Album review Lira magazine oct 18-26
After many years of silence, the Gothenburg-based band Den Fule returns with its fifth album. Now performing as a quartet, they deliver ten tracks that—while rooted in folk music—can take many different directions. These include rock, jazz, Haitian rhythms, or—as heard on the cleverly titled opening track "Ett minne blått" (A Blue Memory)—distinctly bluesy tones. Henrik Cederblom’s meticulously crafted and highly varied electric guitar sound defines many of the tracks, lending them widely differing characters, while the melodies are primarily carried by Sten Källman’s saxophones. Stefan Bergman’s steady electric bass occasionally breaks the groove with elegant melodic lines, while Christian Jormin’s nimble drumming ranges from delicate brushwork to a heavy, rock-oriented feel. Since their inception over thirty years ago, Den Fule has shaped and evolved their sound time and again, and this diversity is an integral part of who they are. Whether playing rock-infused polskas, staccato jazz-tinged schottisches, or something else entirely, their signature sound is unmistakable. The polska "Lyxhippie" is another quintessential Den Fule track, featuring funky bass, syncopated drums, and a hefty dose of wah-wah guitar in the bridge. Immediately following that, the quartet surprises listeners with the album’s undisputed heaviest track: a traditional folk melody driven by massive, gritty guitar riffs that lean closer to metal than anything the band has done before. With this album, Den Fule has taken another step in their evolution, demonstrating that they never stand still.
Album review Rootsyland oct 18 -26
The opening track of Den Fule’s fifth album, "Ett minne blått"—with its heavy bassline and melodic arrangement—spontaneously brings to mind the Beatles song "I Want You." However, that is where the similarities to the Liverpool pop group end. Den Fule’s music might be termed "folk fusion," but it clearly belongs to the tradition of blending folk music with other genres—a tradition initiated by Jan Johansson and Georg Riedel in the early 1960s with the album *Jazz på svenska* and continued ever since. Merit Hemmingson and groups like Kebnekaise and Contact are other examples, although Contact’s "Hon kom över mon" is perhaps best viewed as a pastiche. Den Fule consists of Stefan Bergman (bass, percussion), Henrik Cederblom (guitar, mandolin, lap steel, percussion), Christian Jormin (drums, percussion, pump organ, synthesizer), and Sten Källman (tenor and soprano sax, percussion, vocals). For the past few years, the group has been a quartet, with all members present from the very beginning. It is impossible to single out which tracks work best; the album must be viewed as a whole, where each "song" evokes its own unique emotions and imagery in me. It is fair to call the album a rare example of successful group collaboration, where individual solos take a backseat to the collective effort. That said, I would still like to highlight "8 200 000 000 schottis"—with its political (!) message—and the *Lord of the Rings*-esque, dreamlike "Stjärnfall."
Listening to Den Fule’s new album means entering a sonic world that embraces widely diverse genres without ever tiring the listener—a place where tradition and the present go hand in hand. "There is no such thing as authentic country," writes Magnus Eriksson in his brilliant essay in the anthology *Tio berättelser om countrymusik* (Timbro förlag, 2026). Eriksson argues that country music lacks a formal definition and evolves through the integration of styles. It strikes me that the same holds true for folk music. Did I mention that Den Fule’s album cover is stunning? Just like the music.
Review festival Flen aug -26 Jazz och glass
The group has reunited after a hiatus of more than ten years, and they played what was likely the majority of tracks from their new album, due out in just over a month. Exciting stuff...! I’m struck with wonder when Sten Källman (saxophones) and Henrik Cederblom (electric guitar) conjure up notes and atmospheres—shifting and constantly exploring—before almost exploding into ecstasy. It is elegant and beautiful, yet simultaneously unpolished and unpredictable. Stefan Bergman on bass and Christian Jormin on drums provide rhythms that veer off in all sorts of directions, while still laying the solid foundation that allows Cederblom and Källman to take us on thrilling voyages of discovery. I feel pure joy there on the lawn in Flen. Damn good stuff...!
Den Fule Stallet, Stockholm, November 13, 2025
Twelve years have passed since the release of their last album, yet the Gothenburg quartet Den Fule is very much alive and kicking. Their blend of traditional tunes and original compositions creates a distinctive mix of folk, jazz, and rock, all driven by a powerful, infectious groove. Electric guitarist Henrik Cederblom shifts fluidly between melodic lines, heavy riffs, and funky, muted rhythm parts; a highlight is the distorted melody in the bluesy, laid-back *Rökschottis*. Stefan Bergman’s five-string electric bass provides weight and a solid low-end foundation but also frequently ventures into melodic interplay with Sten Källman’s saxophone. Perhaps most exciting of all is Christian Jormin’s drumming—packed with syncopated hi-hat grooves and fat tom rhythms; it is powerful yet possesses a wonderfully light, jazzy touch—and, as always, it swings. The band clearly loves *polska* tunes with a "short one" (a characteristic rhythmic quirk), and Jormin elevates the off-kilter feel of these songs to new heights with his fluid playing. A simple folk melody played on tenor saxophone is enveloped by heavy backing rhythms; in a piece Källman describes as a "radical waltz," a multitude of unison, syncopated rhythms are inserted between melodic sections; and the aforementioned *schottis* features superbly executed brushwork on the drums. Källman plays Haitian congas during a classic *Bodapolska*, while Cederblom saves his rawest distortion for the *polska* that serves as the encore. Den Fule seems to be up to something new in every song; even though the differences are sometimes subtle, new rhythms, a new guitar sound, or a new groove emerge—something that is both skillful and inspiring.
Rasmus Klockljung