"Run instead of walking, twist on your chair, wash yourself continually, question everything, continuously get up and visit someone in the room, tap table with pen, lie on the floor, run around the classroom, hop up and down like a yo-yo...": this is only part of the advice to a student in composer
Rune Lindblad's "Pedagogik" of 1972. This second volume of Lindblad's works on the Pogus label contains ten works as original and elemental as in the first. "Objekt 2 (Op. 25)" from 1962 has a crunching and airy bowed instrument as its primary sound. "Plasibenpius (Op. 30)," composed in 1968-69, has a steady rhythmic pulse of gated vocable sounds in deep reverb that create a cheerfully twisted counterpoint. The surreal "Hälften av Någonting (Op. 38)" (1970) features birdlike warblings from pure waves with an ostinato from an eerie wind through a small tube, the texture suddenly broken by a hysterical shouting scene like some family argument with crying children. "Frage (Question, Op. 59)" (1972) opens with a huge electronic voice-like statement, which is followed by an intense, nervous, yet still humorous pulsing in high then low registers (duty wave); "Tora (Op. 67)" (1972-73) is a kind of "sound poetry" piece with a whispered, then deeply droning voice intoning "tora," rhythmically paced with a shaking sound and gradually becoming faster and more intense. "Maskinlandskap (Op. 122)" (1975) is in an early "industrial" style, pulsed and creepy. "Innan Konsert (Op. 190)" (1985) is built of thick layers of floating new age sounds, the whole effect being disconcerting and bizarre. "Lagun I Uppror (Op. 197)" (1987) features a steady bass pattern with percussion in an entirely different meter and layers of electronic screaming sound and impossible jazz-organ solos -- a truly wacked-out jam session. "Dimstråk (Op. 203)" (1987-88) is a lyrical and pensive Swedish folk style melody with gentle guitar accompaniment and couldn't be more of a contrast to all of the foregoing compositions. ~ "Blue" Gene Tyranny