The Uppsala band Black Fur Sessions, on its debut album, expresses a musical acrobatics as whimsical as the one found at the Edgar Broughton Band and as guitar dominant as at May Blitz. Two of my favorite bands from the progressive era. Now don't think it sounds like Broughton or Blitz. Not at all. Black Fur Sessions sounds just like Black Fur Sessions. Instead, the common denominator is the free relationship with the traditional framework of rock music. With the risk of being misunderstood, I would like to say that Black Fur Sessions plays progressive rock, but in a modern updated vintage. A kind of progressive indie rock that is experimental, but under controlled form. It's like watching the Marx brothers. It is believed that everything happens in the moment, but neither the Marx brothers nor the Black Fur Sessions leave anything to chance. Both phenomena are so skilfully executed that they are perceived as both improvised and directed at the same time.
The foreword to "The Encyclopedia of Swedish PROGRESSIVE MUSIC, 1967-1979" (Premium Publishing, 2007) describes British prog rock, unlike Swedish prog, with:
"... the prog rock of UK bands .... the music was complex and played by highly skilled musicians."
It is also a striking description of the Black Fur Sessions and the variety of music their music possesses, skilfully performed with equal parts playfulness and permission for the music to, in sharp throws and fast tempo changes, be both delicate and lead heavy.
Black Fur Sessions consists of Joel Swahn: guitar, bass and vocals, Erik Bergel: guitar and vocals and Samuel Fransson: drums. The principal architect behind the group's extremely lovely music is Joel Swahn and as an admirer of Elliott Murphy's six first albums (1973-1982), I am particularly pleased that "Rivals Shake" would have placed on Murphy's "Affairs" (1980) and "Murph The Surf "(1982).
Black Fur Sessions has created such high expectations that I am already longing for a sequel.