Epatraktorland by t holst: A Swedish Rock Gem from '93 That Still Hits
Alright, let’s talk about Epatraktorland. This 1993 album by t holst is one of those hidden treasures that doesn’t scream for attention but totally deserves it. It’s a mix of Indie Rock, Pop Rock, and Alternative Rock vibes, all wrapped up in a Swedish flag. Released under Skivfabriken, this record feels like a time capsule from the early '90s—but don’t get me wrong, it hasn’t aged like milk. Nope, more like fine wine.
First off, can we just appreciate the lineup? You’ve got Thomas Holst on vocals (and writing duties), Pelle Ossler shredding guitar solos, Kiddie Manzini smashing drums and percussion, and Mats Bengtsson pulling double duty with keyboards AND accordion. Oh, and did I mention there’s saxophone, trumpet, AND steel guitar? Yeah, this isn’t your basic four-chord garage band situation. These guys brought layers to the table.
Now, onto the tracks. With 14 songs, you’d think some might blend together, but nah—there are standouts that stick with you. Two tracks in particular have been stuck in my head for days: "Maple Leaf" and "Jag Älskar Dig Ibland."
“Maple Leaf” kicks things off with an almost cinematic vibe. The opening riff grabs you right away, and then Thomas Holst’s voice comes in—raw, unpolished, and full of character. There’s something about the way the saxophone sneaks into the background; it gives the song this nostalgic, late-night-road-trip feel. I dunno, maybe it’s the title making me picture autumn leaves or whatever, but this track just hits different. Like, if you’re driving through Stockholm at sunset, this is what you wanna hear blasting outta your speakers.
Then there’s “Jag Älskar Dig Ibland,” which translates to “I Love You Sometimes.” Brutally honest, right? The lyrics hit hard because, well, relationships aren’t always sunshine and rainbows. Musically, it’s got this bittersweet pop-rock groove going on, with Anders Möller laying down some smooth piano lines. And when the backing vocals kick in (shoutout to Matta Persson!), it adds this haunting harmony that sticks with you long after the song ends. Honestly, every time I listen to it, I find myself nodding along while also kinda zoning out, thinking about life choices and stuff. Heavy, man.
The rest of the album keeps the energy alive too. Tracks like “Latmaskliv” and “Silverpilen” bring their own flavor, mixing quirky storytelling with catchy hooks. Even the slower tunes, like “Hem,” manage to tug at your heartstrings without feeling overly sappy. It’s clear Thomas Holst poured his soul into these songs, and it shows.
What really stands out about Epatraktorland is how unpretentious it feels. Sure, they throw in saxophones and accordions, but it never comes across as try-hard. Instead, it’s like hanging out with old friends who just happen to be super talented musicians. Everything flows naturally, like they weren’t trying to reinvent rock—they were just doing their thing.
So yeah, here’s the deal: Epatraktorland might not be perfect, but that’s part of its charm. It’s messy in the best possible way, like scribbling outside the lines but still creating something beautiful. And honestly? If someone told me this album was made last year instead of nearly three decades ago, I’d believe them. Timeless, baby.
Oh, and here’s a random thought to leave you with: Why don’t more bands use accordions these days? Seriously, Mats Bengtsson should start a movement.
