There are albums that simply transcend time. They belong to that rare dimension where music ceases to be a product of its era and becomes something pure, almost suspended — waiting to be rediscovered by those who still listen beyond fashion and genre. “Stolen From Time,” the third album by Norwegian formation Popol Ace, is precisely one of these treasures: an extraordinary work that returns to us today thanks to the essential reissue by Musea Records, restoring a long-lost masterpiece of the Scandinavian Progressive Rock scene. Originally released in 1975 on Polydor, “Stolen From Time” marked the creative and conceptual maturity of a band that had already stood out in the early ’70s for their refined approach and compositional sensitivity. Formerly known as Popol Vuh — a name they were later forced to change to avoid confusion with the German electronic group — Popol Ace embodied a vision of Progressive Rock that was both melodic and Symphonic, rich in warmth yet meticulously arranged. Led by the charismatic Jahn Teigen, whose voice alone could shift from theatrical drama to delicate melancholy, and supported by Pete Knutsen (keyboards), Arne Schulze (guitar), Terje Methi (bass), and Thor Andreassen (drums), the band shaped an album that is both intimate and grandiose, elegant yet spontaneous. It’s the kind of record that reveals something new with every listen — layers, nuances, and a craftsmanship of sound that few groups of that period managed to achieve with such natural grace. From the very first notes of “Bury Me Dead,” it becomes clear that “Stolen From Time” aims for something higher than mere technical display. The track opens with a bold rhythmic section and expands through melodic progressions where guitar, keyboards, and winds intertwine seamlessly. It’s an entrance that sets the tone for the entire album: ambitious, emotional, and perfectly balanced. “Today Another Day” continues along the same path, offering one of the most inspired melodies of the record. The interplay between the voice and the instrumental layers evokes a sense of motion — a journey through light and shadow, always elegant, never exaggerated. Pieces such as “Mr. Bigalow” and “Soft Shoe Dancer” reveal the band’s ability to blend Symphonic sophistication with Rock immediacy, while “I Can See Tears” stands out as one of the most moving compositions of Scandinavian Progressive Rock, a song where time seems to slow down around the expressive warmth of Teigen’s vocals. And then comes “Suicide,” the closing track: a small suite of over eight minutes that sums up everything the album represents — introspection, contrast, and emotional tension resolved into pure beauty. It’s a finale that leaves the listener suspended between admiration and melancholy, aware of having experienced something special. It’s often tempting to trace parallels between Popol Ace and the great British names of the era — Genesis, ELP, Camel — but such comparisons only partially capture the essence of “Stolen From Time.” Because the truth is simple: Popol Ace sound like Popol Ace. Their music carries that unmistakable Northern light — crystalline yet introspective, melodic yet full of restraint. The arrangements are impeccable. Each section breathes with clarity: the keyboards outline harmonic arcs of rare elegance, the guitar lines emerge and recede like waves, the rhythm section supports with precision without ever overstepping, and the winds add that touch of color that turns every passage into a small chamber piece. There’s a natural dialogue between instruments that feels both organic and deliberate, a conversation where every detail matters.
The Musea reissue
The 2025 reissue by Musea Records restores the album to its full sonic dignity. The remastering enhances what was already a beautifully produced recording, giving new life to frequencies that had been slightly muted in past editions. The sound is now more open, balanced, and three-dimensional: the warmth of the analog source is preserved, while clarity and dynamics gain depth. Listening to this version is like removing a veil from a painting — suddenly the colors return to their original brilliance. The Mellotron and keyboard textures regain space, the guitar lines emerge with new definition, and the subtle work of winds and percussions becomes once again perceptible. Musea’s effort is not just technical, but cultural: it’s about safeguarding an artistic legacy that deserves to be experienced in its purest form.
“Stolen From Time” is more than a record to collect — it’s a story to experience. It belongs to that narrow circle of albums that remind us why Progressive Rock continues to fascinate generation after generation: because beyond the complexity, beyond the virtuosity, there’s emotion — a genuine and timeless sense of beauty. Every track here contributes to a narrative flow, a concept not declared but clearly perceived. The album speaks of time, memory, and the fragile balance between creation and loss. It’s a work that reflects a mature vision of composition, one that values silence as much as sound, subtlety as much as explosion. Listening today, fifty years later, it still sounds incredibly alive — immediate, emotional, relevant. Musea’s decision to bring it back into circulation is, therefore, more than a reissue: it’s an act of cultural preservation, a reminder that Progressive Rock is not only history, but continuity — a living art that still knows how to move and inspire.
If there’s one thing “Stolen From Time” teaches us, it’s that great music never really disappears. It may fall silent for a while, hidden on a dusty shelf, waiting for someone to rescue it — but when it returns, it does so with all the force of memory and renewal. This album is precisely that: a hidden masterpiece finally restored to light, rich in details, passion, and integrity. From the precision of the arrangements to the intensity of the performance, everything here speaks the language of authenticity — that rare combination of craft and heart that defines the true spirit of Progressive Rock. In short, “Stolen From Time” is not only one of the finest rediscoveries of recent years — it’s a necessary listening experience for anyone who loves the art of sound in its most complete, human, and timeless form.
Thanks to Musea Records, this music is once again alive — as vibrant, emotional, and modern as it was in 1975.
Tracklist
Purchase “Stolen From Time” CD/LP version HERE
Tracklist:
01. Bury Me Dead (5:57)
02. Today Another Day (5:39)
03. Jester (3:58)
04. Soft Shoe Dancer (4:42)
05. Mr. Bigalow (4:13)
06. Sweet Tune (5:02)
07. Sleepwalker (5:24)
08. I Can See Tears (6:01)
09. Suicide (8:20)
Lineup
Jahn Teigen / Lead & Backing Vocals, Glockenspiel
Arne Schulze / Electric, Acoustic & 12-String Guitars, Fx (9)
Pete Knutsen / Electric & Acoustic Guitars, Grand Piano, Fender Rhodes, Hammond, Mellotron, Clavinet, Harpsichord, MiniMoog, Backing Vocals
Terje Methi / Bass, Backing Vocals
Thor Andreassen / Drums, Percussion
With:
Sylvette Allart / Ondes Martenot (4,6,7)
Richard Raux / Tenor & Soprano saxes (3)
Inger Lise Rypdal / Backing Vocals (7,9)