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26—09—13
Bengt Olsson’s late-seventies field tapes of backwoods blues musicians sound nothing like the sepia-toned mythology that usually haunts reissue culture. These are intimate, unguarded capture sessions—some never distributed—that catch people mid-rift rather than performing for a mike. The guitar work ranges from weathered fingerpicking to almost abstract noise-texture, and the vocals sit so close you’re practically in the room. Archival work that doesn’t feel like homework.