AGUSA

I really like the album cover as well. The flute seems to be the instrument of choice for soloing with the guitar also getting a fair amount of attention. We get four long tracks over 42 plus minutes on this 2023 release. On the first two tracks I felt a strong CAMEL vibe when they are jamming hard with flute over top, pretty cool. That closing track makes me feel like I'm on a journey and when it and the album ends we hear a cat meow. Well when I first heard it I looked at my cat never hearing him sound quite like that and he's looking at the stereo speakers intently so it was like "No way that's on the record!"

There doesn't seem to be a lot of mellotron on here at all but how good is the distorted organ. More please. What I love about this album is how lost in it I can get. These long pieces also surprise when for example we get that Canterbury-like keyboard sound or the mellotron that suddenly rises. A fine guitarist but I would love for them to go more keyboard driven, so many options maybe less modern sounding which I feel the guitar does for them now. Clavinet, spacey synths, mellotron, fender rhodes bring it on!

Anyway I'll have to sit down with there albums one day and come up with some sort of an order. They're all great but all below my favourites of this style performed by ANEKDOTEN, ANGLAGARD, WOBBLER and on and on. A solid 4 stars and the only warmth I felt musically during a very difficult week last week.

1. "Lust och fägring (Sommarvisan)" (14:30) great opening motifs, conjuring up reminders of CAMEL, CARAVAN, KHAN, and even THE DOORS. Then we move into the blues-jazzier side of the band's stylistic preferences with a VAN MORRISON/J TULL-sounding motif. When things speed back up I'm reminded more of CARAVAN or SANTANA. Then, at 8:25, we slide into a more contemplative groove--albeit one that is cruising along while the guitars and flutes up top mesmerize us. All the treble instruments build in collective volume to form a weave that coalesces with some BEATLES-like wordless background vocals singing beneath the CLAPTON-like guitar shredding. At 11:00 we turn left at the Y and start a steady race down the dirt road toward the river-side hippy commune, jamming some pop-jazzy Latin melodies along the way (especially on that sexy flute)--until we've arrived (or thought we had: the music fades as if we've descended into the woods out of view but then returns in a cool continuation and finish of the drive). Excellent, cheerful, very entertaining jam. (29/30)

2. "Under bar himmel" (10:19) a familiar Billie Joel melody ("New York State of Mind") gives this CAMEL opening an oddly comforting Golden Gate Park Hippie feel--just another day playing and partying on the grass in the golden California sun. Int he fourth minute the speed shifts and we find ourselves fully engaged in a KHAN-CARAVAN romp through the park--probably on bikes. The soloing lead guitar makes me believe we've crossed the Bridge to the other side and are cruising on motorcycles on the country roads of the Marin County Headlands--perhaps on our way to Black Sands Beach. Definitely catching a vibe as we languish on the Beach, enjoying the lazy afternoon and hazy hallucinogen-enhanced campfire cookout. A nearly perfect day! (18.5/20)

3. "Ur askan" (10:28) opens with organ and full band in CAMEL-sounding weave. In the second minute an odd klezmerish motif takes over, trying to be rhythmed Latinly or maybe Reggae-ish. Not my favorite passage as I am not much of a fan of either klezmer or Reggae music. At 3:25 there is an odd syncopated bridge that takes us into a more Eastern European/Finnish motif (which is not far away from the previous klezmer/Reggae one). I like this motif much better. At 4:50 then we seem to be going in a heavier SANTANA direction, but then we suddenly go back to the klezmer/Reggae motif and then back to the Eastern European motif at the end of the sixth minute. A solid song--and well-composed--just not my favorite types of musical styles. At the seven-minute mark the music dies off and we're left with a Gamelan-sounding echo-bass continueing the chord progression from the previous motifs while flutist Jenny Puertas sings in a somewhat-operatic voice (in Spanish) before the band returns with some PROCOL HARUM/CAMEL/KHAN instrumental sounds and soloing from the electric guitar and organ. (17.5/20)

4. "Så ock på Jorden" (7:17) acoustic guitar strumming (recorded from a microphone--which I love) is accompanied by whole band singing in wordless vocal weave with a little organ helping out. Then, at 1:05 a very bluesy, rudimentarily constructed PROCOL HARUM-like organ motif is launched. Flute eventually accompanies and mirrors the melody lines being played by the Hammond. As this motif develops its folk melody lines are eventually built-up with a very JETHRO TULL-like instrumental palette. The flute melodies that move forward in the fourth minute are, as are often the case on this album, quite Andy Latimer-like--even when the music turns more ALLMAN BROTHERS/JIMMY WEBB/ Midnight Cowboy-like in the fifth minute--a motif that continues with some variations pretty much to the song's end. I like a lot of this song. (13.25/15)

Total Time 42:34

A-/five stars; a minor masterpiece of instrumental retro-prog rock that has, based on the excellent song structures and whole-band performances on three of the four songs, suddenly become my favorite Agusa album. Highly recommended for all prog lovers!

Even more than that, the songs featured on Prima Materia retained such distinct and evocative character, I felt tangible transpositional elements to each track. Prima Materia transports the listener on a metaphysical journey through primal emotional content, thanks to its thoughtfully crafted melodies, innovative arrangements, and commanding instrumental musicality.

"Lust och fägring (Sommarvisan)" (Passion And Beauty [Summer Song]), the fourteen-minute opening extravaganza, immediately connects with scorching Promethean defiance. A 12-string acoustic opener breaks into a melody driven by an uptempo jazzy guitar and flute. The organ takes the spotlight for a minute, developing its own musical themes while dueting with contrapuntal flute melodies. After a quick nod to Grieg's "In The Hall of the Mountain King", the song drops suddenly, only to reintroduce itself with some tasteful flamenco-influenced guitar lines. Returning to the main theme but with a slower and more soulful delivery, the tune really opens up and breathes. When the earlier tempo returns, the song is relishing in a triumphant sense of purpose and determination. As the organ swirls in a midtempo maelstrom for a spell, the bass and drums bring back the pace for the finale. Flute and guitar deliver us to a raucous conclusion, complete with a fakeout ending. As if we weren't quite ready to get off that ride. And we weren't.

"Under bar himmel" (Under Bare Skies) stresses a conversational but contentious musical tone, almost like a group of friends in passionate debate or heated argument. Shimmering, reverb-drenched guitar opens into a melancholic flute melody, establishing a dark, yearning plea. The flute's dialog contrasted alongside the organ and guitar flourishes produces an emotional interplay between all the melodies, a musical extrapolation of drive and compulsion between personalities. Almost like a flash of anger, the flute erupts with uptempo resolve, while the organ deftly responds in kind as the guitar brings its own perspective with its scorching wah-wah solo. All the while, the bass and drums skillfully lock down the groove, establishing the tableau for this musical standoff. The song develops into a series of acoustic guitar arpeggios which add an air of questioning futility. But all does not seem lost; the themes recapitulate in the end with a sense of musical unity. The cohesion may not signal hopeful resolution, but perhaps alignment and agreement.

"Ur askan" (Out of the Ashes) opens with a melody that is intangibly Beatlesque, a statement that evokes a McCartneyesque melody somewhere on the corner of Rubber Soul and Magical Mystery Tour. But then it shifts into something distinctly Mediterranean or Middle Eastern, specifically with the scorching guitar licks and organ and flute locked in duet. Adding further flavor to the mix, the bass and drums evoke Latin and Caribbean rhythms, generating an island (if not quite reggae) feel. The distinct elements fuse well together, creating a compelling exotic listen. The final act slows into more symphonic elements, with vocal elements introduced for the first time from flautist Jenny Puertas. This leads into a high-paced ending driven by freewheeling organ madness, the flute's centralizing assurance, and atmospherically spacey guitar chords. It's as if a phoenix rose from its ashes, circled the globe, and then launched itself into space.

Finally, "Så ock på jorden" (So also on Earth) opens with a distinct folky feel, with a jauntily strummed acoustic guitar and cheerful melodic vocalizations from Puertas and drummer Nicolas Difornis. The song then takes a bouncy pop feel, with the organ laying down a thick central riff around which the song revolves. It is worth mentioning that I try to avoid Jethro Tull references to any band that prominently features flute, but there's a strong Tull riff mid song that acts as the connecting tissue between verses. Anyway, this groove continues until about four minutes in, when the song returns to the feel of that pastoral opening. There is an undeniable beauty that characterizes this section, like a pleasant breeze or a casual drifting down a lazy river. The song continues in that vein; upping its sense of energetic ebullience, but never drifting far from that bucolic essence. As it concludes with the universal recognition of a newborn's cry, "Så ock på jorden" provides a euphoric ending to the album's primal journey.

I realize I'm constantly reiterating the "journey" imagery, but Prima Materia assuredly delivers a transporting experience throughout its runtime. The band delivers a strong collection of tunes with a tremendous sense of psychedelic and prog rock groove, melody, and airy playfulness. Prima Materia doesn't simply transport us to a place, but rather guides us through an experience. It's an unabashed musical tour-de-force through the human condition, a beating heart refracted through enchanting melodic content.

On this, their fifth album, Agusa serve up four chunky slices of retro-prog that radiate with warm 70s style production and old school charm. On a first listen it may melt into the background a little, but if you tune into the subtleties there's plenty to get your teeth into. I also appreciate that the band manage to gently push into uncharted waters here, beyond the safety of their typical psychedelic, jazz and folk influences. Album closer "Så ock på Jorden", for example, brings a good dose of funk to proceedings, and "Ur askan" is one of the only times I've ever heard a prog band convincingly incorporate elements of reggae into a track.

If I were to grasp for a criticism it would be that "Prima Materia" is, for the most part, simply more of the same from Agusa. It's telling that the sections where they broaden their musical scope are the ones that I find most compelling, and my hope is that they continue to experiment and find new sonic avenues to explore. But for now, this is another fine addition to their discography.

This was voted 15th best album by the collaborators on here for 2021, very respectable. I really feel that the previous self titled album from 2017 is still their best, although for a time I thought this was going to beat it. Getting to know music by spending time with it is the only way to really know the music. There are some moments that cross a good taste line for me, usually those bouncey flute leads where the word "lame" starts to mumbled by yours truly. Those are rare moments indeed as for the most part we just get these beautiful melodies done so maturely. This is big-boy music. There is some uplifting stuff on here and the band that came to mind the most by far was CAMEL because of the flute of course.

Highlight of highlights is the Canterbury organ on that opening track, man how good does that sound. The guitar solo later at 16 1/2 minutes is kind of bluesy. Very CAMEL-like after 22 minutes. Lots of relaxed music on that opener including acoustic guitar, organ and flute usually leading the way. Track two is where we get some depth in the form of nasty clavinet after 10 1/2 minutes followed by a guitar solo as it cries out over and over. Some native percussion after 18 minutes along with flute as it settles right down.

By the way I spun that self-titled AGUSA album from 2017 today and I do prefer it to this one. Gave that one 4.5 stars, this is a solid 4 stars. If your classy get both.

Högtid (Feast in English) is the studio album debut from Swedish space, symphonic and #psychedelicprog band #agusa, and is mostly an instrumental trip, a 45 minutes very rewarding trip.

Uti Vår Hage (In Our Garden) its the opening statement of the band to the common public, an immense and circular retro symphonic track that manages to maintain an attentive listener throughout the 11 plus minutes with lots of psychedelic blues-based guitars, jazzy percussion that goes up and down, the funky and fat bass commanding the magic and the multi layers of every type of organ or keyboard available, super catchy!

Melodi Från St Knut (Melody from St Knut) is the more immediate track of the life record and brings the first true hook to guarantee additional listens! It's definitely not the strongest track on the album but it is very catchy and the guitar work towards the end is fantastic. It has that medieval enchanting minstrel-like melody that's hard to avoid and very difficult to forget.

Östan Om Sol, Västen Om Måne (East of Sun, West of Moon) delivers The Doors style looping psychedelia with tons of wonderful middle eastern sounding melodies and a crunchy and pungent guitar soloing that rips brain and ears apart, while the rhythmic section struggles to bring balance to the premeditated chaos, really masterful maneuver from this very talented prog quartet. Beauty steps in for the last quarter of the track simply enhancing the experience a little more, someone took over! Maybe the Moon???

Stigen Genom Skogen (The Path through the Forest) starts with a pretty haunting organ playing that will be accompanied briefly by the first vocals in over 30 minutes, amazing guitars again and an immense playing by bass and drums, really spectacular. The track starts building up around the constant dramatic rhythm over which layers of organ and guitars intercede and collide proving how good the band is in #spacejamming staying within the tight structure but always delivering different and new "little" sounds.

And finally Kärlek Från Agusa (Love From Agusa) where the band enters again into that melodic #jazzfusion territory they navigate so well, and all instruments have their chance to shine before leaving the listener craving for more stupendous instrumental retro oriented #symphonicprog

The Feast is a good place to start for new listeners, at least it was for me! Enjoy!

While classified as Psychedelic/Space Rock, there is certainly a Folk element as well. Several members have called this album "addictive" and after listening to it once, i can see it certainly has the potential to be revisited often. At 46 minutes it seems almost to brief to me. But for two songs, the overall length is appropriate.

1. "Sagobrus" (25:01) nice, laid-back, simple Folk-Rock for the first five minutes. As a matter of fact, one might say that this song is divided equally into five perfect fifths. In the second fifth it goes CAMEL--or at least, tries to. All instrumentalists (guitar, organ, bass, drums) are competent and recorded and mixed fairly well, but nobody blows me away. The 1960s analog-like sound (and recording- ?) choices probably make this a great ride for people wanting to sit back and ride a nice, long wave of late-1960s nostalgia (there's a lot of Doors- and Procol Harum-like feel here). In the third fifth, the flute gives it a nice touch of Moody Blues, Focus, and Camel; the rhythm guitar play, bass, and saw-organ give an almost Supersister/Hatfield and the North funk. The fourth fifth takes a minute to define itself but ends up falling cleanly into a Pink Floyd Wish You Were Here despite the flute arpeggio that remains as a foundational motif throughout; the keyboard work and guitar are definitely straight out of Floyd. In the nineteenth minute we get another pseudo shift as the fuzzed-up bass leads over a weave of mathematic minimalism. By the 20-minute mark, we have moved into a fury of Camel-like tension building, somewhat crescendoing with the multiple guitar tracks merging and weaving in the 22nd-minute, giving it more of a Focus feel. The from 22:00 out is Camel flute and then Hammond taking turns leading the way over the driving theme carried by the rhythm section. Nice. (44.5/50)

2. "Uppenbarelser" (21:13) opens with some harp sounding like a nostalgic Celtic sea shanty. Plodding toms take over over the top of the the psychedelic synth work. This is giving me the feel of being on a journey--of some processional dance being led along the rocky Irish sea coast, flutist and dancers moving at a very slow and staccato pace, very sacred and yet also, at the same time, profanely fertility-oriented. Were it not for the organ, I would think this something that could totally be performed outdoors, while dancing along the coast! In the eighth minute electric guitars join in and the intensity rises, but then, at the 8-minute mark things thin out again, breaking down all the way to slow toms and bass. The organ, and then flute and electric guitar, take up the slow melody, and together build and build, with Cream/Eric Clapton-like electric wah guitar taking over the lead, all the way until the 13-minute mark when things break down for strummed acoustic guitar to take over leading the way. Jazzy drums, bass, gentle flute, and picked Spanish guitar make me think that the processional has moved south--perhaps into the Basque regions of Spain, or its Mediterranean coasts. Community building in the 16th and 17th minutes leads into another attempt at the guitarist to take us over the top. Unfortunately, chaos reigns over cohesion as the dance must become totally bacchanalian--until, that is, we again reach a resting/restarting point at 18:22. This is when we are reminded and/or restored to the original Celtic setting. It feels as if the message here is that it's sleep- time. The final two minutes are very bucolic in a kind of Anthony Phillips way. I do love that a cohesive story seemed to unfold here. Well done! (36/40)

Total Time 46:14

I can see how other reviews call this album full of "addictive" music--especially the second track. I, for one, love the visual and visceral image of myself fully engaged in that highly enticing fertility dance. The synth, bass, and flute performances are wonderful--never overstated or bombastic. I am not, however, very impressed with either the guitarist's electric lead work nor the drummer's timing and mix/recording/engineering choices. While I love the nostalgic feel of the retro sounds and familiar styles, I am more inclined to go back to more original material. Still, a pair of nicely composed, well-collaborated prog epic tracks.

B+/4.5 stars; a near-masterpiece of progressive rock music on the retro psych-folk-rock side of things.

This instrumental Swedish act does a great job of weaving themes and ideas together into a coherent, engaging whole. Swedish folk motifs are woven in artfully, and the whole listen is quite satisfying.

Been listening on you tube to these guys and man they are so good, a wonderfully folksy sound mixed with some very modern beats and guitars, there are times you can feel like you're walking through some vast northern forest, such an overwhelming sense of peace.

It is real easy to find bits and pieces of their music that will remind you of some moments in Jethro Tull, Caravan, Camel, Focus and a few other things that you have heard before. But if you think that this is about sounding like the 1970's rock sound that we love and appreciate so much, and have considered it "progressive", then, let's say that this is the modern version of that.

Unlike one other album I have heard from them, this time, there is almost no touch of the folk/rock sound they appeared to have before, and this has become a seriously well defined rock band, that knows how to extend a piece of music, and while at it ... make it nice for us ... and then some.

Both pieces in this album develop slowly and basically just explode strongly, in a way that is amazing ... what seemed like a simple song, has become a monster ... just like out addictions, right? Their development as a piece from beginning to end, is well done and probably thought out, as there does not seem to be a lot of just bare improvisation here, but a really well established piece defined from improvisation to become something that is special.

Of special talent here, is the keyboard sound, the flute and the guitar ... and they serve up a really nice combination, that never feels like you are just hearing a solo ... it seems to be very well defined into the music, so there is no "solo" per se, and the guitar punctuates the development really well, and often is setup by the flute or the organ/keyboards. The keyboard sound itself, is so nice to listen to that it will merit a 2nd (and more) listens, because it is so pretty. And the same can be said for the flute, and then the guitar, the one place where it is easy to think ... he's soloing again and everyone else shuts up ... not here, it is a part of the "symphonic" design of both of these pieces, and the expansion of the guitar parts, are really a treat.

The 2nd piece (Sagobrus) is the one that really takes me away quickly ... just as soon as you think about this or that, it takes you to another place, and does it really well, and at that point your ability to think of other bands you have heard before, just goes away, and the band lives really well on its own in your mind.

This is a highly recommended album for anyone that is serious in their "progressive" collection. The superb thing here, is the cohesion and the well defined sections and their taking the piece further and further, and never once feel like you are left behind ... instead, like me, sometimes you are just out of breath!

I don't know that one can ask for more about an album, and its music. Just super all around and highly recommended.