DOM04-L: Moss Garten/Vildsvanen "1982-1987 A Compilation" LP

Domestica Records

  • €18.00

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A1. Moss Garten - Moderna Kvinnor
A2. Moss Garten - Ruiner
A3. Moss Garten - Ensam
A4. Moss Garten - Peur
A5. Moss Garten - Pulz
A6. Moss Garten - Europa

B1. Moss Garten – Alles
B2. Moss Garten - Zon Zon
B3. Vildsvanen - Europe 1984
B4. Vildsvanen - Music from the Border (extended)
B5. Vildsvanen - Winter arcade
B6. Moss Garten - Kvinnor

"Second half of the seventies and the first half of the eighties was armed with a unique string of sensationally great bands and musicians. There was no problem getting inspired. Inspiration came from such artist as Cabaret Voltaire, Front 242, early Human League, DAF, Joy divison, David Sylvain, OMD, John Foxx, to name a few. And if that was not enough you could always listen to Kraftwerk, Neu or Brian Eno.

Moss Garten and Vildsvanen was all about recording music, very few live gigs were performed. Live gigs did not seem to work very well, although billed together with Smithereens from New Jersey and already ledgendary Motörhead finally a decent gig was accomplished. The keyword was DIY. Recordings were all self-produced and mostly the audio engineer work was DIY styled. Always low on cash entailed limitation to which kind of studio could be used and the amount of time which could be spent on a recording. Most of the tunes was recorded and mixed in less than two hours and crashed tunes was sometimes reworked years later. You learned to prepare yourself before a recording. Lack of cash also excluded the use of very expensive synthesizers and drum machines, although pleased with my machinery you always wanted more muscles. These limitation was not bad – you became creative. These limitations became the framework together with your influences which gave the music its caracter, but in the end a recording and distribution contract, combined with a proper studio was the goal."

Moss Garten recording history:
"Toghether with my cousin Jan I started to do recordings. He played Tabla and was in to music from India and I was devoted to electronics and the New romantic era, but we both liked Bowie track “Moss Garden”. Changing it to Moss Garten we recorded songs which varied from two minutes to 45 minutes. Next version of Moss Garten 1982 included my childhood friend Thomas. Stripped of cash we started to do recording sessions in cheap studios situated in dark basements with 8-channel recording equipment. During 1983 decisions were taken to record “Zchlagerz/Industrier”, which included four tracks. Line up changed constantly during this period. There were one line up just before recording started, a new line up recording two song, a different line up between next recording phase and a new line up recording the two last songs – synths, vocal and bass remaind the same. On the positive side was that half of the material was recorded in a proper studio.
Early 1984 recording of Moss Garten´s “Black Tail” was completed. Black tail is best decribed as a coda to the song s on Zchlagerz/Industrier ep. Much of the material was instrumental. My girlfriend Karin handled the vocal parts. During 1984 I again started to record again with Thomas.
First track realeased was “Ensam”, which was released togheter with Vildsvanen “Music from the border”. During this period I also started to record more material with Karin. Early 1985 saw the completion of “Zchlagerz/Industrier II” which included tracks recorded during 1984 and in the same vein as ep “Zchlagerz/Industrier”. Zchlagerz/Industrier II was intented soley for promotion.
Late 1985 “Zchlagerz/Industrier III” was completed. Much of the material was in a musical style which you could expect from a Moss Garten recording, but you could also hear a growing interesse in ambient music. Zchlagerz/Industrier III was also intented for promotion.
Shortly after, first ambient project “Syri and Ambient” came to life. Tracks were in general around 3 minutes and based on eletronics and piano. No ordinary synthesizers was used. Early 1986 the final touch to “Zurbekian Version” was laid. In total 10 tracks. Half of the material consisted of more experimental versions and remixes of earlier Moss Garten material. The other half of the material was based on drum machines and synth bass plus tapes and loops.
“Syri and Ambient II” 1986 was an ambient follow up. This time synthesizers was used and no piano allowed. Track length varied from just minutes to 10 minutes.
“Zchlagerz/IndustrierIV+Act I/II” - very late 1986. Moss Garten were definitely back in to sequencers again. The other half, Act I/II, was electronical pieces based on sequencers. These track was not released on any media. Proper studio was used."

Vildsvanen recording history:
" 1982 I needed a project name for the music that did not sounded like Moss Garten, such as music for Grand piano or organ. A few days before I had been attacked – could be my fault - by a wild swan, so Vildsvanen (in English Wild Swan) it became.
In the end it became more or less impossible to separate the music of Vildsvanen from music of Moss Garten as the music styles melted together.
1983 I recorded sequencer based music, which was intended to be used as contribution to an electronic music festival. A number of tracks was recorded under name “Music from the border”. The committee which decided which pieces who could attend the festival agreed that the piece in itself was musically qualified, but as I lacked a formal diploma in music the piece in itself became disqualified from participating. Tracks from this session was later collected on “Fear of distinction”.
1984/1985 ended recording project “Lit de parade“. Six tracks were recorded and intended for promotion. Half of the materiel ended up on a 12” singel. Four tracks were more funkier. The rest of the tracks sounded like Moss Garten. Material on “Lit the parade” was 1986 split in to “Lit de” and “Parade”. “Lit de” received the Moss Garten sounding tracks and was supplemented with further Moss Garten sounding tracks. “Parade” recived the funkier stuff and was supplemented with a variety of different styles including jazz element. “Lit de” and “Parade” was also solely used for promotion."

"Early 1987 I was offered a recording contract, with access to a professional studio. I turned that contract down. The following week I sold all synthesisers and all other equipment. Apparently it was time to move on. Between 1987 and 2009 I never listen to a singel track of Moss Garten or Vildsvanen music. Although I remember hearing fractions of the music on occassions such as, in a bar in Greenwich Village NYC, on the radio one night driving trough Texas, a passanger listning on a flight from Frankfurt to London. I have never played any instrument since a sold out my equipment except when buying a guitar as a gift at a music store. You can say that I in the end forgot all about it. At a celebration 2009 my familly and friends had put togheter a tape with old Moss Garten and Vildsvanen tracks. Listen to the music after all this time, I can honestly say it sounds a lot better than I ever could have expected and I do once again enjoy listen to these tunes."

Mikael Isaksson, 2011.

Limited edition of 250 numbered copies.
Includes a sleeve-sized insert and booklet.

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