TUSSILAGO FANFARA

Anna Själv Tredje (with a reference, I think, towards St. Anne, mother of Virgin Mary) is a duo created by music-makers Ingemar Ljungström and Mikael Bojen. Neither of the two artists' music experience tells the consistent shrud of the duo's journey, the music decides "itself" on the entire meaningful style and experiment. The two artists practiced this music starting 1975 or 1976, they succeed a defining album, titled Tussilago Fanfara, then dis-ambled at the end of the decade. Ljunström himself is much more known, since he joins a couple of more electronic, punk, wave or rock duos or trios, most profoundly Cosmic Overdose (a polished band, but an insatiable order of sound) or Twice A Man (even trickier...). Mikael Bojen is yet an obscure artist and music composer as, in this album, he makes entire ornaments and sound-ballads towards the uncommon artist and the un-related passion.

The importance of the Anna Själv Tredje ensemble, and of Tussilago Fanfara, should be rather big, considering a few things, like the flawless (or very atom-hard perfectioned) creation orientation, deep in the humble electronic artistry and progressiveness, the colorful obscure intentions marked by the precision or the delouse of their initiative, the pretty rare recording factor (that has an entire emotion of great and adapted music) or the symbols of a band with no echo and misty presence, that surrounds all the intelligent and organic means and natures of its so-approved style. Then again, Anna Själv Tredje isn't about the glory of the music in the dust of the resemblance, some things are moderately elevated and dynamic, others contemplate the music that the entire breath of classic electronic and modulating experiment covered up, in the 70s, to an extent of a powerful overdose.

The band's marked flavor has tendencies towards a psych-active late impression, or towards the kraut-bytes of some dimensions beyond the bad dream and the teared reality. Yet, for sure, Anna Själv Tredje is exclusively a band for the electronic mature stage, upon the vast influence that comes from Klaus Schulze and the even more enormous impression the music-melody-sound intricate line of thought goes through, directly convincing of Schulze soundscapes, dark ambients or sequence energetic conversion. The point of ephemeral and experiment even can allude some drone-actions, likewise the serene or subtle machine-shades from Cyborg. But the best fragrance comes from the mid-Schulze delight, starling Moondawn when working on sound-mist and melody-raptures or Mirage when the dynamics and the sequencers, the synthesis work and the strange forms have a better and more significant development. There are small minimal parts that can satisfy parallel-styles from Hamel, Glass or Reich. Plus, upon the electric guitar work Bojen does (and in fact, given an entire piece, Tusen år & sju timmar), the album opens up its color to breath in more popular, shapeless or post-experimental substances, genre a low-pitch groove and guitar swell by Ashra.

Overall, Anna Själv Tredje are greatly hooked in the entire Berlin School mechanism, plus they share (gratingly) their own moment of music, experiment and vaporous sound-stream. The album is a "mindphase" for aficionados, yet stands out just as much as an electronic gift of sound and surround.