Sagor & Swing

Was this a calculated move? Orgelplaneten's release was accompanied by the announcement that it would be Sagor & Swing's last album, but instead of reflecting on the past it marked a drastic change in direction and, thanks to a music livelier than ever, it seemed to aim at preventing any tears from their fans. The first big difference introduced on Orgelplaneten is an expansion of the group's instrumentation. While the first three albums stuck exclusively to Hammond organ and drums, this swan song also features accordion and Moog synthesizer (all performed by organist Jan-Erick Malmberg), plus a wider use of studio effects. The second difference is in the mood: the dreamy, pastoral hymns of yore are all but gone, replaced by upbeat, kitschy tunes that will delight or annoy, depending on your resistance to naive instrumental music. The whimsical melodies of Perrey & Kingsey's first LP, The In Sound From Way Out!, immediately come to mind (minus the novelty aspect of their music), along with Björn Olsson's solo material. All that being said, Orgelplaneten ("The Organ Planet," in case you wonder) remains 100 percent Sagor & Swing. One immediately recognizes Ulf Müller's skeletal drumming and Malmberg's melodic approach and rich, textural organ playing. Tracks like "Henriks Födelsedagsmelodi" and "Äventyr i Alperna" would feel right at home on any of the previous three albums if they were performed on organ and drums alone. On the other hand, "Postmodernism" and "Bora Bora," among others, take a brand new direction, a cross between French yéyé, West Coast surf, and Scandinavian folk. Some of these tunes swing hard, something their previous trilogy never even hinted at. This is one joyous curtain call. Highly recommended. ~ François Couture, All Music Guide