comes in with again the bass giving the dominant tone here, and Univers Zero and Thinking Plague influences coming through. The keyboards here add a nice touch, though they are a bit low in the mix. And while it is a short track, it is nicely developed and satisfying. The Queen Of Sweden is another frenzied track, with a groovy melody line, followed by another very short piece (Petite Merde) that in a way serves as an intro to the final 20 minutes piece. This again, has a very dominant bass line and drumming and a structured melody line with a very rich arrangement done by Simon. The piece progresses and develops nicely from one section to the next.

I must really mention the great drumming work done here and the splendid bass work along with the efficient keyboards playing that gives the music the much needed peculiar and special atmosphere. This was a very nice and pleasant surprise for me to listen to this wonderful album, a great find and a highly recommended listening experience for those who like chamber prog, zeuhl and bands like Univers Zero, Thinking Plague, Magma and 5UU's.

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