Reviews:

From Musique Machine: (by Roger Batty)

  Following on from Cold Spring's reissue of the punishing & nihilistic “Victory or Death”; this is another worthy reissue from Folkstorm’s back catalogue. The album was originally released back in 2004 in an ltd form - but this is the deserved first unlimited pressing.

  Though it’s still often dense, fiery & noisy in its intent “Sweden” is a lot more balanced & varied than “Victory or Death’s” straight for the throat grey, black & bloody take on military toned death Industrial. Hell at times it’s almost playful, well very sadistically & violently playfully; serial killer playfully if you will. As it  mixers: greyed droning synth textures, throbbing slowed ‘n’ fuzzed to fuck beats, chugging & overloaded noise or sample matter , muffled feedback muzzled vocals, bent & melted horn work, coarse & barbaric  blacked metal & sludgy industlized guitar loops. With the tone shifting from: hectic, dense muilt-layered  attacks of chugging noisy industrial tone meets crude electroinca abuse, onto  slowly moving droning, horn, synth & brooding atmospheric expanses, through to sci-fi led  synth interludes & all manner of  creative sonic shift. But mainly the tone is fairly dense, noisy & shifting with all manner of stuff been thrown at you with-in each track; which keeps you nicely on your toes.

  “Sweden” is as noisy & brutally as anything else put out under the Folkstorm banner; yet there’s a real feeing of invention & sadistic sonic glee through-out the album which makes it a very rewarding & shifting ride.

From Judas Kiss: (by Simon Collins)

  This is a re-release of the fifth Folkstorm album, recorded in 2001 at Villa Bohult in Sweden and originally released by Cold Spring in 2004 as a 1500-copy limited edition. At the time of its original release, this was billed as the final Folkstorm album, but Nordvargr has retired this project about as often as Barbra Streisand has done ‘farewell’ tours, and Sweden was followed in 2005 by the Folkmusik album, plus 2008’s The Forgotten Tapes (Archive Series 4 1997 - 2000), both released by Old Europa Café. So whether Folkstorm is really dead or merely waiting until sunset before rising from the grave remains to be seen. Regardless, this reissued edition still bears the gnomic inscription that graced the original edition: ‘Folkstorm is dead. All hail the new order of lesser meaning. All hail the rise of nothing. All hail the art of plagiarism.’ Sweden has been re-released simultaneously with the earlier Folkstorm album Victory Or Death album (reviewed elsewhere on Judas Kiss).

  Of the many and various projects of Henrik ‘Nordvargr’ Björkk (Poupée Fabrik, Mz.412, Nordvargr, Muskell, Hydra Head 9, Toroidh, Vargr, Goatvargr etc), Folkstorm has always been among the most aggressive, and Sweden captures Nordvargr in particularly savage form. Sweden contains 11 tracks totalling 51 minutes, and simply entitled I-X (track XI is uncredited). The instrumentation used is listed as ‘analogue synthesisers, guitars, amps, metal, junk, tape decks and throat’.

  ‘I’ opens with booming, foghorn-like blasts, overlaid with fizzing, hissing tones, and then fierce static and a barely discernible, severely distorted guitar line – a nod towards the black metal influences that were later to find much more explicit expression in Nordvargr’s Vargr project. ‘II’ is more industrial in flavour, cold robotic vocals mingled with thick, sludgy waves of textured noise, electronic bleeps and a brooding rhythmic pulse. The opening passage of ‘III’ offers some respite amid the noise assaults, with a gentle tidal swooshing and ambient drifts, but after 90 seconds of this, the track turns round to bite your hand off like an unpredictable vicious dog, the force of its aggression seemingly redoubled after taking a short break. This track descend into total sonic chaos, with intense blasts of noise criss-crossed with wailing high frequencies to daunting effect.

  ‘IV’ is quite different, interlacing brassy military marching music with ferocious, chaotic noise, seemingly satirising nationalism and militarism, subverting its pompous pretensions by exposing the bloody chaos and destruction that such ideologies foster, a tactic which is revisited on ‘X’ and the untitled eleventh track. With Folkstorm, as with Toroidh, the project which succeeded it, Nordvargr has interrogated and questioned the rules of cooperation and conflict that bind human societies together, a theme which is reflected in the booklet artwork and texts for Sweden. The images are simple monochrome sketches of rural toil, masters and slaves, and revolutionary insurrection, accompanied by phrases in Swedish:

  ‘Bondens spade är mer värd an herremannens svärd’ (‘the farmer’s spade is worth more than the gentleman’s sword’)

  ‘Utan ordnung och lag blir människan svag’ (‘without law and order, man is weak’)

  ‘Lika bot för karl och konung!’ (‘equal something-or-other for commoner and king!’ – sorry, Google’s translator let me down on this one!)

  There’s no clear left- or right-wing political bias to these sentiments – Nordvargr seems more interested in the roots of human conflict in themselves, rather than taking sides. Ironically, though, entitling the album Sweden in itself seems like a patriotic gesture – is Nordvargr flying the flag here for his homeland’s proud heritage of extreme industrial music?

  In the eleventh track, the noise subsides sufficiently for Nordvargr’s vocals to be clearly intelligible: ‘United States of Europe? United Trash of Europe.’ This tracks also features samples of ranting political oratory, crowd sounds, stirring patriotic folk songs, and a reprise of the guitar work featured on the first track.

  ‘V’ is the album’s most restrained track, consisting for most of its duration of a cold, subdues drone barely punctuated by a low, pattering rhythm, but of course this is only the calm before the storm and the track ends in a cacophonous frenzy of destruction. ‘VIII’, though, is an all-out noisefest from beginning to end, every bit as challenging as anything that Japanese sadists such as Merzbow and Masonna have come up with.

  Sweden is a powerful but daunting work – only hardcore devotees of extreme electronic noise are likely to find this music endurable for more than a brief period. You have been warned. The album’s called Sweden, but don’t expect Abba.

From Hierophant Nox: (by Ellen Simpson)

  Originally having crawled out of the fetid cave of Lord Nordvargr’s mind back in 2001, "Sweden" saw a limited release of 1500 copies in 2004. Judging the time right to unleash this profoundly unsettling release once again, Cold Spring and Nordvargr have come together to re-mix, re-master and sharpen the edges of what was already a distinctly dangerous outpouring of harsh industrial hate.

  The liner notes explain that the material was ‘recorded…using analogue synthesizers, guitars, amps, metal, junk, tapedecks and throat’, a list which has a horrible, misleadingly poetic simplicity given the horrors that can be summoned from such sparse elements when manipulated by this particular pair of hands. For me, "Sweden" evokes the breakdown of art and sense that would follow a successful and ultra-violent coup by fascist hardliners; the sound which unifies the album is an extremely harsh, brutalised electronic noise, which is both corrosive and frightening – it’s impossible to find sense within this harmful mind-assault. On "IV" and "X", jaunty songs reminiscent of national tunes buzz in and out, whilst bursts of weapons, the tripping of horses’ feet and the blare of battle-cruisers’ foghorns can be made out at various points. Rambling speeches and whispered terror, as well as a strangely poignant resistance in the form of short guitar breaks, for example on "VIII", complete the picture.

  Of course, such an interpretation of the chaos is born from my own imagination rather than anything concrete in the mix – any number of listeners could conjure any number of scenarios, but I’d wager that every one of them would be horrifying and bleak. Despite the sheer hostility and anti-humanity embodied in the white noise that drenches this release, Nordvargr offers various, subtle handholds by building in rhythm and variation, a drive and an internal logic that keeps your mind moving with the compositions, unlocking dark doors within your mind.

  Although you can immediately tell which frightening and talented artist is responsible for the terror hereon, as with all of his releases, "Sweden" has its own distinctive flavour. Whether you picture "a boot stamping on a human face – forever", or whether some other almost-unintelligible alternative future comes to mind when you listen to this disc, I guarantee it will make you feel as sickened and edgy as any other of Nordvargr’s creations. Surely one of his most merciless works – enter at the risk of your own sanity.

From Dark Life: (by Gianfranco Sciacca)

  Not sure how this album relates to claims of "final album" tagged to previous releases, but what we have here is harsh and brutal noise industrial that blows your ears away in a cacophonic fury orchestrated by a Nordvargr in a clearly nast mood. Sweden is a mass of aggro-noise-industrial carrying a sharp fury that is as appealing as it is it is aggravating. Make no mistake here, Folkstorm noise approach in this album is not just self contained, it whips and seduces your ears in an unexpected way, letting obscure rhythmic structures or voices or even slightly organis tones filter through every now and then, blasting dynamism into the rumbling no man's land on which the eleven tracks are constructed. In case you're new to them, there have been quieter moments in Folkstorm discography.

From Terrorizer: (by Guy Strachan)

  Having sat on some poor bugger's shelf gathering dust for the past three years, all those who have been patiently awaiting the release of the final Folkstorm album can now exhale and run to the local noise emporium. Comprising a multitude of untitled (aside from a numerical ordering) tracks, 'Sweden' is a particularly gruelling dose of electronics that offers absolutely nothing in the way of respite throughout its 50-minute entirety. Once the listener has entered, the all-encompasing wold of Folkstorm throws forth a constant battering of sound from which there is no letting up or a glimmer of hope in the shape of something less pummelling.

 One of the most powerful examples of the sort of pastiche that can be created from a moribund orchestra of analogue synthesisers, guitars, tapes and metal going, the limited nature (1500 copies) of this release really doesn't seem to do the full force of the contents much justice. Hunt this down and blow your mind.

From Funprox: (by JS)

  I guess everybody in the ambient-industrial-scene is familiar with Henrik Nordvargr Björkk. For all I know, he began his music career with the quite satanic Cold Meat Industry-act MZ (Maschinenzimmer) 412. Since then, he evolved as an underground artist, released under the moniker Folkstorm about nine albums, had some records released under his own name, and composed the Sleep Therapy-boxset.

  MZ. 412 is a dark-industrial project, Sleep Therapy is more minimal-ambient, and this release, which is ‘Sweden’, is more harsh, more militant and cruel. I don’t really wonder why he called this album ‘Sweden’. If there is one country that contributed a lot (maybe even the most) to the blooming of the dark-experimental-genre, it is Sweden.

  ‘Folkstorm is dead. All hail the new order of lesser meaning. All hail the rise of nothing. All hail the art of plagiarism,’ says the booklet of this release. Yes: Folkstorm is dead. Which is a good thing. If an artist has new means of expressing himself with a new project, why not kill the former? Why keep on continuing in the same musical direction?

  This last effort in the Folkstorm-trench is a very dark, oppressive album. The first track of the ten untitled ones is riddled with a heavily distorted guitar riff, very akin to a black metal composition. In track two, a growling voice is present, sounding a lot like a swearing spell, eventually drowning in the rumbling noise. A lot of the tracks are based on distorted electric guitars. Luckily, there are also nice folkish music samples on track four and eleven, of course battered by white noise, and other more experimental cut-ups that return as theme’s, as in track nine.

  I believe Björkk is moving more and more away from the standard dark-industrial soundscapes, and he is more involved in creating a personal sound. ‘Sweden’ is a nice blend of destruction and electricity, with lots of references to styles that have become overly imitated by ugly epigones.

From Heimdallr: (by Ian C.)

  I have lost track of the number of records released by Nordvargr under his various guises, but apparently I can't be the only one as this Folkstorm studio album was only recently discovered in Cold Spring's archives. Those expecting martial industrial anthems with thundering vocals may be in for a bit of a surprise as the 11 tracks on this album are in a much harsher, brutal vein. A relentless pounding of grinding noises, crushing beats and distorted vocals that, for a non-fan like me, can seem a bit monotonous at times. Although I can easily imagine that this can be a musical delight for the noise aficionados...

  Released as a limited edition of 1500 copies "Sweden" should be the final epitaph of this now-defunct project.

From Phosphor: (by Paul Bijlsma)

  It was March 2001 when Folkstorm recorded an album at Villa Bohult using analogue synths, guitars, amps, metal, tapedecks and throat. Those recordings kept shelved for over two years, before Nordvargr started to remix them. After Hurtmusic, Information blitzkrieg, Victory of Death (OEC), For the Love of Hate (CMI) and Live cermony (Pagan Music), one might know that Folkstorm (aka Henrik N. Björkk) is into noise, though comes with something different each time. The latest Folkstorm album (and probably this time the last) offers waves of white feedback noise and soundscapes of scrambled power. Structured layers of intense noise and occasional distorted vocals give away to harsh noise outbursts, sometimes escalating into total chaos. Those blasts of electronic intensity are torturing and beautiful at the same time. Although the music is on the edge, it contains enough variation and concept to keep it interesting, even exciting. Folkstorm's last album ends an era, and it's good to finish in such a way!

From Zero Tolerance: (by Adam Chapman)

  Ever had an older relative hear the music you listen to an proclaim, "it's just noise!"? Well, just put on Folkstorm's Sweden and tell them to shake their booty's to this. Living in Sweden myself, this kind of music doesn't exactly make me think of red houses, funny hard bread, blokes called Johan, Sven or Jocke sticking snus behind their lips [don't ask! - LdC], and extortionate business taxes, but what's on offer here is certainly harsh, cold and noisy...just like the natives with a few beers in them on a winter daytrip to Denmark.

 Folkstorm have a cool, controlled and vicious CD here, and for any noise connoisseur this is an essential addition to the collection. Although the booklet has a couple of cool phrases (in Swedish) and monochrome pictures, the rest is basic and a tad uninspiring and I would have liked more visuals to accompany the 11 tracks.

 It's very much a sonic collage of different distorted instrucments and sounds using driving repetition throughout. Not for everyone but still recommended.

From Synthesis: (by Troy Southgate)

  THIS album is billed as the very last Folkstorm release, although the project itself has been scheduled to end on no less than two previous occasions. Flanked by charcoal-style sketches of noble peasants, slaves, slavemasters and agricultural rebellion, this CD - limited to 1500 copies and delayed for over two years - is a fitting epitagh to the Industrial legend that won't go away. Like a stubborn Michael Myers at a Hallowe'en bloodfest, Lord Nordvargr simply refuses to lay down and die. There are a total of ten tracks on this album, each completely nameless apart from the fact that they have been listed as Roman numerals. Accompanied by an electronic fizzing, 'I' opens with a sweeping boom effect like a macabre ferry departing for the gates of the Underworld. This is following by a soundscape of scrambled power, rumbling its way through the track like music from a radio that has been dropped in the bath. There's Noise, but there's also rhythm. 'II', meanwhile, is deeper in tone and moves from ear to ear with venomous intent. It's a scratching Enola Gay flypast combined with robotic lyrics. Metal Mickey with tonsillitis and a bad attitude problem. An inexplicable squeaking reminds me somewhat of 'Tardyon Storm' on the new Merzbow/Nordvargr collaboration, 'Partikel', before the growling throat returns to bring the track to a close. At first, 'III' is a drifting cloud of hushed ambience combined with a riff-like drawl. After 90 seconds, however, it becomes a scathing blast of electronic intensity as a series of communicative beeps try to control the headlong rush into Noise purity. Several of them, it seems, attempting to imitate wayward ambulance sirens on their way to cause an accident or perhaps even force a pinball machine into one of your ear canals. 'IV' sounds like a cross between a fucked-up cartoon soundtrack and a musical hall novice prior to being shown the door. This soon escalates into total chaos, as though one hundred wurlitzers were being played simultaneously by a madman on the verge of missing the last bus. 'V' approaches slowly, a humming wall of darkness pock-marked by a metallic graffitti of tiny ripples. But not for long. The sound of a drum kit being kicked down a flight of stairs soon breaks the ambient monotony. For twenty-eight seconds 'VI' rises into yet more ambience, before a sudden change in direction leads to one of the more brutal moments on the whole album. Surging power and snarling vocals are fused together in a bombastic ode to revolution. 'VII' is sinister and restrained. Like the footsteps of a one-legged man in a minefield of sound it carefully picks its way through the ethereal minimalism, before a slight movement can be heard tearing its way from the gluey landscape and emptying its wicked contents into the atmosphere. Like a torrent of aggression, it unleashes itself on your senses like a swarm of angry wasps. As someone who prefers to avoid wasps altogether, I found the similarties rather unnerving (damn, now They'll know what to put in Room 101). 'VIII' is a more traditional cacophony of power electronics. An indescribable mush of tortured frequencies put through a mincer and served up on a platter of discord. It does pause from time to time, quite inexplicably, but then tends to carry on in the same unrepentant vein. There are even attempts to maintain a semblance of rhythm and consistency, always difficult when the objective is to frazzle your brain in a microwave of agony. Towards the end a few more robotic utterances can be heard pushing their way between the barriers of din, but Kraftwerk it aint. 'IX' seems to momentarily imitate a standard club beat, a theme that returns slightly afterwards, but this trend is regularly kicked into touch by a cutting breeze that often evolves into a high-pitched scream. As the track slows down, 'X' is phased in almost immediately. This has an almost-mystical quality to it. Odd backing chants quickly evaporating into sharp eruptions, yelling vocals, gurgling violence and accelerating trains of savagery. Hideous, out-of tune, samples muscle their way in like stereophonic gatecrashers. Ten tracks are listed on this album, but surprisingly there is an eleventh. Again, there is an uncomfortable buzzing sound like a nightmare lunch in a pub garden when you just so happen to be covered in the sweetest raspberry jam known to humankind. Towards the end the sneering vocals ('Europe States of Europe? United Trash of Europe') and a selection of Eurovision-style anthems take over completely, with spasms of Noise punctuating the proceedings alongside committed Hitlerian rants and rapturous Nuremburg applause. This is a very interesting album, not least because the finale is rather similar to early Nurse With Wound, with Nordvargr moving from Noise to Experimental in one fell swoop.

From Transmision: (by Sara)

  Edición limitado a 1.500 copias y remezcladas por el propio Nordvargr. "Sweden" son diez temas de puro terrorismo industrial, siendo una continuación del estilo que hasta el momento viene haciendo este legendatio proyecto de Nordvargr, miembro de los míticos MZ.412. Todo el disco muestra un industrial noise puro y perfecto, con sonidos due forman una amalgama en la cual se distinguen perfectamento unos de otros. "Sweden" es un disco redescubierto de los archivos del respetado sello Cold Spring Records, ya que fue producido en el año 2001 y sinceramente es un gran acierto el haberlo recuperado.

  Desde el primer hasta el último tema no existe descanso para tus oídos ni para tu cerebro, el cual acabará completamente exhausto. Un disco recomendado para fanáticos del noise.

From DSide: (by PostModernXS)

  Folkstorm è uno dei tanti pseudonimi con con cui Henrik Nordvargr Björkk, mente del progetto MZ412, produce e riassimila gli incubi da circolo polare artico, attraverso curiose forme di caos (molto poco) controllato. Tra i vari dischi prodotti dal musicista svedese, bisogna ammettere che questo "Sweden" appare notevolmente sotto la media qualitativa cui eravamo abituati, persino rispetto alle altre pubblicazioni a nome Folkstorm, che già di per sè non possedevano particolare mordente. Harsch noise senza controllo, strutture prive di direzione e mancanza di alcun fine, sono le vere disgrazie di un lavoro stanco e senza particolari spunti creativi. Per quanto io stesso stimi le release più lucide e riuscite del maestro scandinavo ("Awaken", "Burning the Temple of God" e "Malfeitor" tra le altre), non posso che trovarmi in difficoltà ad ascoltare un prodotto talmente imbarazzante, in cui i momenti realmente validi, a parte la prima traccia, si odono soltanto nei richiami guerrafondai ed i toni marziali di alcuni passaggi presenti in un paio di brani. Intendiamoci: non c'è nulla di così sprezzante, dal punto di vista tecnico. Il problema è che non si riesce a trovare alcun appeal in un prodotto talmente esile e raffazzonato persino nello stile. Ora si capisce perché Cold Springs ha atteso più di qualche anno prima di pubblicare un disco su cui in molti glisseranno, in attesa di tempi migliori.