RIKTIGT ÄKTA

The start of this great Swedish prog adventure - sung in swedish. When this came out with the debuts of Anglagard and Anekdoten, every progheads sensed that things were finally moving in the right direction. Landberk was always more concise and less flamboyant than the other two group as the numbers were not very long and were more sung . This is very relative because this album holds every proghead expects from such an album. Ambiances , complex rythm , excellent musicianship (especially S Dimle and R Fiske), good songwriting with development etc..... A classic.

Nowadays, the Scandinavian scene sets the patterns between melancholy and tragedy within the realms of progressive rock. "Riktigt Äkta" is a rare composition, so human, so dark that evokes the deepest feelings you've been holding inside and will take you to the point where you can be exposed to the real essence of this symphonic masterpiece. Many Swedish bands are out there on the spotlight standing still to the inclemency of top prog bands, but its projection is greater than its anonymity. That'd be the particular case of ANEKDOTEN, which combined its talent with some of the skillful musicians of LANDBERK to produce in 1998 the ultimate instrumental progressive piece, "Symphonic Holocaust". The band commanded by Patrik HELJE on vocals, reached vertiginously its peak with debut album "Riktigt Äkta", making the rest of the LANDBERK experience worthwhile. Disbanded in 1996 right after "Indian Summer", the formula reinvented by the Swedish band will remain still no matter what musical changes or progressive tendencies. Definitely, one of the best albums released in the early nineties. Get to know this proposing and enigmatic band, you'll be enchanted. No more to say.

I found this album a little stolid, and lacking any real innovation. Subsequent listenings have sadly not improved this perception, and I fear it will now rest in Tier 3 of my prog collection: "Rarely Listened To...".

The reasons are thus: 1. The production is pretty poor - the instruments are too cleanly recorded (especially the invasive drums) which creates an atmosphere of rehearsal room gloom rather than ethereal otherworldly bleakness (which I think they were aiming at). Although this probably wont bother many people, I felt constantly reminded that I was listening to 'a band' rather than pieces of music. Its a bit like that Hobbit having a Glaswegian accent in the Lord of the Rings movie - you are suddenly transported back to Sauchiehall St on a Saturday night, rather than into the depths of Isengaard.

2. The biggest problem (and frustration) is that the music is lacking any real inspiration and depth. The vast majority of it consists of 16-bar phrases repeated over and over, without the kind of development or musical deviation craved by most progressive fans. Another reviewer drew attention to the "complex rhythms", but I found the album plodded along in straight 4s for the most part. The drummer (clearly a competent, if undaring, one) tried to liven things up by dropping the odd snare and shuffling his limited drum breaks around, but ultimately, he failed to add anything worthy to the mix other than rigid timing. The guitarist(s) meanwhile offered little colour to the skeletal songs, opting to for simple first position chords over a more elaborate orchestration, which ultimately bores the listener for large parts of each song. Occasional innovative flutters appear to be due to luck rather than genuine talent, as the standard is rarely maintained. Then there is the keyboard/mellotron player - why do prog bands insist on using the mellotron? Is it to rekindle the halcyon days of Bob Fripp? Is it a tribute to a period when experimentation was respectable? Is it because they want to sound like 'prog'? It certainly doesn't add anything to Landberk's sound. Indeed, the keyboard player does little more than provide boring triads (about the limits of the mellotron) and echo the bass runs (which themselves are often simplistic and dull).

3. Finally, I dont speak Swedish (I'm assuming thats what it is...), and thus the meaning of the songs are lost on me. This has not necessarily been a bad thing in the past ( I love Sigur Ros for example), and often prog lyrics can be utterly terrible - not understanding them can be a blessing. Unfortunately for Landberk, the music is not strong enough to carry it. Fluent Swedish speakers may find something more positive in the lyrical element of the album, but I fear that non-Swedes may struggle to enjoy this drab collection without a comprehendable narrative.

On the positive side, there are one or two tracks that drag this album out of the "Forget It" category. A nice long drumless, voice-less, medieval instrumental track will probably work its way onto an ambient compilation of mine.

On the whole though, a disappointing effort, and sadly, representative of my initial forays in Scandanavain prog. Further suggestions gratefully received...

I was a bit disappointed with this album, which I found much later as it's releasing. I believe "Riktigt Äkta" had a huge impact for the prog scene of the 1990's among Anekdoten's "Vemod", but like with the group referred, I feel their later albums which found first sound much better. The tracks "Trädet" and "Visa från Kallsedet" were the most pleasing and artistically interesting compositions from this album for me, but what annoyed me most was that I already knew these songs from their "Lonely Land" CD, which is a re-release of the same material with English lyrics. I'm not totally comfortable with this kind of recycling. I think they should have decided to do this either in English or Swedish, as now there are two albums with same songs being sold in the markets, with different titles and album covers to fulfill the confusion of the poor record collector. Maybe there were some ideas of testing the impact of language on both domestic and global markets. Maybe this solution was fruitful, as the tendency continued on following mini CD's. Most of the songs are also slightly boring to be frank, and I found them more like retro oriented that progressive rock oriented. Some charming whispers of emotion still sure present in the first steps of these sincere musicians.

Boring, Boring, Boring. This is certainly not the masterpiece it's made out to be. The guitars are amaturish, the keyboards non-existant, the drums all straight beats. Like another reviewer mentioned, I didn't hear this CD in the context of the time it was released; maybe I would have a more a more positive attitude if I had. However I get the impression it would have sounded just as terrible to me in the early 90's as it does now. Buy Analagard or Sinkadus instead.

2 years ago I was introduced into Scandinavian Prog with help of my friend from Lugansk. I fell in love with ANEKDOTEN and ANGLAGARD, but the third presented (for that time) band failed to please me that much. It was LANDBERK with their “One Man tell another”. Nevertheless, I didn’t give up; I’ve been searching for LANDBERK stuff since that time and recently got all their releases. On positive side I must admit that they have their own unique manner and sound; this is not that Prog you get used to, it is mostly song-oriented (dark stories a-la Hammil), but supplied with Mellotron layers, lengthy guitar solos and psychedelic atmosphere. Sometimes that particular album sounds as if it has been written in late 60s, but seen the light of day only in early 90s. And this is where all good things end. Songs are all sound the same; arrangements are bleak and monotonous; LANDBERK is not the band that you can call challenging or ever-changing. It’s fine if you’re in the certain mood and can enjoy what they’re doing; but if you’re expecting THAT Scandinavian Prog a-la ANGLAGARD, I must disappoint you. LANDBERK is a more Prog- related/Psychedelic mainstream band, but they certainly deserve to be mentioned as the ones who actively participated in Scandinavian Prog Renaissance in early 90s.

"Riktigt Äkta" is the debut full-length studio album by Swedish progressive rock act Landberk. The album was released through the Norwegian Colours label in 1992. The original version features Swedish lyrics, but the band also released an English lyric version of the album titled "Lonely Land", also released in 1992. "Riktigt Äkta" was originally only released on vinyl, but was reissued on CD in 1995.

Stylistically the material on "Riktigt Äkta" is a combination of Scandinavian folk and progressive rock. Album opener "I Nattens Timma" is an example of the folk influences being dominant, and I was actually sure that this was a Swedish traditional, that Landberk had opted to cover, but as it turns out the song is penned by Landberk. It´s an early highlight of the album and an incredibly beautiful and sombre folk influenced track featuring omnipresent use of the mellotron and some effectful and well written Swedish lyrics.

"I Nattens Timma" is a clever, mellow, and intriguing track, but it´s also a fairly minimalistic song in terms of instrumentation and vocals. The same can be said about the remaining mateial, although Landberk do perform more busy sections (featuring heavy bass and drums) and occasionally rock a little harder like they do on "Skogsrået", "Trädet", and on the CD bonus track "Tillbaka". The music features a lot of acoustic guitars and mellow vocals by lead vocalist/guitarist Patric Helje, who has a pleasant but not particularly distinct sounding voice. The vocals aren´t the most dominant part of the album though, as much of the music is instrumental.

The music includes mellotron and organ in addition to bass, guitars, drums, and vocals, and it´s definitely 70s influenced retro sounding progressive rock, and if you´re familar with some of the Swedish artists from the 70s like Kaipa, Trettioåriga Kriget, and Sinkadus, the sound of Landberk won´t come as a huge surprise, although they have their own dark forest/folky spin on the genre. A 3.5 star (70%) rating is deserved.

Sweden.Again.

One thing is for sure. One can almost blindly expect good things from a band coming out of Sweden in those days.

Even if the music of "Lanberk" is not easily accessible it is a pleasure to listen to these mellotron passages which automatically draw us into the world of their fellow fellow citizens "Änglagård" and "Anekdoten".

It is also inevitable to link the band with KC and the music which is proposed here is very dark and is more symphonic than heavy IMO. The hypnotic and cold opening number features a very low pitched vocal and is very quiet and when you listen to the tranquil beauty of "Var Hall "you should be transported into a real emotional trip. Peaceful fluting, warm mellotron, sweet vocals. Doesn't sound very heavy, right?

OK, the intro of "Skogsrået" is somewhat on the heavy side but it also holds jazzy and rock atmosphere. The second half is again very much Trespassesque. An excellent combination.

Same sort of mood prevails during the quiet "Visa Fran Kallsedet" which is a superior version of "Moonchild": less experimental of course, this track is a fine and pastoral one which features acoustic/classic guitar for msot of it.

The mellotron which invades the whole of this album (and which is very much welcome) is a marvellous experience to my ears; but you know how much I am biased with this instrument (almost as much as Erik). "Undrar Om Ni Ser" is another example although while the first part of the song is another great symphonic moment, the second and repetitive one is less catchy. The tron gets back fortunately for a poignant finale.

This debut album should please all tron and symphonic music lovers. Four stars.

In the beginning of the 90's a whole generation of Swedes got together around their jul tree and decided it might be fun to start a whole offspring of high quality prog rock bands. I've worked my way through all Anekdoten, Änglagard, Landberk, Sinkadus and Paatos albums now and I've hardly found one album I would rate below 4 stars.

Riktigt Äkta is the first brainchild of a then still premature Landberk. Just like early Anekdoten, the music is very similar to King Crimson, VDGG, and Genesis. In case of Landberk, I also hear a large influence from Kraut rock. Compared to Anekdoten's debut, it is a tad lighter and more playful. Especially the guitar playing of Reine Fiske enchants me, very original and captivating. He has a very subtle, almost hesitant touch that is yet very expressive and captivating.

Flawed as it is at times, this is nevertheless one of the most enjoyable 90's retro-prog albums I have heard. By taking in influences from 80's bands like Talk Talk their approach would gradually change in the next releases. They would evolve into something very unique and personal; the way a true prog rock band should do, stretching the boundaries of their music and prog rock in general. A truly overlooked band.

This was LANDBERK's first studio album released in 1992 the same year fellow Swedes ANGLAGARD released "Hybris". ANEKDOTEN would release "Vemod" the following year as Prog would see a comeback thanks to these Swedish bands. LANDBERK might not be as powerful as ANEKDOTEN or as complex as ANGLAGARD but they don't take a back seat to either band. These three bands make up what I call the Swedish Holy Trinity of Prog. Yes I love these bands. Back in the early nineties these three bands decided not to follow or build upon the Neo-Prog bands of the eighties(yay !), but instead went back to the source with vintage instruments including mellotron and organ. "Riktigt Akta" was also released in English and called "Lonely Land" and while it's sad that the Swedish version doesn't have "No More White Horses" on it, it does have a bonus track called "Tillbaka" which isn't on "Lonely Land" and that track has Simon Steensland playing drums on it which is pretty cool.

The track order is also different between the two versions and in fact these also "sound" a little different because they are different recordings. Maybe it's just me but singing in their own native language just makes this version sound better. "I Nattens Timma" is a melancholic and fairly slow paced haunting tune that opens with flute and features plenty of mellotron and sad vocals. Fiske is at his intricate best on guitar. "Skogsraet" is where they pickup the pace and become more dynamic in the process. Such a fantastic track including the vocals. I love the instrumental break after 3 minutes as Fiske solos in his own unique style. Nice drum work too. A calm before 4 1/2 minutes then it eventually kicks back in during the last 30 seconds. "Tradet" doesn't kick in until after 2 1/2 minutes. Some accordion in this one. I like the calm half way through the song with mellotron galore. It stays relaxed until there's about a minute left.

"Var Hall" is such a beautiful track with reserved vocals and floating organ as Fiske plays some intricate guitar. Love the mellotron 4 1/2 minutes in. Gorgeous tune. "Visa Fran Kallsedet" is an instrumental that opens with mellow guitar melodies and the song does stay laid back throughout. Check out the picked guitar after 3 minutes, it reminds me of Conny Veit when he played in POPOL VUH. "Undrar Om Ni Sir" is another mellow and melancholic piece with vocals this time. This one starts to build though halfway through as it turns instrumental. It kicks in late to end it. Nice ! The bonus track with Steensland on drums is called "Tillbaka" and it's more of an upbeat tune with plenty of mellotron and chunky bass. Vocals too in this one. Great track but too short. We get a guitar solo halfway through as well that impresses.

I have to give this 5 stars because I do think it's a step up from "Lonely Land" which I gave 4.5 stars.