KEBNEKAJSE

The band was formed in early 70's taking their name from one of Sweden's highest mountains, and the musicians who contributed the album have been playing together since 1972. They use guitars, violins, mandolin, jembas, congas, drums, bass, and other assorted instruments on this album to create music which is influenced by traditional Swedish folk, African rhythms, old school Art-Rock and Folk-Rock.

There are no traces of Sympho-Rock or Jazz-Fusion or Hard-Rock on "Aventure" like on the band's earlier albums. This is mostly instrumental recording featuring 4 traditional tunes arranged by the band's members, and 5 original tracks of which 3 songs are with vocals in Swedish, French and Zuzu language. The instrumental performance is soft, elegant, and mellow, but vocal-tracks are a bit boring, unless you're a fan of "Northern" neofolk ("Spelmannen") or "French West African" chanson ("Aventure", "Battery").

Anyway, "Aventure" shows a lot of the band's talents. It's quite enjoyable effort but not their best recording.

With this work they deep more into a Folk Rock style, influenced by the Scandinavian tradition, the strong psychedelic elements start to fade away and the sound is based on the full violin-driven sound, backed up by the electric textures and the very tight and consistent rhythm section.''III'' is filled with romantic tunes and full-blown violin-driven themes with lots of solos and rhythms on strings, sometimes supported by heavy use of percussion and the always solid work on electric guitars, which find a comfort between psychedelic and jazzy moments.As expected, much of the material has this strange melancholy of Scandinavion music taste, but there are also extremely joyful parts with quirky and playful instrumental interactions.Vocals are pretty limited, of course all sung in Swedish, while the 13-min. ''Balladen om bjornbar och natmelon'', the only composition written by Ingemar Bocker, is the most progressive effort of the band, no doubt.A return to their early roots and a Heavy/Psych mood with doomy and dark rhythm guitars, dramatic Scandinavian music colors and melodies and lots of abstract electric solos, featuring some beautiful mandolin parts by Mats Glenngard and even some slight bluesy touches.Very good piece and a bit out of the general direction.On the other hand the acoustic/percussion-heavy ''Mariama'' shows edges of African Music and comes as a new addition to the band's ethnic repertoire.

Solid attempt on combining Scandinavian Folk and Heavy/Psych.Some great instrumental tracks, a generous and attractive long piece and several optimistic tunes.Recommended.

This record isn't as good as Kebnekaise II which was totally amazing but it still contains fantastic Swedish folk music is a very special representation. The best song here is the first "Leksands brudmarsch" which has a wonderful flow and I'd call it a hit song(9/10). They got a perfect ballance of melody and groove. The second best track is "Balladen om björnbär och nätmelon" has a strange and not so folky name but it is amazing. The best is the main melodical theme of the song, the record's "grande finale" and then comes a longer psychadelic welcome part(9/10). "Polska från Härjedalen" and "Eklundapolskan" is also amazing songs from the depth of the folk(8/10) and "S:t John" is almost as good(7/10). "Polska från Bingsjö" though is more common and what you would expect of this band(6/10) and "Skänklåt till speleman" is nice and includes vocals as the only one here(6/10). You would absolutely though avoid "Mariamá", the album''s only African track. Just as on their last record "Aventure" is the African tunes here not as good as the others(4/10). Kebnekaise can interpret Africa as they do on their record "Ljud från Africa" which I think is very good, but not here. This record will get a weak four star!

It wouldn't be an excess to say that Kebnekaise not only had passed through a total lifting, musically speaking, but their new style defined a whole new world for Swedish Rock, with elements that plenty of groups borrowed in the future.They mixed Psychedelic Rock with Swedish Folk in a charming way, combining the rock instrumentation with the some folky tunes and the heavy use of violins.Unlike mane people would expect, their music was rather joyful with optimistic tunes, headed by the impressive electric guitars of the Hakannson/Boecker duo, the rural edge of traditional fiddles and the strong use of percussion.Groovy, mid-tempo tracks with good interplays and an emphatic rhythm section, backing the main role players.They even included a long composition, the 16-min. ''Comanche spring'', which sounded a bit different and rather more progressive than the rest of the album.The guitars had now a slight jazzy edge, the solos became more furious, the interactions between guitars and violins were endless and the track swirled between different atmospheres with upfront segments and more smooth lines.The performances overall are pretty great with the Folk touches in the forefront but also many Psychedelic Rock offerings.

A milestone album for Swedish Rock.Not totally flawless or masterfully composed, but certainly this is an album full of great moments and a very original mood.Strongly recommended...3.5 stars

For me this is the perfect prog folk record. Kebnekaise(which also is Sweden's highest mountain) combines old folk songs with psychedelic rock and more experimental rock. This full record is amazing. It starts with "Rättvikarnas gånglåt"(The Marching Tune of the People of Rättvik) which is a joyfull folk tune which is sung by singer/songwriter Turid Lundqvist(a front woman of 70s progg). Thereafter comes "Horgalåten"(The Hårga Song) with a psychedelic cautious introduction to explode in a fast folk song with great playing of Kenny Håkansson. This is one of Kebnekajse's most popular tunes and they still use to play it on tour. I heard it last autumn, they are still the same guys and play it wonderfully. Next song "Skänklåt från Rättvik"(Gift song from Rättvik) is even more cautious in the introduction. They are improvising in the beginning in a very psychedelic way and then it totally changes unto a wonderful traditional folk song with great guitars. This is really folk prog heaven, in my opinion much better than Jethro Tull. The B-side has two fantastic tracks. First comes "Barkbrödslåten" (The Bark bread song) which was a progg hit in the 70s. The guitars are very sharpe and powerful, of course a real very old folk song. Finally we have "Comanche Spring" which is the only tune here that is not a traditional folk song. It is long and episodic, starts slow with bass line and explodes with powerful guitars in an exuberant wild melody with interesting tendencies. Sometimes the sound is very experimental here and in my opinion this track is the disc's best.

I would absolutely say this is an essential record, and one of the best in the prog folk genre. Highly recommended!

Unfortunately this isn't their best record. The two "african" songs "Aventure" and "Battery" are worse than many other form of music. They seem meaningless and very boring like long jams and not especially interesting at all. Otherwise even this record contains great stuff to enjoy such as "Snickar-Anders" the opener which is both dark and groovy and traditional and very melodical. Is that song they caught speed and joy and it is hard to not move to that song. "Vallåt efter Britta Jansson" is slower but also pure and nice. "Spelmannen" was nice to hear live but theis recorded version isn't so good, quite bad actually and Kenny Håkansson isn't the best singer (but a marvelous guitarist). "Svartbergstrollen" has speed and splendor and shows exactly what a great mixture of folk and psychedelic this is. The three following pieces are also nice with a wonderful melody in "Midsommarnattsdröm" for example. But do not listen to Aventure or Battery, they could not be more boring. How did they ever think of giving the record its name from that [&*!#] track? A big question. I think this could have been better if "Kebne" had waited until this year with releasing it. They could have recorded more and better songs.

Still the most tracks show how great this band can be and I am willing to give it three stars. I recommend you to explore Kebnekajse, but begin with their second(blue) record from 1973.

Up here in the cold north, we have a very similar sounding folk music. Whether you travel to Sweden, Denmark or Norway - there are definite trademarks of an old kind of music that has been in existence for many many centuries. I've actually grown up on this music, and I remember my grandparents dancing along to this unique sounding waltz music quite clearly, and I guess it goes way back into my early childhood years. They were dressed up in traditional costumes - my grandmother wearing a red dress with some kind of apron on top of it. Wooden clogs on her feet - just like my grandpa, and all these other superfluous clothes items, which at the time seemed completely ridiculous to me, as they were on the verge of swinging wildly around on the dance floor. Keeping warm should be the least of their concerns, but what did I know? I clearly remember thinking to myself, that these two strange persons, whom both were part of my family - looked remarkably like Christmas elves, especially my grandpa, who always wore a red woollen pointy pixie hat.

Then the music started and you were instantly thrown into this wild riding violin lead folk ditty - catapulting the dancers into one another -twirling around themselves in some kind of human generated vortex. Bizarrely enough, that is about the best description I can think of regarding this very release. The music on Kebnekaise's third outing, aptly named lll, does the same sort of thing, and I find myself deeply immersed in these old mental pictures of frantic folk dancers twirling wildly about, each and every time I put it on. Yes the music is largely focused on the old Scandinavian folk music, and yes the violin sounds hectic and skewed, spiralling around itself - keeping the beat, yet there is so much more to this album than what meets the ear.

In a most alluring kind of way, Kebnekaise's albums never really sound the same. You'll probably pick up some subtle similarities suggesting that it's the same band, but each album has something new to say. Whereas the self-titled second album sponsored a distinct psychedelic feel to it, sounding like a decisively folky type of Krautrock to yours truly - this one elaborates on the folk tendencies. The first track Leksands brudmarsch is a perfect example of this natural progression. The musical theme is taken directly from a bridal march, though here it is heavily infused by congas and all around fuzzy and frenetic instrumentation. Like all the other tunes here which rely on old school Scandinavian folk thematics, the feel of the thing is somewhat split into the authentic vibe often coming from the duetting violin and guitar, and then what happens around it: a far more psychedelic and rhythmically enhanced pseudo psychedelic music that simply defies description. I guess we're back at those twirling dancers again...

Just like another Swedish band I reviewed not too long ago called Archimedes Badkar, you get the impression that Kebnekaise were trying to challenge the sonic framework of this old national music - adding African and Spanish percussions to the mix. Throwing some psychedelic fiery electric guitars in there - lighting things up nicely.

Then again, when you think you've got this album pinned down, it throws a piece like St. John at you, and alakazam! We're in Benny Hill country! Taking the role of soundtrack to one of England's favourite silent funny men, you're tempted to start all over in your pensive philosophizing about this band's true nature. Well don't you worry, because while this track delivers some brand new musical impressions, and you're most likely imagining this long train of people maniacally chasing Benny around the lawn - the emphasis on folk is still there, albeit in a slightly different dressing. Great you might say, - we finally hit the nail on the head and we can safely pop this mother up on the right shelf - stick this bun in the oven flick it on high and start worrying about dish washing, feeding the koala and other such important things. Hhhmm yeah well maybe not entirely, because when you get to the centrepiece of lll, the second bitch slap occurs. Full blown Krautrock all of a sudden pours out of the speakers. Sticky, gooey and slimy music shambling its way into unknown territories. The guitar takes the lead, the drums transform into old Indian callings - ghost dances - foggy soundscapes - confused expressive earthworm on its belly - emanating this soothing type of salute to the soil. Swoosh - and the worm is gone, maracas march on forward - what sounds like mandolins take off gently - persuading the music for a loftier climate - delivering some welcomed wings to the piece. All of this manufactured in true Krautrock style - focusing on jamming instrumental freedom. Goes without saying that this particular track, Balladen om björnbär och nätmelon (The Ballad of blackberries and Musk-melon), is my favourite out of the lot. I just love it - and I have this unbridled urge to lick it .

I know I've probably tainted this release in an unfair traditional folk light, but just remember that all this sonic candy comes across in a totally original way, which is both highly psychedelic as well as being extremely danceable. If it's been far too long since the last time you aired your wooden clogs to a good waltz, then by all means go ahead and get this. I promise you, you'll never look at a pair of clogs quite the same again - let alone that one true love of yours after the somewhat bizarre cheek-to-cheek you had during Polska från Bingsjö. Someone should probably have told you guys, that you were dancing to a polka....

Despite being known mostly as an folk/prog rock act,this album contains standard guitar- based hard rock,influenced by the likes of MOUNTAIN and THE CREAM and sounding similar to very early RUSH at times.Powerful playing with often dual guitars,bluesy influences,catchy solos and a humurous edge around is what the listener will face here with a very dynamic rhythm section backing up.The performance is really decent,but what actually spoils the album is the lack of any kind of surprises and the abscence of some personal approach.A few Scandinavian traces can be found here and there,but they are only traces,far from what this band actually had to offer.Additionally the vocals are rather dull and definitely not for my taste.

The feeling this album leaves the listener is the same with the top of the Kebnekaise mountain,after which the band was named: Cold.Recommended only for fans of early-70's guitar-driven hard rock but with no appeal to prog fans at all.

In this case, the album starts out as a Swedish folk music album. Folk music mostly from Dalarna if I am not wrong. The album then changes over to a more straight Jazz album. At the end, the styles merges in the bonus track, which is a live version of Horgalåten. A track which is also a space rock track where the guitarist and the rest of the band uses as an improvisation excersise.

Space rock and jazz is not what you think you get when the album starts with a straight folk music tune called Rättvikarnas Gånglåt though. To be fair, they have tried to root their jazzy and space rock excesses in their folk rock roots. And that with a high degree of success. My problem is that I cannot stand Swedish or Scandinavian folk music at all. I think this type of music is a piece of squirrel dung, in general terms. This is a matter of personal preferences though. I am therefore far more happier when Kebnekaise moves into space rock and jazz on this album. The bonus track, the live version of Horgalåten, is far better than the studio version of this track. The jazz tracks at the end of this album is far better than the opening track Rättvikarnas Gånglåt. In short, this is a album that swings between poor and good. But ultimate, this is not my kind of album. I find it messy. There is no tracks here I really like too. Hence my modest sprinkling of stars.

2 stars