Agusa, Sweden

Retro prog

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Latest release: Noir (2024). To be released May 10

There's talk of releasing a new live album. They've also signed with Karisma Records of Norway and will be reissuing all of their studio albums.

Prima Materia (2023)

I find it fascinating on how we sometimes as listeners connect with albums. I currently have almost 200 albums in my collection that I rate 5 stars on RYM or 13 or above on Gnosis. They - appropriately enough - reflect a very small percentage of my overall listening experience. But those that make this list are very special to me for obvious reasons. Almost all of these go back to my formative years of deep diving into the vast world of underground music, with an occasional nod to a more well known album. It is very unusual for a newer album to transcend into this rarified territory. There are many reasons for this, mostly associative emotion - that which represents a time and place in one's life. When you're almost 60, the emotional aspect of the individual has (usually) stabilized. Those zenith moments are much fewer and far between. Much of this is familiarity and experience. In life it's the "been there, done that" factor. In music, we tend to recognize familiar patterns. Some are as comfortable as putting on your favorite pair of jeans. Others become tedious after close to 50 years of the same ol', same ol'.

I bring all of this up here on this review, as Prima Materia is (as I'm sure you've guessed by now) one of those rare albums. Even though Agusa have been around since 2014, and I own all of their studio albums plus one live outing, the group continues to evolve in the same manner as I have. And every single trigger and button got pushed for me, for a magical first time listen (and immediate subsequent listens). Perhaps this wouldn't have been such a great revelation for me 20 or even 10 years ago. But where my mental state is today, Prima Materia represents my personal soundtrack.

If you already know Agusa, then Prima Materia isn't really that much different than anything else they've released to date. Their stock and trade is that of the Swedish folk melody contrasted with the beautiful melodicism and instrumental progressive rock of a Camel (as but one example), or more close to home, Flasket Brinner. Flute is front and center to their sound, along with vintage keyboards and a delicious fuzz guitar tone. In addition to their normal approach, I picked up a distinct Brazilian bossa nova sound for this outing. It's the perfect complement to their recipe. This may come as a surprise if you weren't already aware of Sweden's long time fascination with Latin jazz.

As with any album that transcends the highest tier, words alone cannot express my adulation for such a beautiful piece of music. It's another kind of emotional language - one that if we all mastered, there would be world peace.

---3/31/24

En Annan Värld (2021)

En Annan Värld is Agusa's 4th studio album made up of two long tracks totaling 46 minutes. The first opus presented here is largely a continuation of what Agusa had established on their self titled 3rd album. On that review I stated that Agusa seems to be the next generation of Flasket Brinner, with organ, psychedelic guitar, and flute leading the instrumental parade. Their overall sound is very organic, and while complex, it doesn't seem overtly so. Melody and warm analog tones are their key drivers. The second track is a bit of a departure and introduces a Krautrock element. Oh darn, not that. lol. Elements of late 60s Pink Floyd trickle in, as Agusa flows into a deep space. The instrumentation remains the same as everything else they've done, so this is not a cold clinical exercise in modern post rock, which I usually find to be boring. Rather, Agusa are pure analog bliss, with a trippy 60s mindset. Doesn't get better than that. This is the second album in a row that Agusa transcends the competition to the highest level. And now I'm reading about a new 5th album. Might break down and get that one upon release. I don't do that much anymore.

---7/1/23

Agusa (2017)

Agusa is back with their 3rd instrumental studio release, and continue on with their unique take on the 1973 Swedish landscape. No change in style, but the execution continues to accelerate in a  positive way. The songwriting is memorable, and the instrumentals more kinetic than even before. It's as if the Silence label just released the next Flasket Brinner album. The usual instrumentation of organ, psychedelic guitar, and flute continue to drive Agusa's sound. To my ears, this is Agusa's best album to date. It's a much welcome style, and one that isn't over copied. I can listen to this kind of music all day. Brilliant really.

---1/5/18

Katarsis (2016)

Agusa's first live album, and third album overall, sees the band do what they do best: Jam. Recorded in Greece, and released on CD in the same country, this was obviously a planned event and Agusa clearly prepared heavily for it - meaning the band is sharp on all fronts. The material is culled from two tracks taken from their debut. Both are stretched considerably here, especially 'Kärlek Från Agusa' which was only a short bonus track on the original. Musically, the band hasn't changed one iota. This is 1972 Sweden brought forth and distilled for the modern age. Folk based melodies, progressive rock structures and changes, with psychedelic sounds (Organ, flute, acid guitar, pulsating bass, and pounding drums). It's a recipe that has patrons lined out the door for more. No point in tweaking that now. Given the improvisational nature of the concert, this album is entirely unique to the studio offerings, and as such, is a worthy investment on its own.

---2/18/17

Tva (2015)

Agusa quickly follows their highly regarded debut Högtid, with the old school moniker of "2", in Swedish of course. If you were hoping for some modern development, you've come to the wrong place. Agusa's mindset defiantly remains in 1971, and that's exactly what their audience wants to hear. In addition to Hammond organ, psychedelic electric guitar, and a pulsating rhythm section, Agusa have added the always welcome ingredient of flute. Well, that just about covers the landscape of 45 years ago. As with "Högtid", Swedish folkloric melodies are the centerpiece, particularly on the first side long track (ah, it warms the cockles of my heart to say "side long track") 'Gånglåt från Vintergatan'. It's Kenny Håkansson fronting Flasket Brinner with a dollop of International Harvester on the side. Even better is the darker and less familiar 'Kung Bores dans' - yet another side long opus. Agusa's music is organic and free flowing. There are no jaw dropping breaks or flights of fancy. I never tire of music such as this. This is the kind of album where you lay down, close your eyes, and let the music take you to new and unknown places. Soothing, comfortable, and entirely psychedelic.

---9/2/15

Hogtid (2014)

Agusa are a new band from Sweden that has ties to two other UTR favorites: Sveriges Kommuner och Landsting and Kama Loka. Seeing the album is on Kommun2, and the description read that the music is in a similar 70s retro vein, it seemed a guarantee I would like it. And indeed it came to pass - I love it. Once again we are presented with a heavy - yet subdued - primarily instrumental psychedelic rock album, with Hammond organ, acoustic and fuzz guitar, wordless voices, pounding percussion - all with that distinct Nordic touch (while occasionally looking east towards Asia), that shows up in the melodies and overall atmosphere. There are no pyrotechnics here - this is an album for reflection and careful study. For fans of Flasket Brinner, early Trettioariga Kriget, Kebnekaise, Saga, and other classics from the Swedish 70s underground.

---5/10/14

5/10/14 (new entry)