PÅ RADIO 1978

It's surprising to see how "AUTUMN BREEZE", an excellent but obscure band from the late 70's Swedish scenario who released a sole album in 1979. keep presenting us new material in 2009 despite having split three decades ago.

Now is the turn for "På Radio 1978", an album recorded in "Sverige Radios Studio" in Karlstad. Despite having received the CD from the keyboardist "Jan Warnqvist" there's little information about how was it recorded, apparently for radio sessions because there's something that sounds as an interview (I don't speak Swedish at all and ,my poor German helps very little) in track 2 "Snack", probably interesting for Swedish listeners.

AUTUMN BREEZE strangely doesn't perform any track from their first release "Höstbris", instead they bring mostly previously unreleased material (including the interview), and three tracks from the "Demo Tapes" in their final versions.

I was very impressed with the strength of the rough style of "Demo Tapes", but the more elaborate versions from "På Radio 1978" also surprised me, the sound is much more delicate and the arrangements very elaborate, they loose a bit of that naive charm, but gain in complexity and maturity. The only problem is the production, which is weak, but I care much more for the music itself, if not, I wouldn't listen "Nursery Cryme" which I consider a perfect masterpiece despite the horrendous production.

The album starts with "Ouverture" a new track not to be mistaken with "Falsk Ouverture", because it's far more Progressive with strong elements from early JETHRO TULL and FOCUS (In & Out Focus), this time the changes are much more radical with a delightful flute performance by "Gert Magnusson", but that's not all, around the 1:44 minute "Jan Warnqvist" dramatic piano blends perfectly with "Gert Nilsson's guitar" and Magnusson's flute to create an extremely dramatic section, this is the kind of material I was expecting from AUTUMN BREEZE.

As I said before, "Snack" is probably an interview, so we pass directly to "Dimman Från Have", a frenetic track sung by "Brigita Nilsson" and her unique voice, starts as a JETHRO TULL influenced song that turns into some sort of Psychedelic FOCUS with strong drums and bass with a constant flute that turns more aggressive as the song advances...But when I expected no more surprises, near the end a strong drum solo leads to the grand finale. Progressive Rock at it's best.

"Evil Light" marks a dramatic change in style, the keyboards recover their leading role that in previous tracks was left to the flute, this time the interplay between "Brigita's" voice and "Gert Nilsson" in the guitar is impeccable........Another highlight, this time closer to Proto Prog.

"Dialog" comes from "Demo Tapes", but this time much more complex and elaborate, with the piano and the flute making a more complex work, but without loosing the strength present in the other version. Again "Gert Magnusson" does an extraordinary flute performance, but this time allowing all the band members their moment of glory.

"Ta Mig Met" really freaks me, I didn't expected such a dramatic and atmospheric song from a band that has their roots in Heavy Symphonic, dark and misty with PINK FLOYD overtones, loved it from start to end, specially because of "Warnqvist's" work with the organ, this album keep getting better.

"Secret Space Agency" is basically similar to the "Demo Tapes" version, even when a bit more elaborate and better recording, almost the same can be said about "Nr 646", even when in this case the difference in the arrangements is stronger specially in the guitar work, so must say that after listening them, my impression of the band is higher.

I won't comment the 4 seconds "Epilog", because I don't understand why it was added, but this doesn't change my opinion, less than 4 stars would be unfair.

Heading to their only official release during the 70's, Autumn Breeze appeared in a radio show in 1978 in a performance, where original singer Leif Forsberg appears to have left the band with Birgitta Nilsson remaining the only member responsible for the vocals.This archival recordings contain alternative versions from three of the ''Demo tapes'' tracks along with unreleased material.It was published by the group in 2009 again on their own My Records.

The sound here is mainly along the lines of Heavy/Psychedelic Rock with lots of flute work and evident symphonic leanings in the soaring keyboard parts.Obviously they wanted to sound quite original, but the bootleg quality of the recordings somewhat buries the good ideas of the group.The music is pretty raw and largely instrumental with extended flute solos in the vein of JETHRO TULL and electric guitar as the leading instrument, offering both melancholic and upbeat tunes in the rhythmic and solo parts.The sound is pretty dated with bluesy influences around and the only thing reminding of the period is the use of synthesizers, which add an atmospheric flavor.KEBNEKAISE and KAIPA vibes are also evident in the folkier and more ethereal moves, although the group avoids any certain melodic content in the sake of heavier and more psychedelic soundscapes.However the combination of electric guitars and synths in some tracks is really attractive and shows a band with a good potential, even if this premature material present a confusing and rather inconvinving sound.

This document shows Autumn Breeze struggling to find a sound of their own, passing through straightforward and more progressive paths at the same time, while the quality of the recordings is pretty mediocre.Recommended to fans of the band and those fond of 70's Psychedelic Rock with a rough edge...2.5 stars.

For many years Autumn Breeze had been a one-album group. That is no longer the case. The band did not reform but new material was unearthed. Too often this means demos of already released material or outtakes. "På Radio 1978" is actually something quite different. In 1978 the band did a live performance in a radio studio and played nothing from their only studio album, "Höstbris."

I look at this as the other Autumn Breeze album that could have been. There are some tracks that appear on the other new "Demo Tapes" release, but this is the set that easily could have constituted a studio release. That possibility is also discussed during the interview portion of the album. Unfortunately the recording studio and record company were already in financial trouble. Even though CBS was interested in Autumn Breeze, the band was worn out, so they broke up.

This may not be a "proper" recording, but it stands up very well. "På Radio" also has a much different feel than "Höstbris." There is no doubt it's the same band, but there is a heightened energy. Sure, this would be expected with a live performance. However, the material is also a big factor. On "Höstbris" the key was subtlety. Here it is passionate jamming. I am not using that term loosely. They actually adopted more of jam band aesthetic. It is the same instrumentation and blending of styles, but they definitely took the top down and swung it.

What also makes this album different from similar recordings is the structure. The tracks are laid out conceptually. "Overture" is just that. It is an overview of what is to come. The beginning is a bit abrupt, lacking an intro. It was probably cut this way as a lead in to the radio show. The next track is the interview, followed by a tight flow of musical tracks, and ending with the spoken "Epilog."

The music is catchy, compelling, at times spacey, and often flat out rocks. There is less progginess than on "Höstbris," but it is not missed. Whether it's was a jangly jam, as on "Evil Light," or a slow blues/jazz workout, as on "Ta Mig Med," the band was right on point. The sweet spot was found, and all the music comes right from that moment.

Since the interview is in Swedish, I asked Jan Warnqvist for a little help. Most of what was discussed can be found in the bio on the Autumn Breeze site, but he did clue me in a couple of the more interesting items. The band was adamant about expressing the vocals being one instrument amongst all the others. This is evident in Birgitta Nilsson's tendency toward jazz styling. The best comment was concerning Swedish dance music and Punk (remember, this was the late 70's). They said that those genres of music were worse than Swedish Class II beer, in which everything good was extracted. Ha!

Where it took another look for the aforementioned album to reveal its charms, "På Radio 1978" grabbed me right away. In many ways I prefer it. The artful essence of the studio work is very enjoyable, but this seems to be the band up close and personal, having a good time. Since Autumn Breeze never did get back in the studio, this is the second album. Unlike many "lost recording" offerings, it works as well as something that could have been released at that time. Definitely check this album out. It truly is a lost gem.

H.T. Riekels