Lach'n Jonsson ‎– Songs From Cities Of Decay (1989, LP, Sweden)

Songs:
1. Han Sång ... (He Saw ...) (3:33)
2. Stad (City) (3:37)
3. The Song Of The Rats (2:38)
4. Askvarelsen (Creature Of Ashes) (2:16)
5. Ur Träsken Och Skogarna (Out Of The Swamps And Forests) (2:52)
6. Vindens Sång (The Song Of The Wind) (2:42)
7. Livskänslan (The Feeling Of Life) (1:47)
8. Tomma Bakgårdar (Empty Backyards) (2:41)
9. Intermezzo: Andning (Breath) (1:05)
10. Monument (Monuments) (24:11)

Musicians
J. Lachen aka Lars Johnsson/ All Instruments, Vocals, Composer, Arranger, Producer

Song From Cities of Decay is more feathery or better said atmospheric, less busy, more delicate when comparing it to predecessor and incorporates plethora of menacingly hovering sounds. It is bridge between MFtDF and sounds of Ur Kaos. From the first listen I know this is one of the most important records in European progressive music, along with RIO releases. However this one again is not falling squarely into RIO genre, but it has some ties to it. Things are going from grave to sable, all throughout sombre or downright exalted (anthemic vocals of Lach’n make a great contribution to that), bordering on the plaintive rather than on devilishly mocking, so don’t expect the titter of UZ’z muses here. Lach'n is playing all instruments and had carefully sung all vocals of its own, producing gorgeous harmonies and strange counterpoint not heard since the era of shining Gregorian chorales. Here it is hard to detect accurately certain instruments, because the music immediately pulls you into into itself, let you inertly watching how your body swirls in it, but also allows you to take a breath with each new track. And lets you do nothing more. Tracks are mostly short, ranging from minute and half to three minutes and half, until you came in front of the portal of "Monuments", a 24+ minute long symphony; on the original LP, the whole side B. Lach'n's composing and performing skill leads you through succinct and effective themes, again from medieval to chamber to industrial, ambiental if you like and back to barocco-classical. Words fail me, or better said they seemed quite useless, as it seems I'll never manage to describe the exquisiteness of these records. If description would be inevitable, I’d say this is superb Hyperborean avant-rock. Both albums are indispensable for any serious fan of progressive music. -- (Nenad Kobal - www.gepr.net)