Thomas E Frank


October saw the release of Thomas E Frank’s debut solo album. Thomas is best known for his work with Den Stora Vilan. Mathias plays pedal steel on three of the tracks on this highly praised album.



Oresund Space Collective

Oresund Space Collective is a band that Mathias has collaborated with since 2009, both touring and studio work. He has toured with them in Sweden, Denmark, Finland, Germany, Austria, Croatia, Serbia, Bulgaria, Macedonia. Mathias plays pedal steel and guitar on seven of their releases.


Visions Of… (2016)


Ode To A Black Hole (2016)

Different Creatures cover

Different Creatures (2015)


Oresund Space Collective/Papir split 7″ (2013)


Phase Your Fears (2012)


Give Your Brain A Rest From The Matrix (2012)


Entering Into To The Space Country (2011)

Support the band at;

David Ritschard och Krokodiltararna

A fine new release that features Mathias on pedal steel is David Ritschard & Krokodiltårarna “Simmar För Livet”, a 10″ worth of classic honky tonk country with lyrics in Swedish. Great players and great songs! David has made quite a name for himself as the lead singer and songwriter for bluegrass band Spinning Jennies.

Have a listen at;



My Brother The Wind

Mathias also plays guitar in the improvised psychedelic rock quartet MY BROTHER THE WIND.

Sweden’s instrumental cosmic rock quartet, MY BROTHER THE WIND, will release their third full-length album, Once There Was A Time When Time And Space Were One, this October, the opus harnessing forty-five minutes of the band’s entirely improvised, instrumental psychedelic bliss. Recorded live in the studio with no overdubs during a single day, the band used six and twelve string acoustic and electric guitars, mellotron, flute, bass, drums, congas and more to complete the task. The album was captured in full analog on 2″ tape courtesy of a 16 track Ampex from 1969 at Drop Out Analogue, in the snowy wilderness of Åmål, Sweden, with engineering duties handled by Love Tholin, who used vintage flangers, plate reverbs and tape echoes to achieve the LP’s unrestrained sound and exceptionally organic tones, after which it was mixed by Tholin and the band, and mastered by Hans Fredriksson.

MY BROTHER THE WIND is a fully improvisational cosmic rock collective consisting of members of widely known Swedish progressive rock acts Makajodama, Magnolia, Animal Daydream and Anekdoten, their output an inviting sound for fans of Popol Vuh, Amon Duul, Sun Ra, Ash Ra Temple, Gong and Pink Floyd. Free Electric Sound — the instrumental music division of The Laser’s Edge — will release Once There Was A Time When Time And Space Were One worldwide on October 14th, with a deluxe vinyl version to follow.

Here’s a video from the recording of the album;

Here are some words on the new release;

“All I can say is…wow. This is what space rock is all about folks. Music of this nature is supposed to take you on a journey, allowing the listener to close their eyes and let the sounds carry you off into another dimension, and Once There Was A Time When Time And Space Were One clearly does that, and then some. Utilizing acoustic & electric guitars, Mellotron, flute, bass, drums, congas, and other instruments, the band have put together a collection of ‘pieces’ that sort of flow into each other, the album insisting on being taken as a whole rather than broken down into separate songs. This is one that you really have to just put on and just let it sweep you away, and trust me, it will, over and over again.”

The Greek Theatre “Lost Out At Sea” vinyl OUT NOW on Sugarbush Records!

GREEK THEATRE – LOST OUT AT SEA first ever vinyl release OUT NOW!!

Released on vinyl on SUGARBUSH RECORDS (SB011) is the ultimate trippy Soft-Psych Summer album “Lost Out At Sea” by Swedish Band GREEK THEATRE. In a limited edition of 500 copies with 100 only on yellow vinyl, this amazing LP will be sure to your summer soundtrack. Below is a review written upon it’s original release on download in 2013.

Greek Theatre sleeve

 “..Swedish duo the Greek Theatre have a decidedly strange way of going about things.

Sven Fröberg explains : “Through the warm summer of 2009, just weeks after our formation, we managed to write what will become the complete Greek Theatre songbook. As none of us have written anything that comes close, in terms of quality, either before or after, we’re stuck with those songs for better or worse. Our mission is to record and release our beloved tunes, in chronological order, spread over what will be four very different albums. When the mission is completed the band will cease to exist.”

Now this is potentially very sad news indeed as “Lost Out At Sea” is one of the most effortlessly lovely records I’ve heard this year. While the prospect of four albums of this quality is certainly a pleasing one, I must admit that there’s a greedy little corner of my psyche that wants more. Imagine if Dylan had called it a day after “Another Side of Bob Dylan”. Crikey. Hopefully during the course of recording these four albums Fröberg and partner Fredrick Persson will rekindle the creative urge that led to these songs being written in the first place.

But I’m getting ahead of myself, you want to know about “Lost at Sea”.

And well you should, because it’s something of an understated masterpiece, a record with forebears in albums like Gene Clark’s solo debut and David Crosby and Graham Nash’s early solo albums – overshadowed albums that will never be as famous as they deserve to be but are nonetheless cherished by those with a more adventurous disposition.

Consequently it’d be a foolish man who forecast mainstream success for the Greek Theatre, but critical darlingship surely beckons and if they can follow up with albums of similar quality then some sort of cult is assured.

It’s a record of two halves (both gorgeous) with the pacier material on the first side gradually giving way to a glacially slow, but achingly beautiful second half, which those with a shorter attention span may misinterpret as the album tapering off.

A few highlights then ; the steel guitars, delicate harmonies and punctuated brass of “Even You Will Find a Home My Son” captures the explosive rural psychedelia of “The Notorious Byrd Brothers” better than the Byrds themselves managed on subsequent albums, while the sublime “Frozen Highway” breaks into an unexpectedly epic instrumental passage with some fine, lyrical guitar work.

There’s even room for a flute led psychedelic freakout in “Stupid Constapleton” – an unexpectedly heavy and heady interlude, in what is otherwise a very subtle album. “As I grow older I tend to gravitate towards music that sounds effortless, and not so eager to impress,” Froberg explains. “Help Yourself, Ernie Graham and Eggs Over Easy spring to mind.”

An admirable approach, and an album that’s destined for a cult following

Froberg promises that album number two will address the duo’s love for folk-rock of the Albion variety with influences like Nick Drake and Fairport Convention being thrown around.” Nathan Ford, THE ACTIVE LISTENER BLOG & LABEL.