KRIGSSÅNG

For their sophomore release "Krigssång", the guys from Trettioåriga Kriget decided to take the powerful heavy prog approach of their debut album to a subtler level, administering the rougher moments more in a refurbished balance that gave more room to less explicit sonic explorations. This factor also allowed the band to state some relatedness to the standard of symphonic prog at times (some people have mentioned German symphonic bands such Novalis, and I would add Wallenstein, but mostly to my ears, TK's symphonic side is closer to "Remember the Future"-era Nektar). The namesake opener is obviously based on a blues tempo, which receives a particularly sophisticated treatment all the way through its 4 ½ time span since TK remain loyal to their art-rock ambitions. Track 2 'Metamorfoser' starts digging deeper into the sort of slow tempo that had been delivered in the opener's main motif, only this time the energetic moments that eventually emerge bear a jazzier tendency and state a more consistent presence, in this way catalyzing the main motif's melodic development. I have the feeling that both tracks would have benefited greatly from longer expansions and a major use of mellotron (or whichever other keyboard that drummer Dag Lundqvist might have used at the time) in order to properly explore the epic potencial further and see where things can go from there. Anyway, this is what there is and what you see is what you get. 'Jag och jag och jag' is an acoustic pastoral ballad that is stylistically connected with the sort of folkish spirit that one can expect from the candid side of 70s art-rock: since the central mood is quite introspective, this ballad serves as a convenient moment of simple solace before the arrival of 'Mitt mirakel' (originally omitted from the 70s vinyl but luckily recovered for the 2004 CD re-edition), a fine example of the interesting things that TK are capable of when they systematically incorporate clever jazzy flavors into their heavy prog sound: the rhythm duo's dynamics is excellent, and so are Åkerberg's deliveries on guitar harmonies/lead phrasings. Once again I find myself longing for a different, alternative Universe in which this track is longer and with a fuller global sound, although essentially I don't have any complaints at all about the track's compositional structure. 'Murar' is basically structured around the linkage of two different jams: the faster one is reserved for the second place, in this way allowing the overall mood to give the impression of elaborating a controlled sonic discourse headlong for a specific climax. So far here are the rougher passages in the album, but there is some more roughness in store concerning some moments of the forthcoming suite. The album's final track is the 17 ½ minute long 'Krigssång II', an excellent, exciting suite that ultimately fulfills its musical ideas in a hyperbolic accomplishment of an usual progressive leitmotif - an extended, well-articulated series of sections properly arranged to conform an ambitious taste for art in rock. Here is where the band's moderate flirtations with symphonic prog lie and get an effective development. Fredin's bass playing sounds somewhat Squire- related in places, although by no means should anyone read that Yes is some notable influence on the band. A special motif that reappears recurrently (sometimes augmented by synth) helps to reassure the whole expansive track's cohesion. In terms of harmonic expansions and motif linking, this piece is monumentally successful; the jam that gets started around minute 5 brings some colorful psychedelia while it lasts, and it also prepares the room for the following defined section. A jamming that takes place a few minutes later sure reminds me of Nektar and "Inside"-era Eloy (to a degree, at least). The slow passages are energetic enough as to encapsulate some of the melodically driven pomposity that is one of the undeniable trademarks of symph prog. For the coda, things turn to a faster tempo and an increased groove: the fact that the rhythm section gets jazzy helps to keep things ordained as the rhythm goes on intensifying the mood. Actually, I would have loved to hear some impressive guitar lead as the track approaches its end: otherwise, on a good note, the fade-out has been arranged in a very clever fashion, stating an eerie reiteration of the coda's harmonic basis. A very good ending for a very good suite, indeed. The 2004 CD edition comprises three live bonuses besides the official repertoire plus the originally intended track 4 that I have mentioned earlier. Compared to the debut album, this one is noticeably less explosive in general and less expansive regarding the first half: the last half compensates for it largely. TK is by now a heavy prog band with a refurbished interest in developing a new, more refined side to it.