Høst

Høst var et norsk band med base i Indre Østfold som spilte musikk i grenselandet mellom hardrock og progressiv rock. Bandet eksisterte mellom 1973 og 1978 og var et av de første rockebandene som benyttet seg av norske tekster.

Bestående av Svein Rønning (gitar), Lasse Nilsen (gitar), Knut R. Lie (trommer), Geir Jahren (vokal) og Bernt Bodahl (bass) spilte Høst inn sin første plate "På Sterke Vinger" som ble utgitt på Polygram i 1974 på seks dager. Plata ble godt mottatt, og kort tid etter forlot Lie bandet til fordel for Bazar. Det tok heller ikke lang tid før Rønning og Nilsen forlot bandet og startet Déjà Vu. Nye medlemmer ble Willy Bendiksen (trommer), Fezza Ellingsen (gitar) og Halvdan Nedrejord (orgel), som alle tidligere hadde spilt sammen i bandet St. Helena.

Denne besetningen ga i 1976 ut LPen "Hardt Mot Hardt" som ble en kommersiell nedtur sammenlignet med forgjengeren. Der På sterke vinger hentet det meste av inspirasjonen sin fra engelsk hardrock var "Hardt Mot Hardt" langt mer avansert musikalsk og lå mye nærmere den progressive rocken.

Etter Hardt mot hardt ble Ellingsen erstattet med gitaristen fra et av Bendiksens gamle band, Flax, John Hesla, men plateselskapet satte ned foten da bandet ønsket å lage en ny plate. Som et kompromiss ble samle-LPer "Extra! Extra!" gitt ut med fire nye låter i 1977. Kort tid etter skiftet bandet navn til Ice og begynte å synge på engelsk. På tross av en opptreden i NRK ble det ingen suksess og sommeren 1978 var det slutt for Høst.

Derfra har Høst sine medlemmer gått ulike veier. Bodahl slo seg sammen med en viss Kjell Inge Røkke for å dra til USA og slå seg opp, og er i dag mangemillionær, bosatt i USA, og jobber innenfor Aker Kværner-systemet. De andre driver fortsatt med musikk, dog først og fremst på hobbybasis. Rønning, Jahren og Lie har alle vært innom Kerrs Pink, mens Bendiksen har spilt blant annet med Road, Gry Jannicke Jarlum og Ronnie Lè Tekrö. Han spiller i dag i Wild Willy's Gang og er eier av utestedet Rock In i Oslo.

Etter oppløsingen har Høst hatt flere gjenforeningsturneer. Det har også blitt gitt ut en flexisingel med sangen "Stille Timer" og en samleplate, "Live And Unreleased", som inkluderer en radiosesjon fra 1975, fire engelskspråklige sanger fra tiden som Ice og tre sanger fra en gjenforeningsturne i 1991.

Musikere som har spilt i Høst:

Svein Rønning -Gitar
(Aunt Mary + The Aller Værste + Berg Brothers Band + Bud Corona Band + Deja Vu + Kerrs Pink + Henning Kvitnes Little Eden)

Willy Bendiksen -Trommer
(Bad Habitz + Blonde On Blonde + Flax + Ice + Jannicke + Jørn Lande + Road + The Snakes + St. Helena + Ronny Le Tekrø + Wild Willy's Gang)

Geir Jahren -Vokal
(Blanda Drops + Ice + Just Conserved + Kerrs Pink + Mantra + Soul Circus)

John Hesla -Gitar, fløyte
(Flax + Ice + Nickles And Dimes)

Knut Lie -Trommer, vokal
(Blanda Drops + Deja Vu + Just Conserved + Kerrs Pink + Rosmerholm + Soul Circus)

Fezza Ellingsen -Gitar, fløyte
(Akasha + Balder Opers + Fezza Fortissimo Orchestra + Kaptein Nemo + Løvetann + Matchboxs + Rabalder + Snoopy + St. Helena)

Bernt Bodahl -Bass
(Ice)

Halvdan Nedrejord -Trekkspill, keyboards
(Ice + Kjøtt + St. Helena)

Lasse Nilsen -Gitar
(Bazar + Blå Pastiller + Half Moon + Rosmerholm + Second Evolution + Veslefrikk)

Harald Berg -Trommer
(Berg Brothers Band + Mantra)

Heidi Drengsrud Jahren -Vokal
(Blanda Drops + Kerrs Pink)

Johnny Myhre -Bass

Stig Berg -Trommer

Ronny Gyldensten -Gitar
(Gro Anita Schønn Band)

Trond Opperud -Vokal

Arild Dalevold -Trommer

Trondheim Symfoniorkester -Strykere

Bjørn Nessjøe -Produsent
(Ole Edvard Antonsen + The Boys + Bugges Firo + CCCP + Sigvard Dagsland + Torstein Flakne + Four Jets + Ivar Gafseth + Golden Brazz + Morten Harket + Gary Holton & Casino Steel + Ian Hunter + Junipher Greene + Kenny + Herborg Kråkevik + Nidaros + Pioneers + Stage Dolls + Arve Tellefsen + Tnt)

Nils Bjarne Kvam -Produsent
(Bazar + The Beste + Svein Finjarn + Folque + Gartnerlosjen + Junipher Greene + Morgans + New Jordal Swingers + Vandrerne)

Hellas

I føljetongen HVORFRA? Er vi nå kommet frem til Hellas. Landet er ikke akkurat noen gigant i progsammenheng, men noen artister har da sitt opphav fra antikkens hjemland.

Fastlands-Hellas består av den sørligste delen av Balkan, (også kalt det greske fastlandet) og halvøya Peloponnes. Hellas' to største byer, Athen og Thessaloniki, ligger her. I tillegg består Hellas av en 1425 av store og små øyer, hvorav 166 er bebodd. Øyene er delt inn i øygrupper slik som Kykladene, Dodekanesene, Sporadene, de Ioniske øyer, de nordøstlige Aegiske øyer og de Saroniske øyer. Øya Kreta ligger ikke i noen øygruppe. Det gjør heller ikke Kypros, som er nært knyttet til den greske interessesfæren, men som geografisk ligger nærmere Tyrkia.

Hypnos 69

Hypnos 69 was founded in 1994, Diest, Belgium. When Steve and Dave Houtmeyers decide in the summer of '94 to found a band with Tom Vanlaer, also the story of a band that would bring new life to the '60s and '70s psychedelic underground rock-scene of today began: Hypnos 69.

The name was appropriatly taken from the ancient Greek god of Sleep and Subconsciousness. The number 69 stands for equilibrium and stability; properties that can be retrieved in the marked sound of the band. 

Thanks to the cooperation with Orange Factory, Hypnos 69 developed a very powerful live-reputation, which placed them at the top of the contemporary psychedelic rockscene. 

2000: First Hypnos 69 release on the Belgian RocknRollRadio-recordlabel entitled "Wherever Time has shared it's Trust" on blue 10"EP vinyl. 

The first full-cd appeared also on RocknRollRadio in 2002 entitled "Timeline Traveller" and contains bad ass heavy 70's rock. This cd gave Hypnos 69 a lot of attention from radiostations and magazines from all around the world. The band toured in Germany, Holland, France and Czech Republic. 

When the band in 2003 presents their second full cd "Promise of a New Moon", Steven Marx was introduced into Hypnos' wall of sound. From being a guestmusician he rapidly became a part of the live-set and a brand new member of the band. 

In October 2004 the band presents their third full cd "The Intrigue of Perception", along with a split 10"EP with their German soulmates Colour Haze on Elektrohasch Records. Once again, the band took the best aspects of rock over the past 30 years and refined them into a sound of their own. 

Over the past years Hypnos 69 acquired a loyal following wherever they appeared live across Europe and one of the band's greatest thrills to date has been the number of venues which immediately requested their return and the new fans who instantly fell in love with the band. 

Hypnos 69 played hundreds of gigs in Belgium and around, visited some of Europe's finest rock clubs and outdoor & indoor rock festivals including Roadburn 10th Anniversary (013, Tilburg), Swamp Room Mania (Hamburg), Psychedelic Avengers Festival (Berlin), Stoned from the underground (Erfurt), Sauzpif rocks (Austria). 

The band and musicians have been invited to perform with respected musicians as Ed Mundell (Monster Magnet), Gary Arce (The Sort of Quartet, Yawning Man), Alfredo Hernandez (QOTSA, Kyuss, Yawning Man) and Rich Mullins (Karma to Burn, Yearlong Disaster). 

New album "The Eclectic Measure" (autumn 2006 on Elektrohasch Records) is the band’s last communal effort, it’s a record that totally fits and it’s a lot darker then its predecessors. Sadly, the release of this album coincides with the demise of this great cult band. 

Hypnos 69 discography:
split 10 inch w/ Monkey 3 (RocknRollRadio 2006)
‘The Eclectic Measure’ CD + LP (ElektroHasch 2006) Sonic Rendezvous
‘Timeline Traveller’ CD (re-release ElektroHasch 2006) Sonic Rendezvous
‘The Intrigue Of Perception’ CD (ElektroHasch 2004) Sonic Rendezvous
‘The Forest Of Illusion’ split 10 inch w/ Colour Haze (ElektroHasch 2004) Sonic Rendezvous
‘Promise Of A New Moon’ CD (RocknRollRadio 2003) Konkurrent
‘Timeline Traveller’ CD (RocknRollRadio 2002) sold out
‘Where All The Ends Unite’ 10 inch (RocknRollRadio 2000) sold out

"The Eclectic Measure"

01) I and You and Me (I)
02) The Eclectic
......Measure
03) Forgotten Souls
04) My Ambiguity
......of Reality
05) The Antagonist
06) Halfway to the Stars
07) I and You and Me (II)
08) Ominous
......(but fooled before)
09) The Point Of
......No Return
10) Deus Ex Machina

Hypnos 69 are a fresh and a creative inspirational Belgium Band, blending elements from many sources such as Progressive Rock,  Psychedelic and Space Rock with touchs around a Classic Hard Rock. Their music is very sensitve, characterized by ambitious musical themes, melodic, harmonic with fine rhythmic experimentation, evoking some good references to the classics of the early 70's Progressive Rock and psychedelic movement. All the songs have a large arsenal of instrumentation and wild arrangements, drawing influences from a variety of ways, using creative keyboards  arrangements combined with heavy guitar riffs including a vibrant percussion. There are no words to describe the feeling you should get while listening to this band´s music. Just listen the songs: "Forgotten Souls", "The Antagonist", "I and You and Me (II)", "The Point of No Return" and "Deus Ex Machina" and think about how many bands sounded like them. if you have been searching for the perfect contemplative Prog Rock Band, Hypnos 69 are your choice. Brilliant and fantastic, an amazing band, highly recommendable...

The line up on Hypnos 69 are:
Steve Houtmeyers - Electric & Acoustic Guitars, Vocals, Theremin, Space Echo
Tom Vanlaer - Bass, Moog Taurus, Hammond, Fender Rhodes
Steven Marx - Tenor & Bariton Saxophone, Fender Rhodes, Hammond, Mellotron, Clarinet
Dave Houtmeyers - Drums, Percussion, Timpanis, Glockenspiel, KorgMS20, MS50, SQ10

H₂0

It has been a while since H2O's debut, Unopuntosei, an album which for me was a split hair short of excellent. It seemed like the band was on the cusp of greatness, thus I looked forward to this new album in particular. Before the term "neo prog" was copped to describe "bad prog," this would have been the type of band to pull out as a fine example of a symphonic rock album played with modern equipment, as H2O never seems to have any intention to throw an 80s hair ballad or cheesy upbeat "hit single" into the mix.

The new album does not break any new ground, but it is a genuinely interesting and slightly complicated form of keyboard progressive. Heavily melodic, with much of the inspiration coming from classic period Genesis or early Marillion and IQ, H2O never shy completely away from accessibility while keeping one's interest with lots of key and chord changes. There are five tracks, with the two shortest at just over seven minutes and the title track the longest at 16'32. Have H2O decisively made a step to sheer excellence? Maybe not decisively, but surely marginally. This one is definitely recommended to the symphonic prog enthusiast, although not the 70s only type.

Hamadryad

Før vi går til selve gruppa Hamadryad er det på sin plass med litt påtvunget historie om nymfer og Gresk mytologi. For øvrig kan du lese om den glitrende første skiva på Nordamerika siden. Jeg må jo bare ta med at å kalle seg opp etter slike fantasiskikkelser jo er et godt alternativ til navn som er rimelig tåpelige.

Hamadryad was a nymph of an oak tree. She was very connected to the tree in which she lived, and very powerful if angered. If her tree was hurt, then the hamadryad was hurt. If her tree was cut down, then the hamadryad also died. It was a hamadryad who began the whole story of the Golden Fleece by punishing the son of a man who'd thrown a knife into her tree.

 What's a Nymph?

So the most obvious metaphor is the Fairy metaphor. Nymphs are like fairies in that they were unpredictable, a little scary, and often showed up in folktales. But, seeing as they are from a different culture, they are also entirely different. For one thing, the nymphs are all women. This is definitely significant in the way they were scary. One of the things you might (and should) notice is the common theme of women's sexuality = scary and women's chastity = good. Noticing that, it should not shock you that these somewhat scary spirits are at their scariest to mortal men when sex enters the picture (Hylas is a lovely example). It should also be noted without surprise that these nymphs are spirits often personifying nature. (See below for the groups of nymphs) As Sue Blundell so awesomely points out, women are often associated with nature and wildness as things beyond the control of "civilization" (need we point out that this civilization is extraordinarily patriarchal?). It is usually said that this is because of the whole XX chromosomal ability to bear children. I argue that this is merely an excuse and the real reason is that you're dealing with a patriarchal society and "wildness" and "nature" and such things are seen as Outside of Culture, just as women are. However, they also show up from time to time as the wives of heroes and (often spurned) lovers of gods. Nymphs, like all female deities, are beautiful. When they aren't inhabiting some specific part of nature, they are often the attendents of more important deities. I like nymphs. In many ways they seem far more human to me than any of the human women. I hope you enjoy them as much as I do.

Hamaryads history

Jean-François and Denis formed their first band together and played mainly cover songs of Rush. They struggled through years of personnel changes, trying to find the right people until they met Mark McKee and formed what would become Blue Line, a classic rock band. Mark had a lot of club experience and from the start he became a mentor to the others. They did a lot of clubs for two years gaining valuable live experiences. Then Mark left for Vancouver and they needed another singer. They changed their musical repertoire, adapting to the "grunge" style of Pearl Jam, Stone Temple Pilot, etc. They mixed in some heavy rock classics, and changed the name to Final Project, symbolizing the fact that this would have to be the last club band project.

When they began having trouble with their drummer, Denis thought of his younger brother Yves, who had been playing drums for five or six years, as a replacement. After just a couple of weeks of practices together they started getting gigs. They still played covers for another year until they had reached their saturation point. They wanted to play original music!

Not knowing what would come of their efforts, they started to play with Darren, a keyboardist who originally played with Yves. Having to exchange ideas with Darren inspired some to learn more about the technical side of music and this new combination of band members produced immediately a progressive sound that they all loved! The only piece missing was the singer.

One day Darren answered an ad for a keyboard player and ended up getting a job playing with a progressive tribute band. They all lent a hand to ensure the success of this effort. However, due to poor management, what was supposed to be a big production folded up after playing one single tribute show. All was not lost; one good thing came out of the experience as Ben, the singer of the debunked tribute band, came on to be the singer of our newly created prog tribute band named Awake. However, he was not terribly involved in the creative process and didn’t want to invest more time in the band.

Thankfully destiny was working for the band and every thing worked out as, one day, while rehearsing they met Jocelyn, another one of the original prog tribute band member. He came over to listen to us play and when he played for them a demo tape of an original song he wrote, the band thought, "We may have found our missing link".

First recording
So Ben left and in came Jocelyn; Darren our keyboardist, for personal reasons, soon departed which left four of them: Jean-François, Denis, Yves and Jocelyn. The music really started to develop and for the first time the band was good enough to be compared to any professional band out there. To form a really "tight" band, musically speaking, they decided to practice doing shows mixing cover songs with two or three original songs until they felt ready to assume the next big step: Record a first album.

While composing new material the sound of the band matured through experimentations and a wall of sound soon began to take shape. Each band member took his place and understood his role.

Wanting to maintain the integrity of their music, they all decided to produce their own album.

However, realizing the benefits of having a keyboardist’s point of view, when it comes to orchestration, the band decided to hire Francis, a former guitarist student of Jocelyn who became a keyboard player. Including Francis in the line up came naturally as most of the material for the album was already composed. But Francis skills for arrangements proved to be a major contribution to the overall statement the songs would make.

Jean-Francois soon became much more involved in the recording and production of the album; along with a good friend of ours, Andy Cherna, who provided in his home studio, the engineering skills and production experience needed. The recording sessions were to last all of the summer of 2000 and the mixing of the recorded tracks took place in the autumn.

Conservation Of Mass was launched on April 7th 2001, in Montreal. Already, we had many great reactions from the media, and we prepared all summer for a series of shows, including a participation at the 2002 Baja Prog Festival.

And then they were four

 In the summer of 2002, Jocelyn, the lead singer, announced that he was pursuing his musician career on a different path. This brought the production of the second album to a screeching halt. The departure, however strange, was made without bad feelings; the proof being that members of Hamadryad contributed to some of Jocelyn’s solo projects.

Once the initial shock subsided and time passed, in which the four remaining members took the time to take in the announcement; they all agreed that replacing Jocelyn immediately was not the way to go. So they started from scratch trying to find a new sound for the band.

What was suppose to be work sessions, where they would try to rework the existing songs, became, unexpectedly and unconsciously, writing sessions. Jean-François, who already sang one song on the first album, and a few covers live, took the lead singer role and everyone came up with bundles of new ideas.

These writing sessions where put on hiatus in the fall of 2002 due to the necessity to play a few shows in Montreal. For these, "old" songs had to be reworked and remodelled to the new outfit. The shows confirmed that as a quartet Hamadryad was as strong as before and fans where supportive and anxious to hear the new material.

Hard at work

Now in the fall of 2003, the new album is still in the works, every weeks sees new ideas being added to songs in progress and new tunes are blossoming. Even though the pressure is on to play live, the accent is on creating their second contribution.

The new "sound" is not far from what Hamadryad’s fans are used to, without being the same. It’s a strange and magical feeling to hear these new songs, for you recognise some part of it while others are brand new.

The new web site is also being worked on. This new Hamadryad’s site will provide many audio and video samples and information on the band and it’s four members.

Hellacopters

De har en fartstid på 10 år, og har aldri sett seg tilbake. Etter "By The Grace Of God" tok de sin første pust i bakken, men med "Rock'n Roll Is Dead" er de tilbake i superform.

"Vi har aldri tatt oss en pause noen gang, det har gått fra album til turné, og tilbake i studio igjen med det samme vi var kommet hjem", sier en sympatisk Nicke Andersson til Puls.

Hele Hellacopters-gjengen bor i Stockholmsområdet, og selv om Hellacopters som band ikke gjorde noen verdens ting i ett helt år omgikk de hverandre likevel. "Vi har jo alltid vært kompiser, så selv om man har pause er man jo sammen med vennene sine. Stockholm er jo ikke så stort heller", sier Nicke om sabbatsåret.

Men musikalsk sett har ikke Nicke Andersson tatt det med ro. I "friåret" var han på veien med noen av sine største inspirasjonskilder - nemlig de gjenlevende medlemmene i MC5. "Det var en stor, stor ære å turnere med de tre gjenlevende legendene fra MC5", sier Nicke med stolthet.

Flere anmeldelser av The Hellacopters' siste album går i retning av at svenskene har blitt mer refrengpreget og fengende. Nicke er ikke helt enig. "Jeg er ikke helt enig i det, men jeg vil jo tro at jeg hele tiden utvikler meg som låtskriver. Man modnes, og man får helt tiden nye impulser. Men The Hellacopters rocker like mye nå som før", sier han om den saken.

The Hellacopters har gitt ut 6 studioalbum. De startet strålende med Supershitty To The Max og har bare blitt bedre og bedre. De har hele tiden vært et forrykende liveband, og etter 10 år og 6 album er det lov å spørre om de har tenkt på å gi ut noe livealbum. "Alle livealbum jeg liker, og som har blitt stående som klassikere har alle kommet ut på 70-tallet. Men jeg utelukker ikke at vi kommer til å gjøre det, og at vi gjør en dobbelutgivelse med CD og DVD i samme slengen" avslutter Nicke Andersson fra Sveriges største rock'n roll band The Hellacopters.

Hype av muikk

Hype eller ikke, det er spørsmålet!?

Dagbladet.no fredag 7. oktober 2005 lanserer journalist Joakim Thorkildsen Sheffield-bandet The Arctic Monkeys som den nye superhypen fra den engelske musikkavisa NME. Selv om artikkelen ikke underbygger Thorkildsens påstander fra overskrift og inngress, sitter man igjen med en skepsis til bandet om at her bør man være forsiktig med å omfavne musikken deres, fordi man risikerer å bli lurt. Ikke minst fordi NME har hauset opp artister før som ikke har slått gjennom på platemarkedet i den grad den påståtte hypen skulle tilsi.

Man kan sikkert kritisere NME for mye, men som den eneste større, ukentlige britiske musikkavisen som er igjen, har den faktisk bidratt med å få en ny generasjon rockeband til å fylle London og resten av England med vital og enkel rock igjen. Det er mange av oss takknemlig for. NME skriver om det meste som skjer på bandfronten, og salgstall har etter det vi kan se ikke vært noe kriterie for deres oppslag! At NME har skrevet ekstatisk om Arctic Monkeys over flere måneder skulle tilsi at det har noe å fare med, ikke minst fordi de ser dette som endel av et femonen. Men for mange norske musikkjournalister virker det nesten som om de kommer frem til den motsatte konklusjonen.

For dette med å tilegne NME-omtalte artister et troverdighetsproblem er ikke noe spesifikt Dagbladet-fenomen. Det går igjen blant mange norske musikkjournalister. Og det har gjort det i mange år. I hvert fall så lenge jeg har lest kultur-, krim- og underholdningsstoff i norske aviser, og minnene går fort tilbake til første gang Dagbladet omtalte Sex Pistols i spaltene sine. Britiske band blir ofte omtalt med en avstand og en ironisk distanse som får meg til å ane en frykt for å la seg lure av en artist som ikke er klarert med et fiktivt musikkpoliti. I stedet seifer man, distanserer seg og skriver om hypefenomenet heller enn hva artisten representerer.

I Arctic Monkeys' tilfelle dreier det seg ikke om en superhype, slik Thorkildsen påstår. Bandet har ennå ikke prydet forsiden på NME, men har stort sett fått oppslag på live-sidene som følge av en bråte energiske konserter. Selv om de bare har gitt ut en singel som ble trykket opp i 500 eks, har gruppa turnert UK i hele år. Ryktet har gått foran dem, konserter har blitt utsolgt og unge mennesker har lastet ned 18 låter gratis fra nettet og kunnet tekstene på rams. Slikt har det blitt suksess av. Et relativt sjeldent fenomen der ingen store plateselskap har trykket på knapper og sneket dem foran i mediakøen. Bare beinhard jobbing og formidling av en identitet som engelskmenn har forstått. Men det poenget er ikke Thorkildsen opptatt av i det hele tatt. Han har i likhet med de aller fleste norske musikkjournalister aldri har sett utover den enkelte artist eller en skives isolerte underholdningsverdi. Sjelden har brydd seg om å se musikk i et større historisk, samfunnsmessig eller iidentitetsmessig perspektiv.

Artic Monkey

I stedet velger Dagbladet å kjøre fram Arctic Monkeys med et hype-stempel i panna. Som den første norske avisa til å presentere det siste fra Sheifields musikkmijlø, er dette kanskje uheldig for bandet på kort sikt i Norge, selv om det neppe påvirker fremtiden deres vesentlig. Men det blir nærliggende å spørre seg hva slags motiver Thorkildsen har, hvis han har noen bevissthet om slikt. Når avisa samme dag (og med link mellom artiklene) trykker en totalt ukritisk artikkel om bimbo-jentene i amerikanske Pussycat Dolls som ser ut som den er full av ferdigskrevne klipp fra et plateselskaps presseskriv, blir Arctic Monkeys-artikkelen vanskelig å tolke som noe annet enn at Dagbladet er helt i lomma på plateindustrrien, og at avisa prioriterer å premiere artister som har lite å komme med utover det rent underholdningsmessige.

 En kan spørre seg om Thorkildsen i det hele tatt har hørt på bandet (ting kan tyde på det, ettersom han ikke beskriver musikken med ett ord), om han er interessert i uavhengig rock og hva slags øvrige baktanker han har for å fremstille bandet som en jippo. Vi andre som synes det er interessant med band som har kommet seg fram på egen hånd, får i stedet glede oss til konserten på Garage 7. desember og håpe at artikkelen til Thorkildsen ikke hindrer oss i å få tak i billetter.

Haiakara

Record collectors know the game where they are to write a list of N albums they would take to the desert island (without thinking where they would find electric power to run the audio equipment). Regardless of how small N number would be I’d put on my list the first album of Haikara.

The group that’s name means “stork” in English was established in 1971 by Vesa Lattunen and Markus Heikkerö. Vesa was at that time a member of Lahti Symphony Orchestra (playing contrabass), Markus was playing percussion and also was a painter – every fan of Haikara knows his surrealistic LP covers. The first Haikara’s line-up was: Vesa Lattunen: piano, organ, guitars, bass, vocal - Markus Heikkerö: drums, percussion – Vesa ‘Wellu’ Lehtinen, former member of Charlies: lead vocal, tambourine, cowbell – Harri Pystynen, also a member of Lahti Symphony Orchestra: flute, tenor saxophone – Timo Vuorinen: bass. All music was written by Lattunen and lyrics by Lehtinen.

Their first excellent album is a combination of prog, Finnish folk, classical music and some additions of military marches! This is no joke as Harri Pystynen was playing one year in Lahti Military Brass Band. This specific marching rhythm you can especially hear in opening Köyhän Pojan Kerjäys [The Begging of The Poor Boy]. The most characteristic for Haikara is distinctive brass section that magnificently interplays with guitar and organ. Distinctive is also Lehtinen’s vocal. In pompous Luoja Kutsuu [Creator Calls] he sings together with Lattunen making lofty atmosphere. My favourite is Yksi Maa -Yksi Kansa [One Country - One Nation] with light, delicate beginning. As the music goes on the weight is growing evolving into heavy part with guitar and sax solos and marching finale. The whole thing then repeats again. Wonderful! Jälleen On Meidän [Again Is Ours] is falling into psychedelic areas with heavier guitar, sax interplay and more aggressive vocal. The last Manala [Hell] is difficult to describe. Surely, it is the most complex and mature composition – often compared to King Crimson (Larks’ Tongues in Aspic era).

Geafar was recorded without Vesa Lehtinen who left the group to re-join Charlies. His place took Auli Lattunen – Vesa’s sister. There are much different opinions among Haikara’s fans about this album. Some consider it as one of the greatest on Finnish prog scene, some are disappointed as the group went into different direction. That’s true, Geafar is different than other Haikara’s works. I’d say it is more difficult to get into but then giving you great impression. The most distinguish is 14-minute title composition.

Undeservely, the third Iso Lintu [The Big Bird] (that was recorded with Lahti Symphony Orchestra) has an opinion of uninteresting album with mostly poppy tracks. In fact, I find it more influenced by the first one than Geafar. Yes, it is simpler, less developed and cannot compete with the group’s masterpiece but there are some very good compositions with doze of romanticism, especially with a sorrowful atmosphere Kuinka Ollakaan [How About That], Romanssi [Romance] or Aamu [Morning] (reminds of King Crimson’s Moonchild). Romanssi is a part of suite for a group and orchestra Kuutamo [Moonlight] that was recorded for the radio and the tapes exist! so maybe some day we will be able to listen to it.

The band broke up in 1974 and although Lattunen completed another line-up they didn’t record more albums – only two singles presenting simple and poppy music.

Surprisingly, Haikara re-born with the new album Domino released in 1998. Lattunen plays on it often acoustic guitar. Long parts are dominated by Jan Schaper’s saxophone whose play reminds of Kenny G. The music is melodic and optimistic except, the best in my opinion, almost 10-minutes Gloria Deo where rhythmic section (Tommi Mäkinen – bass and Jukka Teerisaari - drums) sound more distinctive than on other compositions. Anyway, it was great to listen to Haikara again.

Tuhkamaa [Ash-land] released after 3 years was for me undoubtedly progressive album of the year. The band was supported with Hannu Kivilä (cello) and Saara Hedlund (vocals). Especially, cello brought a new spirit and became a balance for the saxophone and guitar. Also its low sound together with low vocal of Lahtunen electrify – like in Valtakunta [Kingdom] or Klovni [Clown]. Probably most famous is Kosovo – instrumental composition with drum roll sound and Balkan folk influences. Excellent album.

Later Haikara has been involved in musical projects of various artists: "A Tribute to Finnish Progressive Rock - Tuonen Tytär" [Death’s Daughter] (they recorded a new version of Yksi Maa -Yksi Kansa) and Colossus’ project "A Finnish Progressive Rock Epic - Kalevala" (will be released by Musea very soon). Actually, the band is working on another Colossus’ project: "The Spaghetti Epic" basing on Sergio Leone famous western Once Upon a Time in the West.

Interview with Vesa Lattunen

And here is the nice surprise for Haikara’s fans – interview with the group leader, Vesa Lattunen. Vesa being very busy with new musical ideas and rehearsals found time to answer several questions and explain many details from Haikara’s life, from their debut until the latest projects.

Piotr Tucholski: Checking information about Haikara I found you played various instruments throughout your carrier: guitars, contrabass, keyboards and more – which one was (is) your favourite one?

Vesa Lattunen: I use keyboards mainly in composing and on stage. I prefer the guitar. My degrees I made with contrabass.

The first album of Haikara is called a real masterpiece. People find influences from King Crimson, Van def Graaf Generator, Frank Zappa... Great names. I find something similar to music of Russian composers like Prokofiev or Mussorgsky... Under whose influence you were during composing this great album?

We made the first album when I was playing in Lahti Symphony Orchestra. There I got to know all the great classical composers. Prokofiev’s Romeo and Julia made a big impact on me but I think Sibelius was even stronger. So, I got the idea to combine these two kinds of music (classical and rock).

Can you describe the atmosphere while preparing the first album? Did you realize it will be so remarkable record?

We were for the first time in a recording studio so it was all new. At first the label people had difficulties to formulate this music. Then the record got great reviews and was nominated "the album of the year" on the radio. To the band it was a big surprise.

Now Haikara’s music style is classified to a broad definition of progressive rock. But how was your music categorized in early 70’s?

The funniest term I’ve heard was “SAUNAPROGE”. Certainly it was from the beginning very national and very Finnish.

You mentioned that in 1972 you were already a member of Lahti Symphony Orchestra. There were the examples of the musicians that shared the interests in classical and rock like Rick Wakeman. However he dropped classical career and became a rock session musician. How did it happen that you managed to play in two so different “bands” at the same time (concerts, recording sessions, rehearsals)?

I had no problems with it. I have even used in one of Haikara’s concert half of the Lahti Symphony Orchestra (composition Kuutamo).

How the leaving of Vesa Lehtinen affected the group?

Well, he was a very colorful and original singer. So, it was a big loss.

The second album Geafar is much different than the rest of Haikara’s output. As if you started musical researches and went into more psychedelic direction. How can you assess this record now?

It was a VERY ambitious record (my sister was the singer) and in some cuts the goal was higher then we could achieve. We even still play one of them (Change) at the gigs. Maybe it was psychedelic because it was the first time I started painting “mind-pictures” with music.

The third Iso Lintu is a very underrated album. I found opinion it is into pop-rock but in fact there are compositions reminding atmosphere from the first work. It looks like after Geafar you decided to come back more to the style you developed at the beginning?

Well, the record company wanted short tracks so I had to make a compromise. I think Romanssi and Fur Hanna still sound good. As a composer its just a professional thing to make any kind of music... Of course progressive style is closest to me.

Romanssi is a part of your composition for group and symphony orchestra Kuutamo that was recorded. Do you see a real chance that it will be issued in near future (maybe on CD together with Iso Lintu)?

We are negotiating about releasing the CD of Iso Lintu with small company but without Kuutamo. They are impressed with this album so we will see.

The LP sleeve on Iso Lintu is much different than surrealistic painting visions of Markus Heikkerö. Why he didn’t designed sleeve also for this album?

It was the company director’s idea. That’s why I had my eyes closed on the photo!

You had tourneé in East Germany in 1974. How do you remember that time?

It was a great tour. In some towns we were the first rock group to perform. It was very funny because the communist party leaders were sitting in the front row. We were told not to play Jimi Hendricks because the crowd went wild. In one big festival in Dresden there were soldiers with machineguns in front of the stage. There was a translator with us but for some reason he didn’t want to translate Yksi Maa - Yksi Kansa (remember Hitler’s slogan: "Ein Folk - Ein Land!!!")

I found information that the band broke up in 1974 during this tour. Is it true? Iso Lintu was issued next year still with Heikkerö and Vuorinen in line-up?

The breakup was after Iso Lintu.

What was the reason of the break up.

I think the main reason was that the drummer and the bass player wanted to play more commercial music to make more money. So I continued with Harri Pystynen (because I had registered the band name) and he really believed in my music. The drummer and bass player tried to take the name Haikara from me behind my back. So it was a really bad feeling to do the last gigs.

Could you tell me what you were doing when Haikara was disbanded? Did you play solo or with other musicians?

Of course I continued composing. I made music for at least 3 plays in the Lahti Town Theatre. Also played some solo gigs (with acoustic guitar). Even now I do acoustic gigs in a duo called VESAJAKE.

After looong break Haikara came back with the 4-th album. The music is dominated with Jan Schaper’s saxophone what is different from earlier records where the instruments greatly interplay with each other. Why did you decide to do so?

I guess I needed something to combine the album together and Jan’s alto sax was right for it. By the way, the monk choir at the beginning of Gloria Deo came to me in a dream.

For many proggers Tuhkamaa was the best album of 2002. So, I’d like to ask you if there is a chance that Haikara’s fans will see another album soon?

Mellow Records is asking about the same thing. I think after Spaghetti Epic we start to rehearse the new one. I have some themes for it already in my head.

I wish to thank you and Haikara for great trip into 70’s Finnish progressive and then back to present!

Discography:

Albums:
1. Haikara - 1972 (RCA Victor LSP 10392)
2. Geafar - 1973 (RCA Victor YFPL 1-809)
3. Iso Lintu - 1975 (Satsanga SATLP 1016)
4. Haikara IV: Domino (CD) - 1998 (Metamorphos META-021CD)
5. Tuhkamaa (CD) - 2001 (Mellow Records MMP 414)

Singles:
Poika pilvellä/Jumbo (Hi-Hat HIS 1011) 1976
American Look (HATROCK 2 Hi-Hat HILP 122) 1976

Reissues:
[1] CD – 1998 (Fazer Records 3984-22253-2)
[2] CD-R - Japanese bootleg
[2] CD – 2000 (Ektro Records ektro 006 cd)


REFERENCES AND INTERNET SITES:

1. Haikara entry in GEPR
2. Unofficial Page of Haikara on Tuchol's Progressive Rock Page
3. Colossus' Projects - you can find here more information about musical projects

ACKNOWLEDGEMENTS

I wish to thank Vesa Lattunen for the interview and Heikki Kippola for his effort in translating Finnish texts you can find on these pages.

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