Dungen

Tio Bitar

Over the past two years, the profile of Swedish psychedelic rockers Dungen has grown at an

once, inspired the creative processes at hand to make something wholly new and original, yet

remaining within the same sphere of emotions that fostered Dungen’s three previous albums.

Pieces”) – a bracing display of psychedelic rock, presented with a bright, avid confidence –

largely by himself, with the assistance of guitarist Reine Fiske. Gustav wrote the songs, and

played all of the instruments on his own, with Reine on many lead guitar and bass parts; his

style of play puts him well within the top ranks of modern guitar heroes past and present. Says

Gustav of Reine’s tone language and instrumental expressiveness, “He has a way of wielding

the guitar that not many people have.” An understatement, indeed, and one important piece of

the puzzle that allows Gustav to achieve, in his own words, “the best possible result.”

“It’s similar to how they often do it in hip-hop,” Gustav states in his description his recording

process. “One producer is behind it all, and in this case, I am that producer.” Feel free to draw

your own conclusions as to how this all bears out – reasoning crumbles when you hear just what

Gustav, Reine, and company have made happen through this process. Dungen is a project that

distinctly, effortlessly aligns its soundscapes and influences with an authority that will make you

believe these sounds were always meant to go together.

Tracks like “Familj,” “Sa Blev Det Bestamt” and “Gor Det Nu” suggest a new, unburdened

direction for the belabored concept of “jamming.” Here, it hems in the melodies, borrowing some

of their phrasings but spinning off into lucid counterpart, all anchored by the bass, drums, and

organ. When vocals – as on past efforts, sung entirely in Swedish – or a flute appear, they’re

diverging out to a third melody, still safely within the frame, in tune with each part. Complex

arrangements find the songs boiling over with dozens of ideas, stitched together with studio

flash, yet played so soulfully that there’s no evidence of the kind of smug, cynical hamminess

that’s been hurting rock music since the early ‘70s. Nor is it the other extreme; no wide-eyed

innocence and eagerness to please.

the praise with yet another set of cohesive, adventurous rock songs that can’t sit still, yet

possess the vision and focus to distance itself from distraction and obvious influences.

According to Gustav, it all comes down to one thing. “When I was eight years old,” Gustav

where I first discovered and understood what a ‘groove’ was. Since then, whenever I heard that

groove, I recognized it, and I liked it.” He’s not looking to emulate the past, though, at least on

the past’s unfailingly outdated terms. “Dungen is not retro,” he states. “Dungen is contemporary.

Contemporary because it consists of elements from both then and now.”