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Interview in
Psychedelic Fanzine
Double Issue Of Doom
Issue #11/#12
by Hegedüs Márk


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 comeback album 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. (Introduction 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 the group.
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 developed 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 John 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 awakening 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 process”.
   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 movement”.

- 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 of ”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 northwards, ended 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 had 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 I think 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 clarinet?
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 band. 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 Archimedes) where we stayed until this group split into another two new groups - Bitter Funeral Beer Band and Bolon Bata. Both were playing music based on African music.
   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 theater 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 the 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 making 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 from 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 oldest friends. There is something special happening sometimes that is impossible to create with other guys - in spite of some moments when the music really 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 also 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 music 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, even 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 the CD.
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 guitars.
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 Oppressed.

- 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 epitomize?
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 inspired 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 certainly 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 21st century?
Bo Anders: I seldom listen to recorded music, and when I do its usually just by chance. I think live and recorded music are so 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 violin players!
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 making 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 years?
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 some day.

- 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 Gräs 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: sub@chello.se.
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/ http://www.skivhugget.se/ http://www.aquariusrecords.org/
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/ http://www.othermusic.com/ http://www.aquariusrecords.org/ 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 interesting 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 slowly a 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 an 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 tried 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 merely some ”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 worked 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 och stenar?
Bo Anders: One goal is to get near the Paradisiacal quality you can feel in some recordings of Pygmy music. Another, perhaps more 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 will continue.
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

t.abelli@telia.com
b.a.persson@hem.utfors.se
mera@chello.se
http://tgs.nu/english.htm

Hegedüs Márk, Psychedelic Fanzine, Issue #11/#12 2002, page 28-33.
psychedeliczine@hotmail.com
Psychedelic Fanzine, c/o Hegedüs Márk, H-9653, Répcelak, Avar u. 6/B, Hungary.
http://www.psychedelicfanzine.de



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