(making an assumption one exists) Is that listed somewhere? Online? Some book or something. Does something like that even exist? 

Just curious what kinda records Per was spinning in his downtime. (and the rest of the guys if anybody has the deets on that)

⚠️ nerd rambling/monologuing disguised as conversation bait below (am actually interested in talking about these things though should anyone be so inclined)

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This cutie patootie couldn't've just been listening to doom and gloom all the time. These gifs/videos of Per just outside bein' Per the Guy™ reminds me of Shannon Hoon in many ways. (I'm sure most people compare Per to Kurt...i don't really see/"get" the connection) Nirvana and Kurt is/were kiiiinda intense in a *very* different way, Blind Melon with Shannon is...a mixed bag of...somethings, to put it gently - just same kinda energy sometimes, especially with *I Wonder, Sleepyhouse,* *Mouthful of Cavities*...those.

— bit more of a Norsk/Svensk music/history question at the time, but what kind of music had made it over from the States at that time? I know Finland has had rautalanka and many of those were covers of well-known songs such as *Blue Moon* (the Sha-Na-Na version (1971) being very well-known from the movie **Grease** (1978)) and Badding released the Finnish re-work (not sure what the name for these kinds of songs is, it isn't a cover since it's a complete rewrite, but it's still the same song with the same *intent*) *Oi, Kuu* (Oh, Moon) and *I Only Want to Be With You* by Dusty Springfield (1964) became *Jykevää on Rakkaus* (lit. trans. \[or near enough\] "so strong is love") by Badding as well (1975) and The Agents with Ville Valo on **Laulava Sydän** (probably what most people know the song from nowadays, or maybe even just outside of Finland, not sure how common it is for people from other Norden countries to listen to music in Finnish language.)

Obviously these are a bit older, maybe something his parents were listening to or something, i just don't have any sort of context for what was going *into* Norway and Sweden at the time, because obviously the world had, like, Abba in the United States by the time Per was about 10 (1979). Per looks like an Allman Brothers kinda guy if I had to guess, or maybe it's just kinda funny imagining all these black metal guys squeaking through learning *Freebird* and being Skynard guys (assuming it was as prolific outside of certain areas of the U.S. as it was inside - that song is a meme for a reason, same with *Fortunate Son*). 

i know there's a bit of a faux redneck (now) working-class kinda thing that made it's way to Norden at some point and - call me crazy (preferably not though) - but some of the stuff the wider black metal scene guys were making isn't actually that far out from what those guys were doing - doesn't really seem to align as much with the Pink Floyd / Grateful Dead crowd (ironically), not really much with the punk scene either, maybe more with the D.C. Hardcore Punk scene like Bad Brains and Minor Threat and Rancid.

Now, I could be way off on that - just a bit of an observation/guess at influences given the way the black metal scene was when Per was present, as well as afterwards. Though afterwards with a discernible difference both in change and loss, with (in my very limited knowledge/opinion) specific parts of the sound never really seeming to develop/ebb/bend/flow with other "branches" (ska vi sägä/kolla dem). Instead, some "branches" making striking/frenetic/seemingly abrupt changes or "turns" toward more established sounds for financial/social (or legal/mental health) reasons **or** a reactive/purposeful movement away from that further isolating/reifying/deifying a much more "extreme" or "controversial" or otherwise socially/sonically "deviant" sound either in protest, mourning, or seclusion (or maybe a secret fourth thing). 

This all being/happening/occuring for a very understandably polarizing reason/series of reasons especially given the (what i perceive (ha) as) paranoia - both as a legitimate medical condition (just a hunch) **and** just, trauma/social fracturing or dissolution of trust, even amongst the more deviant/anti-social of the places and people incolved (not that anybody asked, just an unsolicited opinion/observation from a limited available dataset). The sound development of the genre, or soon to be genre (not sure how to explain that without a bunch of nerdy meandering paragraphs of wild speculation - yes more/worse than this) is very like-minded in the way the instruments and sounds are used to create and divide space as well as a much more "blahblahblah its lame to care about things and have opinions about stuff happening in the world" or "everybody's an asshole about people giving shits about literally anything and everything so we just do it a different way and if they don't like it, meh - not our problemo". It specially/specifically reminds me of this talking-head bit from an interview or video diary or something with Kjell \[från Hell eller Bob Malmström's Carolus Aminoff\] - annoyingly can't find the video at the mo', but, paraphrasing, he says something akin to "pop music is like an orb, shiny, smooth, plastic" and their music (the Bobs) "has spikes" and "if you don't like it, you can fuckoff". I think Kjell describes that social tension, *othering* (self-imposed or imposed upon a person/group/subculture/culture - including genres or small margianlized \[for various reasons\] social groups) completely and succinctly.

It's a very specific "more is less" approach to placing sound in space. i say *specific* because most people, i suspect, actively hate it because it's a bit asynchronous and not in a math-y djent way and a bit...i dunno, maybe i mean syncopated? i try to avoid rigid "proper" musicology and theory-based terminology as i think it's very limiting and a bit of a hindrance to discussing not-so-standard genres and approaches to music. Not to get too anthro/ethno - it's all derivative of a specific caché (in this case i use that word to mean sort of...weirdly protective/guarded "the precious" Lord of the Rings kind of way - treasure(d) doesn't always mean *good*) of continental classical music with a less-than-savoury/kosher history/association/co-opt'ing and can be exceptionally exclusionary and ruin/limit non-traditional/creative/free thinking regarding arrangement of sound and what "music" is (or is considered to be socially/by in-groups or majoritys).

Especially so since I'm under the impression, at least whilst Per was the golden boy (or he's spoken about that way now, I'd wager reality is a bit of a 50/50 on some serious ret-conning of narratives for...what I'm sure are probably very interesting/curious reasons), the inspirations were to focus on more "traditional" sounds from their respective cultures/histories.  Though this would be/was obviously expressed in not-so-traditional-ways by not-so-traditional-means - or, again, a possible ret-conning/realignment following Per's...end. Something that would explain the (ever-present) pitfall/entanglement the genre and people even vaguely/tangentially associated with the genre or even just the concept of the genre/aesthetic, have with Nazism, pseudoscience, misleadingly concoted "European" (and Nazi/Nazi-adjacent/white-nationalist/nationalist (derogatory)) folklore, folk beliefs and occultism not grounded in actual history and culture, etc. have a difficult time shaking, even now. (A real shame, honestly, since it's completely derailed all attempts to actually (ironically given the name of the documentary) shed light on whatever the hell was going on with all the people involved, with the genre, socially and politically (internationally)). *That*, unfortunately, is *very much* comparable to the loose ends/strings surrounding Kurt. Seems certain losses never really heal, like [The Day The Music Died](https://en.wikipedia.org/wiki/The_Day_the_Music_Died?wprov=sfla1), and some things just sort of...fester (unfortunately not related to Uncle Fester) because of aforementioned loose ends or unanswered questions (or secret third things, or fourth things, or whatever).

Sorry this train of thought rambled on for a fair bit longer than I had intended. 

I haven't seen much actual discussion here about these things, though, admittedly i haven't spent the time to dig through the trenches of these posts here since many  (might just not be of any interest to people these days, or maybe just not on Reddit mostly errant youths and grumbly gubbarna (presumably) (or spritely gubben-adjacent så som på Kjelppa) (or kanske för att de e på engelska, men jag kan inte skriver så många texten så fint as jag skrivner här i svensk - 😅 förlåt för min helt skit svenska, du förstår vad ja menar, känske lite nog anyways 😅), so not sure how well this'll play "conversationally" , it'd be nice to learn something though! Or at least get some "not all the other grumpy angry-at-their-dads-or-something black metal/metal groups" recommendations. Nice to know who the "musician's musicians" are behind these niche genres - especially such a contentious genre with such a limited purview (at least in the eyes of the greater public). I think most people forget you can't make a "new" genre by listening to things everybody else is doing and making the exact same things - you can literally do whatever you want - there isn't any rules about what music is - there's only "nobody's gonna pay to listen or come see that".  I'm sure at least one of those guys is probably a huge ABBA fan - and I'm not gonna lie, it'd be very funny if it was Abbath - and not just because of the very obvious "thorn in our side" joke about the -th after ABBA and the poetry references. The silly lil' jokes are the best bit - long as you try not to remember everything else.

Anyways! enough monologuing! 

It's the 13 day anniversary of Cher and Gregg Allman's marriage (in 1975) and just 4/5 days after she divorced Sonny Bono - and *that* doesn't have anything to do with anything *except* Allman and allmän are very similar things in concept and execution (mostly since it's the same word run through a bunch of languages from the 1300s or something) and 7 and 13 are very fun numbers! Not relevant, just thought I'd try and lighten the mood! (and probably annoy somebody who can't appreciate such an iconic pair (Per 😅🙃) of musicians! (That I'm *almost certain* **somebody** had to have been a fan of - she's fkn Cher and he's fkn Gregg Allman - c'mon! - at least it's something different than the same posts over and over again about Coca-Cola or people grumbling about this & that 😅) 

Anybody have any 411 about Per's record collection?