“The Lord of Mushrooms” by Peter Lindahl.

And if you want to see some more of his
please click on the image!



In Stockholm back in 1980, Aladdin’s Lantern was formed by Peter Lindahl, Mikael Gejel and Ulf Hansson. Over the next decade, various musicians came and  went  of  which  Karin  Langhard-
Gejel was one and another was Stefan Andersson.

The style in which they played was mainly Middle Eastern, their playlist featuring both traditional numbers and material written by some of the  mem-
bers themselves. The performances of Aladdin‘s Lantern included all sorts of assignments like accompanying “belly dancers” and playing at clubs and festivals.

By the entry of the nineties, they had switched from being a part time live act to becoming a band more or less confined to the studio environment. Around ’93 the name Aladdin’s Lantern was swapped for Labyrinth and in ’94 to In The Labyrinth.


Peter LindahlI like to blend things and not worry about stylistic accuracy too much. It’s nice to fall out of expectations and to get away from the upbeaten track laid out by the music trade. Nearly as long as I can remember, I’ve been busy putting music on to tape. However, at some phases of my life, I’ve been involved in a couple of live acts.
To find out more about me and my doings please  click on the image of the guy in front of the steam engine wearing a psychedelic shirt! By doing so you´ll enter the PETER LINDAHL section of this website.

Peter Lindahl, August 05


Oriental dancerOne very important source of inspiration for In The Labyrinth is Turkish popular music, referring mainly to artists of the sixties up to the early nineties. Other influential styles are traditional songs of the Middle East, Greek Rebetiko and Indian classical music with artists like Ravi Shankar. Even so called Bollywood has had its impact, also the Italian score composer Ennio Morricone and Goran Bregovic from former Yugoslavia. A wide array of folk loristic styles ranging from the High Andes to Bretagne and Medieval and early classical music (meaning renaissance and baroque) have left a mark; psychedelic and innovative rock from the sixties too, especially works like The Beatles Revolver and Sgt Pepper, George Harrison’s Wonderwall music, Pink Floyds The piper at the gates of dawn, likewise The Beach boys Pet sounds and Brian Wilson´s Smile. Moving into the seventies, one musician/composer with a huge influence was Bo Hansson, least to mention his first two albums The lord of the rings and The magicians hat and also Mike Oldfield with gems like Ommadawn, to name just a few.


Studio equipment which over the years has been in use during the ITL recording sessions comprises both  vintage technology, including an EMI Mark II mixing board (which is a close relative to the console that the Beatles used in their productions), to modern computers and a RADAR II (Otari) hard disc recorder. Old trademarks like Nuemann, API and Neve ensure to maintain the old values of sound, the warmth and the clarity which is essential to the production even though modern computerized  technique is also in use along the line.


Of course the instruments used to create the sound are equally important or if not even more vital, among these being the mellotron which ranks high on the list with its haunting and melancholy sound as well as a wide variety of flutes originating from different parts of the world, but also stringed instruments, percussion, woodwinds, violins,  viola da gamba, acoustic and electric guitars, bass, bells, vocals, FX, etc. 

Håkan Almkvist working his way through one of many sessions in the studio, on this occasion overdubbing his sitar on to a  recordings later to become one of the tracks on  Dryad.
  Peter in the studio

    Peter Lindahl playing acoustic guitar and sing-
ing at a gig in Copenhagen, Denmark, 1983.

         The zither (citra) used on
          many ITL recordings.


Söra studio
Home made advertisement of the old com-
mercial studio which was  located just north east of Stockholm during the mid to late 80s.


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And here are a couple of furry, heavy dudes beating the daylight out of some of the studio keyboards this including an old sampler/ synthesizer and the mellotron.

Söra studio
It was here that Peter began collecting his many technical items of which some have been in use to this day.