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When punk had risen up and sent the rock establishment off to the guillotine, everybody cheered and danced in the streets. But, just a year on, it was evident that the old doctrine had simply been replaced by a new one.

The alternative music scene in the spring of 1980 consisted either of conservative three-chord punk or dead serious goth. Everything gave off a stink of sweat and beer.

Originality was lost. There were no new ideas. All the bands' musical expressions had become as predictable as their clothes and attributes. Going to a show, you'd know what the artists would sound like the moment they hit the stage.

It was at this moment I saw on Kitchen & the Plastic Spoons for the very first time. It was as if somebody had distributed musical instruments to a wandering circus troupe.

When the drummer played, liquid ran from the corners of his mouth. Not until I interviewed them for my fanzine a month later, did I discover that it was toothpaste and not rabies.

The singer acted in a way that made you want to push forward to get a better look and at the same time stay at the back, in case she was going to explode – or implode.

And they didn't sound like any music I'd ever heard, with the possible exception of the very first singles by Devo and Pere Ubu, two bands from American fly-over states who created their truly anarchic sound long before punk grew into Punk Rock and acquired Rules.

This was real underground music, not content with staying under ground. Music wanting so badly to reach the next stop – that light at the end of the tunnel – that it pushed and shoved all the way to the first carriage of the subway train and stood hammering on the door to the driver's cabin. The lyrics were never audible when Kitchen & the Plastic Spoons played live, and just barely on their two singles, but the song titles alone set the band apart from all contemporary Swedish and European acts. When everyone else sang about how depressed they were, Kitchen & the Plastic Spoons countered by everything being “Fantastic” and wanting to give “Icecream to god”.

The group burned their candle at both ends. Before even releasing an album it was all over. But the soon coming compilation shows their energy and attitude to be just as liberating and unusual today.

Jan Gradvall, Stockholm, November 2006



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We like to present our new bass player, Sara Wilson. Known for playing a role in First Floor Power, Sir Eric Beyond and the Avant Garde and with her sister Jenny Wilson.

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Kitchen and the plastic spoons, Bonnier Konsthall 090428

Happy Funeral 2009



Wrong Selection 2009





Ice Cream to God at the Late Bar 2009





Happy Funeral 1980






..Hey Yo...Lets Go!!

Fejjan Förewer!!!..