KRIGSSÅNG

Traditional Swedish music mix with progressive aspect is extraordinary! The beautiful voice of Robert Zima (in swedish) and the excellente guitar of Christer Åkerberg was the pillar of the group. Experimental bass and good improvisation moments is worth the detour with this second album of this too little known band. To discover!!

This is a legendary Swedish prog rock band, the name means 'Thirty Years War' and the title of this CD from '75 means 'Warsong'. The nine elaborate compositions sound tasteful and varied: acoustic guitar and strong Swedish vocals, soft Mellotron waves and a moving guitar solo in the end in "Krigssang Part 1", vocal harmonies and beautiful classical guitar in "Jag Och Jag Och Jag", up tempo rock featuring fiery electric guitar and fine Mellotron in "Mitt Mirakel", a duel between an aggressive bass and strong guitar play in "Murar" and some fluent rock songs (the 3 bonus tracks) with saxophone and powerful guitar. But the absolute highlight is the 'magnum opus' "Krigssang Part Two" (almost 18 minutes): a propulsive rhythm-section, lots of excellent guitar work (with echoes from Steve HOWE) and some waves of the Mellotron and short runs on a synthesizer. The climates and structure are a bit similar to the 2-LP "Tales From Topografic Oceans" from YES (especially side 3 and 4). This CD is a fine surprise from Scandinavia, I won't be surprised when the guys from LANDBERK will tell me that TK were an inspiration for them!

3.5 stars really!!

T K 's second album seems also the easier one to acquire since I have never seen the others in shops. War Songs is the translation of this album and it is a rather fitting name for such a raw and somber record even if the album is definitely more "refined/subtle" both in songwriting and in production, compazred to its predecessor. But this album still sounds the typical TK sound, somewhere between the ultra-heavy and the progressive. If you are not well-acquainted with the group, you will get a slap in the face, with the guitar strings leaving an imprint in your brains, but chances are that you could feel repulsion upon the first listen (hopefully this review will prevent or at least warn of that danger) or even wondering how this can be prog. Fear not: this is!! And of course the side-long heavy (and I mean HEAVYYY;-) title track, full of mellotrons and jazz twists is a rather unique example of prog, even if not that much my cup of tea, I will admit.

T K is a guitar dominated group with Mellotrons to soften up the aggressive nature of the music. Right from the first bass note of the opening track, you know you will be in for a rough ride. Of the six tracks of the original album , clearly the highlight is the 17 min+ title track Krigssangs 2. The singer Zima is an Austrian singing in Swedish, makes you think of Ian Gillan (Purple) but delivers his vocals in an Italian fashion.

It appears that some releases have different track listings, the one above omitting the Mitt Mirakel as track four (lenght 3 min 30). The three bonus tracks are live tracks (one from the debut album) from their first UK tour as is evident from the title On Going to England. Apparently here also , the tracks are different from which re-issue you have. Mine is the Mellotronen label (Anglagard was also released on this one ) and the cat # is CD002.

TK was probably Sweden's most singular 70's group in terms of "conventional prog" (as opposed to progg) and most likely will remain relatively unique soundwise. Although in some artistic way highly successful, they will lose their contract with Epic records, because of the commercial side and if TK will rebound by forming their own label (Mistlur), things will never be really the same, with their two remaining records not on par with their first two albums.

Trettioåriga Kriget (Thirty year war) seems to be a bit forgotten, or maybe they stand in the shade of more famous Swedish bands like Kaipa and Kebnekaise. The reason for this is not lack of quality, but have to be the fact that Trettioåriga Kriget's music is based on songs, rather than on long instrumental tracks. As for the foreign listener I think this makes it harder to get into their music. But anyway, I think one of the greatest things about this site is that people seem to be open-minded towards foreign languages, so I think this album may be appreciated by many. The singing is melodic with it's characteristic vibrato and musically this band wouldn't be a disappointment to any fan of prog-rock. The bonus tracks makes the cd even better and makes a better CD-format. 4,5 stars.

I think this is the best one from TRETTIOÅRIGA KRIGET for prog-fans. Especially for the epic 18 minute- track on side two of the original LP. TK:s sound might make you think of RUSH or KING CRIMSON (Wetton- era), the bass is loud and heavy, guitar dominates and keyboards just sketches the background to this band's very personal sound and style. Unfortunately non-swedish people can't appreciate the deep, philosofical lyrics, but they can enjoy the rich voice of the opera-trained singer. IMO this album lacks consitency because the first four tracks are very different in style, and Murar (Walls) is just a rather boring studio-jam. Regardless of this, the music on this album is sparkling, well-played, innovative and right down progressive. It's heavy and intricate, full of twists and turns and would probably have reached a greater number of fans if the swedish lyrics hadn't turned them away.

For their sophomore release "Krigssång", the guys from Trettioåriga Kriget decided to take the powerful heavy prog approach of their debut album to a subtler level, administering the rougher moments more in a refurbished balance that gave more room to less explicit sonic explorations. This factor also allowed the band to state some relatedness to the standard of symphonic prog at times (some people have mentioned German symphonic bands such Novalis, and I would add Wallenstein, but mostly to my ears, TK's symphonic side is closer to "Remember the Future"-era Nektar). The namesake opener is obviously based on a blues tempo, which receives a particularly sophisticated treatment all the way through its 4 ½ time span since TK remain loyal to their art-rock ambitions. Track 2 'Metamorfoser' starts digging deeper into the sort of slow tempo that had been delivered in the opener's main motif, only this time the energetic moments that eventually emerge bear a jazzier tendency and state a more consistent presence, in this way catalyzing the main motif's melodic development. I have the feeling that both tracks would have benefited greatly from longer expansions and a major use of mellotron (or whichever other keyboard that drummer Dag Lundqvist might have used at the time) in order to properly explore the epic potencial further and see where things can go from there. Anyway, this is what there is and what you see is what you get. 'Jag och jag och jag' is an acoustic pastoral ballad that is stylistically connected with the sort of folkish spirit that one can expect from the candid side of 70s art-rock: since the central mood is quite introspective, this ballad serves as a convenient moment of simple solace before the arrival of 'Mitt mirakel' (originally omitted from the 70s vinyl but luckily recovered for the 2004 CD re-edition), a fine example of the interesting things that TK are capable of when they systematically incorporate clever jazzy flavors into their heavy prog sound: the rhythm duo's dynamics is excellent, and so are Åkerberg's deliveries on guitar harmonies/lead phrasings. Once again I find myself longing for a different, alternative Universe in which this track is longer and with a fuller global sound, although essentially I don't have any complaints at all about the track's compositional structure. 'Murar' is basically structured around the linkage of two different jams: the faster one is reserved for the second place, in this way allowing the overall mood to give the impression of elaborating a controlled sonic discourse headlong for a specific climax. So far here are the rougher passages in the album, but there is some more roughness in store concerning some moments of the forthcoming suite. The album's final track is the 17 ½ minute long 'Krigssång II', an excellent, exciting suite that ultimately fulfills its musical ideas in a hyperbolic accomplishment of an usual progressive leitmotif - an extended, well-articulated series of sections properly arranged to conform an ambitious taste for art in rock. Here is where the band's moderate flirtations with symphonic prog lie and get an effective development. Fredin's bass playing sounds somewhat Squire- related in places, although by no means should anyone read that Yes is some notable influence on the band. A special motif that reappears recurrently (sometimes augmented by synth) helps to reassure the whole expansive track's cohesion. In terms of harmonic expansions and motif linking, this piece is monumentally successful; the jam that gets started around minute 5 brings some colorful psychedelia while it lasts, and it also prepares the room for the following defined section. A jamming that takes place a few minutes later sure reminds me of Nektar and "Inside"-era Eloy (to a degree, at least). The slow passages are energetic enough as to encapsulate some of the melodically driven pomposity that is one of the undeniable trademarks of symph prog. For the coda, things turn to a faster tempo and an increased groove: the fact that the rhythm section gets jazzy helps to keep things ordained as the rhythm goes on intensifying the mood. Actually, I would have loved to hear some impressive guitar lead as the track approaches its end: otherwise, on a good note, the fade-out has been arranged in a very clever fashion, stating an eerie reiteration of the coda's harmonic basis. A very good ending for a very good suite, indeed. The 2004 CD edition comprises three live bonuses besides the official repertoire plus the originally intended track 4 that I have mentioned earlier. Compared to the debut album, this one is noticeably less explosive in general and less expansive regarding the first half: the last half compensates for it largely. TK is by now a heavy prog band with a refurbished interest in developing a new, more refined side to it.

As Hugues mentions in his review this sophomore record from TRETTIOARIGA KRIGET is more subtle and refined than the debut. In this case that's not such a good thing as I found the debut to be more adventerous and difficult yet very rewarding.There are a lot of passages on here that I would classify as boring unfortunately.

"Krigssang" is led by strummed guitar and reserved vocals early. It's fuller a minute in then it settles back with mellotron as contrasts continue. Great sound to end it with the guitar and mellotron standing out. "Metamorfoser" has a relaxed sound as reserved vocals join in. It picks up 2 1/2 minutes in with the drums out front. It stays uptempo to the end. "Jag Och Jag Och "Jag" " is mainly acoustic guitar and laid back vocals. Not a fan. "Mitt Mirakel" is a song that finally has some energy as it opens with drums and prominant guitar. It settles some when the vocals arrive but contrasts will continue. Some nice guitar to end it.

"Murar" is an instrumental and easily my favourite song on here. It has a funky rhythm and the bass, guitar and drums are all outstanding.This is more like it ! It does change before 3 1/2 minutes but it's still really good. "Krigssang II" is the 17 1/2 minute closer. A side long suite.It builds then we get a calm before 2 1/2 minutes as almost spoken vocals come in. It starts to pick up a minute later with mellotron. Some nice bass after 6 1/2 minutes during the instrumental section.Vocals and a calm return then it picks back up with mellotron again as themes are repeated. A good song but i'm not a fan of the mellow sections.

A good album but I prefer the debut and two of their later albums over this one. 3.5 stars.

A brash and aggressive sophomore effort from Trettioariga Kriget makes up for some occasionally threadbare songwriting with powerful instrumental performances, the band clearly having decided to play it hard and loud this time around. The opening title track and the sidelong epic Kriggsang II are the best examples of this style, being bass-driven and fast- paced slices of heavy prog. The intervening songs are less interesting, with the occasional quiet acoustic section failing to attain a similar level of quality to the loud as hell electric parts. The vocals are also rather loud in the mix and don't really add anything, the singer being competent but not particularly distinctive.

The best progressive album from Sweden? Well, I tend to agree. Or rather, know it is. At least as far as the 70's is concerned. There are otther great bands from Sweden but none as great as Trettioåriga Kriget was on this album. I came across it in a little recordstore about 20 years ago and loved it right from the start.

In Sweden there was a strong political agenda associated with prog (or progg, as it is known). There were many bands, not all musically gifted. Alot of bands were actually musically challenged, if you wish. Trettioåriga Kriget was a band of great musicianship and brilliance, never as evident as on Krigssång, still retaining the political message of socialism.

The musical content (with it's very prominent bass) is amazing. Not only in the playing but more so in the songs themselves. It is a blend of hard rock, symphonic and fusion like stuff. I think of Stanley Clarke, sometimes, and maybe I am not that far off. Stanley Clarke playing in Rush, could be a comparison not straying too far off the mark.

From the first second to the last, this album delivers in spades and keeps on being spellbinding. This is a masterful and epic creation, worthy of praise and recognition. Listen and be amazed.

Trettioariga Kriget's debut was considered as the first true Heavy Rock album from Sweden, but actually it was more than that.It did receive some excellent reviews and the band had a chance for an exhausting tour on Swedish ground as well as extended visits on the Swedish radio.The second album of the band ''Krigssang'' carried again an epic title (means ''War song'' in Swedish) and it was recorded in summer 75' at the Polyvox Studios in Stockholm, but not released until early 76'.This time the vinyl was marked with original CBS press.

This was another great example of hard-hitting, powerful Progressive Rock with psychedelic overtones, highlighted by the monumental Scandinavian feeling, the poetic lyrics and the dynamic, passionate performances of the band.While mainly guitar-driven, their style had still plenty of clever moves, complicated breaks and a good balance between instrumental variety and vocal performances.Plenty of unexpected shifting tempos and influences from KING CRIMSON, DEEP PURPLE and LED ZEPPELIN are always in the menu.Moreover they also dish out some lovely acoustic textures with a melancholic touch, while Mellotron waves appear quite often, adding a nice orchestral flavor to the passionate sound of the band.The centerpiece of the album is of course the 17-min.''Krigssang 2'', a nice piece of complex, guitar-based Progressive Rock with the usual Mellotron showering as the absolute highlight and some surprising synth lines as well.It often sounds like a mix of RUSH with YES, although being far from any symphonic tendencies, but certainly drawing some inspiration from STEVE HOWE's acrobatic guitar moves.It passes from vocal-based Rock to early-70's Psychedelic Rock to stunning Progressive Rock in a blink of an eye with numerous gear shifts and very tight executions.

Yet another thumbs up for one of Sweden's leading Rock bands from the 70's.Combination of passionate Hard Rock ala LED ZEPPELIN and DEEP PURPLE with intricate Progressive Rock in the vein of YES, RUSH and KING CRIMSON.Strongly recommended...3.5 stars.