The story of
S J U
 

It was during the studio sessions for Daybreak that drummer Patric Danielsson revealed his intentions for their next album; "I've made a painting that is supposed to be the cover art for our next album", he announced. He then finished off this highly intellectual monologue with the fact, "It will be called 7!". What could the others say? As time passed, their friend Sputnic came up with the Tombola concept, and 7 was degraded to a CD-single, to keep them going between projects. In regular artist fashion, Patric scrapped the original painting as well. By that time the lead track for the CD was ready, and it was named Sju, which means seven in Swedish. Patric completed the confusion by presenting a new cover painting with the title Sju, not 7! This meant the lead track must be renamed 7... A part of this behaviour was probably down to the fact that Tombola was consuming more and more of their time, and Sju (7?) was treated with less enthusiasm. This was also during a period of transition for the band. Original bass player Juba was sacked in November 1994, and at their subsequent rehearsal they had to do without the bass. As Juba's bass playing was heavily influenced by Lemmy of Hawkwind (not a bad influence though!) they now found room for a more experimental approach, which was underlined by Soren Martensson, fooling around the hammond

with something he didn't consider suitable for darXtar. It evolved into a wild jam session, later to be known as Obstakel, the opening track on Sju. A few weeks later Marcus Pehrsson joined them on bass, and with his more technical fingerplaying he brought along yet another dimension to the darXtar sound. Those tracks (Obstakel and 7) were set for the CD-single. As it turned out to be extended, the rest of the tracks had to be decided and completed in a very short time, that's probably why they seem to lack some of the natural darXtar feeling. And not to be forgotten, not only was it recorded in a few days, the studio was so small that Patric had to leave half of his drums outside, and squeezed into one corner of the room he couldn't perform a decent drumroll. Martensson had to do without the hammond, it was later recorded outside, and K.Soren and Marcus had to concentrate real hard not to bang their machine heads into the skulls of the others. Consider it as the bridge between darXtar's more traditional space rock up to Daybreak, and the psychedelic/progressive space style developed on Tombola.

 

< back