Label: Kullen Reko, 2022
Personnel - Mattias Risberg: keyboards, composition, lyrics; Jennie Abrahamson: vocals; Sten Sandell: voice, recitation; Fredrik Ljungkvist: saxophone, clarinet; Per Texas Johansson: saxophone, bass clarinet, bassoon, oboe; David Stackenäs: guitar; Stina Hellberg Agback: harp; Eva Lindal: violin; Josefin Runsteen: violin, viola, mallets, percussion; Dan Berglund: bass; Jon Fält: drums.
Krantzkommun, a multifaceted opus where several genres are entwined, is the last installment of Mattias Risbergs Mining trilogy, which started in 2019 with Live in Stripa and continued in 2020 with Zauberberg. The septet featured in the first two acts is expanded into an 11-piece ensemble here, allowing for a peculiar instrumentation with extra reeds and strings, recitation, and harp. Risberg keeps setting down his memories of Bergslagen, the historical Swedish mining district where he grew up.
Combining English lyrics and Swedish recitation, the album kicks off with “Overstyr”, whose percussive noise, abrupt interruptions (giving place to a mix of prog-rock and cabaret music), as well as impetuous guitar and synth stabs give an idea of what to expect next. Over this provocative fusion, we have Jennie Abrahamson’s vocals and the deep recitation of Sten Sandell creating a swelling, eerie atmosphere. It all ends up in a classical pool of serene strings. The title track - worthy of both popular burlesque and riotous proto-punk performance - relies on a vigorous rhythm that alternates with quieter vocal passages. You can think of it as an elaborate fusion of hard and sophisticated rock approaches (Rammstein, Can, and Kate Bush come to mind) and experimental avant-garde sounds to which the horns contribute actively.
With harp, keyboards and strings at the center, the cinematic “Flee” feels achingly lyrical in an almost surreal way. It shares some musical qualities with the enigmatic “Extend”, which doesn’t hide the influence of Kate Bush in the narrative. It also doesn’t get anywhere near the dynamic pulsation of the following chapter, “Ping Pong”, whose syncopated patterns contrast with a more playful pop/rock side, or even the concluding track, “Who Needs a Story”. This latter piece is launched in nine, morphing into a propulsive triple time flow when accommodating the horns. The last section is powerful, built in ecstasy, with the phrase “the mine is mine” being throbbingly repeated.
Krantzkommun is an ardent work rather than coldly metallic. Being personal and bold in the conception, it’s so unlike any other music being made at the moment that it will certainly put some listeners into a kind of trance.
Favorite Tracks:
02 - Krantzkommun ► 05 - Ping Pong ► 09 - Who Needs a Story