Parodi på Madonnan i Grottan med inspiration hämtad från Albertus Pictor, porträtt i samband med studier av porträtt från Hesselby Slott, Psychedelic Surrealism, POP, Brian Eno, Shpongle, Gargoyles and the horrifying real person Irma Grese. KONG IS A BALL FOR DOGS.

Larry’s Corner Grindsgatan 35, 070-643 37 62

Short History of Psytrance / by PsYak A short history of PsyTrance Psychedelic trance developed out of the early 1990s Goa Trance scene through the influence of artists such as Timeshard and Eat Static, both on the Planet Dog record label. The first pure Psychedelic trance label was Dragonfly Records, formed by the artist and trance producer Martin ”Youth” Glover (a former bassist for the band Killing Joke) in Brixton, London. For this he took advantage of the organization and the studio of his already existing label, Butterfly Records. It quickly became the center of the London Psychedelic trance scene. Raja Ram and Graham Wood first produced here as The Infinity Project. Simon Posford, who worked as a sound engineer at Butterfly, later released his legendary album, Twisted as Hallucinogen on Dragonfly. This album featured the classic track ”LSD” featuring a voice sample from acid guru Ken Kesey. The first compilation from Dragonfly was released as a trance sampler and was soon followed by another compilation titled Project II Trance in August of 1993. These included work from such well-known artists as the French project Total Eclipse and Mandra Gora. In 1994 it released singles from Man With No Name, Prana, Ayahuasca, Slinky Wizard and Doof. The signature Order Odonata compilation was released the same year. At this point the scene was growing rapidly and many new labels were created. Return To The Source, a party collective first appeared. Raja Ram and Graham Wood went on to found their own label, called TIP Records (now TIP World). Tsuyoshi Suzuki worked with John Perloff to create the Matsuri Productions label. Flying Rhino Records was established by James Monro, Dominic Lamb and George Barker (Slinky Wizard), who hired Sally Welch as manager. Simon Berry founded Platipus Records, who among other things, released the first vinyl by Technossomy. It also out licensed the famous Robert Miles’ ”Children”. Simon’s own project, Union Jack released their morning trance album There will be no Armageddon in 1996, featuring well-known tracks such as ”Red Herring”, ”Cactus” and ”Two Full Moons and a Trout”. Around this time a new label emerged in UK. Some consider Blue Room Released to be of the most important, and unusual, labels in the Psychedelic trance genre. It was led by Simon Ghahary and had solid financial backing from a British loudspeaker company. Allegedly, Ghahary had free reign to spend the money as he saw fit, regardless of sales figures. This allowed Blue Room to move away from ”classic” Goa trance into new, more experimental directions. Some of the most well-known artists today were signed and had their work distributed on the Blue Room Released label. Their first compilation was titled ”Outside The Reactor” was released in April of 1995 and featured work from artists such as Total Eclipse, Har-El Prussky, and Voodoo People. Three of the most well known projects – Juno Reactor, Total Eclipse and The Infinity Project also released their debut albums that year. Soon the German project X-Dream started working with Blue Room as well, releasing their ”The Frog” single and the highly influential Radio album. At its height, the label went on to release such works as Violent Relaxation by Total Eclipse, Juno Reactor’s Bible of Dreams, Saafi Brothers’ Mystic Cigarettes and Dragon Tales by Koxbox. Despite being the center of production for Psychedelic trance in the mid 1990s, England had a very limited party scene. This mostly due to the Criminal Justice Bill and requirements for early closing hours in nightclubs. On the other hand, Germany had much more liberal laws, which in addition to the recent unification contributed to the development of the scene there. The German label Spirit Zone Records opened up in 1994, and ended up signing on many foreign artists such as The Infinity Project (UK), K.U.R.O. (Japan), Etnica (Italy), and Har-El Prussky (Israel). It was also the home label of many German artists such as Electric Universe, Star Sounds Orchestra and S.U.N. Project. France was also becoming an increasingly important location, with not only Total Eclipse, but the now famous projects like Talamasca and Transwave emerging. Around 1997, the original Goa trance scene was undergoing hard times, especially in the UK. Sales dropped and many big labels such as Flying Rhino went bankrupt, while others had to reinvent themselves and emerge under a new name as did TIP World. The death of Goa trance was ”officially” declared by Tsuyoshi Suzuki on his Let it RIP album, where the liner notes read ”RIP: Mother Theresa, Princess Diana, William Burroughs, Goa trance.” The new sound of what would become the Psychedelic trance of today emerged at this time. It included elements of minimal and progressive trance, house, and techno, while focusing less on the original Goa melodies. Germany became the center of this movement in 1997 and 1998. Many Swedish artists also emerged playing a more progressive sound. The most successful and well known is Tomasz Balicki (Atmos). His track ”Klein Aber Doctor” was the most successful release for Flying Rhino yet, which was in the process of restructuring. Even the Dragonfly label stated to switch to this new progressive sound, and Psychedelic trance was once again becoming popular. Debut releases from Atmos, Noma, S-Range and Son Kite only cemented this fact and made Sweden an important producer of psychedelic trance. Soon Psychedelic trance was expanding rapidly once again, and for the first time differences became apparent in the music being produced in different countries. Parallel scenes also developed in countries like Israel, Germany, South Africa and Japan. There are also smaller, but active scenes in India, New Zealand, Australia, Brazil, Mexico, The Netherlands, Switzerland, Austria, Greece, Portugal, Finland, Russia, Ukraine, Thailand, Denmark, Poland, Canada and even the United States. PsyTrance and Goa Trance The term ”psychedelic trance” is used almost synonymously with ”Goa trance”. Goa trance is a precursor to the late 1990s psychedelic trance, which utilizes more sophisticated melodic devices and distinctive basslines. Goa trance is an almost completely defunct genre of music, based on the fact that few if any contemporary artists would describe the music they create as being of this genre. The term ”Psychedelic trance” is used to distinguish the newer material made by many artists, who were formerly known to have produced Goa trance. Full On is a sub-genre characterized by ”solidly driven” basslines, melodies, and frequent use of DSP Effects. Notable artists include, Spain’s (Ibiza) Growling Mad Scientists G.M.S. and Israel’s Astrix in comparison to the more ”clubbier” minimalist and less melodic genres, such as progressive trance with more of a psychedelic influence, exemplified by many Scandinavian and German artists, including Sweden’s Son Kite. Many use the term Goa trance to simply distinguish those pieces which seem to incorporate eastern, Indian, or ”organic” melodies (see raga), derived from sources, like Indian classical music. This makes it easier to identify those which don’t incorporate such elements, which listeners would call Psychedelic trance. These pieces tend to be more experimental and futuristic (in the case of Full on), usually using programmed melodies juxtapositionally derived from minor arpeggios Cm7, Dm7, Em7, etc and other exotic or unusual harmonic combinations, with the intent of being multi-timbral. Both genres, however, continue to use samples taken from sources, like sci-fi films, documentaries, etc. Check PsYak’s Website.


I am happy to tell you the great news that my art exhibition at Larry’s Corner will be extended until Saturday 8 of Marsh.

More information finds by this QR-code:

Will be at Larry’s Corner every day he has open 1400 – 1500 p m Tuesdays to Saturdays.

Last day for my exhibition will be Saturday 1 April 1400 – 1700. Then it’s Goodbye I’ll hope to see You the next time!

To be continued

It was a rather cold and rainy day

37 pieces of my work of art in aquarell or acryl.

I was and still am very satisfyed with this opening day to my exhibition.

Larry has closed sundays and mondays

Every other day he opens Larry’s Corner at 1400 p m and has open until 1700 p m.

Often he has live music in the evenings about 1930.

The last day of my exhibition at Larry’s Corner will be the 1 of April 2023.

Opens at 1300.

Jonathan Segel, San Francisco, USA. The gutarist from Camper van Beethoven, Öresund’s Space Collective and Astral Magic plays live ambient space guitar.

I’m sorry but niether drinks nor snacks.

Larry Farber origines from Detroit. He come to Varberg, Sweden, studied swedish, read Stig Claesson’s ”Vem älskar Yngve Frej” and decided to stay in Sweden. He became a librarian and, in Varberg, started his shop ”Larry’s Corner”.

In his very special and unic shop he sells stuff he likes. Besides he has an inner room, just enough to use for music ”live” conserts and art ehhibition very oftwn in style of origine ”Surrealistic POP”, ”Low Brow” and ”New Brow Art”.

With connections  back in art history like DADA, Surrealism, POP Art and Outsider Art, like the collection of Jean Dubuffet, in his museum in Lausanne, Schwizerland.

The continuing ”Theme of my exhibition” one can say is ”Folk” as in ”Folk Music” and ”Folk lore”.

Public? Popular? ”Völkische”? Social Realism? What ordinary people means is understandabel? No need to define or explain? The opposite and anti-thesis to the Nobles and etablishment? Populism? Or is what is today consumerism and commersial? What everybody expects to be normal, natural, acceptable and ordinary? Neither imaginations, fantasy, unreal, nor a threat against ones own psycho-social, limited ”inside the box”, nor private, personal, integrity bubble?

What stands the word and the concept”Folk” for today?

The more individualistic one becomes. the more isolated, alienated, ”free”, but, at the same time, unsafe, lonely and without any experience of meaning, there remains.

Read Bachtin.

Art, music, theatre, dance, mode etc are different way to connect and be a part of something without any limits.

Why do i paint? Because it feels so good!

Concept Art Work by Victor Rangner. (Idea from my sister Jeanette Rangner-Jacobsson 2023-03-15).

Both my parents were born in Stockholm. My Father grew up in Upplandsgatan, Vasastan. My Mother grew up on Tjärhovsgatan, Södermalm.
I was born i Stockholm and both of my parents were born in Stockholm. My father’s relatives came from Roslagen back in the 17th century.

My sister and I grew up in Hökarängen. Our family moved into Tideliusgatan 27 the same year when I turned ten. So, it was the year 1967.

Here begins the concept artwork itself:
I started aiming to become an artist when I was fifteen, in 1972.
The distance from Tideliusgatan 27 to Larry’s Corner, Grindsgatan 35 is 300 meters. From the time I turned 15 on October 9, 1957, to my exhibition in Larry’s Corner on March 18, it has, for me as an artist, taken 18,422 days and nights.

300 meters is equal to 300,000 millimeters.
18422 days equal 442128 hours. Distance divided by time indicates the speed (km/h). My speed from Tideliusgatan 27 on October 9, 1972, to Larry’s Corner, Grindsgatan 35, is 147376, rounded to one decimal place, 1.5 millimeters per hour.

Båda mina föräldrar är födda i Stockholm. Min far växte upp på Upplandsgatan, Vasastan. Min mor växte upp på Tjärhovsgatan, Södermalm.

Jag och min syster växte upp i Hökarängen. Vår familj flyttade in till Tideliusgatan 27 samma år då jag skulle fylla tio år. Det var alltså år 1967.

Här börjar själva konceptkonstverket:
Jag började ha som mål att bli konstnär när jag var femton år, 1972.
Avståndet från Tideliusgatan 27 till Larry’s Corner, Grindsgatan 35 är 300 meter. Från då jag fyllde 15 år den 9 oktober 1957, till min utställning i Larry’s Corner den 18 mars har det, för mig som artist tagit 18 422 dagar och nätter.
300 meter är lika med 300 000 millimeter.

18422 dygn är lika med 442128 timmar. Sträcka delat med tid anger hastigheten (km/h). Min hastighet från Tideliusgatan 27 den 9 oktober 1972 till Larry’s Corner, Grindsgatan 35, är: 147376, alltså, avrundat till en decimal, 1,5 millimeter i timmen.

Now U C Me!

My kind of expression in Steganographic, Pareidolian Imagination is closer to POP and New Brow, than Artificial Intelligence Services.

There is a lot of artists more or less connected to this open network movement.

The more you know the less you can feel.

The Today’s Work: Flyers in Snösätra and Hökarängen.

It’s snowing in Snösätra.

Memories from Hökarängen.

Painting in the Evening. Not a Ready Maid yet…