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TRACK LIST: 1. Telefonsamtal Fran Norr 4:29 2. Mest Ar Vark 3:59 3. Svaljer Mina Ord 4:48 4. In I Dimman 5:29 5. Ingenting 8:35 6. Styrd Av Plastkort 5:00 7. I Verkligheten 4:51 8. Sant Vi Behover 5:03 9. Enbart Psykopat 5:24 10. Sagt Och Gjort 3:05 11. En Yrkeshjaltes Vedermodor 10:19 LINEUP: Michael Karlsson – guitars; backing vocals Roger Nyman – bass Dennis Nordell – lead vocals Sebastian Teir – keyboards; bouzouki Kenneth Lagerstrom – drums, percussion
Prolusion. If I were a Swede I could present this band, PRIME MOVER, as our people in Finland. I have no idea whether the musicians live in the vicinity of their historical homeland or somewhere in the inland of Finland, but they say their dialect is one-of-a kind, fairly different from classic Swedish. “Imperfekt” is the group’s fourth recording, following “Alias Drivkraft” (2004), “Put in Perspective” (2001, their only official release with English lyrics) and “Mr. Zingelmann” (a demo CD-R from 1999). Besides the five permanent Prime Mover members whose names you can see in the lineup above, three more musicians took part in this recording: Miklos Langvik, Dennis Mordell and Olivia Haggblom, but it seems to be sealed with seven seals what instruments they play. I haven’t found any info on the matter in the booklet or on the band’s website either, but after listening to the disc I arrived at the conclusion that all of them are providers of supporting vocals, the woman only appearing on a few tracks.
Analysis. Prior to listening to “Imperfekt” I refreshed my memory of the band’s previous album, and the result is not in favor of their new offering. There are moments of smoothness to be found on “Alias Drivkraft” also, but only in places, while here, that attribute is strongly increased. This 12-track disc can be divided in three parts, with the first four and the tenth songs forming the category of simpler compositions, the first three tracks, Telefonsamtal Fran Norr, Mest Ar Vark and Svaljer Mina Ord, all coming across as being especially plain. Too common in construction to challenge the progressive ear in any way, all these follow the standard verse/ chorus/ bridge mode, and it’s only the specificity of the band’s style (Dennis Nordell’s singing included) as well as the presence of a couple of instrumental breaks on each that lifts them above average mainstream Rock. In I Dimman and Sagt Och Gjort, while being balladic in nature, are a bit more diverse on their instrumental front, both standing out for some refined acoustic guitar leads. After all, these are free of any hard fabrics, and so it would be safe to mention that they contrast finely with the recording’s heavier material, especially since they’re located within the framework of that. The second part includes four tracks that follow each other at the core of the album, namely Styrd Av Plastkort, I Verkligheten, Sant Vi Behover and Enbart Psykopat, most of the fast-and-heavy moments on the first of these reminding me of Skyclad, just with a much less distinct folk component, which is generally atypical of this recording though. That being said, things get more interesting here, but not so much in terms of progressiveness. Stylistically all these songs are proto-progressive Hard Rock of the ‘70s pattern that periodically ventures into art-rock territory or, to be more precise, alternates corresponding moves, most of which are variations on themselves. What make them sound impressive are their strong energetic message, their instrumental interludes, as well as the fact that keyboardist Sebastian Teir plays quite a significant role on each, unlike the first three tracks where guitarist Michael Karlsson crowds him out almost everywhere. Finally the two semi-epics, Ingenting and En Yrkeshjaltes Vedermodor, are both the most progressively advanced compositions here, though the closing track is too rich in vocal-laden moves with a heroic Viking-like feeling to be a winner. All in all, the largely instrumental Ingenting is the only full-fledged representative of the band’s trademark style on this disc – with the deduction of the folksy ingredient for sure.
Conclusion. “Imperfekt” is a well performed recording, by competent musicians, though merely decent at best compared to its predecessor. Regardless of whether they did it deliberately or not, it was wise :-) of the band to give the CD title they did, as it perfectly reflects their creation’s substance. It is only when considering the originality of the band’s style that I can give their last effort a five-star rating. As to my recommendations, most hard- and pomp rock lovers should find “Imperfekt” to be their sort of music, though only those of them who’re tolerant of any forms of the so-called mainstream might like it in its entirety.
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