Exposé Online banner

Landberk — One Man Tell's Another
(Megarock MRRCD 007, 1994, CD)

by Rob Walker, 1994-08-01:

One Man Tell's Another Cover art From the opening moments of this CD, it is obvious that this Swedish band has greatly matured. The follow-up to 1992's well received but unspectacular debut Lonely Land, One Man Tell's Another features solid musicianship, diverse writing, strong production, and most of all an original sound which doesn't reflect the usual progressive influences. The five band members spread the writing duties around, and while the (English) lyrics, full of personal melancholy and angst, are rather thematically similar throughout, the music benefits greatly, covering a variety of styles over the seven songs. There is no outstanding musical virtuosity or complexity, but with some novel sounds and fresh chord progressions, the album moves beyond the more typical symphonic prog of their first album into areas that are more difficult to define. It is hard to point to any specific group or album that seems to be a predecessor to One Man Tell's Another; perhaps the latest Sylvian/Fripp album or even Talk Talk may exhibit similarities in mood and style, but that does not adequately describe this music. For much of the CD, the rhythm section is used to set up a strong foundation — I hesitate to use the word "groove" — that is developed and accented by the excellent use of dynamics and instrumentation, as well as the wonderful production. Some of the most tasteful use of the Mellotron in recent years can be found here. The modern sound of the album is an odd context for this well-traveled instrument, but it works extremely well and helps to create a unique atmosphere. Of all the band members, guitarist Reine Fiske is featured most prominently, but this remains very much a group effort. The lyrics, music and other elements are all brought together in each song into a strong, cohesive whole that is very engaging. One Man Tell's Another at times seems to fall into the nebulous area between prog and progressive pop; the sort of album that might perhaps bridge the gap to a larger audience for progressive music in general. Even if not, it still stands as a solid and original contribution to the 90s prog scene. I am not usually one to fall for this type of music, but I found Landberk's latest release to be impressive and thoroughly enjoyable.

by Mike Borella, 1994-08-01:

My first reaction to hearing this, the latest release from yet another of Sweden's newer bands, was, "What?" The opening chords sound all too similar to half a dozen or so U2 songs. However, this moment is soon over, and while Landberk has taken a slightly different approach here than on their debut, they haven't sold out or commercialized. Landberk has never been a band to impress one with complexity, rather they take a more atmospheric approach. The use of analog instruments and soft, yet ominous, interludes, reminds me of the slower moments of early Black Sabbath, with a touch of Crimson thrown in. While the guitarist has a style that mixes heavy riffing and discordant melodies, the rest of the band does little more than follow along. Throughout most of the album the drummer plods along, though he does lay down some interesting beats on a few of the tracks. The bass and keyboards add to the atmosphere, but contribute little else. Vocals are entirely in English this time, and the vocalist's style is very hit or miss. While some may like his strained singing, I find it rather distracting. Landberk's emphasis seems to be on vocally-oriented music, with predictable rhythms and structures. This isn't a bad release, though I find that little of it moves me. Outside of the guitarist's interesting textures and the brooding intensity, this album leaves me wanting. Recommended to those who enjoyed Landberk's debut.

by Dan Casey, 1994-08-01:

Landberk are one-third of the new wave of prog-rock from Sweden, along with countrymen Änglagård and Anekdoten. As with the other two bands, the sound here is based mostly upon organic, 70s-style instruments (like Hammond organs, Mellotrons, Rickenbacker bass, etc.) but with a 90s edge in the writing and production. One Man Tell's Another is Landberk's second offering and those who enjoyed their first one (Lonely Land) are sure to enjoy this one as well. The band is a five-piece, with a dedicated lead vocalist. But for a frontman who doesn't carry any other weight in the band, Patric Helje's voice is pretty thin and lacking confidence and strength. Furthermore, the lyrics (in English) suffer from the same overblown gothic imagery that Anekdoten's did (ex. "I am lonely/Wonder how you feel/Sit in darkness/Naked in my room"). While Landberk sound very much like Anekdoten overall, they approach the music with significantly less enthusiasm and energy, the result being like a subdued boil rather than the explosiveness the writing begs for. Since they also take a much simpler approach in songwriting, perhaps this suggests Landberk are already pushing their limits as an ensemble. There certainly are some fine moments on this album, but not enough to seriously compete with Änglagård or Anekdoten in this arena.

Filed under: New releases , Issue 4 , 1994 releases

Related artist(s): Landberk

More info

Latest news

2018-09-05
Krautrock Documentary Seeks Funding – The next installment of the Progressive Warriors documentary series will focus on the vast body of music that falls under the banner of "krautrock." As most of our readers will know, previous films have tackled RIO and the Canterbury scene, as well as what we might call "mainstream" prog rock. » Read more

2018-07-31
Tomasz Stańko RIP – Tomasz Stańko, one of the greats of Eastern European jazz, has died at the age of 76. Stańko's career started in Krzysztof Komeda's quintet, where he contributed trumpet from 1963-1967, when he formed his own group. He worked extensively with Edward Vesala, Don Cherry, Zbigniew Seifert, Chico Freeman, Howard Johnson, Cecil Taylor, and many others. Many of his recordings have been released by ECM, an association that began in the mid-70s. » Read more

2018-07-09
Soft Machine Set to Release New Music – It's been 50 years since The Soft Machine changed the face of music with their first album. Their blend of psychedelic rock and jazz was unique, and while the band went through many changes before disbanding in 1981 — by which time there were no original members remaining — they remained an innovative force with a style all their own. » Read more

2018-07-01
7d Surfaces Happy Rhodes Back Catalog – We've covered singer Happy Rhodes before, both for her solo work and recently with The Security Project, but her 11 albums have been hard to track down. Until now. 7d features high-quality downloads of all her releases, and several of them are also available on CD. » Read more

2018-06-25
Fred Chalenor RIP – We have news of another sad passing in the world of creative music. Bassist Fred Chalenor, whose creativity featured on albums by Tone Dogs, Caveman Shoestore, and many more, died on June 23, 2018 after a long battle with Alzheimer's. Tributes have poured in from the many musicians and fans whose lives he touched. » Read more


Previously in Exposé...

Campo di Marte - Campo di Marte – Heaped amidst a surprising number of great 70s Italian prog bands comes this very recent CD reissue, and it is quite remarkable. Perhaps more subtle than some of their contemporaries, this five-piece...  (1994) » Read more

Jaga Jazzist - What We Must & Spydeberg Sessions – This Norwegian band has been refining their particular brand of jazz (if that’s what you want to call it) for nearly ten years now, and while some things remain the same from their beginnings,...  (2006) » Read more

Steve Hackett - Wild Orchids – For nearly 30 years many have kept on considering him only the man behind the powerful guitar solos of Foxtrot and The Lamb Lies down on Broadway; yet he has proved to be much more than this. He...  (2008) » Read more

Mind Gallery - Guilty until Proven Rich – This second offering by Mind Gallery dwells mostly in straightforward material. That is not to say it's a bad thing, or that prog amateurs' heaven is in 13/7 land exclusively. No. But when you...  (1995) » Read more

GAM - Eiszeit – The name GAM is an acronym of the member’s first names Günter Schickert (guitar, vocals, trumpet), Axel Struck (guitars, vocals), and Michael Leske (drums, percussion). Eiszeit, or Ice Age,...  (2007) » Read more



Listen & discover



Print issues