OUTRAGEOUS '72 RARE Orig MIDSOMMAR BELSEBUB (INSIDE THE BOX) CRAZED JAZZ PSYCH

$

305

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• VERY RARE & COLLECTIBLE
• 1972 ORIGINAL FIRST PRINT ..|/\|...............................................|/\|..
• = MIDSOMMAR =
• " BELSEBUB AR LOS "
  
• ((INSIDE THE BOX))
• ..|/\|...............................................|/\|..
• SWEDEN - GAZELL - SMG 1224 (MONO/STEREO)
  

1. In the twilight between Psychedelia and the first bloom of Progressive Rock, Sweden produced a clutch of records that have, for decades, existed more as whispered legends than as stones on any mainstream map. “Belsebub Är Lös,” the lone album by Midsommar, belongs precisely to that liminal territory: raw, restless, and stubbornly inventive.
   
   From the opening bars of the title-track “Belsebub Är Lös,” Midsommar announce their agenda: muscular rhythmic propulsion, jagged guitar lines amid winds and woodwinds that colors the guitar-driven core. The instruments sit in a muscular mix—organ weaving under the riffs, sax and flute punctuating with a eccentricity that each offering an immediate Scandinavian character. The Swedish vocals — urgent, textured and untranslatable to many listeners — become an instrument in themselves, adding a shade of ritualistic mystery that suits the era and the aesthetics the band pursue.
   
   “På En Strand” deepens the record’s momentum. Here the band prove a fluent ear for arrangement: guitars and keyboards interlock, the groove moves through shifting meters, and sudden accelerations keep the listener slightly off-balance in the best possible way. Where many contemporaries might milk the verse/chorus machine, Midsommar treat composition as an unfolding journey; brief melodic passages give way to far-more aggressive, guitar-led episodes and then  to melancholic interludes. The track is a compact demonstration of how the band manage dynamics—energy and restraint—within a relatively short runtime.
   
   “Drömmens Värld” is one of the album’s more ambitious statements. Beginning on tribal-tinged percussion, the piece blossoms into a proto-Prog tapestry: bass and guitar suggest funkish stiffness at times, yet the piece swings back into Nordic Psychedelia with flute and winds often carrying melodic weight. The band’s willingness to pivot from tight rhythmic blocks to freer, more textural sections gives the track a cinematic quality—equal parts trance and explosive release. 
2. 
   “Jag Vill…” foregrounds the wind section more directly, offering an engaging hybrid of Psychedelic brass Rock and accessible melodic hooks. The vocal lines stay catchy while the instrumental breaks show the group’s technical competence—tasteful solos rather than indulgent showcases—an effective balance that keeps the record from collapsing into mere virtuoso display.
   
   The title “Midsommar” perhaps best illustrates the band’s Baltic sensibility: a folksier, more pastoral opening anchored by heartness moving  into gentle arpeggios, then closes itself in Jazzy inflections. The flute work and the band’s sensibility here point at how regional folk elements can be recomposed inside a Progressive framework—yielding a track whose emotional register is immediately northern: melancholic, wind-blown and intimate.
   
   “Staden” returns us to a more Atmospheric, late-’60s ra-psych palette, but with a rhythmic sophistication—organ and duetting guitars push the piece toward a heated Jazz-tinged conclusion. The second half introduces wind solos that hint at Jazz-Rock crossovers; again, rather than feeling patched, the hybridization reads as organic to the band’s palette.
   
   Then comes the album’s centrepiece: “Fantomen” (the longest track). Over six minutes, Midsommar fluxuates the record’s many tendencies—Hard Rock propulsion, improvised Jazz detours, Psych textures and symhonic  moments—into one sustained narrative. The organ/guitar interplay is reminiscent of early Prog-Jazz experiments (Colosseum or Soft Machine are relevant touchstones), but there is a uniquely Scandinavian austerity here—less florid British Psychedelia, more concentrated, icy improvisation that resolves into a vehement guitar climax. In terms of structure and tonal adventurousness, “Fantomen” is the moment when the band’s ambition is clearest: the composition breathes, stumbles, returns, and ultimately asserts its identity. (If you enjoy Canterbury-tinged Prog-Jazz with a harder edge, this is the sequence that will capture you.) The record closes with “Till Morsan,” a compact, riff-driven piece—an energetic, satisfying coda that reaffirms the band’s love of Heavy Psych grooves. The track’s driving bass, sturdy drum work and organ underpinning bring the album full circle, returning to a groove that feels lived-in and immediate

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   [isdntekvideo]
3. A
4. Belsebub Är Lös 3:20
   På En Strand 3:30
   Drömmens Värld 5:50
   Jag Vill... 4:20
   B
5. Midsommar 3:50
   Staden 4:00
   Fantomen 6:25
   Till Morsan 3:35.
6.   CONDITION:
7. The cover: rated: M- 1972 first print has been well cared for, no faded colors, no delete marks, no split seams, with no bends, and no writing
   

1. The vinyl: Rated: M-   solid weight-heavy platter of super obscurity , plays fantastic along both sides and both Gazell labels are clean