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Tio Bitar [Vinyl]

DungenVinyl
4.5 out of 5 stars  See all reviews (8 customer reviews)

Price: $28.18 & FREE Shipping on orders over $35. Details
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Formats

Amazon Price New from Used from
MP3 Music, 10 Songs, 2010 $9.49  
Audio CD, 2007 $14.85  
Vinyl, 2008 $28.18  

Amazon's Dungen Store

Music

Image of album by Dungen

Photos

Image of Dungen

Biography

Dungen's fourth studio album extends the acclaimed Swedish outfit's sound past psychedelia into something far more rare. Moving beyond mere stylistic concerns, 4 finds Gustav Ejstes' focus on the extremes of Dungen's sound separating into two entities. Blazing, raw guitar workouts have their own time and place, but now, so do stirringly orchestrated, jazz-cooled compositions ... Read more in Amazon's Dungen Store

Visit Amazon's Dungen Store
for 9 albums, 3 photos, discussions, and more.

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Frequently Bought Together

Tio Bitar [Vinyl] + Ta Det Lugnt + 4
Price for all three: $56.66

Buy the selected items together
  • Ta Det Lugnt $14.96
  • 4 $13.52

Customers Who Bought This Item Also Bought


Product Details

  • Vinyl (March 18, 2008)
  • Number of Discs: 1
  • Label: Subliminal Sounds
  • ASIN: B000PKG61W
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (8 customer reviews)
  • Amazon Best Sellers Rank: #497,109 in Music (See Top 100 in Music)

Editorial Reviews

Repressing of the Swedish vinyl version of the fourth full-length release from Sweden's Dungen (CD is on Kemado in the U.S.). Housed in a gatefold sleeve of silver foil cardboard. Since releasing Ta Det Lugnt in 2004, the profile of Swedish psychedelic rockers Dungen has grown at an alarming rate, from a cult studio project into a worldwide musical phenomenon. And on Tio Bitar, we're hearing the end results of an outpouring of success and support -- one which has, for once, inspired the creative processes at hand to make something wholly new and original, yet remaining within the same sphere of emotions that fostered Dungen's three previous albums.

Customer Reviews

4.5 out of 5 stars
(8)
4.5 out of 5 stars
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Most Helpful Customer Reviews
13 of 15 people found the following review helpful
5.0 out of 5 stars I'm not Bitar May 14, 2007
Format:Audio CD
Personally, I never would have bet for Dungen to break out, outside of Sweden. Their dense psychedelic rock is not poppy even at their poppiest, and the whole thing is sung in Swedish.

But in fact, it did, with 2004's "Ta Det Lugnt," despite the music odds being stacked against it. And for the follow up, "Tio Bitar," Gustav Ejstes mostly sticks to the layered psych-folky hard-rock that has worked before, but gives it a slightly grimier edge.

It opens with a buzzing, screaming riff torn from a hard-rocker's heart, twisting around on itself like a coiled spring. But Ejstes throws in some twists -- around the halfway point, it cycles around a delicate flute melody and some rapid-fire drumming. And that's just the introduction!

He follows it up with the very different "Familj," a pleasant blend of ambient retro keyboard, dancy strings and solid drumming (mostly cymbals). You can't really put your finger on what it sounds like, and you can't really label it. Well, good.

The songs that follow are just as unexpected: intensely psychedelic hard-rockers like "Gör Det Nu," rippling pastoral ballads, fast-moving bass-rockers, gentle acoustic pop songs with spiraling riffs. And in the last three songs, Estjes makes his music even more complex -- the finale "En Gang I År Kom Det En Tår" is a masterpiece of fuzzy piano-folk and ambient synth.

"Tio Bitar" is a bit folkier and a bit rockier than Dungen's previous albums, and at times it seems to be split between those sounds -- first we get a psychedelic hard rocker, then a mellotron-folk song. But the heart of "Ta Det Lugnt" still seems to be there -- complex, strange and often meandering.
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6 of 6 people found the following review helpful
5.0 out of 5 stars That decade you love is back in style. May 23, 2007
Format:Audio CD
I have no idea what Dungen is saying but somehow it doesn't matter; melody and coutermelody interweave themselves through this psychedelic recording like few have done in recent memory. It's overwhelming at first... like hearing anything reinvented on a grand scale... shimmering harmonies laden with hooks and allusions, all seamlessly integrated... so much energy and hard rocking moments... it's a stratospheric journey through the annals of rock, one that leaves you haunted and reaching for the play button a second time.
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5 of 5 people found the following review helpful
5.0 out of 5 stars not retro! June 19, 2007
Format:Audio CD|Verified Purchase
A window into our own times. This is not retro...it is just pure cannibalism...Like Tropicalia was...I have seen these guys twice live...and they are even better then the records are. When they hit your town to tour this beast, it is a must if you want to see one of the last real rock bands on the planet.
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4.0 out of 5 stars the past through tomorrow August 28, 2011
Format:Audio CD
I stumbled onto this disc purely by chance, so I come late to the party and my observations might be a little different. For example, where many people seem to hear Black Sabbath I hear Cream. Where listeners in 2007 codified the prog tendencies of Tio Bitar as "Jethro Tull," I'm going to say Mahavishnu Orchestra. All this may be splitting "heirs," but what stands out to me most is that this Swedish psychedelic outfit channels the late 60s (especially Brazil's tropicalia movement) explosion of acidic rock guitars and witchier, spacier instrumentation through a post-rock prism, resulting in 10 colorful splinters. Some, like the opening "Intro" and "Familj" succeed unequivocally for me, the latter really straddling the tropicalia of Os Mutantes with something more modern (like Super Furry Anmals?) quite well. Add a dash of "Volunteers"-era Jefferson Airplane and the retro-fetishism really lifts off.

Songs number 4 and 7 don't succeed as well for me. They aren't skippers, but their attempt to mediate the mood down a notch from acid-fried freakout comes across as a little more calculated than the rest of the album -- as if, in sequencing, the band was thinking "and here's where we'll give listeners a nice pastoral respite, before we take them to the outer limits again." It's just a touch of starch in an otherwise very free-flowing and untamed album; an album designed to be experienced loudly.

Which brings me to another point: the bass on this album is beautifully recorded. It is present without being bossy, nice and clear without any of the over-compression too many engineers seem to rely on.
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