TRETTIOÅRIGA KRIGET

Trettioåriga Kriget(Thirty Years War) were formed in Sweden in 1970, and were active through that decade before breaking up in 1981. There were a few reunion concerts in the Nineties, before they reformed, and they have been active ever since. Their Seventies albums were reissued in the early 2000's, when I reviewed them, plus I reviewed their 2004 album 'Elden Av År' but must confess to having lost contact with them since then and have missed out on the three studio albums between that and this their newest, released in 2021. One thing which is incredibly unusual, is that while not every person involved in this album was there in 1970, or even played on every album they have released, the "new boy" is keyboard player Mats Lindberg who has only been with the band since 1977!

One of the real joys of this is that it is very much a progressive album which could have been released by the band in their first decade, with traditional sounds and approach. But they are not a band trying to look back in time and create something based on modern influences and retro, these guys really were doing it more than 40 years ago, with a few of them having now been involved with the band for 50 years and more. There are times when they use acoustic guitars, others when the keyboards are much more to the fore, while for me the vocals are another instrument as they sing in Swedish. There is an incredible depth to the music, as well as a great use of space. They have a relaxed approach and sit back inside the music, allowing it to flow and move around them as opposed to always driving it forward. This patience and control are key aspects of the music which is deep, broad, and classic. It sounds like classic prog, but with modern production and approach, and this combination makes for a very enjoyable release indeed. Progheads certainly need to check this out.

Considered one of the most influential Swedish hard rock bands of the 70s, TRETTIOÅRIGA KRIGET which means Thirty Years War was conceived in 1970 by high school buddies Stefan Fredin and Olle Thörnvall after reading about the religious and geopolitical event in a history class. In the beginning the band formed with six members but was reduced down to four by the time this self-titled debut album was released in 1974. This is one of those bands that straddled the spectrum of influences and offered stark transitions between heavy rock with progressive elements in the vein of the most fiery King Crimson to more standard hard rock in the vein of Led Zeppelin, UFO or Uriah Heep but also the band could shift without warning into mellotron soaked acoustic space rock as well as exercise some of the knottiest time signature bombast in contrast to the otherwise highly melodic display of musicianship.

While never famous outside of their homeland, this band that began in the town of Saltsjöbaden near Stockholm was limited in their audience size mostly due to the Swedish only vocals performed exquisitely by Robert Zima one of the last members to join before the band released this debut album. This first album offered a rampaging display of heavy rock with a jazz-infused quirkiness laced with progressive outbursts that decorated the soundscape. Sounding unique even by today's standards, TRETTIOÅRIGA KRIGET's debut has been cited as a major influence on band's like Ånglagard and Anekdoten and is a primo example of how sophisticated Swedish prog was in it the golden years while the rest of Europe was capturing the world's attention. The band was also famous for changing its style dramatically from album to album and therefore this heavy rock debut was followed by a more pastoral acoustic sophomore release.

After forming the band was lucky enough to catch the attention of Epic Records which signed them up to release this eponymously titled debut. The original release consisted of six tracks that added up to the standard running time of an album, in this case just over 38 minutes long however newer releases offer three bonus tracks which are every bit as good as the original six and even offer an English vocal track with "I've Got No Time" unlike on the original. The album belies its hard rock leanings with the opening "Kaledoniska Orogenesen" which could even be considered heavy metal since it's heavier than anything either Led Zeppelin or Black Sabbath had released. The track begins in classic rock form but then shifts into knotty prog territory with a barrage of time signature changes, dynamic shifts and hairpin turns. After an abrupt ending the following "Röster från minus till plus" jumps right into knotty prog territory but less frenzied in the world of psychedelic space rock with some jazzy overtones. At nearly eight minutes long it's also the second longest track and features some excellent prog workouts.

"Fjärilsattityder" showcases a jazzier guitar presence and a dominant choppy bass line. While the lyrics are in Swedish, lead vocalist Robert Zima sings like the Italian singers of the same era however this track is all about letting the guitar riffs and soloing rip. Jimi Hendrix is also a clear influence in the guitar presence however with two guitarists there is a beefier overall sound. This track in particularly reminds me of Osanna. "Mina löjen" just ramps it all up with the perfect mix of frenetic hard rock and prog. At an 8:09 running time also the longest track which allows it to explore much terrain. Another series of straight forward proto-metal moments and knottier jazz-rock prog which features softer vocal driven passages that alternate with angst ridden guitar fueled frenzies that are a mix of King Crimson and Led Zeppelin with a bit more Lucifer's Friend energetic discharge. "Ur djupen," the shortest track under four minutes is a more immediate mix of heavy rock and slower jazzy rock. The closing "Handlingens skugga" features a dramatic build up with military march drumming but then alternates between jazzy spaced out passages and frenetic heavy metal fury. The guitar solos are particularly unhinged.

TRETTIOÅRIGA KRIGET was quite successful in its native Sweden but unlike most rock oriented bands of this era, refused to use English and therefore stunted any international appeal however over time the band has been recognized for its significant talent beyond the local Swedish scene. The band would tone things down a bit on the following album "Krigssång" by jettisoning the heavier rock freneticism and focusing on the spacier prog aspects making this self-titled debut a unique slice of the band's lengthy history (they are still cranking out albums with the latest "Till Horisonten" coming out just this year in 2021.) As far as i'm concerned this debut is the one that works best for me. The contrast between caffeinated rock parts and the spacier slower jazz-rock segments is well worth the price of admission. While there could be a bit more variety especially as the albums reaches the final tracks, there's no mystery in how this band could've been considered Sweden's top hard rock band of the era because even by today's standards it is of very high quality. And to think that this album was released the same year ABBA won the Eurovision Contest and forever put Sweden on the map for exporting its musical talent!

TRETTIOARIGA KRIGET certainly doesn't roll off the tongue for this English speaking Canadian but it's the music that counts and these guys are pros in every sense of the word. A Swedish band who formed while they were still in High School as a four piece and it wasn't until their third studio album that they brought in a keyboardist and this same lineup continues to this day as I noticed they released a new album in 2021. They have disbanded a couple of times previous but unlike so many bands when they return they continue to sound like themselves and they continue to make outstanding music. In fact this album I'm reviewing is the third in a trilogy and this trilogy may be their best string of music. I also really like their 1974 debut. Funny but my oldest daughter really likes this band which is kind of random but she loves PORCUPINE TREE so she's into the more accessible bands of Prog. Great guitarist here and the vocals are in Swedish and they have indeed carved out a nice career for themselves in their native Sweden. And they use melloton! In fact they used Stefan Dimle's mellotron the same guy who's label they have been on since 1992 called "Mellotronen", and he was also in LANDEBERK, MORTE MACABRE and PAATOS to name a few.

We get mellotron on five of the eight tracks creating atmosphere. This band are great at contrasting the heavy and more mellow passages. I have loved the sound of the guitar since the start, just the tone of it but of course the guy can play, and that he does very well. Man this is a consistent album which I like, no duds just a lot of great music. It opens with heaviness as the drums boom and the guitar solos over top. It lightens when the vocals arrive but contrasts continue. Interesting to hear orchestral sounds on "The Child" probably from the keyboardist. A mellow start but when the vocals step aside before 3 minutes and the tempo picks up I'm smiling. Heavier before 5 1/2 minutes until almost 7 minutes. Nice. I'm a big fan of "The Dance" as well which is an instrumental with some great sounding guitar. Another highlight is "Glorious War" opening with bass and reserve vocals it kicks in around a minute including more powerful vocals. Organ rolls in at 5 1/2 minutes with guitar soloing over top. So good and it ends heavily. The closer is the other highlight called "After After" at over 10 minutes. A great tune to sample actually as we get this band at their best including mellotron.

If you don't mind non English vocals and are into some adventerous guitar driven music please check out this amazing band. Hard to believe this was released 10 years ago.

These guys have been around a while, in fact they could even be considered as prog dinosaures if you get interested in their discography. With this latest album they really show how well they can write excellent music. I'm talking about music as in "songs and melodies" that you remember. Don't get me wrong. This isn't pop. This is beautiful progressive symphonic rock with guitar driven songs. No hard rock here, but instead we get a distinct Beatles feeling in the songs. Did I mention the mellotron? Simply gorgeous. Nothing intrically complex but quite the opposite : simple and effective progressive rock that finds its roots in the blues. Listen to this and you'll remember what progressive rock is all about. It feels like falling in love after 40 years of marriage with music!

'Seaside Air' - Trettio'riga Kriget (58/100)

Trettio'riga Kriget have been releasing albums since 1974. They've been around for almost as long as many of the progressive rock canon's greatest, and 10 albums are evidence to the fact they've spent most of that time actively. I had not heard of these guys until recently; a fixture on lyrics in their native Swedish seems to have limited their exposure abroad. Nonetheless Sweden would have its role to play in the bold Scandinavian prog resurgence in the 1990s, and I can't help but think that Trettio'riga Kriget helped lay the foundations for groups like Anglagard to make their stint.

Listening to Trettio'riga Kriget's classic material makes them out to be a Swedish equivalent to Italy's RPI scene; theatrical, bombastic, and none-too-afraid to boast the tonal qualities of their mother tongue. With that said, it's a little disappointing they've mellowed out so much by the point of Seaside Air. A band that once seemed to channel the neatest parts of bands as diverse as Rush, Focus and Banco del Mutuo Soccorso (and sometimes all at once!) going the way of gentle, prog-flavoured pop is little cause for excitement. Of course, few bands from the golden era are still even around to make music, and most have fallen much farther than these guys.

I don't mean to sound so damning. Trettio'riga Kriget knew what they wanted to do here. It's obviously a different vibe than the heyday, but a style should change with age and experience. Seaside Air is a Summertime album for these Winter months. The cover, title and leisurely tone to the songs sounds like a musical equivalent to sitting by a lakehouse and watching the world go by. Familiar prog sounds (like mellotron) that were used a lifetime ago are here, but the context is all different. Trettio'riga Kriget's songwriting is straightforward. The musicianship is unassuming. The tone is light and friendly. All of these are intentional on TK's part, I'm sure, but for all the authenticity, it can't be said that they're doing much to arrest attention at this point in their career.

To the band's credit, I think it's pretty cool that Seaside Air simultaneously embraces an adult approach to rock, while simultaneously echoing their proggy past. It's a similar feeling to the one I got with Yes's Heaven & Earth record in 2014. However, unlike Yes, who sounded both lazy and desperate in their attempt to rekindle the past, Trettio'riga Kriget allow themselves to comfortably settle into this sound. Where so many of the 70s groups have fallen into disfavour, it feels like these guys have adapted in a way that fits. I'll end with a final note: The music itself is never exciting, but Robert Zima's full-bodied voice has a way of bringing these songs to life. The album's tameness is sure to limit its appeal to the current generation, but let it not be said that Trettio'riga Kriget don't bring the quality where it's due.

In October 1976 Trettioariga Kriget hit the road for an extensive tour throughout England, visiting also Wales and reaching the Scottish borders.The ''Melody Maker'' magazine chose the band among the very promosing rising Rock groups, but to their surprise they were dumbed by CBS upon returning to Sweden.They signed with the newly formed Mistlur label, while keyboardist Mats Lindberg, who helped the band in the previous albums, became a permanent member (I wonder if he was the same guy playing the bass for Kaipa around the same time).Third work by Trettioariga Kriget came out in 1978 under the title ''Hej pa er''.

Featuring a full-time keyboardist, one would expect from the sound of the Swedish to become a little more keyboard-centered, but apparently that never happened.Instead they remained one hard-hitting Prog/Rock act with emphasis on double guitars texts, while the tracks became more conventional with limited progressive moves and more strsightforward songwriting.But the quality of the compositions hasn't dropped a bit, the guys created a set of great Hard Rock songs with some notable progressive tendencies and a furious energy and poetic lyricism.No track exceeds the 5-min. mark, the material here is definitely an affair between Hard and Psychedelic Rock with Mats Lindberg providing the occasional keyboard support, mainly on synthesizer, organ and clavinet.Series of fiery riffs, some extremely beautiful Nordic-styled soloing and a few complex twists, reminding of the band's most progressive values are the basic elements of this work, while several tracks escape from the raw stylings of guitar-dominated sound to become a little more refined and epic via the use of keyboards.Linberg also provides some nice sax lines in a pair of them and the overall sound sits somewhere between WISHBONE ASH and late-70's CAMEL, although the Scandinavian taste always comes on surface due to the use of Swedish lyrics.

Very nice and rockin' stuff.It holds some of the band's previous artistic values, but the focus here is on electrified textures and dynamic guitar workouts with a nice keyboard background.Strongly recommended...3.5 stars.

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.

This record "Kriget" by the band "Kriget" (formerly Trettioåriga kriget) is the band's last record before its hiatus to 2004. It was released in 1981 and featured Stefan Fredin (vocals, bass), Mats Lindberg (piano, keyboards, saxophone), Dagge Lundquist (drums, vocals) and Christer Åkerberg (guitar). They had changed vocalist which was perfect. When the bass-man took over Trettioåriga kriget became much better. Unlike the last guy this man Stefan Fredin sings clear and he has a nice accent. He has thet typical Stockholm-accent which is not so common nowadays when the letter "ä" is pronounced like the letter "e" so the words "knegen" and "vägen" rhyme. I allways like that accent.

I didn't like their debut record which was progressive. This isn't progressive rock but it is very sophisticated rock with interesting lyrics and musical poetry. The addition of keys and sax makes the music more ample. Kriget had embraced the 80s musically, they had som synth tendencies and for me it is music from the city, from my city with a taste of beer, melancholy and modernity. On the first side the most important tracks are "Moderna tider" which is short but powerful and "Europa" with a sad and memorable meaning and floating strong rock music. "En liten man" is also full of poetry. On the other side stand two songs out: "På jakt efter rock" and "Som förut". Both are very qualified rock. The first song has almost a symphonic feeling but enclosed in 80s costume and the other song is also a powerful rock song where the saxophone gives the song its splendor. I would especially recommend you those two songs "På jakt efter rock" and "Som förut" when they are so good. My father "Johan" bought this album many years ago and has played it a lot. I prefer this "Kriget" in front of the former progressive "Kriget". As I wrote: Sophisticated rock (from the early eighties). Perhaps not so related to prog music but still a genuine band.

This record, which is Trettioåriga krigets first, has a lot of talant and good progressive elements but it doesn't affect me. The best song in my opinion is Röster från minus till plus (Voices from minus to plus) which is a beautifull song with a deep sound and great instrument work, but the rest is quite boring. As a swedish man I would understand the lyrics but I don't. He is not singing very ambiguous but I think his pronounciation isn't the right. I think the singer Robert Zima comes from Austria (Österrike). What I understood the lyrics were dopey, is doesn't have to be bad. What I missed was strong melodies and symphonic touches. This was heavy but it really didn't hit me enough.

Another pleasant surprise!

A friend passed on some works of this band, a band that I've never heard of before. Another one of their other albums "Kriegssang" was high;y recommended, but always a rebel, I decided to do reverse order, just for the sake of it.

So, not expecting "too" much, I gave this album a spin and resumed of checking my mail. Soon my ears flopped up. Hey, I can happily relate to music like this! My attention suitably aroused. this experience had soon become of outright interest.

On this album the band is very close to what Pink Floyd were about around 1971. Tasteful, laid back, no stress compositions laced with nice guitar work, also reminiscent of early Gilmour approaches. There is even a hint of SBB in parts. The vocals appear to be somewhat less impressive, but since I don't speak the language, I can't comment on their value as in poetry.

What impresses the most is that they don't try too hard, not trying to impress! Heartfelt music, not made to cater for Top10, or to please the record industry, or to score dumb groupies.

No doubt, the music is simple and uncomplicated and therein is it's true value. Recommended for those who can't have enough of early Pink Floyd. There are some weaker moments, but as a whole it easily qualifies for rating of 4.

A footnote. When reading reviews on PA, I generally bypass Crossover - under which this band is currently listed and something that I am not in agreement with. Had it not been for my friend, I would never have displayed any interest as such.