Death Of The Moon compilation left off, with Objekt 2 (the title track) offering some lo-fi string-sawing from 1962, then there's only one further piece from that decade, the choppy, echoing voice experiments of Plasibenpius (1968-9).
Four pieces from the 70s follow, where Lindblad appears to have taken a darker, more unsettling turn. The burbling and whirring electronics of Hälften Av Någonting are periodically interrupted by a disturbing tape recording - possibly from a horror film, but who knows? As the Swedish title seems to suggest, it's like we're only getting 'half of something'. Frage, from 1972, and Maskinlandskap, 1975, both suggest early Cabaret Voltaire or Throbbing Gristle - the latter title in English is, appropriately, Machine Landscape; and Tora (1972-3), given Wednesday's sad news, is now sounding rather poignant to my ears - it could've jumped in straight from the recording sessions for Can's Aumgn.
We then jump forward a decade for the last three tracks, where Lindblad seems to have got more into synths. The tech might be more modern, but the recording is still slightly on the lo-fi side, making Innan Konsert, the longest piece here at 12 mins, sound like a bedroom synth aritiste of the very highest calibre, taking their Berlin-school influences somewhere unique. Lagun I Uppror (lagoon in revolt) (1987) is as supremely bizarre as its title. A sequencer pulse takes on some wild percussion rhythms and synth squeals in ever-escalating combat, before finally calling a truce to the unhinged frenzy right at the end. Lastly, Dimstrak (1987-88) is perhaps the oddest piece of all - it's practically a sweet little new-agey folk song featuring flute-like synth accompanied by acoustic guitar. The guitar plays the final melody just after the three-minute mark, wrapping up this fascinating collection in possibly the most weird and wonderful way possible.