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Cover Artist Title Format Released Label Catalog No Genre Notes Reviews
Einstürzende Neubauten Strategies Against Architecture III [Disc 1] CD 2001 Mute Industrial: General Industrial
Einstürzende Neubauten Perpetuum Mobile CD 2004 Mute Records Industrial: General Industrial
Einstürzende Neubauten Listen With Pain: 20 Years of Einstürzende Neubauten DVD 2006
Einstürzende Neubauten Alles wieder offen CD 2007 Potomak Alternative & Punk: Experimental
Ekelöf, Gunnar En Värld Är Varje Människa CD 2001 Books & Spoken: General Books
Ekman, Lena Hammarlund, Jan, Turid Igår, Idag, Imorgon LP 1976 Silence SRS 4638 Huvudmusiker:
Jan Hammarlund Sång, gitarr, charango, marracas, afrikansk trumma, bombo
Lena Ekman Sång, dragspel, lertrummor, conga
Turid Lundqvist Sång, gitarr, cittra, block, gurka, bombo

Gästmusiker:
Claes Wang Maraccas
Kjell Westling Basklarinett
Tommy Johnsson
Ekseption Ekseption LP 1969 Philips Gruppens första album.
Ekseption Ekseption 3 MC 1970 Nog in 1970 werd ook het derde Ekseption-album opgenomen met de simpele titel Ekseption 3. Peter de Leeuwe was weer terug en Michel van Dijk, ontevreden over de nadruk op instrumentale muziek, had de groep verlaten en zou later opduiken als zanger bij Brainbox en Alquin. Hij werd vervangen door Steve Allet (echte naam: Coen Merkelbach), overgekomen van de groep Ginger Ale. Het album, een muzikaal schilderij van het boekje Le petit prince van Antoine de Saint-Exupéry, haalde de eerste plaats op de albumhitlijst. Het nummer Peace planet (naar Bachs Suite no. 2) werd als single een enorme hit. Ekseption 3, met nummers als Morning rose, On Sunday they will kill the world, B 612 en Another history (een jazzy ballade) is het meest vocale van alle Ekseption-albums. Toch nam Van der Lindens instrumentale tweedelige suite Piece for symphonic and rock group in A minor een centrale plaats in en zou dit album het laatste van de groep zijn met vocale solonummers. Op dit album staat als enige in de reeks een quasi-livenummer, Rondo.
Ekseption Ekseption 5 LP 1972 Philips
Eldkvarn En Lång Het Weekend MC 1976 MNW Huvudmusiker:
Carl Stefan Jonsson Gitarr
Curt-Åke Stefan Gitarr, piano, orgel
Lage Bergström Trummor
Liten Falkeholm Klarinett, elpiano, vibrafon, sång
Per Jonsson Gitarr, sång
Tony Thorén Bas, piano, cello
Wenche Arnesen Sång
Eldkvarn Genom Ljuva Livet MC 1981
Eldkvarn Utanför Lagen CD 1986 Rock: General Rock RIGOUR, LOGIC AND CONCISION Bernard Jacobson Along with ihe genial temper of the music, it is the rigorous logic central to Sibeliuss conception of symphonic form that particularly characterises the first movement of his Third Symphony (1907). Compressed from four movements to three, the works overall structure finds room in its central Andantino for elements of both intermezzo and slow movement along Brahmsian lines. It also blends disparate strands in the course of its extraordinary scherzo-cum-finale, which is emphatically split into two halves like the last movement of Schumanns Second Symphony. Only twice after this did Sibelius return to anything like a traditional four-movement symphonic layout: in the Fourth Symphony of 1911, and in the Sixth, completed in 1923 and premiered under the composers direction in Helsinki on 19 February of that year. His usual modest orchestral resources are supplemented here by a bass clarinet and a harp, but the colour palette to which these additions contribute is paradoxically cooler and more restrained than ever. Indeed, the Sixth Symphony as a whole is one of the composers least demonstrative works. It seems to turn its back on all the familiar apparatus of the sonata style from Beethoven onwards, replacing sharp tonal contrast and dynamic emphasis with a fluent polyphonic purity that draws eloquence from its very air of understatement. Through Sibeliuss symphonic canon, the tendency to bring separate movements under the umbrella of a new and broader superstructure had been proceeding at once with ingenuity and with an impressive clarity and calmness. It was in the Seventh Symphony that he finally succeeded in taking the process to its logical conclusion, encompassing all the diverse elements of a works musical material within the limits of one single movement. Even more than with No. 6, it would be a mistake to listen to the Seventh Symphony with a mind tuned to sonata-form procedures. This idiosyncratic yet masterly structure follows no a priori patterns. Though there are abundant contrasts of tempo, they are articulated through a natural process of growth that will be most readily perceptible to an ear free of preconceptions. Along with the wisps of thematic material almost diffidently thrown out in the opening bars, the broad solo-trombone melody heard a few minutes into the work contains the seeds of all that follows. Correspondingly, when the end comes, it comet with a cadential consummation of C major arresting in its simplicity and its utterly punctual concision. Sibeliuss standing as a symphonist does not depend only on works that carry the generic title. The tautly unified structure of pieces like The Swan of Tuonela is symphonic in the broader sense of the word, and if the Seventh Symphony of 1924 stands as the official conclusion of his work in the genre, the broadly programmatic symphonic poem Tapiola written two years later exemplifies similar formal principles and follows them with comparable precision and singlemindedness. Like much of the composers music, Tapiola takes its inspiration from the Kalevala, the Finnish national epic. Tapio is the mythological god of the forest. But instead of citing the Kalevala explicitly, Sibelius wrote his own four lines of poetic text to head the score and suggest its imaginative content: Widespread they stand, the Northlands dusky forests, Ancient, mysterious, brooding savage dreams; Within them dwells the Forests mighty God, And wood-sprites in the gloom weave magic secrets. For the subject matter of the Lemminkäinen Suite Sibelius drew upon six of the Kalevalas 50 "runes," or cantos. The four Legends treat of the adventures of the great hero Lemminkäinen. A fearless, swashbuckling Nordic Siegfried whose exploits also reveal an occasional touch of Don Juan, Lemminkäinen is promised the hand of Pohjolas beauti
Eldkvarn Himmelska dagar CD 1987 Capitol Rock: Progressive Rock
Eldkvarn Kungarna från broadway CD 1988 Capitol Rock: General Rock
Eldkvarn Karusellkvällar CD 1989 Rock: General Rock 1998
cddb by flocsy@mtesz.hu
Eldkvarn Legender Ur Den Svarta Hatten LP 1991 EMI Peter Smoliansky (Spelade trummor), Tony Thorén (Bas), Claes Von Heijne (Piano, orgel och övriga kla... - soulpunk
Eldkvarn Pluralism CD 1993 Rock: General Rock For more about the ELEKTROLUX-Lable go to: http://www.elektrolux.com
Eldkvarn Sånger från Nedergården MC 1994 Pop: General Pop 4750902
EMI 1994
Eldkvarn Sånger från Nedergården CD 1994 Pop: General Pop 4750902
EMI 1994
Eldkvarn Lyckliga Tider CD 1997 Rock: General Rock 1994 MamusiCO
Québec, Canada
Toutes les pièces ont été composées et interprétées par Marie-Andrée Ostiguy.
Eldkvarn Det Gamla Landet - En Samling CD 1997 Rock: General Rock
Eldkvarn Död stjärna CD 2001 MNW Pop: General Pop
Eldkvarn Brott lönar sig alltid CD 2002 Music Network Records Group Rock: General Rock
Eldkvarn Atlantis CD 2005 Rock: General Rock
Eldkvarn Svart Blogg CD 2007 Rock: General Rock





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