GÖSTA BERLINGS SAGA

"Konkret Musik" is the latest studio album from this Swedish band released in 2020. Same lineup as the previous album "Et Ex" but they've added a percussionist making them a five piece for the first time. I have been following them since their debut in 2006 which is the only one I haven't connected with but the next five albums are all amazing especially their 2009 release "Detta Har Hant" their masterpiece.

The guitarist adds synths while the keyboardist does as well along with mellotron, fender rhodes and piano. The bass player adds moog taurus pedals so man we get a lot of different sounding beats on here. This is an energetic record and quite catchy most of the time. We get a guest adding "buchla easel" on track 8 and I had to look it up but it was the name of an analog synth that came out in 1973. I really feel that this band and Canadians MAHOGANY FROG have the same ethos when it comes to music. Love them both.

While the first two tracks certainly get me moving and I really like how they sound they almost feel like their setting us up for that third track "Basement Traps" my first top three tune and check out that infectious groove. In contrast the next track "Close To Home" (my second top three) is outstanding and slowed down and melancholic. Just sounds amazing with that atmosphere. Back to that catchy beat driven music with the title track making it five straight killer songs.

"Closing Borders" is a minute of cascading powerful sounds. "Never To Return" is my final top three. Another beat driven catchy piece of music that I'm headbanging too. "Instrument VI" has that guest synth on it and the guitar sounds really good. Great track but only 2 minutes long. The last four are good but it could have ended a lot stronger. Still an easy 4 star release that could have been higher. I really like this one and right now would put it in my top three from this band. Really well done!

For a lot of GOSTA BERLINGS SAGA fans this is the album that pushes the boundries a little too far for comfort. Electronics dominate this album combined with mellotron, clarinet, Fender Rhodes and "rock" instruments. I have so much respect for this record and like the cover it is dark electronics for the most part. Problem is that they go places I am not that into which you kind of expect with an album that is so radical. The Post-Rock vibe is strong at times. We get some guests like Swedish guitarist Henrik Palm co-writing "The Shortcomings Of Efficiency" and "Fundament" the two longest tracks on here and he plays guitar on both. Singer Michael Berdan adds some yells late on "The Shortcomings Of Efficiency" and this man is no stranger to Electronics. Lars from SOEN adds sax on that incredible song "Capercaillie Lammergeyer Cassowary & Repeat".

I'll start with the one top three track I haven't mentioned yet and that's "Over And Out" with that mellotron! Come on you Swedes! And thanks. The Fender Rhodes and just so much going on in this monstrous soundscape of ghostly mellotron creating the base for the "rock" instruments to standout. Killer tune. My favourite though is "The Shortcomings Of Efficiency" and Henrik's guitar. Outbursts of sound come and go with spacey synths and a beat before it kicks in bringing a smile to my face. Uptempo and sounding great. Check out the bass! Guitar after a minute and it's a highlight. I like the calm with the urgent drumming nonetheless and how it builds. A lot of Post Rock references on this one. More amazing guitar after 4 minutes as the two guitarists trade off. So good! Our singer comes in late as Post Rock guitars dominate.

The opener "Veras Tema" and "Square 5" both have their moments that's for sure but there are some sections that I'm not that into. The layering of sounds on "Artifacts" is pretty cool and "Brus Fran Stan" works with the acoustic guitar and humming. So reminding me of? Not sure. Sequencers on the closer but top song number three is "Capercaillie Lammergeyer Cassowary & Repeat". That sax and deep moving powerful sound brings Zeuhl to mind for me as it swells and recedes. Some driving music on this one too before 1 1/2 minutes with the Electronics dominating. The final minute is so good as it turns powerful again.

Gotta go 4 stars here despite some ups and downs for me personally when it comes to my tastes but man how can you not be blown away at the inventive ideas as they blaze new territories.

Two years on from the slice of excellence which was 'Et Ex' and the eclectic Swedes are back with their sixth album. Since the beginning, David Lundberg (Fender Rhodes, Grand Piano, Mellotron & Synthesizers) and Alexander Skepp (Drums & Percussion) have been firmly at the helm, while Gabriel Tapper (Bass Guitar & Moog Taurus Pedals) has been there since 2004 and Rasmus Booberg (Guitars & Synthesizers) joined just after the last album. However, they have now expanded to a quintet with the addition of percussionist Jesper Skarin (Misery Loves Co/Switch Opens) and have dived firmly into the world of Krautrock. While they have been influenced heavily by Tangerine Dream in the past, this sees them moving much further into the genre, even using many old synthesisers (care of producer Daniel Fagerström) and creating something which is both dated and right up to date.

The strange thing is it is probably the guitar and especially bass guitar which provides the life to this album. The keyboards may move and swirl, but those give the direction and power: one knows this is music which is designed to be taken out on the road when the opportunity arises as opposed to being just a studio operation, as it has that vitality and drive. There is also a strong use of dynamics and contrasts, and this is brought together with repeated melodies and tangents which make this a compelling piece of music. They have also moved towards shorter songs, with only one breaking six minutes while they had four of that length or more on the last one. The title track itself sounds like Kraftwerk being brought into a rock environment, with pounding drums at the back and guitar/bass taking over from the synths when the time is right. I really enjoyed their last album, which was something of a breakthrough for them in many ways, but this one is actually better. If you have yet to investigate Gösta Berlings Saga then now is the time to do that with 'Konkret Musik'

Named after the debut novel of Swedish author Selma Lagerlöf, which was published in 1891, GBS are a band who have always gone their own path, from their early days as a duo to where they are nearly 20 years later, now operating as a quartet. Founders Alexander Skepp (drums) and David Lundberg (Fender Rhodes, Mellotron and synthesizers) are still very much at the helm, while Gabriel Tapper (bass, Taurus pedals) has been there since 2004. Guitarist Einar Baldursson parted ways with band not long after the release of the album, and he has been replaced by Rasmus Booberg, who apparently also provides clarinet, synthesizer and humming!

The immediate reaction when hearing this album is that while the band have obviously been inspired by Tangerine Dream in many ways, this isn't all about complex layered synthesisers and repeated patterns. Some of the most poignant aspects of the album can be heard on "Artefacts", where the use of simple notes from the top of the piano's register takes the music into a whole new area. The feelings from that are very different indeed to the bombast of "Capercaillie Lammergeyer Cassowary & Repeat" which follows, which moves far more into areas normally reserved for the likes of Art Zoyd. Here is a band demonstrating that music which is mostly keyboard-based can be dynamic and powerful, bringing Krautrock themes and styles into the modern age while never moving too far away from the Seventies roots. Well worth investigating further.

Review Nº 242

Gosta Berlings Saga is a Swedish progressive rock band from Stockholm. The foundations for this Swedish band were established back in 2000, as a studio venture for keyboardist David Lundberg and drummer Alexander Skepp. In 2004 they decided to expand their scope and added two more members to become a full fledged band, the guitarist Matthias Danielsson and the bassist Gabriel Hermansson. They issued their debut effort, 'Tid Ar Ljud', in 2006. Three years after their first heralded release, the sophomore production 'Detta Har Hant', was issued. However, between both releases a change occurred in their line up. Guitarist Matthias Danielsson has left the band and was replaced by Einar Baldursson.

Gosta Berlings Saga was named after a Swedish silent film of the same name from 1924, directed by Mauritz Stiller starring Greta Garbo. The film was based on the debut novel written by the Swedish writer Selma Lagerlof. The main character on the novel 'Gosta Berlings Saga' is a former pastor, whose further career is told in the novel. She was the first women that received the Nobel Prize for literature in 1909. Since 1991 her picture is on the 20 Swedish Crown bank note. Originally, the band was formed in 2004 with the name Pelikaan but changed their name to Gosta Berlings Saga.

Gosta Berlings Saga makes a unique mix of instrumental progressive rock with some Avant Garde influences. Their music is heavy, dark, hypnotic, melodic and beautiful, all at the same time. Their debut album 'Tid Ar Ljud' is an instrumental conceptual album that deals with the multi interrelations between the city and the nature, and with the 'creatures' that could emerge from them. The hint of the bizarre suggestion in this idea seems to be an 'intentional intention'. The band calls itself as 'that band your unmarried, childless uncle with that beard and the weird smell likes'.

So, 'Detta Har Hant' is the second studio album of Gosta Berlings Saga and was released in 2009. The line up on the album is Einar Baldursson (acoustic and electric guitars), David Lundberg (Fender Rhodes piano), Gabriel Hermansson (bass) and Alexander Skepp (drums and percussion). The album had also the participation of Mattias Olsson (loops and Fx) and Daniel Fagerstrom (Buchla 200 synthesizer). But, there were also many other musical instruments that were added afterwards during the mixing and the production of the album, such as Mellotron, Mini Moog, glockenspiel, Orchestron, celeste, Persephone, Chilton Talentmarker, Optigan, Gem PK 4900, acoustic piano and pump organ.

'Detta Har Hant' is an entirely instrumental album. Whereas their former album had moments that seemed a little more pastoral and symphonic, this latest release seems have a slightly harsher sounding, more angular, more streamlined, and more muscular. Here, the band plays instrumental prog rock in a rather challenging, quirky and innovative variety. The rhythm section provides drive and energy throughout. There are slower passages with a more laid-back approach from time to time. The album sounds vibrant, self assured, urgent and adventurous. Challenging and quirky in nature, ever shifting and evolving themes and passages are served readily and steadily. There is a distinct 70's feeling present here, but the band combines this with an attitude that is firmly rooted in the here and now, not unlike other new bands which their music it's more rooted in the past. It also sounds as if the band recorded the album live. So, sounding if it was recorded 'live in the studio' with some overdubs added afterwards (most of the keyboard instruments), 'Detta Har Hant' delivers eight tracks that range from full blown epic soundscapes via dissonant darkness to minimalistic powerful grooves without compromising when it comes to the strong melodies the band is known for. Indeed, right from the opening 'Kontrast' to the stellar closer 'Vasterbron 05:30', incendiary guitar passages and playful RIO inspired melodies, by way of zeuhl inspired repetitiveness, collide. Although not as symphonic or 'keyboard heavy' as their previous album, 'Detta Har Hant' still has its moments of pomp, albeit less prevalent than in the past. This album seems more the vehicle for Baldursson's. His superb guitar leads permeate this recording, most notably during the middle section of the album's closer, where his fuzzed out guitar leads scorch their way into the listener's own brain.

Conclusion: 'Detta Har Hant' is a modern prog rock album with varied influences that goes from dark symphonic rock to jazz, from RIO fragments to space rock harmonies. They can be challenging, but they usually layer simple and repetitive structures that build the way the post rock does. It also comes to my mind the traditional Scandinavian music that reminds me a bit of Anglagard. Perhaps it wasn't a coincidence, the appearance on the album of Mattias Olsson of Anglagard. The album has a raw sounding and is centered on a dissonant guitar and melodious keyboards. No vocals required, the music speaks for itself. This is a well balanced album with some intricate sound and very adventurous. So, as a final result we are in presence of a very good album of interesting, creative, and subtlely complex songs. This is an excellent release that deserves a lot of attention, especially from those who enjoy of adventurous instrumental music.

Prog is my Ferrari. Jem Godfrey (Frost*)

One thing is sure with this band is that every album is very different from the others, maybe this has to do with the fact that each musician comes from different backgrounds, but one thing is common they create music for fun and that has always been the case from their first to this new album. Someone came in the studio with a riff and the band plays around it long enough until they are satisfied with the result. This time most of the ideas came from the keyboard player David Lundberg which result in a spacey electronica style of an album. The producer decided to bring more new synthesizer sounds apart from the usual mellotron sound. The funny thing is that sometimes it sounds like synth pop music, see the song "Over and Out". The music has that little dark mood, but it's never dull. They enjoy experiment with sounds and extend the melody in a trippy atmosphere. It's not your static electronic music, the melody is there and if the guitar is more in the background in this album the synthesizers parts are so impressive that you won't miss the guitar. You will be seduced by the catchy melody of the song "Over and Out". "Capercaillie Lammergeyer Cassowary & Repeat" show some Tangerine Dream, Klaus Schulze influence. which is spread out through the album." The Shortcomings Of Efficiency" is the only song that reminds me of the first influence of the band with more guitar in the Anekdoten style. The album ends with another fine piece "Fundament".

I love intrumental music, especially when it's borderline-chaotic.

I knew this band only name, but thanks to Spotify, music is much closer to home, than back in the days when I was younger and had little money to spend.

The music of G'sta Berlings Saga is much lighter than Anekdoten, but follows the same path. Heavily inspired by 70's symphonic rock but with a bit of modern-day stoner and altrock influences. They band also reminds me a bit of the instrumental side of Beadfish.

It has a spacey feel, but it's not a jamband purely jamming away without a plan. There are loads of melodies, hooklines and musical stories throughout their music, to keep the listener satisfied. Maybe it can be compared to the wonderful Hidria Spacefolk from Finland.

I don't know much of their other albums, so I can't score this album 5* yet, but a 4* score is definately deserved. I love that there are still bands trying to be more adventurous and rhythmic.

Gösta was a Spotify recommendation on the basis of listing to the La Bocca Della Verita's excellent album [i]Avenoth[/i]. [i]Fort Europa [/i]hooked me right off. The type of song that pricks up your ears in a session of browsing type of listening and makes you want to remember the band's name. And I had to hear more.

Just enough driving sound, just enough catchy and memorizing ostinatos, just enough discord and movement to be well worth several more listenings. I rather like the interludes of twangy guitar somewhat reminiscent of slower surf guitar or like a Duane Eddy feel to it. Add in notes of banjo and and the Hawaiian guitar and it could sound like it sounds older than it does. But there is also a energetic drumming and a throbbing bass line behind most of this.

I have been following the band since their debut and each time I listen to their music, I am surprised how good these guys are. The music here is instrumental mixing symphonic, zeuhl and avant-garde in the style of the Swedish tradition that has started with Anglagard and Anekdoten. The band enjoy stretch out the notes and extend the song with some repeated beats that are hypnotic for the listener. The breaks are always spot on with the appropriate moods for each section showing the dark and the light side of the music. The atmosphere created by the guitar lines and the precise and obsessive drums patterns are impressive. You can feel the spontaneity and freedom in the band's music but it never loses his sense of the melody. In this sense, I think it's a return to the raw sound of their album "Detta Har Hänt". The only weakness of this album is that the delightful experience lasts only 39 minutes!

This might be the most rhythmic GOSTA BERLINGS SAGA album to date and one of their better ones too. I still think their "Detta Har Hant" record is their best, in fact I have it right now as my third best from that year. If it wasn't for the three shorter tracks this would be 4.5 stars but 4 stars seems right all things considered. It's a bonus as well that it clocks in at around 39 minutes.

"Konstruktion" opens with deep sounds and it kicks in quickly as the guitar and keys take turns creating a catchy melody over top. This is fairly heavy and a good start. "Sersophane" really speaks to me and I'm really surprised that this isn't the opening track although it is the title track so there's that. I like the atmosphere and keys as it builds. Oh, the guitar sounds great too then it settles a minute in but kicks back in hard rather quickly. The drummer is quite busy before 2 minutes. I like the intricate guitar on this one, especially after 3 1/2 minutes. A nice guitar/ drum section follows. Themes are repeated. Great track! "Fort Europa" opens with experimental sounds as the piano joins in. The guitar starts to get picked over top as we get a rhythm joining in as well. Man this just trips along with different instruments taking turns soloing over top. So repetitive, but so good!

"Dekonstruktion" has these strange sounds that come and go, pulsating and beating away. Not a big fan of this one. "Channeling The Sixth Extinction" is an incredible tour de force. Over 15 minutes of amazing music. A dramatic intro with plenty of drum work and depth as other sounds play over top. It becomes even darker with more depth after 1 1/2 minutes. Great sound here. Check out the guitar starting before 3 minutes but they're back to the previous soundscape fairy quickly. Contrasts will continue though. It kicks into an almost Zeuhl groove after 7 minutes. So cool with the fuzzed out bass as they jam to the end. Awesome! Strangely that wasn't the closing number but "Naturum" is, a 1 plus minute piece of acoustic guitar throughout.

Man those three longer tracks are incredible, they lose me on a couple of the shorter ones but still this is a very good album. A solid 4 stars.