RAGNARÖK

RAGNARÖK's first release is an all time folk -prog classic and must be heard. RAGNARÖK blend elements from "Meddle" Era FLOYD, with touches of JETHRO TULL, FOCUS and CAMEL. Their first release was all instrumental and offers loads of acoustic guitar (aka. Seamus), flute and keyboards with amazing musicianship. This album has always given me a feeling of solitude for some reason and is a great piece of music to reflect on life with. This re-release is very well transfered and I am amazed at the sound clarity. Songs are not long or epic in nature but seem to instead flow with cascading perfection short piece by short piece. Many passages are slow and deeply forboding in structure conjuring memories of the most tranquil/spacey PINK FLOYD. RAGNARÖK never get too loud and instead work on surrounding the listener with multi - layered quiet prog lanscapes to deal with. Essential stuff!

Add up another halfstar for this gem. I have been aware of this album since the late 70's but never managed to put an ear on it until the mid-90's. It was worth the wait , I must say as from the first note on , I felt transported into this calm reflective soul-searching world. If Mr. Unger points out a few band that might help you define their sound , I personally am thinking of the best Fleetwood Mac album : Then Play On. This 1970 album is the last with Peter Green and does not sound like the blues-oriented Mac at all but comes closest to Ragnarok and is certainly easier to find than the swedish record, so get an ear on that Mac and see if you want to hunt down the object . I personally can only advise you to do so. Very acoustic by the guitar and the wind instruments, the production is great and crisp sounding. The following albums however do not sound anything like this and they came six or seven years later with different people.

Watch out , for there is a mid-70's New Zealand band with the same name and also a late 90's HM outfit also.

A nice mellow album...not sure how it's "folk-prog", since jazz-rock appears to be the primary influence. There are some nice acoustic guitar parts, however, especially on "Tatanga Mani". This is a instrumental album that will draw obvious comparisons to another mellow jazzy-prog album, Camel's The Snow Goose. While the melodies on this album don't come close to Camel's in quality, it certainly is a pleasant background listen. Some good electric piano parts and flute enhance the comparison. Bascically if you like mellow prog, this is a good listen. But if you're a Scandinavian prog enthusiast, don't expect any dark nights of the soul- this is quite cheery stuff in its own way.

What a seductive sound these guys make! All instrumental, sometimes bordering on a seventies porn-soundtrack sound (particularly “Promenader”), but Ragnarök show some clear early psych and even jazz influences to help soften the melancholy that seems to pervade just about all progressive Scandinavian music. The result is a soothing but occasionally adventurous album that is a joy to listen to over and over.

The instrumentation here opens with quite of bit of acoustic guitar and flute, and while both remain in play throughout it doesn’t take long before the electric guitar and bass make themselves known, as well as saxophone (though the brass is quite subdued for the most part). Multi-instrumentalist Henrik Strindberg plays guitar, flute and saxophone, and also provided most of the arrangements. Strindberg would go on to produce a long string of solo and collaborative contemporary classical/new-age works under his own name although he still is associated with the band, which still tours. They have not released a new studio album under the name Ragnarök in more than sixteen years though.

There is a distinctly neo new-age sound on some tracks, especially “Fabriksfunky” and “Dagarnas Skum”, while others like “Tatanga Mani” and “Nybakat Bröd” are much more acoustic and folkish than most of the album. I personally wouldn’t classify these guys as folk though – the jazz and new-age tendencies are a bit too strong for that. But this is closer than their next album which would be a much more ambient and frankly dull affair with an almost completely different lineup.

The standout track here is “Dagarnas Skum”, an eight minute offering that spends about half its length building like some sort of early post-rock composition before wandering off into jazz/fusion territory in a muted form of a jam session. An unexpected but not unwelcome focus shift that culminates in a repetitive and hypnotic guitar passage that gives life to an otherwise very mellow section of the album.

I wouldn’t rank these guys up there with any of the great Swedish prog bands like Änglagård, Fläsket Brinner, or probably even Flower Kings. But they do what they do quite well, and the production on this album is impeccable. Not for those who want the music to be at the forefront of whatever they are doing, but if you are looking for something ambient that won’t put you to sleep and may cause you to perk up your ears every few minutes, this may be your album.

Here once again our rating system fails us, as this is about as close to a 3.5 star album as I have heard in quite a while. But in deference to the high technical quality of the musicianship, and in recognition that these guys manage to avoid the Scandinavian pill-swallowing depression that so much music from that region evokes, I’ll push that up to four stars and call it good.

peace

Ragnarök's eponymous debut album is a lovely expression of how serenity and melancholy can work together as effective sources of inspiration and motivation for exquisite music with a deep artsy drive. This is progressive music divided between the pastoral folk-rock and the soft jazz tendencies that the ensemble handles equally well. The splendor of Ragnarök is not in the fireworks, but in the sparks, which provide a consistent illumination through their sift brightness. 'Farvel Köpenhamm' kicks off the album with a delicious set of harmonic sequences driven by multiple acoustic guitars, tastefully complemented with minimal guitar layers. The pastoral vibe is well accomplished, with a clever use of serene moods. 'Promenader' remains in evocative realms, though the sound is fuller due to the use of electric guitars in the track's core development: the slow pace and the guitars' main bluesy undertones make the track stay solid on a jazz-oriented sort of melodic prog. The plain pastoral factor returns quite enthusiastically with 'Nybakat Bröd', again featuring multiple acoustic guitars and also, in this case, a well ordained flute duet. 'Dagarnas Skum' sets a compromise between both areas, with a slight predominance of jazzy moods: picture a Hansson-inspired drive for the intimate side of early Pink Floyd, plus some touches of Focus' romantic side, and you might as well get close to the sonic source from which the guys of Ragnarök come from and elaborate their own trend. Being the longest track in the album, it will also serve as a provider of wider explorations for the band's general contemplative stance. 'Polska fran Kalmar' is a joyful flute solo piece that operates as a prelude to 'Fabriksfunky', a lovely refurbishment of the sort of slow stuff you can expect from a Weather Report or Brand-X album, only delivered through an ambience shaped with a more developed intimacy. The calculated aggressive flute lines that emerge at place hint at the Van Leer influence. 'Tatanga Mani' has a first half occupied by an acoustic guitar solo, which eventually leads to a bucolic treatment of soft fusion undertones for the second half: Akkerman used to bring some fusion vibrations to half of Focus' acoustic material, so this reference will help the reader to envision the sort of mood comprised here. 'Fjiottot' is a brief, joyful interlude based on a light-spirited sequence of electric piano chords on a Charleston tempo. It is followed by a more solemn piece, 'Stiltie - Uppbrott', which starts with a short intro of soaring grand piano chords, soon evolving into a pastoral motif featuring flute and acoustic guitar. The closing passage brings an unexpected, yet effective Rnaissance-inspired adornment. After this portrait of serenity, the album ends on a melancholic note with 'Vattenpussar'. The marriage of electric piano and picked electric guitar in the intro section very much reflects the feel of water drops softly gathering to form a pool: once the whole ensemble settles in, the main body shows a fluid combination of slow jazz and pastoral. A beautiful ending for such a beautiful album - if prog has a genuine intimate facet among its peculiarly multicolored spectrum, Ragnarök has to be a definitive champion band of that aforesaid facet.

I've been drawn to this album cover from the first time I saw it. I didn't know though until I got the album that the dark sky at the top wasn't the night coming but it's actually pollution floating across the sky. RAGNAROK are an all instrumental Swedish Folk band, and this is their debut from 1977.The music here is so tasteful and beautiful, and much like the album cover once you experience it for the first time you will be hooked.

"Goodbye Copenhagen" is led by acoustic guitar melodies throughout. Beautiful song. "Walks" opens with keys and bass as gentle guitar joins in. Electric guitar and drums before a minute then we get this CAMEL flavour. Themes are repeated. "Freshbaked Bread" is led by acoustic guitar and flute throughout. "Foam Of The Days" is by far the longest track at over 8 minutes. It's pastoral to start with intricate guitar. Flute then keys join in. A fuller sound after 3 1/2 minutes. Nice. This is simply gorgeous. "Reel From Kalmer" is a very short flute piece.

"Factoryfunk" has to be a reference to the factory on the back cover of the album where all the pollution is coming from. Intricate drumming and guitar on this great sounding track. "Tatanga Mani" opens with acoustic guitar then it starts to build as flute and bass arrive. "Fiottot" has a good rhythm to it. "Calm-Breaking Up" opens with piano then this beautiful flute / acoustic guitar melodiy takes over. "Pools Of Water" opens with laid back keyboards. Drums and a fuller sound after 1 1/2 minutes. Sax a minute after that. Back to the keyboards to end it.

Easily 4 stars and one of the best Prog-Folk albums I have heard.

Makes you want to live in that front cover.

Unfortunatley, the dilemma of giving this album 4 or 5 stars was quickly decided after the first half, it just didn't grab me like at the start although listening all tracks in order is highly recommended. Later tracks like "Fabriksfunky" and "Tatanga Mani" are more jazz oriented and this being a very backrgoundish or ambient kind of album doesn't help and they tend be a bit of a bore for me. On the other side of things when folky parts kick in with flutes or acoustic guitars it's great and sometimes very pastoral atmospheric in an floydian way, "Dagarnas Skum" is an example of this and a beautiful track.

You could call this very lightweight music, in the sense I sometimes use to describe stuff by CAMEL, very easy on the ear but I see how some might find it boring for being too mellow.

If you were transported by GOTIC's "Escenes", or enjoyed the less ambient peak period JADE WARRIOR releases, you might find this respected early entry for Swedish prog folk to be a soul mate. Personally, while I find it a pleasant enough listen, I can't get too excited about any of it. It seems to have more in common with the 80s new age to come than to much of its 70s brethren, people like SCOTT COSSU and ALEX DE GRASSI.

The best by far are the opener, which channels the group's obsessively chill vibe into a coherent composition, not to mention the densest acoustic guitar licks to be found here; and the relatively lively "Nybakat Bröd" in which the airy flutes are most prominent above the spring like acoustic backdrop. Most of the rest appears mired in a funk of its own choosing, groovy enough to be sure, but hardly of more than background interest given the intervening years. The lack of memorable melodies might work in a fully jazz oriented work but in a folk context is anathema. The imposing end sections of the final two tracks do crank up the appeal, if only because they remind me I am actually listening to something.

While Ragnarok's debut is a legitimate historical document and clearly appeals to more than just archivists, as a musical journey I find it sorely lacking. Your mileage may of course vary. 2.5 stars rounded down.

Instrumental folk jazz at its smoothest and most beautiful--not at all unlike CAMEL--and this from this Swedish band's debut album!

1. "Farvel Köpenhamn / Goodbye Copenhagen" (2:30) (8/10)

2. "Promenader / Walks" (4:40) This is my second favorite song on this album of beautiful melodic grooves. (10/10)

3." Nybakat Bröd / Freshbaked Bread" (3:01) (9/10)

4. "Dagarnas Skum / Foam Of The Days" (8:07) (8/10)

5. "Polska Fran Kalmar / Reel From Kalmar" (0:46)

6. "Fabriksfunky / Factoryfunk" (4:49) My favorite song on the album. Kind of like SANTANA playing CAMEL. (10/10)

7. "Tatanga Mani" (4:34) opens as an acoustic guitar solo sounding much like the wonderful harp music of Alan STIVELL--only with a little more Spanish influence in the flourishes and progressions. Then, at 2:10 flute and bass join in as the music transitions into a little more of a bluesy rock John MARTYN way. Nice bass and flute play. (9/10)

8. "Fiottot" (1:23) Rhodes electric piano chords bouncing along with electric bass and muted electric guitar--and drums! A brief, upbeat little stroll through the park.

9. "Stiltje-Uppbrott / Calm-Breaking Up" (4:21) opens with some bluesy piano play like from a smokey piano bar-- before turning into a soft acoustic ELP like song with gentle flutes and picked acoustic guitars leading the way. Then, at 3:20, aggressive downstrums on the guitar and firmly plucked bass notes announce a louder message--which the flute and recorder respond to until song's end. (8/10)

10. "Vattenpussar / Pools Of Water" (4:08) opens with fery deliberate and steady Fender Rhodes arpeggiated chords playing in a couple of minor keys. Electric guitars (one in each channel) and acoustic guitars and electric bass complete the weave. Woodwinds play separate yet harmonious melodies over the top before yield for acoustic guitar and Fender piano interplay. Beautiful, very emotional song. My third favorite on the album. (9/10)

Even if the music on this album does mostly constitute what would later be called "smooth jazz," this album is wonderful ear candy and makes for very pleasant background music.

Not essential but an excellent addition to any prog rock music collection.

Ragnarok's debut album finds them playing a gentle, mellow blend of charming folk rock and laid-back progressive rock. An all-instrumental affair, it boasts guitar and flute work which in conjunction put me in mind of a substantially folkier version of Camel. On the other side of the equation, the folk influences remind me of West Coast folk rock more than it does, say, the sort of folk motifs Jethro Tull were emphasising in their work at around the same time, or the pastoral influences that would characterise early Genesis. The end result is a folk prog album which has a unique sound and which I think has been mildly unfairly overlooked. I don't think it's a full-on lost classic, but it's certainly a very charming album which doesn't deserve the obscurity it's languished in as far as the international prog scene goes.

RAGNORÖK has been one of Sweden's longest running progressive acts engaging in both progressive rock and progressive folk since its formation in Kalmar in 1972. Founded by Peter Bryngelsson (guitar, bass, vocals), Henrik Strindberg (guitar, flute) and Staffan Strindberg (bass), throughout the band's existence it has seen more than 25 members come and go. Despite this long existence the band has only released a total of six studio albums which all began with this 1976 self-titled debut. While mostly active during the 70s and 80s, the band took a hiatus and then reformed in 2002 but has only released one album "Path" since.

While RAGNORÖK would take a turn towards progressive jazz rock on its sophomore album "Fjärilar i magen," on this eponymous debut the band delivers a lush pastoral form of progressive folk that belies the band name that refers to the great event in Norse mythology that includes a great battle. On the contrary, RAGNORÖK's first album is one of the most mellow and dreamy styles of prog you could possibly experience with slow moving guitar and flute, piano arpeggios and a controlled drum and bass section. Hints of the jazz direction are dropped in some of the percussion moves but otherwise this sounds more like a mix of Bo Hanssen and Camel without any true points where the band rocks out.

A veritable mix of folk, classical guitar, semi-jazzy interludes and the pastoral aspects of prog ranging from Genesis to Anthony Phillips (sans vocals). The music also includes some interesting Swedish folk flavors including a bit of that famous circus music feel on the short "Fjottot" but mostly this is an acoustic guitar, piano and flute dominated album that takes you into prog placidity. While mellow prog such as this can often fall into tedium, RAGNORÖK keeps the album interesting by crafting an excellent instrumental interplay that keeps you in the zone. Too often folky albums will unnecessarily attempt to rock out at inappropriate moments and while that can be effective if done well, often it falls flat. In this case the band simply stays on mellow mode for the entire ride which makes it a beautifully compelling listen. Of course this would all amount to nought if not for the beautiful melodies crafted.

Another strength is the use of varying styles of folk music with even Celtic folk sounds being implemented on "Stiltje-uppbrott." Personally i find these low key prog albums hit or miss but occasionally a band nails it perfectly. This is something like Sweden's equivalent to Italy's Celeste who also went against the grain and delivered a rock-free slice of piano-based mellowness. To my ears this sounds like the prog equivalent of cool jazz and if Miles Davis was Swedish and took on the world of prog folk then perhaps this is the kind of album he would've produced. Any way you slice it, RAGNORÖK's debut is a one of those pleasant surprises that works because of its high quality and consistency throughout its run. The mix of instrumentation is family unique and the album doesn't sound like much else. A nice late to the game addition to the world of prog folk in 1976.