WINTERGATAN

Finally Wintergaten made it into the Progarchives.

This band is really something special. They experiment with all kinds of (sometimes selfmade) instruments, using typewriters as drummachines etc.

Most of the songs are short and have a swedish folk-influence. Sometimes they use accordeon to give a it folkish feel. Some songs sound more like synthpop. But all songs are instrumental so it's never really pop. They use different and difficult rhythms and tempo changes throughout the songs to make it sound really progressive.

Apart from the shorter songs, the band created a real progessive epic, clocking at almost 15 minutes, wich starts beaufitful and serene an ends with a heavy distorted guitar and thunderous drums. In this song the listener goes through all kinds of moods and tempos but always the band maintain real nice melodies.

The band members are really gifted and skillful but they never lose themselves in narcisistic soloiing. This album is the brightest and most complete progressive rock album I have heard in decades. It sounds fresh, playfull, warm and sympathetic. This album can be played on repeat, over and over again.

Really recommended to anyone, anywhere, anytime.

A band of four multi-instrumentalists from Sweden who play what could, I suppose, be described as a mixture of folktronica and rock (catch the end of 'Paradis' for proof of the latter). I found out about this instrumental-only band by chance after seeing a link in a national newspaper online to band leader Martin Molin's amazing 2000-marble (actually ball bearings, but I'm not going to argue) music machine, which Leonardo da Vinci would have been proud to have designed. Apparently Molin took 14 months to build it, and the video and music track were released at the beginning of March 2016. Aside from the Heath Robinson-like machine I also liked the music Molin produced using it and was curious to hear what sort of music a band with a quirky musician like Molin in it would produce.

So I checked YouTube and found WINTERGATAN's 2013 concerts at Dreamhack, the Roskilde Festival and Debaser Strand, and very much liked what I heard and saw. Sjöberg -- a top-notch drummer -- played at least three different instruments (well, four if you count the typewriter!) in the concerts and the others even more (Molin and Hägglund at least six each). It was a joy watching the band switching instruments. I liked the whole band, who play well together and complement each other. And, for a synth fan such as myself, it was a treat to hear analogue and digital synths, not to mention theremin and Molin's 'modulin'. Throw in pleasing vibraphone, xylophone, hackbrett, accordion, mandolin, music box (gorgeous in 'All Was Well' and at the beginning of 'Sommarfågel') and some seriously good pumping bass from Zandén (who, like the others, also plays keyboards, vibraphone, xylophone, hackbrett, etc.), and you have lift off. By the way, I was not joking when I mentioned the typewriter, which Sjöberg and Hägglund 'play' on a couple of numbers.

How to describe the music, though? Elves meet MIKE OLDFIELD meet JAN HAMMER meet GOBLIN meet... some heavy-rocking trolls, in places. It often has a distinct French vibe, perhaps due to the accordion, which makes me think of Amélie! Fortunately, you can check it out for yourselves on YouTube.

After watching the band's impressive debut video 'Sommarfågel' and listening to their eponymous debut album's tracks on YouTube, I found the band's Web site and purchased the CD in March 2016 (I would have bought the vinyl LP instead had it not been sold out). It was the least I could do after getting so much enjoyment from their material on YouTube, and I still enjoy listening to it. Excellent, quirky, tuneful, enjoyable and different music from a group of talented musicians playing a whole bunch of great-sounding instruments with love.