FRAMTIDEN ÄR ETT SVÄVANDE SKEPP, FÖRANKRAT I FORNTIDEN

There is a lot of benefits from being Sweden´s next door neighbor. Each year around summertime when people start their vacations, you´ll see copious amounts of Swedes visiting Denmark to take advantage of our cheap and tasty beer and maybe look at the local wildlife. I´ve met so many great characters this way, and whether you´re at Roskilde Festival or at the beach - there is always that guy asking you for snus.... Just kidding. The biggest attribute about living nextdoor is however, that it´s very easy to get a hold of some damn exciting music made in Sweden throughout the 60s and 70s. This is no exception, and to tell you guys that I´m excited about this very release, would be a small understatement.

I´ve always said, that some of the best music often eludes categorisations, and Främtiden ar ett svävande Skepp simply cannot be thrown into a box: You´re a reindeer!! Deal with it!!!! What we have here is an album with a sound, which bears resemblance to absolutely nothing else. It´s like trying to tell people how Van Der Graff Generator sounds like, if they haven´t heard them. "Erm - it´s like dramatic......right? Ehhh and there´s like you know a wild saxophone happening as well...."

The album starts out with something like church bells seeping into a stagnant hovering organ and some electronic drip drips mimicing that of a wet limestone cave. At the same time it sounds like slowly turning off a tap. Sleepy drums starts banging to the swaying and disturbing violins - playing some eerie folk music that creeps over you like a ghost with a knife in its teeth. Maybe this is how music sounded like in the old viking strongholds, when they were drunk out of their minds from heavy mead drinking -and tripping on the red fly agaric... At one point the band starts chanting together with a strange violin section - and you´re hit with some truly original, barking mad and yet very beautiful - as it withers away into crickets buzzing and churping and a wild blowing wind - for then to be swept away into an electronic cry that shifts and turns, bobs and writhes.

What this music sounds like is almost impossible to convey in words. It´s psychedelic, folky, Kraut, evil, sheep-heardingly comfy and then again quite the opposite. The RIO lovers around here should definitely check out this wonderful album, as it from time to time dabbles in some weird vocal sections that emanates a certain feel of unease and bewilderment. Although not credited, I´m pretty sure that it´s a woman singing the third song here, and along with the triangle in the back, the Swedish folk aura of the violins together with her haunting vocals - I suddenly hear some strong parallels to Italian band Opus Avantra.

Then again, when you hear a lot of these tracks frolicking in spacey synth land with psychedelic pounding drums, jew harp, cello, flute, sitar, tablas - with hand claps and people in the back tripping and singing, -one could very easily be lured into thinking that this album actually is Krautrock. Perhaps, but genres are so boring and they mean absolutely nothing compared to the actual music they contain. Saturnus Ringa sounds like a mixture of Gila´s first record blended up together with some Neu! motoriks and clingy clangy electronical wizardry. The violins suddenly starts appearing birdlike and cacophonous, and there´s a brilliant space kadet guitar playing like it´s on fire. This music just gives me chills!

Creeek crack - like the start of a horror movie the cabinet opens to the last track - and with some creepy organ and almost Faust like synths, the music staggers along like a triumphant old man strolling his last walk - thinking about back when women wore dresses and guys smoked cigarettes.

This album will not be for everybody that´s for sure, but once you penetrate the outer layering of this strange and jello like music - maybe you´ll hear the unsurpassed psychedelic masterpiece, just as I do.

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