Proggresive Psy Rock: Algarnas Tradgard

Suedia inseamna pentru multi IKEA, Volvo, Saab, Abba, bufetul suedez, Ericsson, masajul suedez, vikingi, H&M, Nobel, pentru mai putini Garbo, Bergman, Bivolaru-Misa care are dreptul de a munci, pentru inca si mai putini Tiamat, Lake of Tears, Therion, Katatonia iar pentru o mana de obscuri inseamna: Algarnas Tradgard.

Baietii astia, hippioti intarziati, au scos doar doua albume: Framtiden ar ett Svavande Skepp, Forankrat I Forntiden (1971, relansat in 1995) si Delayed (2001, inregistrari din 73-74). Au jucat un rol important in miscarea progresiva din anii 70, iar dupa lansarea primului album, au cantat la majoritatea festivalurilor unde improvizau pe multe instrumente acustice dar si pe sintetizatoare. Sound-ul lor este undeva intre Pink Floyd, King Crimson si Third Ear Band.

1995 reissue of this Silence album, originally issued in 1972. Älgarnas Trädgård's name translates as "Garden of the Elks" and this debut album has always stood as one of the pinnacles of underground psychedelic rock -- comparable to early Pink Floyd, Group 1850 and other world masters of space-out genius. The title translates as The Future is a Hovering Ship Anchored in the Past. The group employed an instrumental array made of: violins, rebec, cello, guitars, sitar, piano, zither, organ flutes, zinks, jew's harps, tablas, percussion, Moog-synthesizer & VC-3 Putney-synthesizer. Recorded at Studio Decibel in 1971, this CD reissue adds two bonus live tracks from 1972. From Dan Söderqvist's notes: "We have known each other since 1968, when we met in our home neighborhood Västra Frölunda, Gothenburg. We listened to everything; Perotinus heavenly choirs from the 13th century, Messien's heavy works for orchestra, Beefheart's Safe as Milk, with it's surreal lyrics, King Crimson's endless string of chords, the beautiful acoustic Third Ear Band, Terry Riley's minimalism and above all the psychedelic music of early Pink Floyd. Sometimes we played our 'dägga-däng-music', crazy rhythmical plays with acoustic guitars and hysterical giggles. Sometimes we just sat and listened to the sounds slowly disappearing into space ... We experimented with getting strange sounds out of our instruments, started to use amplifiers and played with echoes ... We constantly expanded our possibilities to get new sounds, with organs, mouth harps and pedals ... We got our hands on the first Moog module system that just about had reached Sweden. We mixed Middle Age instruments such as zinks and rebecs, sound effects, church bells, fragments of both Bach and The Beatles and improvised our way through the first album."