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Formed in Kalmar, Sweden in 1972 - Recording hiatus from 1992 to 2007 - Reformed in 2003
These Swedes managed four albums on Silence Record and some more (not listed here) in the early 90's. They are a typical example of atmospheric and melancholic prog like only Sweden can produce them. Their first album is a real classic known as a minor classic among progheads and they will participate to another group (KUNG TUNG - much harder) before doing their second album where those influences from that group will leave a mark. It is reputed to be as good as their debut. The later albums listed here remain of a good standard. Among the non-listed albums is "Well"(91) and is rather new age and sometimes industrial - not much to do with the earlier works.
: : : Hugues Chantraine, BELGIUM : : :
NOTE: Not to be confused with the New Zealand symphonic prog group from those very same years (also HERE on PA) or the Heavy Metal unit from the 80-90's.
Review by
siLLy puPPy
Special Collaborator PSIKE, JRF/Canterbury, P Metal, Eclectic
RAGNORÖK has been one of Sweden's longest running progressive acts
engaging in both progressive rock and progressive folk since its
formation in Kalmar in 1972. Founded by Peter Bryngelsson (guitar, bass,
vocals), Henrik Strindberg (guitar, flute) and Staffan Strindberg
(bass), throughout the band's existence it has seen more than 25 members
come and go. Despite this long existence the band has only released a
total of six studio albums which all began with this 1976 self-titled
debut. While mostly active during the 70s and 80s, the band took a
hiatus and then reformed in 2002 but has only released one album "Path"
since.While RAGNORÖK would take a turn towards progressive jazz rock on its sophomore album "Fjärilar i magen," on this eponymous debut the band delivers a lush pastoral form of progressive folk that belies the band name that refers to the great event in Norse mythology that includes a great battle. On the contrary, RAGNORÖK's first album is one of the most mellow and dreamy styles of prog you could possibly experience with slow moving guitar and flute, piano arpeggios and a controlled drum and bass section. Hints of the jazz direction are dropped in some of the percussion moves but otherwise this sounds more like a mix of Bo Hanssen and Camel without any true points where the band rocks out.
A veritable mix of folk, classical guitar, semi-jazzy interludes and the pastoral aspects of prog ranging from Genesis to Anthony Phillips (sans vocals). The music also includes some interesting Swedish folk flavors including a bit of that famous circus music feel on the short "Fjottot" but mostly this is an acoustic guitar, piano and flute dominated album that takes you into prog placidity. While mellow prog such as this can often fall into tedium, RAGNORÖK keeps the album interesting by crafting an excellent instrumental interplay that keeps you in the zone. Too often folky albums will unnecessarily attempt to rock out at inappropriate moments and while that can be effective if done well, often it falls flat. In this case the band simply stays on mellow mode for the entire ride which makes it a beautifully compelling listen. Of course this would all amount to nought if not for the beautiful melodies crafted.
Another strength is the use of varying styles of folk music with even Celtic folk sounds being implemented on "Stiltje-uppbrott." Personally i find these low key prog albums hit or miss but occasionally a band nails it perfectly. This is something like Sweden's equivalent to Italy's Celeste who also went against the grain and delivered a rock-free slice of piano-based mellowness. To my ears this sounds like the prog equivalent of cool jazz and if Miles Davis was Swedish and took on the world of prog folk then perhaps this is the kind of album he would've produced. Any way you slice it, RAGNORÖK's debut is a one of those pleasant surprises that works because of its high quality and consistency throughout its run. The mix of instrumentation is family unique and the album doesn't sound like much else. A nice late to the game addition to the world of prog folk in 1976.
credits
Thanks to Thomas Mathie for the cover design
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