Exposed Undercurrents

Buy it now!

Exposed Undercurrents

The songs that were taking shape during 2013 / 2014 show an exciting progression of Pocket Size's concept.

The recording sessions started out after an initial meeting with producer Tom Van Heesch at Big Island Sound studios. When he had heard the demos there was no turning back. He came up with the ideas how these tunes were going to be recorded and did a blueprint for the recording sessions. The primary idea was to highlight the retro elements of the music without going all the way into nostalgia. 

Exposed Undercurrents differs a bit from the last record (The Hornplayer...). There are two tunes with lyrics in Swedish, while the rest of the tunes are in English. There is also a stronger coherence within the album since the songs pour from the same well. But it is still not a concept album, all songs are individual entities. 

Some faces are new and some are familiar from other Pocket Size Sthlm recordings. All musicians are performing at their best! These are all reasons to why this is the strongest Pocket Size Sthlm record up to now. 


  1. Halo (Portrait of the artist as a composer)          
  2. Orbits
  3. En Kamouflerad Önskan
  4. Evil Lullaby
  5. Horwood House
  6. Windmill
  7. Pickle Guys
  8. FM
  9. Chromosome
  10. Berlin
  11. Sagan



  • Rasmus Svensson-Blixt – Drums, Rasmus is a really talented drummer who could tell you in his sleep the exact speed of 100 bpm. He is a real pro and has spent a couple of years in Texas before finding his way back to Sweden. Visit Rasmus on Facebook 
  • Lars Ekman – Bass, Visit Lars Ekman on Facebook
  • Leo Lindberg - Hammond B3 organ, has a fantastic feeling for what should be played on the organ. He performs on all tunes on the album and takes the music to a whole other level. Visit Leo Lindberg on Facebook
  • Peter Pedersen – Guitars, vocals, compositions, concept, production 
  • Sean Nowell – Saxophone and effects, Visit Sean Nowell's website or Visit Sean on Facebook 
  • Kristian Brink – Saxophone and flute, Kristian is a great sax player who is also very skilled in arranging music. His tone is sharp and clean on all reed instruments he plays. Visit Kristians website or Visit Kristian on Facebook 
  • Simon Svärd – Guitar solo, Simon is the master of the Telecaster. He produces an edgy, clean but yet distorted tone and he sets off in all possible directions. Visit Trilobit on Facebook 
  • Lisa Ekelund – Theremin, Lisa plays theremin, violin, sings and is the front figure of Swedish psych band Katla. Visit Lisa on Facebook or Visit Katla on Facebook 
  • Rolf Arnsen – Vibraphone 
  • Tom Van Hesch – Vocals and production, Tom is a producer and part of the studio team at Big Island Sound studios. A real pro with a high standard when it comes to quality. Visit Tom on Facebook or Visit Big Island Sound on Facebook

Exposed inner sleeve and back

Visual concept and cover art: Johannes Söderlund.


The Swedish project POCKET SIZE is the creative vehicle of composer and musician Peter Pedersen, a venture that started out back in 2010 and with one single and two full-length albums to its name so far. "Exposed Undercurrents" is the band’s most recent outing, self-released in 2014.

Sweden is rather well known as a haven for bands with a desire to explore what might be described as retro rock of various kinds, artists and bands that look back to the ‘70s for inspiration, seeking to emulate or replicate the mood, atmosphere, sound and spirit of what many describe as the golden decade in rock music. Pocket Size fits quite nicely into this general context, although with a certain approach and attitude, not to mention style, that isn't quite as common in this environment.

What is crystal clear after having a few runs through this CD is that these guys have a passion for vintage rock. That they use both a vibraphone and a theremin on the album is one detail that emphasizes that, and the extensive use of the Hammond as a key instrument throughout kind of forces the music to take on a specific ‘70s sound in itself, in this case paired off with a rather vintage sounding guitar or two, and with liberal amounts of saxophone thrown in for good measure.

Pocket Size does wander around a bit in this landscape, with an almost demented hard jazz-rock affair kicking off the album, followed by a calmer, careful organ and flute-driven affair that, to my mind, has a bit of a Procol Harum feel to it. The following En Kamouflerad Onskan is one of relatively few songs with lead vocals, and this one is closer to the likes of Uriah Heep or Deep Purple in terms of style and general mood. Later on a few shorter interludes dip their toes into more of a vintage jazz-rock landscape, one rather smooth and listener friendly, the other a wilder, distorted affair with more of a free-form aesthetic to it.

The greater majority of the material resides elsewhere however. Mainly dark, majestic and powerful arrangements are key elements in those songs, with dark-toned guitars, powerful organ textures and a liberal variety of saxophone bursts, solo runs, shrill bursts and dark-toned textures all assemblimg in different constellations and variations. A kind of music that exists somewhere in between vintage King Crimson and Van Der Graaf Generator. Dark, powerful and engaging material at the band’s most compelling, pleasantly brooding and subtly dramatic in a compelling manner even at the least interesting of times.

Conclusion. Pocket Size is a project that does cover a lot of ground on this production, and a certain taste for variety will be needed to appreciate the charms of this CD. Rather more important is to find the use of the classic Hammond organ to be of general interest of course, and a certain affection for material with jazz and psychedelic details is probably needed as well. But, at least to my ears, the most important aspect of the album is the King Crimson meets Van Der Graaf Generator feel on the majority of the material here, and I suspect that those who enjoy the earlier exploits by both of these bands should find this album to be a charming general experience."

Review by: Olav M Bjornsen

"When I got this album to review, I had never heard of Pocket Size and it took me a while to get around to reviewing it. 

A pity, because a lot is going on on this album. Pocket Size is a project headed by guitarist and composer Peter Pedersen. He works together with nine other musicians on this album, including producer Tom van Hesch, who takes care of vocal duties where needed on this largely instrumental album. 

The opening of Halo (Portrait of the artists as a composer) reminds me a little bit of Gong, but with a more modern touch to it. In that respect, it is different than the rest of the album, maybe with the exception of The Pickle Guys, which also features some of these typical vocals and guitar sounds, but also adds a very nice saxophone solo. 

Other tracks that that caught my attention are the jazzy Orbits, with lots of organ and flute on it, En Kamouflerad Önskan, the rockiest track of them all, and the frantic organ and piano driven Chromosome. All tracks on the album have a slightly psychedelic and jazzy feel to them, especially the ones where the organ comes in. The guitar solos are mostly rock oriented, giving it all a mixed feel. Thats a guarantee for variation, but als makes the album a slightly uncomfortable mix. 

After a number of listens, I also have to admit that I still can’t point out where the theremin and vibraphone come in - partly due to the mix perhaps (organ and guitar are always very much upfront), maybe also because it is hard to stay focused while listening to this album. An album that leaves me with mixed feelings, although there is quite a bit to like on here."

Review by: Tony Larsen

"I need to put first things first: Avant-garde compositions. Excellent arrangements. Stellar musicianship. Regardless of your preference of music styles, you're going to appreciate Pocket Size Sthlm's prodigious ability to deliver those three attributes song after song - and deliver them neatly wrapped with a bow on top. This is a truly outstanding band. 

Pocket Size Sthlm hails from Stockholm, Sweden (hence Sthlm). To give you an idea of who Pocket Size Sthlm is, I'll quote three lines from Peter Pedersen, the founder, "Pocket Size Sthlm is pretty much a solo act which could in a way be compared to what Kevin Ayers and Syd Barrett were doing. In the same way as those icons were dependent on other musicians with their own voice, so is Pocket Size Sthlm. The Pocket Size Sthlm sound would not exist without the contribution of all the musicians that have collaborated under this umbrella." 

Pocket Size Sthlm's new album, Exposed Undercurrents, features eleven tracks of progressive, psychedelic and straight rock. One track in particular, Orbits, leans toward some very cool jazz. More on Orbits later. Five songs have lyrics, two of which are in Swedish. 

Whether a solo act or a multitude of musicians, Pocket Size Sthlm rocks ... and I mean they rock hard. 

With its eleven tracks, Exposed Undercurrents pumps forth nearly one hour of great music. Although every track is top-end, three instrumental tracks really put the floats on my boat. They are extremely cool and demonstrate the remarkable musical depth of Pocket Size Sthlm.

Orbits - Combines elements of two separate styles, jazz and rock, in three distinct sections. The juxtaposition of styles and sections makes me liken Orbits to a symphony in three parts. An ethereal flute opens the first part, followed by the majestic sounds of a  Hammond B3 organ. Leo Lindberg is absolutely incredible. His ability to manipulate the Hammond's keys in and around the beat is truly amazing. Rasmus Svensson's drumming makes this laid-back, jazzy section purr. Part two kicks in near the 3:25 mark and things switch to a solid rock feel. Lasting a little more than one minute, it compliments and elevates the first part. Okay, bear with me now. We hit the third part at 4:30. It combines elements from the first two parts. The harmonizing vocals really make part three fly. Were you able to follow me? I hope so because Orbits is a very involved tune, quite magnificent, and hard to describe in a way that gives it proper justice. Orbits is a testament to the outstanding abilities of Pocket Size Sthlm. 

Evil Lullaby - I've been psycho-delicized. If Rod Serling was still with us and wanted to make a new Twilight Zone movie, Evil Lullaby would be one of the soundtrack numbers to use. Pocket Size Sthlm's uncanny ability to create a soundscape is nothing short of remarkable. Everyone shines in Evil Lullaby and the soundscape they paint is one of pure evil. From start to finish, Evil Lullaby pulled me into a fantastic journey through the macabre part of my psyche. Get ready to take a really nasty trip through Hell at the 2:00 mark. Oh, you can forget screaming for help because they don't let up when your Hell-trip is over. A Rod Serling-esque nightmare begins three minutes into the song and lasts for about one minute. That's plenty of time to get totally freaked out. The final minute punctuates the depths of human depravity. The instrumentation, arrangement and consummate musicianship carries Evil Lullaby beyond the third dimension, beyond the fourth dimension, all of the way to the fifth dimension. What evil lurks in the hearts ... and minds ... of man? 

FM - Do you remember the early days of FM radio? In Portland, Oregon, back in the 1960s, a tiny number of FM stations started broadcasting. They were different than their AM counterparts in that they had a relaxed, counterculture atmosphere and less commercials. The DJs weren't in your face. As a matter of fact, most of them sounded like they were half stoned. Heavy rock and jazz tunes were commonplace on the FM stations. Pocket Size Sthlm's FM is reminiscent of those tunes. Delivering smooth, instrumental, jazzy rock, FMwould have been a favorite among FM radio's underground music purveyors and listeners. With Leo Lindberg's B3 laying down a cool rhythm, Peter Pedersen's guitar lights up FM. In the mid 1960s, during the timespan between beatniks and Deep Purple, Pocket Size Sthlm's FM would have ruled the FM radio airwaves. 

I'm going to repeat what I said in my opening: Avant-garde compositions. Excellent arrangements. Stellar musicianship. I don't know how anyone could listen to Pocket Size Sthlm and not come away with a profound respect for their abilities. They've created an impressive piece of work with Exposed Undercurrents. It's different than the mainstream and, in this case, different is a very, very good thing."

Review by: Stephen L. Robbins 

"The Swede (Stockholm) Peter Pedersen, guitarist-singer-synthetis- created the Pocket Size to reveals his musical concerns and Exposed Undercurrents is their second album after the The Hornplayer From The Milky Way which was released in 2010 . 

With himon this albumthere is a multitude of musicians who accompany, playing various instruments. A common denominator is the love for jazz music

This album is a series of some amazing progressive songs, which are imbued with a variety of other nuances such as psychedeliajazz course, hard rock, the sound of Canterbury etc! The exceptional Orbits for example, were the instruments dominatethe drums give a jazz dimension, and a breeze that colors the air which reminds Arzachel and Julian Savarin! 

The En Kamouflerad is a hard rock songwith the classic charntrokadiko rhythm that makes you want to move everything! The Windmill is an infernal prog that similar not easily written in recent yearsThe brief duration FM and Berlin is the most psychedelic while the Chromosome is a magical and improbable song

Overall this is a very good albumfull of strength, fresh sound and amazing songs
Recommended for many hearings !!" (original text in greek)

Obladoo, Januari 14, 2015 
En förbisedd höjdarplatta från hösten 2014 är detta vinylalbum av Pocket Size Sthlm. Bakom gruppnamnet döljer sig Peter Pedersen, låtskrivare, gitarrist och sångare plus inhyrda toppmusiker.

Stilen kan betecknas som progressiv rock, med rötterna i sent 60-talet och tidigt 70-tal och grupper som King Crimson och annan småsnårig, psykedelisk rock, fusion, bluesrock, frijazz med mera. Tung men fri rytmsektion, svällande orglar á la Bo Hanssonoch eldiga gitarrer. Pedersen har valt att omge sig med musiker som annars är verksamma inom jazz. Det är ett genidrag. Där många rockmusiker känns lite stela när de tar sig an udda taktarter och harmonier, är den här typen av musik ofta rena avkopplingen för kompetenta jazzmusiker. Det gör att de kan koncentrera sig på innehåll, groove och tyngd.

Det är suggestivt, tungt, fascinerande och intrikat – men det krångliga känns aldrig som självändamål. Sången (där det förekommer sådan) känns dock mer som ännu ett instrument och inte tillför vad jag uppfattar som ”sångmelodier”.

Men helheten är fantastisk. fri, fantasieggande och sprudlande av kreativitet. Ett eget musikaliskt universum med mycket att upptäcka.

Med LP:n följer en CD med hela albumet plus fyra extraspår."

The Obelisk, Januari 2, 2015
"One could hardly accuse Stockholm classic proggers Pocket Size of living up to their name on Exposed Undercurrents, their second album. Even putting aside the expansive fullness of their sound itself, there are nine people in the lineup. It would have to be some pocket. The group is led by guitarist Peder Pedersen, whose own contributions are met by arrangements of saxophone, Hammond B-3, flute, theremin and so on as the 11 tracks of Exposed Undercurrents play off intricately-conceived purposes to engaging ends. One is reminded some of Hypnos 69’s takes on elder King Crimson, but Pocket Size have less of a heavy rock stylistic base and are more purely prog. A clean production – this is clearly a band that wants you to hear everything happening at any given moment – serves the 54-minute offering well, and though it’s by no means free of indulgence, Exposed Undercurrents is imaginative in both the paths it follows and those it creates, the joy of craftsmanship clearly at the core of its process."

Review "Depending on where you go, this Jazz Rock/70s Prog inspired outfit might be known as Pocket Size Stockholm, Pocket Size Sthlm, or, as the CD cover simply states, Pocket Size, so let's go with that. Interestingly the convoluted nature of the band's name and the simplicity of the chosen option also describes Exposed Undercurrents, which is the second outing from this band. 

For at times what Pocket Size produce is challenging and mind expanding and at others, it's simply straight forward. Band leader Per Pedersen is Mr Pocket Size, playing guitar, adding deranged vocals to the (obviously) non-instrumental tracks and writing all the songs, but my what a conglomeration of players he's assembled to realise his ideas. Between them, the musical throng have aided Bo Diddley, Trilobit, Quincy Davis, Travis Sullivan Bjorkestra, Katla, Krister Andersson and Ove Fustafsson (I'm merely cherry picking here), so let's be reassured before we go any further that there's serious talent on board. Something which Pedersen puts to good use, his ability to stretch differing genres into a thick groove and hold it there, as sax, guitar, flute, theramin, or Hammond strikes a spark which ignites on another direction altogether, impressing hugely. 

In places the vibe feels jammed and yet the manner in which things are brought together to suddenly sit right back in the pocket (natch), proves this is crafted fare. Fans of Van Der Graaf Generator will find solace here, less guitar based followers of King Crimson too will find much to their liking, while a more Swedish Prog/Psychedelic swoosh also rushes past in the style of say Hansson & Karlsson. First encounter reveals confusion and yet you can't help but be impressed by the scope of the intentions; and man, those grooves, from the off they're irresistible. 

However once you lift the lid into the world of the Pocket Size then you realise that mood and atmosphere are as important as melody. For example "Evil Lullaby" is just as happy to stomp out a shuddering beat and riff, as it is a piercing, pained sax outburst, while the Hammond intro to "Orbits" is as beautiful as you could hope to find. From there you're almost in laid back lounge territory, the easy sheen washing over you, before things ramp up vaguely reminding of the synth hammerings of "Nantucket Sleigh Ride" by Mountain! "En Kamouflerad Onskan" suddenly finds Pedersen's vocals vital to proceedings, an even voice bringing order to flute and sax battles, while the rhythms laid down are to die for (drummer Rasmus Svensson-Blixt is a monster!). Although the equally effective and yet stylistically opposite vocals, which roam around the obvious melody line with anarchic devil my care attitude, brings a dark edge to "Pickle Guys". Call it Jazz, call it 70s Prog, call it psychedelic; whichever you choose you'll be both right and wrong, so call it what you want. However through its wide scope and excellent execution, even when Exposed Undercurrents is living on its nerves and right on the edge, its compelling stuff and never anything less than thoroughly engaging."

Review "The Swedish proggers from Pocket Size have just released their second record that to a certain extent continues the work done on their debut album, “The Hornplayer from the Milky Way…”, released in 2010. 

"Exposed Undercurrents” takes a strange approach to progressive as it breaks the limits of the genre, if there are any, and expands itself to rock ’n’ roll, blues and jazz. The record has eleven tracks that go from straight and raw rock to 70’s inspired jazz. “Halo” opens the record with a classic groove that you could have encountered in old records played via a pick-up. The guitar abuses from raw and catchy riffs during extended sections that gives the slight impression of a march into the deeps of the record. 

The main riff of the song and the spot on vocals offers the listener a perfect intro to the album. “Orbits”, “Chromosome” and “Sagan” are the progressive highlight songs off the record, when a Yes influenced whirl storm of flute solos that remind us of our childhood, memories and dreams, of complex and atypical keyboard effects and of versatile saxophone playing, captures every prog fan out there. 

An incredible well thought of saxophone solo transforms “Pickle Guys” from a rock ’n’ roll tune into a jazz one that sends the mind and spirit into a journey through the old New Orleans. The record is made mostly out of instrumental pieces, but we do hear those ’70’s fitting vocals through various songs as it’s the case with “En Kamouflerad Önskan”, an entire Swedish song that delights the listener with a blues guitar solo that effortlessly escalates towards psychedelic. The same psychedelic tone follows the listener all through other songs as “Windmill”, “Berlin” and “FM” where the post rock cleans are alternated with chord progressions and skilled bass finger plucking. In “Horwood House” the center stage is overtaken by the clearly progressive drums dynamically contrasted by wizard keyboards, while “Evil Lullaby” is a continuous waltz between the saxophone and the vicious riffs. 

The record is a testament of sophisticated orchestration and knowledge of different musical genres that are progressing slowly from the ‘70’s jazz towards progressive. It’s actually an experimental history of music through the ages of time. 

Favorite songs: “Windmill”, “Orbits”, “Berlin”."

"Contemporary 2014 Sweden is loaded - and I mean loaded - with rock bands emulating the sounds of the early 1970s. Most are of the US/UK hard rock variety, or they go for that "turn the amps to 11" stoner pseudo-metal sound. There are fewer bands that are making a try for the true progressive rock era sound of the early 70s era. I don't mean the all-in-proggy-prog Anglagard type either, but rather the more common sound of the day coming from Sweden like November, Saga, Flasket Brinner, and Trettioariga Kriget. There's a real psychedelic element to Pocket Size's sound as well, and that can only be considered a plus to the UTR's world. The band themselves seem to possess a confused identity. In effect, the group is the vision of guitarist Peter Pedersen. 

Depending on which site you are reading (including their own), you're likely to see the band listed as Pocket Size, Pocket Size Sthlm, or Pocket Size Stockholm. No matter, as what's most important is that Pedersen brings in no less than 9 participants for his creative work. So this isn't a solo work with a monolithic viewpoint - or worse - a sterile digital sound. Not even close. What you get here is exactly what you would expect from a studio effort circa 1972, complete with all the requisite analog instruments and a certain je ne sais quoi attitude. Hammond organ, saxophone, electric guitar with a multitude of effects, spacey vocals (much of it in glorious Swedish), theremin, vibraphone, and flute give one an idea of what to expect. Put that together with a planned structure and a few melodies, a handful of complicated breaks, and some solo sections. 

This was the way music was presented years ago, when the last thought on Earth was obtaining a radio hit or falling in line with whatever scene a band was perceived to be associated with. A knowledge of jazz, classical, blues, and early rock and roll was all that was needed - and a strange desire to actually progress from there. 

Give me more of this."

Review "The new album Exposed Undercurrents by the Swedish musical mercenary squad Pocket Size Sthlm is not just a little psychedelic ditty one can enjoy on a lazy afternoon. No, this experimental jazz infused adventure desires your full attention. 

The man behind this endeavor is Peter Pedersen who has enlisted the aid of a multitude of artists from both sides of the Atlantic Ocean to help him surf these newly found undercurrents. 

It is a slippery ride that feels forced on a few moments but generally comes across like that tightrope acrobatic you once knew that loved his drink and drank his vodka like he was on a mission. Which is a dangerous mix that will sooner or later lead you to cross the wrong wire at the wrong time. And on some of those days you will be lucky and only break a finger or two and make a fool of yourself. But luck is a very thin wire between survival and disaster, and not many people can keep their balance. Peter and his band of brothers seem to be experts in surviving. They maneuver themselves into musical Cul-de-sacs where you think there is no way left to go. But they then manage to either find tight little hole to squeeze through or just turn around and stampede the way they came in from. This is high art and not to be taken lightly. 

This is a festive and highly fluid way to arrest a certain undercurrent of life. Not to hold it fixed for future generations but to expose it now for entire world to see. 

Or at least the lucky few who knew and who will understand…"

"O.k., this was spaced. Some kind of psychedelic ’70s prog rock with lyrics in both English and Swedish, as well as some instrumental songs too.

I like when they sing in Swedish, because then they reminds a little of NOVEMBER and some of the modern retro rock bands we have here in Sweden. But the question is if this band isn’t on their own level though. Improvise and jam seems to be an important part of the show.

But I think I like this stuff. Do you have any mushrooms?"

How about a "riff from Hell..." or "...divinely composed, masterful!". Four out of five stars. Time to practice your french!

"Pocket Size Sthlm est l’enfant du guitariste et compositeur suédois Peter Pedersen. Après un premier album, The Hornplayer from the Milky Way… (2010), déjà bien frappadingue, voici notre Nordique qui revient avec un second opus tout aussi allumé. Et ça démarre en trombe avec un riff d’enfer, bass-saxo-guitare, entre King Crimson et Gong sur "Halo", qui alterne les passages lents animés par le vibraphone et le rappel du riff, gouleyant !

"Orbits" et sa sublime flûte sur fond d’orgue Hammond retourne sur les terres d’un canterbury jazzifié rappelant aussi les sonorités des premiers Moody Blues. La basse de Lars Ekman illumine le tout de feeling chaleureux et Rasmus Svensson-Blixt mène le monde aux deux baguettes. Instrumental fatal ! 

"En Kamouflerad Önskan", chanté en suédois, insiste sur le rôle de la magnifique flûte de Kristian Brink, l’orgue de Leo Lindberg, et Pedersen y distille ses premières véritables interventions enlevées à la guitare. Les parties chantées s’intègrent parfaitement dans un ensemble plutôt rock qu’on apprécie à fort volume… 

"Evil Lullaby" donne la part belle aux saxophones et le mélange canterbury crimsonien donne des ailes à l’ensemble instrumental avant un break expérimental à mi-parcours où le thérémine se fait doucement entendre avant de s’envoler derrière un nouveau riff cramoisi ramenant en coda sur l’introduction: divinement composé, magistral!

"Horwood House" s’invite comme une intro du Yes des Tales from Topographic Oceans, court moment quasi free jazz qui s’enchaîne avec la mélopée inquiétante de "Windmill" aux accents d’un vieux Pink Floyd. La subtilité du thérémine de Lisa Ekelund accompagne magistralement un chant doublé qui abandonne la piste au riff pour mieux revenir par moments. Diantre, les fantômes de Kevin Ayers et Syd Barrett dansent sur ce morceau, un des mes préférés avec ses cris en arrière-salle ! 

"Pickle Guys" nous envoie chez un Zappa du meilleur cru, où l’humour jouxte la dextérité et les mélanges les plus piquants ! 

"FM" lorgne vers un Carlos Santana sautillant, pour un court instrumental délivré par le quatuor de base : guitare-orgue-basse-batterie : groovy, sans excès… L’orgue Hammond ouvre un 

"Chromosome" vibrant que vient illuminer la flûte sur un ensemble psychédélique à souhait. L’orgue soutient la ligne de chant, on revient en plein à la fin des 60s – début des 70s, Soft Machine s’invite en nos mémoires, Pedersen triture une guitare spatiale en fond, on plane à 15 miles au moins, jusqu’à l’envolée de l’orgue sur une rythmique incantatoire quasi vaudou ! 

"Berlin", et ses arpèges saturés permettent à Leo Lindberg de nous délivrer une leçon de Hammond comme on n’en entend plus guère. C’est chaloupé, on part aisément vers des contrées étranges, à moins que ce ne soit direction les bas-fonds de Neukölln… L’album se termine sur 

"Sagan" qui retourne au Floyd originel, mais chanté en suédois, à une inquiétante étrangeté d’où émerge au final le saxo schizophrène de Brink, s’éteignant petit à petit sans qu’on puisse le retenir malgré nos appels… C’est terminé ! En attendant une nouvelle vidéo promise par Pedersen, voici une version live déjantée et en formation réduite d’un titre du premier album… 

A la fin de l’exposition de ces courants sous-jacents, on reste pantois dans les volutes des élucubrations magistrales de Peter Pedersen et de ses acolytes de Pocket Size Sthlm. Une invitation au voyage, à l’instar d’un artwork de toute beauté, à laquelle il est difficile de ne pas répondre favorablement, comme une irrésistible pulsion à prendre le dernier bateau pour Valinor…"

"Pocket Sizes ”Exposed Undercurrents” (egen utgivning) är nu rätt in i den progressiva pulsådern, med friska, breda arrangemang, en instrumentpark värdig Necromonkey och med rätt stora doser psykedeliskt stjärngrus överströdda och improvisationslusta som bara bär och leder framåt. 

Förra skivan konstaterade jag såsom varande rena experimentverkstaden beträffande de genreinfluenser som dök upp och försvann under lyssningen, bytte platser, skapade intresse, men den nya skivan är mer av karaktären lätt-att-bli-golvad-av eftersom den, rätt eller fel, mer står på egna ben. Visst är influenserna där, men det är de ju alltid, om man ska vara ärlig, i all lyssning: litet Gentle Giant här, litet Savage Rose där, litet Merit där – och lp-formatet är definitivt för kort för Peter Pedersens projekt, i mina öron, för jag tillhör den, troligen växande, skara som bara vill att det ska fortsätta, att Pocket Size ska fortsätta överraska och njutningsfyllt reta mina progdränkta öronvindlingar.

Utmärkt är ett rimligt betyg. Slottsskogen nästa år?"

- Jan-Erik Zandersson, Universum Noll 2014

Exposed Undercurrents - Cover