Band Biographies

 

 

Lars-Olof Ström - Vocals
Sven Lorentzon - Guitar
Mats Segerdahl - Drums
Andreas Niemi - Bass
Jörgen Oscarsson - Keyboards

 

"The Roots of Echo" was started by Sven Lorentzon & Lars-Olof Ström, April 1990, in Gothenburg - Sweden, originally just known as 'Roots'. They changed the name to "The Roots Of Echo" in the summer of 1990. In 1991 they recorded their first songs on an 4-channel porta-studio with the help from some friends. In 1992 they recorded some songs from a live gig they did. The song "The Garden" was recorded and later released (1993) on a collection-CD called "Life's A Joke", with Swedish psychedelic and Indie bands, released by "101", a small fanzine.

 

The album "The Roots of Echo" was recorded January 1993 and released at the summer the same year. This album was put together at "MVR-studio" in Fjärsås, (a very old and dusty 8-channel studio) and received great response from magazines in Italy, Belgium, U.K. and The Netherlands.

"Let your freak flag fly" was another collection-CD The Roots of Echo were on, with "Answer".

Garageland Records liked the band's music so much that they decided to finance The Roots of Echo's second album; "Söabu". This album was recorded in spring 1994, and had a more folk music attitude than the first album. "Söabu" was released in February 1995.

 

All this time they had taken help from a bunch of musical friends (including "Sinkadus" who had helped them at recordings and live gigs)

 

1994 - Played live at Gothenburg Art-Rock Festival (G.A.R.F.) together with Sinkadus. In the summer of 1994 Mats Svensson (who is now also with Sinkadus, & later changed his name to Segerdahl), who had earlier helped the band at live gigs, joined the band.

In autumn 1994 Andreas Niemi joined the band. Andreas had at that time recently broken up his heavy metal band "Akilles" to hang the bass on the wall, but Sven & L-O phoned him and after they heard him play they asked him to become a member of the band. Shortly after that they changed their rehearsal-local from the ceiling-room at Sven's home deep in a forest to a larger place that was a bit closer to Gothenburg.

The Roots of Echo had now developed an very original psychedelic sound, with a lot of guitar solos and a pounding rhythm section. In April 1995 they went back to the "MVR-studio" to record "Total live ninety-five", a raw three track cassette including the new songs "As time goes by" and "Guilt" and a new version on "Catch this moment". In May the same year Jörgen Oscarsson did the keyboard work for the cassette.

In May 1995 the band played live with Sinkadus again, but this time as two separate bands. Sinkadus took notice of The Roots of Echo's new drummer Mats and they later asked him for his help. Jörgen Oscarsson joined as keyboard player in the band later that spring. After contact from Phil McMullen they released "As time goes by" as a EP for Phil's "The Ptolemaic Terrascope" in U.K. September 1995. Over 8000 copies were made and sold on three weeks. This EP is completely sold out.

 

"Nothing Between You and the Sun" was recorded spring 1996 at "MVR" and because the band was short on money, most of the songs were recorded in one take and with a lot of improvisation. The album was released by the Italian company Mellow Records in May 1997, and is considered by many as The Roots of Echo's most progressive and powerful record ever.

 

April 97 - The Roots of Echo did a live gig for "G.A.R.F." again, at Dojan, Gothenburg.

 

1998 - Due to Lars-Olof's health problems at the time, Mats' heavy involvement with Sinkadus, and Andreas' and Jörgen's own projects, "The Roots of Echo" was dissolved.

 

The group re-formed in 2012 as a project in order to manage the group's heritage and aiming at some future plans of the resumption of business, initially as a collaboration between Sven and Lars-Olof, then as a non-profit project run by Lars-Olof on his own.

 

Discography:

 

 

I'll let the final editing be done by someone who is familiar with the proper format of biography entries on PA. The source of the info is given at the top of the post - or you can just credit it directly to Lars-Olof, since he has kindly provided all the corrections.

After that some SC (I know at least one them) will come forward.

http://www.progarchives.com/artist.asp?id=1897

nice bio info

yeah thats better now. two lines is not realy adequate so thats way better now 

I made an attempt on filling Kujakuon's bio, it looks slightly better now I think.

 

See also: http://www.babyblaue-seiten.de/index.php?bandId=2780&left=alpha&top=reviews&alpha=b&content=band and http://www.babyblaue-seiten.de/index.php?albumId=7555&left=genre&top=reviews&genre=35&content=review.

 

From The Crack in the Cosmic egg: http://myweb.tiscali.co.uk/ultimathule/krautrockers.html:

 

 

 

http://www.open-end-music.de/vb3/showthread.php?t=816 (the same info as on the second of the Babyblaue links given above - here google-translated into English:

 

Here I want to introduce a production that will fit into any pattern so do: "Traumspiel" is a music between jazz and rock, but never really clearly defined. Stunning soundscapes mix with scary voices and Geräuchen. Somehow reminds me of this CD to the CD "Meddle" by Pink Floyd, who teaches a partially fear. "Any form of listening is allowed. because the dream knows no rules."  Herbert F. Bairy? Who is Herbert F. Bairy? Before I recently came across this album, I certainly had never heard the name. Too much I have Bairy later also not found (maybe the name is also a pseudonym). I've found it really only that he is a percussionist and 1979 with a cargo of accompanying musicians has recorded here rezensierende disc. About some of the musicians on the other hand is more known. Rob and Jeff Beer Terstall were, for example the beginning of the 70s with Odin worked. Beer, Jürgen Bräuninger, Manfred Kniel and Bernd Konrad are now all more or less well-known (at least google knows) composer, freelance artists, university and instrumental teacher. Michael hamlet briefly played with the hard rockers of Armaggedon, but is now probably as Manfred Kniel, Thomas Stabenow and Frederic Rabold mainly in jazz circles. The singer Dietburg Spohr finally is today a separate, specialized in contemporary classical vocal ensemble before. Sometime in 1979, all these musicians gathered (and some more) - then most of them were probably still at the beginning of her career - in the Tonstudio Zuckerfabrik recording studio in Stuttgart to four compositions by Bairy einzuspielen. "Traumspiel", he called the result. In the booklet of the CD reissues of in-akustik is (free quotes) that critics would probably put the album in the drawer "world music" because it would not allow them to apply the well-known jazz and rock templates. Well, as world music, I would not call the whole thing, because ethno sounds are rather in the minority. Once I put therefore to a few other templates. jazz and rock is as a rough orientation with respect to "Traumspiel" sometimes not at all bad. In addition a symphonic-progressive component, a good shot herbaceous electronics, a few zeigenössisch-classical influences, free sound paintings, some ethnic atmosphere (especially as regards the percussion) and a trace of Folklore. The easiest track to classify is "Runnin". The number is a lively, dominated by percussion jazz rocker with Latino flair, the same or a similar on one embryo - Munju - or Missus Beastly- album could occur. However, falling out of the ordinary, the funky-angled Trompetengequäke and almost zeuhligen choir deposits. The title track offers something different music. "Traumspiel" is a leisurely gliding, behavioral menacing sound paintings of all kinds of echoing and resounding tones, which slowly develops into a worn, but rather serene rock number, which then dissolves back into sound extractor. This is reminiscent in places of the Iceland-albums by Jade Warrior or even to Mike Oldfield (but is a track oblique). The variety of instruments durcheinanderpurzelnden here is certainly impressive. "Lady Ollala" is similar knitted. Voices, synthesizers, bass, guitars, piano and some more waft only messed bleak before, according to a purely electronic-herbaceous section, a folky-acoustic, but still by the synthesizer used under painted part of a little of the later slices of Popol Vuh recalls. However, the music is far more interesting and comprehensive instrumented as in the formation of Florian Fricke. Then the piece is much more rock on, bestimmmt of the howling electric guitar, but still very worn. Towards the end the whole thing dissolves in a free sound mess. At the end of the album tumble in "Redpeters Dream" diverse percussive and electronic sounds and clarinet sounds freely through each other. "Traumspiel" is a pretty interesting disc that actually anyone who feels at home in jazz rock, electronica, krautrock and freer Geplinge, very is recommended. This even more so than the album at the time (fall of 2006) is to get at various Internet service providers for a ridiculously low price. Get It

 

ADDENDUM: To find out more about the enigmatic Herbert F. Bairy, I simply Jeff Beer contacted by e-mail. What this tells me kindly, the name is in fact a pseudonym. Behind this is a percussionist, composer and instrument builder Ferdinand Försch. This has apparently completed but with his past. On the internet site of his house sound, "Traumspiel" is in fact mentioned nowhere. http://www.klanghaus-ff.de/

http://www.progarchives.com/artist.asp?id=915