Träd, Gräs och Stenar (Trees, Grass and Stones), once
upon the time also called Pärson Sound / International Harvester
and Harvester, is a Swedish psychedelic rock band formed in the late 60s.
The Bo-Anders Persson band, Pärson Sound (1967-68) created
a kind of minimalistic rock music circulating around small melody cells
repeated over and over again, very long tunes, faster late parts, like
some kind of rock ragas. Bo-Anders played the guitar, Torbjörn Abelli
bass, Thomas Tidholm flute and soprano saxophone and was reciting words
in a reverb unit. Arne Ericsson played a strange home - made electric
cello with resonance strings (and later with TG&S on electric clavinett).
Urban Yman was responsible for the electric violin. All electric instruments
and mikes went through the same valve amplifier of a home made PA consisting
of four round radiating speakers, which created a tremendous dispersion
and power to the sound. In that time this was a very loud group. Thomas
Mera played the drums, which Bengt Beche Berger also did, and sometimes
they did it together.
International Harvester (1968-69) was involved in the new counter culture
movement that was growing these years. Often free music, for the sake
of the cause, and out door. Radio, television. They supported The Doors
at Stockholm Concert House.
1969-1972. Träd, Gräs och Stenar. New name for the remains of
International Harvester. Thomas Tidholm and Urban Yman both quit. During
1971 Jakob Sjöholm joined on guitar, later Arne Ericsson quit and
Sten Bergman took over the elec. piano function. Long tours in Scandinavia,
mostly outside the established channels. Outlaws who searched for their
audience by fans creating gigs in their own small cities and villages.
The band was trying to create a free and co-creating situation through
the music, dance, light show of slides and film, serving food and letting
people play on instruments they brought with them. They were participating
in actions people did to change their common situation. They lived like
their audience. More - you are the music, we are just the band, the Spela
Själv (Play it yourself) movement. Also meaning Folkets musik (Music
of the People) (organize yourselves - people power). They tried to encourage
fans to create their own music meetings, music places. Together with others
they created the first big free outdoor music festivals in Sweden known
as Gärdesfesterna 1970.
2002. The band, Träd, Gräs och Stenar is still very active
performing every now and then around Sweden. They released an awesome
in Ajn schvajn draj, which is a real space rock diamond. Your humble
narrator spoke to Bo Anders - guitar, Thomas Mera drums and Torbjörn
Abelli bass to find out more about their long (I mean L-O-N-G) history.
by Thomas Mera, HM)
- What are your first memories of the Paerson Sound, and the atmosphere
in which they formed and played?
Bo Anders: It all started as a kind of ”free form
noise” group as I was attending the composing class at the Stockholm
conservatory, I think it was in 1965. We had occasional gigs at small
theaters, and also made music for choreographer Greta Lindholm. Some of
us were playing in the first Swedish performance of Terry Riley's ”In
C”, it had great impact. I was for several months a dogmatic minimalist!
In the spring of 1967 I met Thomas Tidholm, writer and
poet/singer/musician. We were soon talking about starting a rock group.
”Pärson Sound” already had a planned gig at the yearly
Stockholm Jazz&Blues festival in July, we had some trouble in finding
a drummer but ultimately managed to talk Thomas Mera Gartz into the thing,
he was by then already an established musician. That was the start of
Pärson Sound, the rock group.
Torbjörn Abelli: A very strong memory is how surprised
I was at our first gigs - about a third of the audience left the room
within 5 minutes but the rest stayed for hours. The impression was they
liked the music even if they seemed to be a little bit confused.
Bo Anders' answer has some rubber time specifications
- I think first time I met him was in 1965. In January 1967 Bo Anders
and I tried to play some Rolling Stones songs but it didn't turn out too
good. We could get no satisfaction. The first ”occasional gig”
was in spring 1967, just before Thomas Tidholm and Thomas Mera Gartz joined
Thomas Mera: I was playing in another group called Mecki
Mark Men which was exploring a ”rhythm'n' blues” kind of
psychedelic music based on Hammond organ when two guys came and asked
me if I could
join them playing drums for a concert. The short rehearsal we made and
the concert changed the direction for my music life. Paerson Sound
a wider approach towards music that fitted me well since I was interested
in all kinds of music, from the Swedish poet funny ”anarchist”
entertainer Povel Ramel over old man Louis Armstrong, screaming Little
Richard, radicals like Charlie Mingus, spiritual free form music as
Coltranes', sensual explosive electric like Jimi Hendrix, modern experiments
like Stockhausen, Ligeti and John Cage, pumping ”working class”
guitar riffs like The Who and Rolling Stones, black soul rhythm, high
cultures like Indian raga music, Swedish ”folk fiddle”,
African drumming and Buddhist chant. And this in a moment of political
that was seen in all the ”industrial” countries concerning
both nature and on the western colonization of ”the Other” and
the exploitation of our own people and history by the ”industrial
The droning we played after some gigs reminded me of
both raga and gamelang, and this simple ”one note” music with
strong ”soul” rhythm opened to me ”the doors of perception”
for truly religious and modern ”folk music”. So I chose to join
these guys and said hello to Mecki Mark Men.
At that time also important to me - the people in and
around Paerson Sound liked to think and to talk - we tried many ideas
and made a lot of things not only music - writings, radio, exhibition
with paintings and photos, about music, simple theater and many actions
with or without music in the streets. All our friends were involved now
and then. This made the first seed in the soil for the a couple of years
later further development of what in Sweden is called the ”music
- What kind of reactions did you get back in the late 60s about
the minimalistic rock music (long jams with monotonous, but mindblowing
droning and tribal, pre-noise sounds) you performed as Paerson Sound?
Bo Anders: Of course it was not for everyone! We had
Thomas Tidholm playing the clarinet, Arne Ericsson and Urban Yman at amplified
cello and violin, none of them very reliably in tune, and we had some
trouble establishing the beat. But somehow in the middle of the gig we
used to get the elements in place, giving those who were still in the
room a decent reward for their endurance. In a couple of months we got
a small crowd of followers in the Stockholm underground. In a year we
even got so far as to support the Doors at their performance in Stockholm.
But that was our first and only contact with the commercial rock scene.
Torbjörn Abelli: Some people liked it, but sometimes
we could hear comments like ”you seem to have a good time, but, honestly,
it isn't music you are playing, is it?”
Thomas Mera: I remember the first concert as an event
when people really wondered what was going on. It was at that time also
very loud compared to other music. Some seemed a little scared. My girlfriend
said she felt too much and had to vomit. Later on, after some more gigs
and the drone was more established and not so much freaky noise no longer
were involved, people seemed to find it like a very very long kind of
”rolling stones” rocking and started to dance or float around
having the music as some kind of ”mood” in the ears. Some wrote
in the papers that we ”can't play”. Well, that depends on what
you mean with ”can”. There was no sticks, no bridges, no fancy
solos, no breaks, no changing of chords, no three minutes pop songs -
just an ever collectively growing and changing of the same thing for 45
minutes - a short break and the next tune also some 40 minutes - a big
ringing pulsating sound where ”everyone have a place” as we
said - like a vision of a ”classless” time. The music developed
into shamanistic seance of marathon rhythm and dance and made a deep impact
in the growing underground movement.
- You have a long history I would guess since you started in the
60s... How has the overall sound of your different projects evolved?
Bo Anders: A rather shaky journey, I would say. But
the aim of Träd, gräs och stenar was to leave a certain amount
”avant garde awkwardness” behind in favour of some more rock
& roll-like experience that would stand the chance of making it at
the local weekend parties. In 1972 we had been touring the Swedish countryside
rather thoroughly, and we felt that the music had somehow got stuck,
as had my role in the group. I felt empty of ideas. We decided to split,
I tried my hand at growing carrots for sale (ecological farming of course),
and had to try to resolve my private life (which I up to then had given
little attention) I thought that I would be able to go on with music
on my own, made some music for short movies, among others my own film ”Ljuset
finns där ändå:” (The Light is there Anyhow) featuring
traditional farmer / philosopher Anders Björnsson, a neighbour
and friend, now dead. But musically I got stuck. I had to move 600km
up having a two men household with my then 10 years old son, working
as a music teacher and raising some sheep. Every other year or so we
a reunion gig of sorts. But its not possible to speak of sound evolution
during that period, for instance, in the 80´s we tried to make
the music a little more up tempo, that just didn't work. Now in 2002
were back into what we did in 1968, but with a somewhat slicker sound.
But maybe it has become too polished, do we need another out of tune
Torbjörn Abelli: The story of Pärson Sound
- (International) Harvester - Träd, Gräs och Stenar in the past
and today is a story of slow changes, some kind of ”natural”
progress. The spirit today is the same but in the name of growing age
we have been a little bit calmer. Now it isn't necessary for us to fall
into the utmost ecstasy every song or even every gig. I joined Arbete
& Fritid 1976-81 and loved the unlimited moving in the improvisations
- in time, space and mind. The musical communication could be like a philosophical
debate, a party quarrel or a funny story. The associations were simultaneous,
you could never tell where the music was going. Even if the limits of
TGS' musical means of expression are more tight fitting, the intentions
are very much the same - an unconditional exploration of the universe
of the music.
Thomas Mera: Hm, different projects? The Paerson Sound
turn out to be International Harvester and Harvester to Trad Gras och
Stenar. In the end (1972) TG&S was some kind of rock group that had
been trying working for some changes of the real world, an agitating shamanistic
and buddhistic ”power to the people” outside but alongside the
organized leftists. We finished, exhausted, when our only audience left
was the stoned freaks and street people, and the farming hippies of the
group went out to the country to find something golden there.
To me an another direction comes later (1974) when I begin
to play (African drum, elviolin, elguitar, flute, tenor sax, and finally
big drums) in the group Arbete & Fritid, a group of very freely,
deep and warm humorous improvisations and blending of all kinds of influences
from folk music over jazz, noise, free form, rock, schottische, minimalism,
drone, atonal violins and outer space. A truly anarchistic and funny
Torbjörn Abelli joined me later in the life with this group.
I recorded my first own record ”Sanger” 1975,
my songs and friends with acoustic instruments. After that era we joined
another collective of musicians called Ett Minne För Livet (A Memory
of Lifetime) in a sub group called Archimedes Badkar (The Bathtub of
where we stayed until this group split into another two new groups -
Bitter Funeral Beer Band and Bolon Bata. Both were playing music based
I was working for a couple of years with music therapy with
retarded children and at the mental hospital in Visby at the island Gotland
in the Baltic Sea.
I joined the BBFB and we were making a lot of concerts
in the Scandinavian countries, also in Germany, Belgium, France, Austria,
and India (1980th). I made my second own record ”Luftsanger”
in 1984. At the same time I started to create music on 8-channel tape
recorder which I bought to make music for an 2-hour version of Hamlet
by Shakespeare for the Swedish public television. I recorded my fellow
musicians for demos, plays and films. I bought a synth and made some
and film music (I've made film music before in the 70th), and some compositions
on my own. I worked for three years as PA sound man in Stockholm's main
jazz club Fasching. Playing drums and ”singing” (reading
my poetry) with the two bass players funk group Raettan Frittz (Frittz
Rat). Nowadays I try to make music with computer and sampler (outside
playing live). You find some homebrewed records at my site. The computer
is a good tool to use making pictures, something which have going on
in parallel with music for periods in my life, and I have some fun in
homepages - and for a time I was working as a Mac nerd taking care of
the Macs at the University of Stockholm. Today I'm full time employee
as unemployed musician in the later side of his life and have some fun
now and then with TG&S, and a band called Kalousch which play loud,
all acoustic, sufi street music from Morocco. I live with my woman
Israel and our two children girl 13 boy 17 in a suburb south of Stockholm
with people of all colors from the whole world.
Completely fed up with these ”money counters” totally
occupying everything of everyday life.
- How does it feel becoming a full-time member of Träd, gräs
och stenar again nearly 30 years after your first split up?
Bo Anders: The most amazing thing is the way our audiences
react, the response is usually very warm even on our average performances.
We are certainly not regarded as strange, on the contrary we often get
comments like ”...like your performance, I listen a lot to music
that resembles yours”. The rock music scene has certainly evolved
since the seventies.
Torbjörn Abelli: Well full-time is perhaps an overstatement
- we are living our daily lives with our families, our jobs, our health
and sickness... But I find the appreciation shown by our audience today
as a gift from an unknown God. Now our music seems to be quite ”normal”,
in contrast to former days when it was regarded as very ”odd”.
We have our second opportunity and we take care of it. I feel very comfortable.
Thomas Mera: To me this a matter of keeping some spirit
alive. I like this music and love the guys playing it - they are my
friends. There is something special happening sometimes that is impossible
to create with other guys - in spite of some moments when the music
sinks below the level of real bad empty blah illusion - in spite there
are these moments of true joy and short exalter of ecstasy. We have
convinced ourselves that the only way today to play together is to play
as we are now and ”don't look back” - we are some almost
old men enjoying meeting and playing the game of creating this simple
anew every time and have a real pleasure to see many young people enjoy
it. See, the spirit of life is always young, or rather without age,
if your body and your memory turn old - what makes it alive is always
anew in this very moment like an ”eternal” shining light.
- The new CD of Träd, gräs och stenar called Ajn schvajn
draj is done and out for people to get, how do you feel about it now that
you've done a bit of touring for it?
Bo Anders: I feel very good about it! I kind of like
Torbjörn Abelli: It feels rather close to our live
music, no studio chilliness.
Thomas Mera: Well, the record was mostly made in the
purpose to tell ”we create, you sell” to get more live gigs
- but the project was really a process to meet more often and work with
the music just for us without audience - a new thing for us. I'm quite
satisfied with the record - but I don't listen to it - I always like the
gigs not yet played much better.
- Is there an element of nostalgia in reforming, or do you see
Träd, gräs och stenar as a contemporary musical force? Or quite
outside of the time stream?
Bo Anders: We seem to fit quite naturally into the present
music scene, I don't think there is too much nostalgia around!
Torbjörn Abelli: To me there's no nostalgia, just
pure presence! (Or - we tried to be as present as possible once, we try
it over again. Sometimes we succeed.)
Thomas Mera: Yes, there is nostalgia but not in the meaning
of reconstructing ”the old days” - I don't think anyone really
wants to go sucked backwards in time. It's at the level ”I know you
can do wonderful music, why don't we do it together again?” Not the
old time music - let's play together as we are today. In this we are contemporary.
But - our musical ”method” is perhaps ”outside time”,
it is very old, older than us and our forefathers and younger than all
selling trix you try to find out - it's just playing one or two notes.
Sometimes too well known, very boring and too simple, sometimes close
to the real thing, like some tribe banging their heads and feet in a shamanistic
whirlwind trying to jump out into the other world.
- What was the creative process like in writing and recording
the album Ajn schvajn draj? Please speak about the instrumentals, which
are jams created the very moment of the recording.
Bo Anders: We started recording into two ADAT recorders
three years ago. I did mostly think of it as a good means of rehearsing,
not so much making a record. But last autumn we managed to lift the record
out of the tapes. Producer Johan Forsman in Gothenburg did help us when
we tended to get stuck in the final moments. He also suggested some backwards
guitars. We made few overdubs. ”Treacherously Icy”, ”RingRing”,
”Return of the Oppressed”, ”Exit” are not affected
by overdubs at all. These are also the tracks that are true jam tracks.
As was ”Albatross meets lonely sailor”, until it was rather
heavily edited. We cut it down, from 17 minutes to 8. We wanted to have
it on the record! ”Under the Cork Oak” is also an edited jam,
similar to ”Albatross” in that it also has some backwards Forsman
The rest of the material consists of ordinary tunes, with singing and
some instrumental solos. And some overdubbing. The tune Ajn schvajn draj”
itself is the exception: it is compilated by Mera Gartz from various samples
of our playing.
Torbjörn Abelli: To me the improvisations are the
main thing and - even if they are manipulated in their published shape
- they communicate our message, they are fruits of simultaneous creation.
The songs are results of processes for some time - one man once wrote
the lyrics and the music but the arrangement was formed collectively.
Thomas Mera: To me the jams are THE thing, when you try
to find out something, to find an uniting point to play with or against.
The songs are like resting points or islands in the flow, and telling
some ”point of view” of things. Voice and words are important
to communicate some kind of thoughtful feelings but to me the true communication
is established in the flowing improvisations. We recorded quite many hours
of jams and rejected the most - we used them as some kind of ”learning”.
There are two tunes completely ”clean” from manipulations Blixthalka
/ Treacherously Icy and De faertrycktas Aeterkomst / The Return of the
- Do you have more material ready or did you record everything
you had ready?
Bo Anders: We sure have more, but I think we selected
the best part of it!
Torbjörn Abelli: Some of the not used recordings
had qualities but I think we chose the best. The music sets the air into
vibration for a second, the vibrating air reaches the ears of the listeners
and hopefully make a lasting impression on their minds. Occasionally music
just shakes the air and nothing happens... Seems too bad but such is life.
Thomas Mera: There is always more material. We invent
new things at every gig, sometimes good, sometimes bad. If we were recording
our live gigs we possibly had a new record every year - but we don't,
yet. But no new songs.
- Your different incarnations (from 1967-1972) strike me as THE
underground bands, who have never compromised with the music business
machine. Do you see the bands in this way, and what is your relationship
to the underground culture, the festival culture that your early bands
Bo Anders: Right! Around 1970 we sort of were the Stockholm
underground. Our music had no appeal to the commercial scene whatsoever.
Torbjörn Abelli: We noticed in 1970 several new
more or less underground groups were formed, some of them evidently
by our example. The first Festen på Gärdet was a manifestation
of this hidden culture. I don't think all the credit was due to us but
we were a part of it.
Thomas Mera: We were at the root impulse to create these
free festivals. We sent this idea out and were involved in creating the
first free festivals in Sweden and made long tours agitating for and playing
at all kinds of free actions. We were agitating with and through our own
lives, how we were living - we didn't join any flag, our lives were our
flag. And we really didn't have any money.
- Festival culture has really gone over-ground and has entered
the realm of the corporate sponsor. Where do you see yourself and the
band against this trend?
Bo Anders: I only know this from reading Naomi Klein's
book ”No Logo”. But it seems intimidating to say the least.
Torbjörn Abelli: Somehow we are still a little bit
underground, at least when it comes to gigs at festivals or bigger scenes.
Thomas Mera: A somewhat strange situation. In spite of
our history as creators of free festivals we have no obvious place at
the festivals today, not even at the most hippie like festival Urkult.
Two well-known festivals named Arvika and Emmaboda are the only ones we
have been playing at and some smaller ones. I guess this is an answer
to this question.
- What are some of the best live bands that you have gigged with
over the years?
Bo Anders: Yesterday I happened to turn on the radio
and there was an amazing performance, a mixture of bluesy rock and some
bizarre humour and odd Eastern Europe rhythmic's. It turned out to be
a 1979 live recording of a band we've gigged with recently: Samla Mammas
Manna of Uppsala, Sweden, at their very best!
Torbjörn Abelli: There are too many... In the old
days I could mention Älgarnas Trädgård, today Anitas Livs.
Another memory is from the spring of 1972, the Holy
Modal Rounders playing forever and forever in an abandoned airfield in
the South of Stockholm, the music resembled every syllable in the band
name. When it was time for us to play the sun was rising, it was very
cold! And I had gotten drunk.
Thomas Mera: Over the years there are many - one of the
old is Samla Mammas Manna, one of the new is Latin Kings (a rap group).
- What contemporary music do you listen to? What would you like
to incorporated into the Träd, gräs och stenar sound of the
Bo Anders: I seldom listen to recorded music, and when
I do its usually just by chance. I think live and recorded music are
different things its bad they share the same name (music). But of course
its impossible not to be affected by the hip hop grooves and the often
moody quality of their looping. And the Techno music can sometimes have
a touch of transcendence, though I think that beating base drum is sort
of stupid most of the time. I also listen to Eastern European and Arabic
Torbjörn Abelli: Anything with life! I have in the
last few years been visiting concerts you can describe as the obscure
borderlands of experimental music, electronica, Techno, ambient, music
inspired by other cultures and times, noise and so on. I have no intentions
to mechanically use elements from these moments of discoveries but memories
will of course make themselves felt.
Thomas Mera: I had a period of listening to rave music
and experimental Techno, much because of the similarities with our music,
repetition, droning, dancing into ecstasy etc. I don't buy records anymore
but listen sometimes to live music mostly at a place called Fylkingen
where all kinds of new music is created, sometime a skillful DJ, or a
bunch of noisemakers, or even play there myself with my electric sound
violin in some free improvisations.
I try to give words for more atonal content in TGS music,
to let the music turn more flowering outside the conventional frame of
already used sounds. And more pumping rhythm, and breaking it up. I must
say I'm not really concerned about ”rock music”, or these fixed
attitudes of manliness that often just makes you bored and makes you look
for something more fun to do. I like music that is alive with energy,
”beauty” and unknown spirit - that's all.
- Are there any recordings that haven't been released over the
Bo Anders: Don't think so.
Torbjörn Abelli: Very likely there are lots of recordings
- known and unknown - hidden in closets all over the country. Most of
them are certainly not highly valuable but you can never tell...
Thomas Mera: There are three still to release, two (”Djungelns
lag” and ”Mors mors”) are on their way out in New York,
and ”Rock faer kropp och sjael” which Silence perhaps will release
- What kind of re-releases are still available with your different
projects? How can the interested fans get hold of them?
Bo Anders: Except Ajn schvajn draj” the ones that
I'm most fond of are Pärson Sound: Pärson Sound, Träd
och Stenar: Gärdet 12.6.1970 Both should be available through the
label Subliminal Sounds.
Torbjörn Abelli: The LP re-releases are available
at some of the Internet CD stores. Pärson Sound 2CD and TGS Gärdet
are possible to get from Subliminal Sounds - mail to: firstname.lastname@example.org.
Thomas Mera: International Harvester ”Sov gott Rose-Marie”,
Harvester ”Hemat”, ”Trad gras och stenar” and our
new record ”Ajn schvajn draj” can be found at Internet sites
like http://www.hotstuff.se/ http://www.ginza.se/
The Paerson Sound double CD and Trad gras och stenar ”Gardet”
is possible to get there or directly from Subliminal Sounds http://members.chello.se/subliminalsounds/
Try to search both the band names and the titles.
- Have you been playing non-stop over the years or off and on?
Bo Anders: We had a hiatus of 6 years, that was in the
seventies. But apart from that we've been playing off and on.
Torbjörn Abelli: In the 70s we met in 1975 and 1979
(sorry Bo Anders, no ”hiatus of 6 years”). We tried to come
back in 1980-81 but the 80s weren't our time. Between 1985 and 1992 we
had a very silent period - the hiatus! 1992, 1993, 1994 we had one gig
a year, but since 1995 we feel like on the road again, 1-2 gigs a month.
Thomas Mera: Some very few concerts 1972 - 1980. The
years 1980-81 we had a period trying to get close to the ”punk”
generation since they had the same basic slogan ”anyone can play”
and ”create you own music places” - but our music was not
really good at that up tempo speed - and we were not old enough to be
for the youngsters of that generation. 1993-95 we began to try if we
could make some music interesting to ourselves. We had some fun and
new audience come forth - even younger than some of our children. So
we are happy to have a new audience and a function for some young people
- they respect the rumours of what we once did and think we are playing
great and we respect them and are happy for a new generation of people
concerned of the conditions of the world and happy youngster dancing
to our music - a good relationship between different generations.
- Have you had any bad (or good) experiences with bigger labels?
Bo Anders: None!
Torbjörn Abelli: We have none experiences, which
feels fully OK :-)
Thomas Mera: Of course, otherwise it would not be needed
to create new labels. That's for me, Mecki Mark Men made a single and
LP for the late label Philips that sold something like 20 000 copies
over the world (in Sweden 1967 this was a lot of records) and when I
to get some of the dew for at least my three songs on the record there
was nada. I have never got a penny from these records or these songs.
”Talk to Mecki” they said to clear their own asses. We don't
work in an ”industry”! We are living and thinking beings
playing music in a community of other living and thinking beings, not
”goods” to be sold. But since money nowadays occupies and
transform all aspects of everyday life into ”values”, money
is always involved to survive or to create or just to relax. If we earlier
for nothing but love and revolution we now need to get some money back
- we always have to pay a lot even to come to the place where we shall
play and these guys who owns the gasoline and the rent cars take the
most of what is meant for us...
- So what can we expect in the future concerning Träd, gräs
Bo Anders: One goal is to get near the Paradisiacal
quality you can feel in some recordings of Pygmy music. Another, perhaps
within reach is to make better use of our voices in our performances.
Also, it would be interesting to tour in Europe!
Torbjörn Abelli: The last seven years we have improved
our music a lot, especially regarded the internal communication. I expect
a continuous development with even more emphasis on communication. There
has lately been moments when we have cracked our musical limits, following
new paths. I really hope we carry on with this exploration. If our audience
still will be curious to follow our exploration expedition, we surely
Thomas Mera: Perhaps we will try to make some tours to
another countries - like Germany or USA or Japan - we seem to be some
kind of ”cult” object in certain places and it would be nice
to make some gigs and meet some new situations and people there. Otherwise
we give off our relaxed laughter and take our own course into some unknown
spheres - or at least first make some funny yambalayamumbojumbo or something.
Torbjörn Abelli, Grubbens Gata 11, SE - 112 32 STOCKHOLM, Sweden
Bo Anders Persson, Amnerud 17, SE - 680 63 LIKENÄS, Sweden
Thomas Mera Gartz, Lurstigen 4, SE - 124 62 BANDHAGEN, Sweden
Hegedüs Márk, Psychedelic Fanzine, Issue
#11/#12 2002, page 28-33.
Psychedelic Fanzine, c/o Hegedüs Márk, H-9653, Répcelak,
Avar u. 6/B, Hungary.