DET HAR ALDRIG HÄNT OCH KOMMER ALDRIG HÄNDA IGEN

This is the second album by the promising young quartet from Uppsala, prog(g) capital of (the world) Sweden!

This album is almost 15 minutes shorter than their debut release with a playtime of about 34 minutes, not counting the bonus track. According to the album's liner notes it was actually recorded during the summer of 2008 which is quite confusing considering that En Rak Höger was released in September of that same year. Does that mean that this recording is a compilation of bonus tracks? The music here does feel much less adventurous and technical and I almost get the feeling that this album was originally intended as a fun little EP release but then somehow it still turned into a full scale studio album.

I miss the short interludes between the songs especially since many of these performances follow the same basic pattern of a throbbing bass/steady drum beat and an underlying keyboard melody complemented by a guitar lead. There are unfortunately not enough moments here that diverse from this set-up but it's those moments that really make this album worthy experience for me. The album begins with a very strong intro composition titled Gastronomika Proportioner. The music starts off with an extreme-metal sounding drum-section while the rest of the band plays a much softer and direct melodic arrangement. This contrast feels at first quite offsetting but it all starts to make sense with the transition that occurs halfway through the performance. For a moment there I actually thought that I was listening to a Naked City album! After such a strong opening number I was really looking forward to what the rest of this new release had in store.

Sket Man Väl I is this album's first promotional single and it's here that the music looses a lot of the momentum for me. There isn't really anything wrong with strong melodically driven instrumental music but I just lack the promising signs of complexity that were featured on En Rak Höger. The drummer keeps pretty much a steady beat throughout the entire performance and the composition variations are few and not all that memorable. I might have been less discouraged by this if it wasn't for the fact that this trend continues almost all throughout the first half of the album. It's only when we get to the short piece called Oj! that we get a glimpse of variation on this whole concept. It features a much faster sounding drumbeat and the whole composition seems to be spinning in a crazy endless loop. The music takes an even greater turn for the better with Ekot Från Avgrunden which features an upbeat build-up section followed by a slow and melodic guitar lead part that I enjoy immensely. The composition also has a memorable middle section and it's truly a pity that more of these performances couldn't have been prolonged by at least 30 seconds just to feature such beauty.

The album concludes with the title track composition featuring a memorable synthesizer work by Milve Sofia Rydahl but other than that it's just another one of the basic pattern performances that I mentioned earlier. The music stops halfway through the track and resumes once again at a 5:30 minute mark with a loop of voice that sound as if it could belong to Fredrik Reinfeldt, our current Prime Minister of Sweden. I honestly have no idea what to make of this bonus track. Is it supposed to be a joke or is there actually some sort of a political statement behind it all? Judging by the artwork of Klotet's albums they might seem like a political band but this issue has so far never interfered with the content of their music.

I'm on a fence when it comes to rating Det Har Aldrig Hänt och Kommer Aldrig Hända Igen. Since this release isn't on par with the great debut album I can't really rate it on the same level. Still it's not anywhere near the collectors/fans only material that the 2-star rating might suggest. Therefore it's a really good, but non-essential release!

***** star songs: Gastronomika Proportioner (2:25) Ekot Från Avgrunden (3:55)

**** star songs: Dödad av Döden (3:32) Falska Pengar (2:38) Hjärnsubstans (2:22) Hållplats Hades (2:37) Oj! (1:26) Atomvinter (3:06) Kapten Sjöbjörn (2:58) Brakander Boogie (3:19)

*** star songs: Sket Man Väl I (2:33) Det Har Aldrig Hänt och Kommer Aldrig Hända Igen (7:00)

The Swedish quartet KLOTET was formed in 2004, and honed its craft for the next four years, when it landed a record deal with the French label Musea Records, which subsequently issued its initial effort "En Rak Hoger". Two years later a second production is ready to be released. This time the creation is named "Det Har Aldrig Hant Och Kommer Aldrig Handa Igen" and was issued in the spring of 2010.

Punk and progressive rock have for many been mutually exclusive styles, and rock journalists in particular have tried to alienate these genres as much as possible. Many avant-garde outfits did draw inspiration from punk and New Wave. though, and Swedish band Klotet does the same, in this case utilizing that inspiration to craft songs drawing from the 70's art rock palette and blending them quite nicely with the aggression of the late 70's musical rebels. Those who find themselves intrigued by that description better pay this band's homepage a visit, as there's a progressive art-punk band there eagerly awaiting your attention.

3.5 stars really!!

Second album (I believe) from this high-energy Swedish quartet (from Uppsalla), one that relies on relatively short instrumental pieces that range from (inspiration-wise) Samla Manna to standardier symphonic prog that can remind passages of Anglagard. Graced with a sinister decaying piglet & black crow artwork (courtesy of their guitarist and drummer), the guitar-keyboard duo fronting the band has to keep up with the consistently excellent rhythm section, even if sometimes they reach (relatively-speaking) Ramones-like simplicity (the opening of the second track, for ex), and the general feel is too high-powered to be able to sound really retro-prog.

Although it opens on some French-speaking movie-like intro (I suppose to pay homage to their distributing label Musea), the quartet starts out at 100 MPH and finishes the album at around 150 MPH, without ever letting and ignoring all the red traffic lights (if you'll except the blank spaces between the tracks), and they'll quickly intoxicate you well beyond your own drunk-driving tolerance. All four musicians are extremely gifted at their respective spot, but I tend to find the drummer a tad too binary (this is deceptively so), but the sheer repetition of high-speed tunes can get a bit tedious after the first few listens. If the delightful Milve-Sofia alternates between Rhodes (not enough, IMHO), organ and synths, it is unfortunately not enough to make a different or distinct soundscape for the 12 tracks. Thankfully, the album is relatively short, so the whole thing remains a pleasant affair that you won't get bored or annoyed. Not that you would anyway.