Thåström "Dom som skiner" (2021)

Dom som skiner

release date: Nov. 12, 2021

format: vinyl (gatefold clear vinyl - LTD.) / digital (9 x File, MP3)

[album rate: 4 / 5] [4,08]

producer: Niklas Hellberg, Sanken Sandqvist, Thåström

label: Razzia Records - nationality: Sweden

Track highlights: 1. "Södra Korset" (4,5 / 5) - 2. "Papperstunna väggar" - 3. "Isbergen" - 4. "Stora långa gatan" (4 / 5) - 5. "Toledo" - 6. "Dom du behöver" - 7. "Dom som skiner" - 8. "Gyttjebrottaren" - 9. "Mamma"

10th studio album as soloist from Swedish Thåström following more than four years after the fine Centralmassivet (Sep. 2017) also on Razzia, and also with Niklas Hellberg and Thåström as primary instrumentalists. On this, they are supported by Thåström's stable collaborator Sanken Sandqvist, who already featured on releases by Imperiet back in the late 80s, he took part in Thåström's first two solo albums, and he was co-composer on a some tracks with the experimental Thåström-Hellberg-led project Peace, Love & Pitbulls in the 90s. Sandqvist is here co-composer on a single song but he is like Hellberg and Thåström credited as co-arranger on all nine compositions. Apart from that, the album feature Swedish (sibling-)duo First Aid Kit, who lends vocals on three tracks (#1, #3, and #8) and Titiyo (track #2). Four years is a long time in between releases but that doesn't mean that Thåström has been inactive since 2017. In May 2020 he released the live-album Klockan två på natten, öppet fönster....

Dom som skiner follows nicely on the path laid out with Centralmassivet without sounding like a second chapter. It seems as if Thåström has found his own niche in the alternative rock genre. It's a place where he understands to blend input from various stiles he has previously been touching in cleaner output. He has released albums of hard industrial rock and he has explored electronic music - both in Peace, Love & Pitbulls, as solo artist as well as in the project Sällskapet, and then he has released troubadour-albums focusing more on lyrics, but with his most recent two albums it seems as if he has found an expression that balances lyrics and an original musical output with elements, or just glimpses of industrial rock and electronica. And it functions on a higher level. The album is with its 'only' nine tracks quite traditionally adapted the vinyl format with a total running length of approx. 43 minutes, but what's truly remarkable about the album is, once again, Thåström's gift to write songs with more than just a message, with something to ponder about and still maintain the ability to make highly original and harmony-driven music.

The album is btw. only Thåström's second solo album together with Kärlek är för dom (2009), which doesn't show Thåström himself on the front cover. Here, it's fronted by the modern classic photo "Den vite clownen" [The White Clown] (1978) by Swedish photographer Hans Gedda. Apart from that, the album artwork (back, inside and vinyl labels) are replications of details from works by Danish-Israelian artist Tal R (aka Tal Shlomo Rosenzweig).

Highly recommended.

[ Gaffa.dk 6 / 6, Aftonbladet 4 / 5 stars ]

2021 Favourite releases: 1. Mogwai As the Love Continues - 2. Thåström Dom som skiner - 3. Lisa Gerrard & Jules Maxwell Burn

Thåström "Centralmassivet" (2017)

Centralmassivet

release date: Sep. 29, 2017

format: vinyl (gatefold 'green') / cd

[album rate: 4 / 5] [3,88]

producer: Niklas Hellberg, Thåström

label: Razzia Records - nationality: Sweden

Track highlights: 1. "Bluesen i Malmö" - 2. "Körkarlen" - 3. "Centralmassivet" (4 / 5) (live) - 5. "Låt det goda" - 6. "Aldrig av med varandra" - 8. "Karaokebaren"

9th studio album by Thåström following two years after Den morronen (2015), which again followed Beväpna dig med vingar (2012). Like all his albums since the 2012-release, then also Centralmassivet is released on the Swedish label Razzia Records. Thåström also produced the 2015-album in collaboration with Hellberg and Ulf Ivarsson, and Thåström made up the Swedish trio Sällskapet together with Pelle Ossler and Hellberg from 2007 to 2015 after which Thåström left the two to continue the project as a duo.

On this, Niklas Hellberg is not only credited as music composer of all tracks together with Thåström - he also plays piano, keyboards, synths, is credited all programming and as recording technician. In that respect, Hellberg's role is more or less adapted from how he contributed to the music in Sällskapet. And it doesn't stop with that 'cause what characterises the style and sound on this, Thåström's ninth album, is a delicate combination of styles that both echoes his last two solo albums but also cary an underlying connection with electronic music, which again bonds to the two previous albums by Sällskapet without being as grey as they appeared. Centralmassivet is first and foremost unmistakably a Thåström album with the alt. rock and singer / songwriter mix he has come to be recognised for over the last decade, but it's not just a simple strategy where he makes use of a particular formula. Den morronen was dark and somewhat laidback - and you may argue also a bit of a narrower experience, but here Thåström succeeds in relaunching himself as a pure rock artist with electrifying and punchy tunes. The album is full of modern blues rock and it comes out as a very strong effort with an intelligent and remarkable production that opens up for stylistic inputs from industrial rock and the electronic genre without compromising the overall sensation of something extremely coherent and at the same time exposes a collection of songs with apparent diversity.

Centralmassivet is undoubtedly Thåström's best solo album since his highly remarkable Skebokvarnsv. 209 (2005) and it stands as one of his finest releases.

Highly recommended.

[ Gaffa.dk 5 / 6 stars ]

Thåström "Den morronen" (2015)

Den morronen

release date: Feb. 11, 2015

format: digital (9 x File, FLAC)

[album rate: 3,5 / 5] [3,62]

producer: Niklas Hellberg, Ulf Ivarsson, Thåström

label: Razzia Records - nationality: Sweden

Track highlights: 1. "Gräsfläckar" - 4. "Kom med mig" - 5. "Alltid va på väg" - 6. "Slickar i mig det sista" - 8. "Långsamt genom" - 9. "Psalm"

8th studio album by [Joachim] Thåström following Beväpna dig med vingar (2012) is the third consecutive album featuring producer Ivarsson but here he's assisted by Thåström and Niklas Hellberg, who constitute the music project Sällskapet with Pelle Ossler but Hellberg was also exclusive producer on Thåström's acclaimed Skebokvarnsv. 209 (2005). Between this and his 2012 album, Thåström released Nowy Port as the second with Sällskapet in 2013, but this was to be his last with the project as he decided to step out of the trio after the release of Den morronen. Also the third man of Sällskapet, Pelle Ossler contributes here as guitarist. All songs are, however, credited Thåström and Hellberg. Two tracks feature old associate of Imperiet, Per Hägglund as co-composer.

In Hellberg, Thåström seems to have found an almost perfect match as he appears to know how to concentrate the musical focus as someone who understands Thåström's qualities. Compared to Beväpna dig med vingar the album is slightly less dynamic and also lacks truly great tunes without being a lesser release. It still contains fine songs but appears to stay more on a narrow line throughout the album; however, it's also clear that Thåström has found his pen for telling interesting personal stories, which uplifts and creates a fine touch of quality.

Interesting and another fine studio album from the best solo artist in all of Scandinavia.

In Dec. 2015 Universal Music released the extensive 10-disc boxset ...Ungefär så här comprising Thåström's solo career. It contains 8 solo studio albums (including this) and two bonus-cds titled "Fuzzbox 1" and "Fuzzbox 2" with demo and live recordings of music spanning 25 years and it includes a 108 pages hardback book - needless say, for die-hard fans, and if you already have or know of his solo albums, you basically 'only' get two bonus cds.

[ 👍Gaffa.dk 4 / 6 stars ]

Sällskapet "Nowy Port" (2013)

Nowy Port
release date: Apr. 10, 2013
format: digital
[album rate: 3 / 5] [2,92]
producer: Sällskapet
label: Razzia Records - nationality: Sweden

Track highlights: 4. "Bagatelle" - 9. "Del 2" - 10. "Rött liguriskt vin"

2nd studio album by Swedish trio Sällskapet - here on the new, independent Swedish label Razzia. The album succeeds the debut album Sällskapet with six years but musically, it follows quite closely on a similar path with Joakim Thåström as vocalist, Pelle Ossler on guitar, bass and piano, and with Niklas Hellberg on keyboard, synthesizer and programming.
Where the debut appeared lighter and with more focus on the electronic side, this contains clear experimental pieces and elements of darkwave, which is also underlined by featuring Swedish artist Anna von Hausswolff, who contributes with vocals on track #4. The title track is pointing towards the industrial rock genre, but apart from that the compositions are rather slow progressive works of minimal wave and darkwave.
Where the debut contained original and interesting compositions, I think, this disappoints by its more obscure sound experiments - like music that may fit some artistic video instalments rather than being a musical release only.
Joakim Thåström left the band reduced to a duo in 2015, and he was replaced by guest vocalist Andrea Schroeder on the band's third album Disparition (2018).
Not recommended.

Thåström "Beväpna dig med vingar" (2012)

Beväpna dig med vingar
release date: Feb. 15, 2012
format: cd / vinyl (2022 repress - gatefold)
[album rate: 3,5 / 5] [3,72]
producer: Ulf Ivarsson
label: Razzia Records - nationality: Sweden

Track highlights: 1. "Bevåpna dig med vingar" - 2. "Låt dom regna" - 4. "Samarkanda" - 5. "St. Anna Katedral" - 9. "Sluta när jag vill"

7th solo studio album by Thåström released three years following Kärlek är för dom and also produced by Ulf Ivarsson but now on the small Swedish label, Razzia Records.
Stylistically, Thåström still moves primarily in the genre of singer / songwriter and alt. rock but it appears he has taken some of the musical inspiration with him from the band-project Sällskapet to this album as the first three and track #8 all have a darker and more sinister tone. Both Pelle Ossler and Niklas Hellberg of the trio are musicians on this, just as they are steady live musicians in Thåström's live band. Tracks #4, #5 and #9 sound more like usual Thåström compositions that could have been fitted easily on his 2009 album. It's also worth mentioning that old musical collaborator Per Hägglund has co-written six of the album's nine songs together with Thåström.
Beväpna dig med vingar was met by critical acclaim and topped the Swedish albums chart list. The title track and track #4 were released as singles without any notable entries. The album represents a more poetic and melancholic side to his repertoire than any of his other solo albums, and I like it, although, I also find it a bit dark.

Thåström "Kärlek är för dom" (2009)

Kärlek är för dom
release date: Mar. 13, 2009
format: cd
[album rate: 4 / 5] [3,77]
producer: Ulf Ivarsson
label: Sonet / Universal - nationality: Sweden

Track highlights: 1. "Kort biografi med litet testamente" - 4. "Som tåg av längtan" - 5. "Den druckne matrosens sång" - 7. "Kärlek är för dom" (feat. Anna Ternheim) - 8. "Över sundet"

6th solo album by Thåström released 3½ years since his most recent solo album, the acclaimed Skebokvarnsv. 209. The album is made with a handful of usual collaborators including Niklas Hellberg and Pelle Ossler with whom he forms the band Sällskapet, and also Per Hägglund, who played with Thåström in the band Imperiet. The album also feature Swedish artist Anna Ternheim on additional vocals, and it contains an old classic, "Den druckne matrosens sång" by Swedish songwriter Dan Andersson (1888-1920) and the Bob Dylan song "Men bara om min älskade väntar" (#10) translated by Ulf Dageby.

Kärlek är for dom follows closely in the footsteps of his 2005 album by being primarily a singer / songwriter and alt. rock release with focus on narratives. It also topped the Swedish albums chart list as his now third solo album, and the title song issued as the first single release reached number #8 on the singles chart list. A few times on the album, I think there's a distinct inspiration from Nick Cave & The Bad Seeds - most evidently on #2 "Långtbort", which was the second single release from the album and here the song is credited Thåström and Hellberg, but to me it sounds much like paraphrasing "Foi Na Cruz" by Nick Cave.

Although, the album doesn't quite reach the same high level as "Skebokvarnsv. 209", it's easily his so far second best studio album.

The album is the only solo album by Thåström not feature himself on the front cover.

Sällskapet "Sällskapet" (2007)

Sällskapet [debut]
release date: Mar. 28, 2007
format: digital
[album rate: 3 / 5] [3,18]
producer: Sällskapet
label: Sonet / Universal - nationality: Sweden

Track highlights: 1. "482 Mhz" - 4. "Nordlicht" - 8. "Järnstaden" - 9. "...den dan"

Studio debut album by the trio, Sällskapet [in English: The Company] founded in 2003 by primary vocalist Joakim Thåström, guitarist Pelle Ossler - also credited for bass and piano - and with keyboardist Niklas Hellberg - also credited for handling synthesizer and programming.
Thåström has been in and out of bands since his first trio, The Haters founded in 1977, and he must really enjoy the [creative] energies that may arise from working in a band or with a project-band. After closing the industrial metal-project Peace, Love & Pittbulls in '97, Thåström released the much-awaited return to a Swedish lyrical foundation with the solo albums Det är ni som e dom konstiga det är jag som e normal in '99, "Mannen som blev en gris" in 2002, and the acclaimed Skebokvarnsv. 209 in 2005 - and he could easily have continued a promising solo career, but it seems he has always been that sort of musician, who thrives on the search of new playgrounds for musical expressions.
And together with Ossler and Hellberg, for once, we find him in what appears to be a three-man project without Thåström in the lead. Yes, he is lead vocalist, but all musical and lyrical compositions as well as production is entirely in the hands of the band. Both Ossler and Hellberg played with Thåström on his latest two solo albums and Hellberg has worked with Thåström ever since the early 90s when they got together in Amsterdam and formed Peace, Love & Pittbulls.
Stylistically, Sällskapet is something else. Or: at least when comparing to what Thåström has been involved in since the 1970s. The music is in the electronic genre - far from what could be related to industrial styles as it may be referred to as minimal synth or minimal wave, and without being great, it's a fairly interesting and quite original release the three have put together.

Thåström "Skebokvarnsv. 209" (2005)

Skebokvarnsv. 209
release date: Nov. 16, 2005
format: cd
[album rate: 4 / 5] [3,92]
producer: Niklas Hellberg
label: Sonet / Universal - nationality: Sweden

Track highlights: 1. "Brev till 10:e våningen" - 2. "Söndagmåndagsång" - 3. "Ingen sjunger blues som Jeffrey Lee Pierce" - 4. "Fanfanfan" - 7. "Sönder Boulevard" (4 / 5) - 9. "Stjärna som är din" (4 / 5) - 11. "Om Black Jim"

5th solo studio album by Thåström released at a point where he is also engaged in recording sessions with the band Sällskapet together with producer Niklas Hellberg and additional musician Pelle Ossler, who contributes here on guitar and banjo.

Musically, this may likely represent the biggest change of style when comparing the long list of albums featuring Thåström - be it with Ebba Grön, Imperiet, Peace, Love & Pitbulls or Sällskapet. This is a collection of singer / songwriter compositions all held in stripped-down arrangements with piano, light percussion and gentle guitar, and where the vocal performance of Thåström is at the centre of his narratives.

Without further comparison it's almost like Springsteen's Nebraska or Leaving Songs by Stuart A. Staples. It's folk rock with elements of jazz and a touch of americana blended with soft and mellow alt. rock / alt. folk, which may be inspired by great story-tellers like Tom Waits, Patti Smith, Leonard Cohen, Neil Young, Van Morrison or Nick Cave. The songs are said to have autobiographical content dwelling at various periods of his youth and at places where he used to live. Like the album title, which refers to his childhood address outside Stockholm, "Sönder Boulevard" - which is a strong contender to the best song about Copenhagen - is where he used come when living in Copenhagen, and the song "The Haters", well that's with reference to the name of the band that eventually became Ebba Grön.

The album was both a critical success as well as a commercial hit in Sweden but it also fared well in neighbouring Scandinavian countries. It was his second number #1 solo album in Sweden and the single "Fanfanfan" was his first No. #1 single hit. Also the second and third single releases from the album, "Om Black Jim" and "Sönder Boulevard" peaked at number #2 and #12 on the singles chart list respectively. With the album Thåström was granted a Grammis as "Årets Rockalbum" ('Album of the Year') at the Swedish Grammy Awards.

Knowing about his musical progression over the years, playing sheer punk rock and moving from post punk via blues rock and synth rock to his more recent engagement with industrial metal and industrial rock, this album truly reveals a new side to his many-faceted talent - at least as a complete album release 'cause 'fact is, he has always demonstrated a gift to compose and perform sincere soft ballads - be it with Ebba Grön, with Imperiet, or as a solo artist, only never to this extent.

With Skebokvarnsv. 209, Thåström puts himself at the top of the Scandinavian music scene and he also underlines that he possesses what seems to be an eternal creative source that will provide his audience with many great things to come.

This very album is a highly welcomed and recommendable listen that puts Thåström on my top-10 list in a year with so many great releases.

Thåström "Mannen som blev en gris" (2002)

Mannen som blev en gris
release date: Apr. 2002
format: cd
[album rate: 3,5 / 5] [3,52]
producer: Thåström, Micke Herrström, Henryk Lipp
label: Mistlur Records - nationality: Sweden

Track highlights: 1. "Släpp aldrig in dom" (live) - 2. "Ungefär så här..." - 4. "Ännu mera gift" - 6. "Bara när jag blundar" - 9. "Så kall så het" - 10. "Aldrig nånsin komma ner"

4th studio solo album by (Joakim) Thåström is almost as usual made with former collaborative musicians Niklas Hellberg, who plays organ and handles programming, and Per Hägglund, who has co-written four of the songs together with Thåström. The album also features Danish drummer Tomas Ortved (Sort Sol) on several tracks.
Mannen som blev en gris ['The Man Who Became a Pig'] is primarily alt. rock and industrial rock and together with the three solo albums Det är ni som e dom konstiga... (1999) and Explodera mig 2000 (1991) this album may be regarded as one of his most energetic and hardest solo releases. The song "Så kall så het" is a cover song by Stry Terrarie, with whom Thåström played in Imperiet - originally by Swedish band Garbochocks (1979-81).
In 2003 Thåström founded the band Sällskapet with long-time collaborator Niklas Hellberg and Per (Jerker) Ossler, and they began studio recordings while Thåström also worked on a new solo album. Both Hellberg and Ossler took part in the live band with Thåström's solo material.

Thåström "Det är ni som e dom konstiga det är jag som e normal" (1999)

Det är ni som e dom konstiga det är jag som e normal
release date: Oct. 18, 1999
format: cd
[album rate: 3,5 / 5] [3,56]
producer: Mikael Herrström, Joakim Thåström and Henryk Lipp
label: Mistlur Records - nationality: Sweden

Track highlights: 1. "Från himlen sänt" - 2. "En vackar död stad" - 3. "Hjärter dam" - 5. "Två + två" (live) - 6. "Städer när jag blöder" - 10. "Psalm #99"

3rd solo album by Thåström released more than 8 years following his most recent solo album, and after three consecutive studio albums released from '92-'97 with the band Peace, Love & Pitbulls, which only was active in this period. Thåström is still associated with the Mistlur label, although that label is by now a sublabel owned by MNW.

Thåström's second solo album Xplodera mig 2000 showed us a more aggressive and more hard rockin' Thåström than heard before, and that energy was continued and came to its full extent in the short-lived band he formed with Peter Lööf, Rikard Sporrong and Niklas Hellberg while living in Amsterdam. In 1998 Thåström and Hellberg co-wrote and released the album Singoalla - music for a theatre show based on a novel by Viktor Rydberg from 1857.
Det är ni som e dom konstiga... ['You are strange, I'm normal'] is his first studio album with songs in his native language since his '91 solo album, and it really follows closely in the footsteps of that particular album, as if he hadn't taken a move into industrial metal and singing in English on three other albums. Yes, there's still room for industrial rock, but that step had already been taken in the early 90s, and when listening to the music by Peace, Love & Pitbulls with its bold use of (vocal) distortion it's easy to point out the difference between industrial rock and the more extreme metal-version of the style, which is much closer the early albums by Marilyn Manson than any Thåström solo album.
I didn't listen to this album until after entering the new millennium, but it does have a strong and original touch with a mix of styles. It's not entirely just a bunch of hard rock compositions, as there's a nice blend of harmony-based songs scattered all over the album, and I also hear reminiscences of the old Ebba Grön sound and style - most openly in the song "Städer när jag blöder", which would have made a perfect entry on the first album by his old punk rock collaborators in Ebba Grön. A few tracks bond with the more white noise music of Love, Peace & Pitbulls but other compositions have more in common with his later move into a more apparent singer / songwriter universe (e.g. "Hjärter dam"), and that's also where he concludes the album with "Psalm #99".
The album was generally met by positive reviews from the Swedish music press and the audience who had longed for the day when he would make another album with Swedish lyrics. The album topped the national albums chart list and the first of three singles from the album, "Två + två" reached number #10 on the singles chart list.
Where Explodera mig 2000 showed Thåström experiment with styles and almost stumble into industrial rock, this album reveals a more mature version of his fascination for high energy rock, which blends much richer with music from his past. All in all, a fine release, although, he still seems in search of a unique style of his.

Ebba Grön "Live" (1998) (live)

Live (live)
release date: Apr. 1998
format: cd
[album rate: 4 / 5]
producer: Ebba Grön, Tony Thorén, Stefan Glaumann
label: MNW - nationality: Sweden

Live album by Ebba Grön released posthumously. It's a 19 tracks collection recorded live between Oct. 24, 1980 to Jul. 25, 1982.

24/10-1980, Folkets Park, Huskvarna - tracks 9-14
25/10-1980, Bellevueparken, Karlshamn - tracks 7-8
25/01-1981, EFMD, Västerhaninge - tracks 2-4
31/01-1981, Ultrahuset, Handen  - tracks 1, 5; 19 (last unlisted track)
17/11-1981, Kulturama, Stockholm - track 6
25/07-1982, Rockslagsfestivalen, Karlshamn - tracks 15-18

How do you really rate this? It's completely impossible to enlist any highlights as all 19 tracks seem essential. The band sound like you wish you'd been there. This is music history and there's luckily no traces of over-dubs. It's recorded as is, and it's pumped with energy.
This is fan-material - and better late than never, 'cause this really should have been released at some point back in 1982 when the music was much more relevant, but thanks a bunch to whoever belived in it.

Peace, Love & Pitbulls "3" (1997)

3
release date: 1997
format: digital
[album rate: 3 / 5] [2,82]
producer: Sankan (aka Ulf Karl Sanken Sandqvist)
label: MVG Records - nationality: The Netherlands / Sweden

Track highlights: 1. "Black Dog Bliss" - 3. "Caveman" - 7. "Youth"

3rd and final studio album by the Thåström-project band Peace, Love & Pitbulls - here in a minimised version as Peter Puders left Joakim Thåström, Niklas Hellberg and Sanken Sandqvist to continue and eventually also end the project as a trio.
Musically, there's considerable change towards both more melodic and slower songs within an industrial rock universe.
The album is imho, clearly the bands best without really impressing. It's still not really good, although, it remains the band's best attempt. After listening to this, you might suggest that bands like Rammstein and Marilyn Manson should pay tribute to Peace, Love & Pitbulls as inspirational source, and Brian Hugh Warner (Manson) has allegedly pointed out that he for one listened to PL&P.
Peace, Love & Pitbulls disbanded after this release and Thåström restarted his solo career.
Not really recommended.

Peace, Love & Pitbulls "Red Sonic Underwear" (1994)

Red Sonic Underwear
release date: 1994
format: digital
[album rate: 2 / 5] [2,18]
producer: Peace, Love & Pitbulls
label: MVG Records - nationality: The Netherlands / Sweden

Track highlights: 1. "Itch"
[ full album ]

2nd studio album by the Thåström-led Swedish/Dutch band Peace, Love & Pitbulls. Founding member Peter Lööf left the band in '93 and was subsequently replaced by Peter Puders.
Stylistically, the band continues on the same path of industrial metal and musically, there's even less interesting bits on this compared to the likewise mediocre debut.
In 1995 Peter Puders left the band again, and PL&P would continue for another two years as a trio.
Not recommended.

Peace, Love & Pitbulls "Peace, Love and Pitbulls" (1992)

Peace, Love and Pitbulls [debut]
release date: 1992
format: digital
[album rate: 2,5 / 5] [2,38]
producer: Thåström and Cybersank (aka Sanken Sandqvist)
label: MVG Records - nationality: The Netherlands / Sweden

Track highlights: 1. "(I'm The) Radio King-Kong" - 2. "Do the Monkey (Hitch-Hike to Mars)"

Studio album debut by Swedish/Dutch band Peace, Love & Pitbulls - a project-band formed by Joakim Thåström on lead vocals and sampling, Peter Lööf on rap and backing vocals, Rikard Sporrong on guitar and with Niklas Hellberg on sampling and programming. The album is released by the MNW sublabel MVG Records, and the main album producers are Thåstróm and Cybersank, but also band member Niklas Hellberg and The Pittbulls are credited for producing on three of the album's twelve tracks. Both band and album was received as a Thåström project-band, although, it officially was a band formed in Amsterdam in '92.
Musically, the band primarily engages in industrial metal, and the music is allegedly inspired by Einstürzende Neubauten and Swedish metal band Entombed.
I recall, coming across the album in the early 90s and thinking of it as a long shot from what I associated with Thåström. He had taken on a much more aggressive alt. rock and industrial rock style on his first two solo albums, but this is a quite remarkable turn in a new direction.
I never liked this much, but the band is said to have inspired Marilyn Manson in shaping their initial style. To me, this only serves to document the stylistic changes Thåström went through after having left Imperiet behind and for the first time in two decades was free to go in whatever musical direction he wanted, and with the move to Amsterdam, he obviously wanted to make a clean start.
Not recommended.

Thåström "Xplodera mig 2000" (1991)

Xplodera mig 2000
release date: Mar. 1991
format: cd (2011 remaster)
[album rate: 3,5 / 5] [3,38]
producer: Joakim Thåström & Sankan Sandqvist
label: MNW - nationality: Sweden

Track highlights: 1. "Radio Thåström" - 3. "Elektrisk" - 4. "Elvis Presley för en dag" - 6. "Miss Huddinge -72"

2nd solo studio album by Thåström originally released on Mistlur Records has the former lead vocalist of Imperiet in his so far most experimental outing. Musically, Thåström here showcases his fascination for industrial rock in what appears as a musical side-step. The album is full of industrial elements, drum machines and distorted guitars and on top of that, Thåström often sings with heavy distortion. Fjodor (Lennart Eriksson - former Ebba Grön bassist) features on vocals, but apart from his presence the album is made with several new guest artists. The album was recorded in Amsterdam to where Thåström would relocate in 1992.
Stylewise, this may sound fairly aggressive, and it may have frightened some of his stable fans as it's clearly marks a strong change of style. Some songs are in the shape of more traditional hard rock songs (e.g. "Miss Huddinge -72"), others are more harmony-based (e.g. "Elvis Presley för en dag" and "Xplodera mig") as a more distinct and familiar Thåström quality, but the overall focus is quite evidently on industrial rock, which really embodies this release.
I simply rejected the album in '91 as too experimental, too hard rock-alike and without much recognition; however, in hindsight, it's no near a mediocre release, it just never caught my attention until after I came accross the 20th anniversary remastered edition, which comes with five demo recordings as bonus tracks. The album is still not one of my favourites, but it's definitely worth looking up as it really shows Thåström's new phase with industrial rock.
After this, Thåström left Sweden and relocated in Amsterdam where he continued his musical journey with the project-band Peace, Love & Pitbulls, formed in 1992. He was not to release another solo album for the following 8½ years, which he spent entirely on music with his new project-band.

Thåström "Thåström" (1989)

Thåström [debut]
release date: Sep. 1989
format: cd
[album rate: 3,5 / 5] [3,58]
producer: Stefan Glaumann
label: Mistlur Records - nationality: Sweden

Track highlights: 1. "Ståaldrigstill" (live) - 2. "Hon o han" - 3. "Djävulen och jag" - 5. "Pang boom krash" - 7. "Alla vill till himlen" - 8. "Döden i Schlager-SM" - 9. "Karenina" - 11. "I en spegel som jag har"

Studio album debut by Thåström (aka Sven Joachim Eriksson Thåström) as solo artist after leaving the band Imperiet - here with familiar producer Stefan Glaumann following only one year after Imperiet officially disbanded.
The sound and style is not far from what Thåström released with Imperiet. In fact, this first solo album sounds much like a combo of several albums by the band. It contains a certain post-punk vibe (tracks #1 and #11), keyboard-driven synthpop songs (#5 and #7), blues rock-inspired songs (#2 and #3), smooth pop ballads (#4, #6, #9, and #12), and songs that rest somewhere in a mix of what Imperiet released on its last three studio releases (some songs even sound like reworks of material released by Imperiet), which nevertheless represent a unique mix - like if you think Rolling Stones released its back catalogue in modernised synthpop versions... I guess.
At the time of the release I didn't pay much attention to the album and would probably have rated it as a mediocre release. Of course the sound and production reek of the 1980s but it's actually not a bad album altogether. Thåström has written a bunch of fine songs and balances these on sheer energy and soft and mellow ballad-like compositions, and despite pointing in (perhaps too) many directions, it really serves to document his songwriting qualities. Especially his ballads may have inspired Kent on albums they would later record, but by now Thåström already has put himself upfront with the best-known Swedish artists.

Imperiet "Studio / Live" (1988) (live)

Studio / Live (compilation) (live)
release date: Nov. 1988
format: 2 cd
[album rate: 3,5 / 5]
producer: Stefan Glaumann, Imperiet
label: Mistlur Records - nationality: Sweden

Track highlights: Disc 1, Live: 1. "Rock'n Roll e' död" - 4. "...som eld" - 7. "Jag är en idiot" - 11. "Bibel" - - Disc 2, Studio: 1. "Alltid rött, alltid rätt" - 2. "Kriget med mig själv" - 4. "Rasera" - 6. "Höghus, låghus, dårhus (Version)" - 10. "Cosmopolite" - 11. "Kom ihåg" - 12. "Saker som hon gör" - 13. "Märk hur var skugga (Epistel 81)"

Compilation album by Imperiet released after its disbandment. Disc 1 is a collection of live recordings, and much like the studio collection on disc 2, the tracks are a selection of songs comprising the band's entire lifespan from 1983 - 1988. Actually, the span is not long, but the music is still quite varied. The live recordings (recorded and mixed by Stefan Glaumann) are from the band's farewell tour ['avskedsturné'] recorded live Aug. 29-31, 1988 at Sardines in Oslo, Norway.
I recall thinking somewhat lukewarm about the release back in '88. Mostly, because there isn't much new on these two discs. Of course a live disc should provide us with another aspect of the band's repertoire, but given the album 2:a augusti 1985 from '85 provides us with live material, and if you happen to know all the band's five studio albums is hard not to see this as a commercial stunt.
If, on the other hand, you don't owe any albums by Imperiet, I think this could be a fine choice.

Imperiet "Tiggarens tal" (1988)

Tiggarens tal
release date: May 1988
format: cd
[album rate: 3,5 / 5] [3,58]
producer: Imperiet & Stefan Glaumann
label: Mistlur Records - nationality: Sweden

Track highlights: 1. "Jag är en idiot" - 3. "Party" - 5. "Ballad om en amerikansk officer" - 6. "...som eld" - 7. "I hennes sovrum" - 9. "Tiggarens tal (jag vill ha allt)"

4th and final full-length studio album by Imperiet, who has been reduced to a trio as keyboardist Per Hägglund has left the band (he is credited for synths on track #3) after recording the English-versioned album Imperiet from '87. As additional studio keyboardist, Stefan Blomqvist plays synths and piano on most tracks.
Musically, the band has made a small U-turn by playing more as heard on Blå himlen blues from 1985, which means with much less focus on synths and keyboards.
I recall my disappointment upon listening to the album back in '88 and comparing with the previous albums, I still find that this may be regarded as the band's least coherent studio album. All tracks could almost have been included on either of the band's previous and quite different three studio albums, but they mostly sound like a bunch of unreleased songs put together to make up one final album - but I also find that it's a better album in retrospect than I found back then.
It's by no means a poor album but it may not be the right place to start if you want to check out this band.
Thåström disbanded Imperiet the following Summer but the band kept playing its scheduled national live concerts until September and they played two more live concerts in Nicaragua and a final one in Costa Rica, December '88. Also in the Autumn of '88, Imperiet released a final 2-disc compilation and live album Studio / Live. Thåström then initiated a solo career where he kept playing songs by Imperiet and usually with Hägglund as keyboardist, as he did on his first solo album Thåström (Sep. 1989).

Imperiet "Synd" (1986)

Synd
release date: Mar. 1986
format: vinyl (MLR-55) / cd (1997 reissue)
[album rate: 4 / 5] [3,94]
producer: Stefan Glaumann, Imperiet
label: Mistlur - nationality: Sweden

Track highlights: 1. "Österns röda ros" (4 / 5) - 2. "Cosmopolite" - 3. "D-D-D-D (Dum-Dum-Dollar-Djungel)" - 4. "Saker som hon gör" (4 / 5) - 5. "Vykort" - 6. "Tennsoldat och eldvakt" - 7. "Bibel" (4 / 5) - 9. "Innan himlen faller ner" - *10. "Märk hur vår skugga (Epistel 81)"
*Bonus track on 1997 cd reissue

3rd full-length studio album by Imperiet following Blå himlen blues (Mar. 1985) is as usual with Stefan Glaumann as producer. The 1997 reissue is expanded with two bonus tracks. The band has always been on the move experimenting with styles and on this album, the band has now progressed into a more orchestrated sound with the use of strings, organs, harmonica, and more synths. The album has a concept dealing with 'Sin' ['Synd' is Swedish for 'Sin'], and all tracks deal with different aspects of sin and sinners.
My initial feelings were that it was an album containing some fine songs but also with several compositions with too much focus on Per Hägglund's keyboards. However, that impression didn't stay for more than another decade. I have always seen this as the last really good album by Imperiet, but perhaps it's actually their finest hour. Fact is, I have come to appreciate this album much more over the years and not just hear Hägglund's synths. It contains many strong tracks, and when you listen to later Thåström albums, there's definitely links to what appears to be industrial rock bits and pieces on this. It's tight and it appears as the band's most coherent album.
After this they released the English versioned album Imperiet (1987) (not to be confused with their homonymous Mini-LP, 1984), which in a way is a compilation album as it consists of English versions of older songs.

Imperiet "2:a augusti 1985" (1985) (live)

org. vinyl cover

2:a augusti 1985 (live)
release date: Oct. 1985
format: vinyl (MLR 50) / digital (1992 reissue)
[album rate: 3,5 / 5] [3,42]
rec. by Stefan Glaumann
label: Mistlur - nationality: Sweden

4th album release by Imperiet is a live album recorded after Blå himlen blues and in the aftermath of a long international tour, which brought the band to Nicaragua, Mexico, Cuba and the USA. The album is recorded Aug. 2, 1985 [in Swedish: album title] in Sweden at Västerås folkpark, Västerås (near Stockholm).
Imperiet had long been known as a fabulous live band, which this album also serves to document; however, it's mostly just for fans, as the sound and production isn't impressive, but then you know it's recorded as is without post-production overdubs.

1992 cd reissue