Swedish master photographer, Krichan Wihlborg, took in the festival organised for Progress Productions’ twentieth anniversary. He has shared some of the pictures he captured of the label’s artists on stage, along with scenes from the night.
The Ringö district of Gothenburg is full of warehouses, craft breweries, and construction firms. Techno can be heard bleeding through many doors on the weekend. Among the paper recycling firms and micropubs, the youth of today come from the city centre to rave like it is 1989.
Tonight, though, it is their parents’ turn. Monument 031, a cavernous club with a suitably industrial vibe, is hosting an event to mark the twentieth anniversary of Progress Productions. The Swedish label, which has released work by Kite, Saft, Johan Baeckström, and Cryo, is marking its birthday with two stages of back-to-back live performances.
The evening begins with a mystery act. The bill promises a five minute appearance, but the name of the artist is a secret guarded as fiercely as the recipe for Julmust. A giant video screen is erected, against which a dancer appears as a shadow. Spray paint is used to trace a pattern, before a knife cuts the screen. Two masked figures emerge to distribute red roses. Ladies and gentleman, Vintage Voltage – the duo of Chris Leaf and Pete Branch. A rumour goes around the room that their act of creative destruction was, pro rata, the most expensive part of the night.
The party really kicks off with a performance by Me the Tiger. It has been a while since we last saw them live – in Stockholm, on a cold night many years ago, with Britain’s Vile Electrodes. They haven’t lost their quiet-LOUD high-intensity formula. Vocalist Gabriella slays in every lane, while drummer Jonas Martinsson becomes one with his drum kit and guitarist Tobias Andersson bounces around like Zebedee on speed. They banish the chill of the Nordic winter with their new track, “Burn the Witches.”
Cosmic Overdose is the name that Twice a Man were forced to leave behind by a British promoter. It sounded too hippy for the post-punk scene in 1981, so they were told to pick from a list before supporting New Order. The return to the stage of Cosmic Overdose is a chance to air some of the songs that belonged to that era – a rare treat from the iconic Swedish musicians.
They get a feeling going that raises the hypnodelic quotient. The lead singer emerges with a bag on his head. Karl Gasleben appears wearing a brash paisley suit. The on-stage mixer acts like it is possessed. What we get is a trippy and expansive set, which ends with the suitable named, “Dada Koko.”
The spirit of Dada fills the stage. Dan Söderqvist’s guitar creates psychedelic atmospheres, while the combined unit dispenses with melody. What matters is the shamanic effect that otherwise comes from specific mushrooms.
Abu Nein appear without Andreas Catjar-Danielsson, who sadly left us this year. They create a mystical, dark vibe embossed with Eastern tones. Charles Manson seems to make an appearance at the end, at the climax of a set that dissolves into a churning groove.
Portion Control don’t always get the credit they deserve. One of the first synth-based industrial acts in the UK, they brought rhythm and melody to the genre with songs like “Raise the Pulse,” “Go Talk” and “Rough Justice.” They also mined the experimental use of electronics on tracks like “He Is a Barbarian.” cEvin Key points to them as the inspiration for Skinny Puppy. Nitzer Ebb can’t deny their role as progenitors, alongside DAF, of the hard electronic sound they developed.
The nice young men from a south London cooking school have refined their sound over the years. Reduced to the duo of John Whybrew and Dean Piavani, they have crafted their uncompromising electronic style into dancefloor-friendly beats.
Piavani prowls the stage confidently, like a drill sergeant, barking poetic commands. Behind him, Whybrew mans the console that controls the sound and vision. The onion jack symbol hovers above the proceedings, as a brand identity and statement of intent.
The set list is a career-spanning selection. “Refugee” and “Chew You to Bits” get the front rows excited, but it is the intensity of “Deadstar” that really gets the black-clad masses jumping. A novel addition is “Golden Halo,” which is being released on the Progress anniversary compilation CD.
Spark! take the stage as the closing act. Local EBM favourites, they fly the flag for their label internationally, too. Vocalist Stefan Bronsson is in good form. Christer Hermodsson had taken the mic ably during his extended absence, growing the band’s profile, but the restructured act meets the crowd’s needs tonight.
That’s Progress.
It has been twenty years since Torny Gottberg started up Progress Productions. The Swedish label has released dozens of albums over that time – from box sets of Cosmic Overdose to limited edition Portion Control CDs. Artists like Xenturion Prime, Spark!, Daily Planet, Cryo, Kite, Agent Side Grinder, Lucifer’s Aid, Nattskiftet, Mr Jones Machine, White Birches, and Henric de la Cour have graced its roster.
We spoke to Gottberg about his experience running the label and his expectations for Progress Productions in its third decade.
What was the original idea behind Progress Productions?
The idea back then – and, actually, still the idea behind the label – was to build it like a strong collective. Like a family. I was very inspired by the labels, Cold Meat Industry and Ant-Zen, and the way they built their labels. This was something I really wanted to have as a platform for Progress.
We really started from nothing – with only a handful of bands that all drove each other forward. Each success was everyone’s success. I know it really sounds weird, maybe, but this was the idea of Progress Productions.
Also, I felt that a lot of labels were just releasing “safe cards” – and this does not work if you want the scene to grow. So, we started with only new, unsigned bands and built from there. I still think this is the most fun way to run the label. When I find a new, exciting band, it still really triggers me. I know we might not have built up as fast as if we would have signed “already known acts,” but I believe the foundation is stronger if you build from scratch.
That is the short version for Progress Productions. Also, I really want to point out that there have been several important persons behind the scenes who really have helped out a lot – our webmaster, our shop manager, distributors, and others. Without them, no Progress.
Fast forwarding 20 years, where do you expect to take the label?
Seeing how much the music industry has changed over the past two decades, I’m really not sure where we are heading. I think labels are a really good filter for music. It’s just way too easy to release whatever. I’m not saying that it’s a bad thing, but it’s really hard to filter if you are drowned in material. At least, I find it hard.
The change to digital from physical was a big step for the industry, overall; and, of course, a challenge in many ways. I think you need to think a little deeper as a label nowadays. Anyone can press a record. It’s easy: send it to a pressing plant. Anyone can release on Spotify: just pay one of those “pay to be on Spotify”-services. Anyone can set up a bandcamp. But it’s really everything else – the promotional work, even maybe helping with management and booking shows, etc. Stuff like this is much more important in 2024 than it was in 2004.
It’s really hard to say where we end up. For me, still doing physical is really important – and I like to keep it this way. But, well, I’m also older. On the other hand, I don’t see a growth in the audience among older people. So, we in the “scene” might end up as dinosaurs in a nursing home.
A lot of competitors and collaborators have come and gone over the past two decades. What are some of the key lessons for anyone else who wants to start a record label in 2024?
Don’t do it (hahahaha… )! It’s really my best advice. Unless you are insane. Nahh – you really need to understand how much time it takes. It’s not just “running a label” – there is really so much work behind it. The first 5-6 years is just building and making sure that everything runs. After that, there are always tasks to solve.
You won’t make any real money from doing it as a scene label. You need to have the drive and passion to do it. Money has never been something that’s driven me, at all. I have a job on the side, and that pays the bills. It’s because I love doing it. I still do. Even though you hit landmines and everyone thinks you drive a Lamborghini (in reality, a really old Volvo). But, if you really set your mind to doing something; set small reachable goals; don’t expect it to be a walk in the park (since it’s not)… You have to be a little crazy to do it.
On the other hand, never see other labels as competition – see them as coworkers. I mean, I can talk to Infacted, Dependent and others from time to time. We all really want the same thing – to keep the scene growing. Some labels have lost their focus and gone towards a more metal-based repertoire, which I can understand. If you need to live from this, then there’s the money. So, best advice: see it as a hobby; do it with passion.
You have performed with several bands, including Project-X and Cryo. What is it about performance (in the studio or live) that you find most interesting?
Well, to build things, I would say, in the studio. To have a blank piece of paper and draw something new. I think that probably applies for painters, etc., as well. To make a piece of art. It’s hard to describe it, really, but it’s like you give life to ideas. When you are done, you let it fly and see where it ends.
Live, I have always enjoyed the energy doing it – the direct connection with the audience. The tension that’s there. It’s something special.
Project-X and Cryo are very different. And, honestly, Project-X exists more on a “retro-basis,” at the moment. But, of course, I’m proud of the history behind it. We made a lot of amazing things together, and we still perform from time-to-time. Cryo is the main project, and I really enjoy performing with Martin [Rudefelt]. We have something special when we go on stage together that I really like – some kind of spark that goes off when the
concert starts. And, I guess, it’s that spark, that feeling, that makes it special. I’m sure it’s the same for most bands – or, at least, I hope so.
Over the years, formats for recordings have changed several times. Do you find that there is pressure to stick with physical formats?
Well, like I said, for me the physical format is important. We are a record label – not a multimedia/digital platform. I see digital/physical working together as a unit; but, honestly, I think all artists want to have a physical object. Something to hold on to. Something to grab. Something real. I really dont judge anyone, and there is not a right/wrong here; but, for me personally, I think that physical is a must.
However, I will point out I’m not a superfan of the vinyl hysteria – paying 30 euro for an album, or the tape thing. But that’s just my ten cents on it. Like I said, there is no right/wrong. I guess it’s old school thinking. Who knows, maybe we all will just release music via TikTok in the future. The digital side of the industry is here to stay, and there is no idea of trying to resist it. But the combination of the two is still what i find is most interesting.
EPs appear to have grown in popularity. Is the full-length album dead?
I’m not a super fan of the EP format, myself. I can see a point of releasing music in a quicker interval, of course, to always be relevant, as albums take a longer time to produce. On the other hand, for me, an album is a whole journey through an artist’s mind and I really enjoy that. With streaming, we went from albums to songs, but I really don’t think the full-length album is dead.
This really differs from genre to genre. For “hit-list-top-20,” sure. That younger generation listens in a different way, as they have grown up with songs rather than full-length albums. But, for me, an EP is just a taste of an album. I love listening from track 1 to 10 and enjoying the whole trip rather than just going from 1 to 4 and left feeling empty. Again, there is no right or wrong. As long as people enjoy music – that’s the most important thing.
What do you look for in an act?
Quick answer: that I like it and I like the people behind the music. Those things are equally important when I decide if we should or we should not work with a band/artist. I have no time for artists with too-big egos, who think they are so much better than the rest and you simply need to feed their twisted self-image (I’m 100% done with that).
If it is going to work, you need to be on the same level – otherwise, you will fail or it will end badly (and, trust me, you will encounter this running a label). But I normally go with my gut-feeling. If the music gives me something, then it’s really worth doing. There have been times when I really loved the music but met the people behind it and thought, “Hell no – this won’t work!” In these cases, I would always rather just support the artist when, hopefully, they are released on another label.
I also value loyalty highly. There are simply too many artists who think their record label is ripping them off but always forget what it costs to make an album. Mastering, adverts, videos, etc., etc. – it adds up quickly, and it’s hard to cover the costs nowdays. But if you work hard you will reach the goals. It’s a cooperation between the label and artist – nothing else. If this doesn’t feel right, I would rather leave it. And, no, I dont care if you have 15,000 likes on Facebook, Instagram, TikTok or all your friends say you are better than sliced bread. I would rather that we build that together.
Are there any bands you wish you had signed when you had a chance?
Several, of course. But, on the other hand, I have had the chance to buy their records. And, trust me, I buy a lot of records from other labels. I really spend a lot of money doing it, since I know how much others fight in the scene to make things work.
I would say that maybe the Icelandic band Legend was one of those bands I should have signed. But, hey, why cry over something that did not happen? I still listen to their album a lot and enjoy it, so it really does not matter if it was on Progress Productions or not. So, it’s hard to say the word “regret”. Who knows, maybe they made it better on another label than if they were working with us.
Of course, I maybe felt, “Damn, that one would have been a cool challenge to see if it would have worked out” – but I’m really thankful for the bands we have today and the chances I have had to work with bands we don’t have anymore. I think I have reached a certain point that I understand the industry better. You build and work your ass off; and, at a certain point, the balance between a band and label is too big. Then, you need to let go.
It has become increasingly difficult for musicians at many levels to make a living from their art. What advice do you have for artists who wish to dedicate themselves more fully to creating music and reaching fans?
Don’t give up – and listen to the people around you. Have in mind that a label can help you with a lot with things you maybe did not expect. Building stuff takes time – sometimes, a really long time – and I can understand that it can feel really frustrating at times. It will pay off in the end.
Also, have an understanding of the scene you are in. The electronic/alternative/EBM scene is not a place where we build a new Beatles, Coldplay, etc., etc. Be thankful for the opportunities you do get. Look at E-tropolis, Amphi, etc. There are only 20-35 bands in the world that get on the line-up every year. Be grateful if you reach this level. I think, in 2024, it’s really also with a big portion of luck if it’s going to work. I hate saying it, but sometimes things can trend on TikTok, etc., and it shows in your popularity. So, hang in there, don’t be an asshole, build your teams – and stay good!
The legendary Swedish artists, Twice a Man, have announced a new compilation of their work. A three-CD set, Songs of Future Memories (1972-2922), with accompanying book, is now available for pre-purchase with an expected release date in January 2023. The label writes:
“Songs of Future Memories (1982-2022)” is the long overdue second anthology dedicated to the Swedish pioneers of electronic music, TWICE A MAN. On three CDs, the finest tracks from the 14 song albums have been collected and diligently remastered. The 7 instrumental works of the band’s catalogue have been deliberately left out of this project, which is intended to serve as a comprehensive musical guide through the band’s outstanding career spanning over 4 decades of groundbreaking works. In addition to the known material, the band has also added two new tracks.”
The included tracks are:
1. Move
2. Russian Tractors
3. Decay 04:06
4. Goat II
5. Balloons
6. Talking to the Wall
7. Observations From a Borderland
8. Fear
9. Across the Ocean
10. Distant Calls
11. Still in the Air
12. Divided Light
13. Tribal Ways
14. Back on Venus
15. Girl
16. Driftwood
17. Yellow Flowers
18. Crane Dance
19. Speed
20. Reality Built For Two
21. Shivanayama
22. Somebody Sang Your Name
23. Skylark
24. Shoe
25. Tranquil Moonlit Lake
26. Where Are You Now
27. Black
28. Presence
29. High in the Clouds
30. Cocoon 7 (Version)
31. Fireflies
32. Modern World
33. Lotus
34. Dahlia
If you’re going to call your band Cosmic Overdose, you’re going to have to deal with some preconceptions. The first is that you are a bunch of hippies, sitting in fairy rings and tripping on mushrooms. The second is that your material consists of overblown guitar solos. If your music is actually varied and complex, inspired by dada, punk and experimental electronics, and you are meant to be warming up for New Order, then it might be time to rethink the name.
That’s not the whole story of Twice a Man, but it is how it usually opens. Before the Swedish godfathers of alternative music adopted their current guise – prompted by the promoters of the New Order show they were scheduled to join – they swam in many of the streams that were converging or competing in the second half of the 1970s. Punk was a rebellion against the high-art extremes of prog rock, but Cosmic Overdose found something to appreciate in both. Experimental and industrial music provided an antidote to pop, and the band absorbed the textures and freedom of the former while maintaining the accessibility of the latter.
If there is a surprise in the recently issued Cosmic Overdose box set from Progress Productions, it is just how much groove there is in their material. Over the course of two studio albums, the band belied their name with sets of jaunty, angular material that did as much to shake hips as expand minds. There are passages of smooth, prog-influenced pop, but they are respite between slabs of pure energy generated with a provocative spirit.
If English comparators were sought, then Blurt, Brian Eno and Cabaret Voltaire would figure, but the points of intersection would be limited. Cosmic Overdose defied definition as craftily as those artists, even if they sometimes drew inspiration and confidence from similar sources. The three albums packaged in Koko Total don’t fit a template, nor do they bear direct comparison to others. Cosmic Overdose were true originals.
The first album they shared with the world was Dada Koko. From the opening number, “Investera i Framtida,” with its synthetic waves, it was clear that something new was being born. “Modern Dadaister” isn’t a million miles from XTC’s jerkier sound, when it starts, before growing into something trippier. There is a moment of calm in the arc of the album before “Tanten” explodes with a burst of dark energy. The Arp synth returns on the album closer, “Råttan,” a track tailored for the alternative dancefloor.
The second album, 4668, showed that the Swedes had absorbed something from Joy Division. As the Manchester doom-meisters had done, Cosmic Overdose were starting to push through the punk chrysalis to emerge as something more electronic. Their transformation into Twice a Man would put them at the forefront of the Swedish synth scene and keep them in its top tier for a generation. In the meantime, fans had the brooding “Android,” the well-crafted “Nina Fontanell” and the charming “Liten Storsint” to contemplate.
The third CD in this package collects live recordings, singles and strays from the archives. “Observation Galen” from 1979 is here with its B-side, “Isolatorer.” Then there are live versions of “Suicide Case,” “Ruta Nr 1” and “Läckan” from a show the same year in Kalmar. They reveal a band confident in its presentation with spellbinding material. Further live sessions follow from shows in Oslo, Lund and Stockholm (with an appearance by Lars Falk on “Väx och Njut”) before the album closes with the single, “To Night.”
The quality of the recordings is excellent, and they open a window into the short time when art and punk overlapped with the electronics of the Futurists and the psychedelia of the proggists. Wire unpacked that confluence methodically over four decades, but Cosmic Overdose concentrated it into two albums and two singles and changed their name. What came next is a story for another day.
Dan Söderqvist is well-known as one-half of the electronic group Twice a Man, but he began his musical career in 1969 as a guitarist with Älgarnas trädgård, a progressive rock band. The experimental tradition that he grew up with, artistically, is evident in his first solo album, A Defence of Poetry: there are no spoken words, but the title references an essay by Shelley, in which the importance of sound to poets is emphasised.
Gathered in this album are six tracks, of which five are original compositions dated between 1989 and 2013. Despite their diverse inspirations and backgrounds, there is a definite unity between the instrumental songs. They are held together by the human voice, which is emulated in its collective, choral form to make sounds but not words, and naturalistic references that give each track a feeling of place or time.
“The Cherry Orchard” is a piano-based piece that sits neatly between the processed sound of Harold Budd and the naturalistic work of Virginia Astley, but it has dimensions of its own. Söderqvist explains in the notes that:
The last play by Chekhov has always inspired my mind. Among all Russian literature that I fancied in my youth it stood out as the essence of nostalgic sentiments. I have not yet had the honour to work with the play in whole. As an example i wanted to make a fragmented version. Reading it through i found the character of Ljubov, the mistress of the house so intriguing, that I decided to make a piece with some of her lines from the play. The atmosphere of lost childhood, the beauty of her garden, now in jeopardy of the axe, evokes memories of her life, of lost dreams… It`s melancholic, a feeling I love and know perhaps too well.
“November, You Humming Mist” begins with an Asian percussion style, before synthetic strings waft in, coming in layers like cool air blowing through bamboo. Harsher organ sounds emerge from the fog, rising and falling, before giving way to wind chimes and a fragile tranquility.
Tension returns with “Nacht,” which is built around the spine of a looped string hit and gradually becomes more rhythmically complex before dissolving into choral sounds. Night is followed by “Morgen,” which makes use of processed found sound and draws the choral material more prominently into the mix. These tracks are companion works, composed following the death of Söderqvist’s mother, but they work organically as a preparatory stage for the samples and synthetic strings of “After Life You Will Hear Voices of Your Childhood”, which was commissioned for a dance performance in Gothenburg. As a reference point, “After Life…” has some echoes of Pierre Perret’s legendary cassette, Gaia, la Terre, but it is distinctively in Söderqvist’s style.
The album closes with “Heilige Dankgesang,” in which all earlier traces of brooding and anxiety are expurgated. Like movements of a symphony, each track has its place on the arc of the album, and Beethoven’s song of thanksgiving is imbued with pastoral calm. The album doesn’t just end; it comes to rest in a place that T.S. Eliot famously described as “the fruit of reconciliation and relief after immense suffering.”