Fanfare Pourpour & Lars Hollmer – Karusell Musik (Canada/Sweden 2007) [AvantProg] @224

****DELETED****
Brilliant composer and accordionist Lars Hollmer performs his wonderful tunes with a 20 piece orchestra, with the arrangements by Jean Derome. Great melodies, wonderful orchestrations and arrangements and a the amazing sound that only a large ensemble can produce. Highly recommended!
“Recorded “live” in the studio, Karusell Musik delivers 17 compositions by and with Swedish accordionist Lars Hollmer, orchestrated by Jean Derome for the Fanfare Pourpour. The Fanfare — an authentic large dance ensemble like they don’t make ’em anymore, with a brass section, saxes, clarinets, guitars, banjo, accordions, violins, and percussion — invites you to discover or rediscover the songs and tunes of Lars Hollmer. Lars Hollmer has travelled the world with his timeless melodies full of naive beauty and dancing lyricism, in a number of musical projects. Egged on by Jean Derome, the Fanfare Pourpour embarked on this adventure with Hollmer. In October 2006, Hollmer was back on Québec soil for a week of rehearsals and recordings: the Fanfare backing up Lars; Lars writing for the Fanfare. A double rapture where the Swede’s tunes find a new home and the Quebecois Fanfare is given pieces that were clearly meant for it.

01 – Ännu Ingen Pelle
02 – En grekisk faster
03 – Änte Flöttar ja te sjöss
04 – Arvevals
05 – Karusell musik
06 – Inte Quanta
07 – Avlägsen strandvals
08 – Skiss Mellan Brest och Segosero
09 – Experiment
10 – Cirkus 1
11 – Cirkus 2
12 – Sarasnoa
13 – Eyeliner
14 – Det måste bli gjort
15 – Boeves Psalm
16 – Pompen
17 – Simfågeldans

Lars Hollmer: Accordion, Composer, Vocals, Voices, Melodica, English Translations

Jean Derome: Flute, Piccolo, Sax (Alto), Sax (Baritone), Orchestration, Mixing, Musical Direction
Luzio Altobelli: Accordion
Lou Babin: Accordion
Suzanne Babin: Clarinet
Marie-Soleil: Bélanger Violin
Eric Bernard: Guitar, Mandolin
Guido Del Fabbro: Violin, Violone
Jacques Duguay: Percussion, Grosse Caisse
Normand Guilbeault: Bass, Contrabass
Roy Hübler: Banjo, Guitar
Nicolas Letarte: Cymbals, Caisse Claire
Stéphane Ménard: Sax (Baritone), Sax (Tenor)
Pierre Emmanuel Poizat: Clarinet, Clarinet (Bass), Vocals, Voices
Jean Sabourin: Trumpet, Sousaphone, Trumpet (Bass)
Pierre Tanguay: Percussion
Némo Venba: Trumpet, Vocals, Voices
Claude Vendette: Flute, Sax (Tenor)

Lars Hollmer & Yuriko Mukoujima – Duo – Live and More (Sweden/Japan 2004) [AvantProg] @320

One of Lars Hollmer’s most exciting projects of the 2000s is undoubtedly SOLA, featuring six Japanese musicians who bring their own fiery and energetic take to the Swedish composer/keyboardist’s music. Hollmer’s most well-known collaborator in SOLA is probably drummer Tatsuya Yoshida, the exemplary percussionist from the crazed avant bass/drums duo Ruins, but everyone in the group is highly skilled and uniquely attuned to Hollmer’s musical world, perhaps none more than violinist Yuriko Mukoujima. She can be beautifully expressive and even delicate, well suited to Hollmer’s “folk” side, but also summon up powerful solos and thematic statements during those times when SOLA assumes the proportions of a Mahavishnu-esque monster.

Hollmer was definitely impressed with Mukoujima, and after the September 2001 recording of the SOLA: Lars Hollmer’s Global Home Project CD, he returned to Japan to perform in a duo with her. They played together at the Tokyo venue Super Deluxe in March 2003, and the concert was recorded. Hollmer also continued a long-distance collaboration with Mukoujima after returning to Sweden, playing three songs at the Chickenhouse and having the violinist add her parts in Tokyo. The results are on this gem of a mini-CD (seven tracks and a bit less than 30 minutes in length), which reflects a warm and engaging musical partnership and an opportunity to hear a bit of Hollmer’s music in yet another context.

The live program, with Hollmer on accordion, keyboards, melodica, and vocals and Mukoujima on violin and assorted effects and percussion, includes a number of pieces from previous recordings, rendered with their own intimate appeal. The theme to “Augustins Tema” first appeared in “Augustin Lesage,” Hollmer’s 17-minute multi-tracked suite that closed out the 1992 Hardis Bruts various-artists compilation on the In-Poly-Sons label. “Augustins Tema” was further developed with a multifaceted nearly orchestral arrangement on Hollmer’s Utsikter CD in 2000; some of the details of this version are lacking in the duo setting, but the tune still works nicely as a sort of accordion/violin European folk-classical near-waltz poised halfway between the ballroom and the beer hall. “Höstvisa” (Autumn Song) can be heard in another live version on the Looping Home Orchestra’s Door Floor Something Window complete with experimental sonic embellishments from the likes of Fred Frith and Jean Derome; here it is a straightforward lullaby with a stunningly beautiful violin part from Mukoujima — closer in spirit to the original heard on Tonöga, with the violin matching the melodic soprano saxophone embellishments played by future Flower Kings contributor Ulf Wallander on the original.

One shouldn’t expect formality from Hollmer on-stage — he often performs barefoot, after all — so a false start to the pulsing electric keyboard bassline of “Quickstep” (another LHO piece from Door Floor Something Window) becomes an opportunity for everybody to have a laugh at nobody’s expense. “Through Glass,” one of Hollmer’s most darkly beautiful pieces, is an interesting choice to be tackled by the duo and probably could have done without the echoing sound effects, but all is forgiven after Sven Aarflot’s haunting bassoon part from the original (on Vendeltid) is played and embellished upon by Hollmer on the accordion and Mukoujima joins in with appropriately atmospheric violin lines. On the three studio-recorded pieces, Hollmer and Mukoujima’s empathy effectively erases the geographical distance between them; these tunes are interspersed amidst the live tracks such that a look at the back-cover recording details is necessary to determine whether the musicians are a few feet or half a world apart. The rollicking Balkan/gypsy-flavored “Sväng Bättre” is a particularly effective display of nimble-fingered accordion and violin dexterity.
Dave Lynch – AMG

01 – Augustine Tema
02 – Tama-Chan Snoa
03 – Höstvisa
04 – Quickstep
05 – Sväng Bättre
06 – Through Glass
07 – Wave To C

LARS HOLLMER: accordion, keyboards, melodica, voice, compositions
YURIKO MUKOUJIMA: violin+effects, water whistle “without water”, basket work nut rattle, ankle jingle “sleigh” bells

Lars Hollmer – Vandelmässa (Sweden 1993) [AvantProg] @192

Lars Hollmer is the keyboards player and accordionist of SAMLA MAMMAS MANNA, a musical legend who once was, during the Seventies, the swedish representative of the Rock In Opposition movement. He was also involved with various bands, RAMLOSA KVALLAR, VON ZAMLA or THE LOOPING ORCHESTRA amongst others, without forgetting his own solo career. His works mix folk music, Progressive rock and new musics. His music is full of joy and freshness, blending simplicity and research. Published on the defunct AYAA label, “Vandelmassa” is now reissued on the Gazul label. This is a collection of songs composed between 1972 and 1993, revisiting all the stylistical eras he experienced. An ideal introduction to the particular universe of Lars HOLLMER. To be discovered !

Lars Hollmer: accordion, keyboards, percussion, melodica, vocals
Eino Haapala: guitar
Gabriel Strand Hollm: percussion, vocals
Hasse Bruniusson: drums
Lars Krantz: bass
Olle Sundin: keyboards
Olof Hellberg: drums
Rinda Strand Hollmer: vocals
Ulf Wallander: soprano saxophone, flute
Wolfgang Salomon: alto vocals, bass, percussion

01. Träumeri (4:20)
02. Va pappa sa (0:50)
03. Växeltango (6:01)
04. Gåvan (3:23)
05. Sväng (2:19)
06. Gospel F.A.T. Jesus (3:22)
07. Tittut (0:21)
08. Dä ögon (2:17)
09. Pompen (3:09)
10. Vattenmusik (1:34)
11. Valgrotta (1:50)
12. Celestavals (3:10)
13. Alicetheme II (1:35)
14. Teatime (Original) (0:59)
15. Doina (3:48)
16. Tom lilla Tom (0:47)
17. Unaffair (3:20)
18. Okformeimpro, for you? (4:00)
19. Harmonium I (3:13)
20. Sarasnoa (1:47)
21. Sometime (3:25)
22. Südaf (4:37)
23. Årstidsvisan (3:33)
24. Franksa valsen (2:36)
25. Novelty (5:04)
26. Door (0:02)

Lars Hollmer – XII Sibiriska Cyklar (Sweden 1981) [Avant-Prog-Folk] @320K

“The title XII Sibiriska Cyklar allude to the story about the Siberian farmer, who was living so dreadfully far away from everything and everybody, that he spent most of his time walking to his every destination. However, when he at last became tired of these boring time-consuming walks, he sat down and eventually invented a bicycle! Struck with rapture for his ingenious invention, he anxiously straddled his bike and rode into the nearest town. He intend to show and to apply for a patent for his wonderful innovation. When at long last, he reached the town, he shocked to see thousand of bicycles zooming along in the drizzle. Under the grey skies, he then suddenly dies of a heart attack. I don’t believe there is a any truth to this story, even though it is worth considering… Anyway I have stolen it from Hasse…”
All songs on XII sibiriska cyklar are created by Lars Hollmer, except the lyrics of “Ung Harald” which was written by Dan Andersson and performed by Tomas Ladberg.XII sibiriska cyklar was recorded in the Chickenhouse outside Uppsala, on Teac 8 track recorder, in June through October 1980 and in March 1981. “Kamelsväng” is a home recording from 1975 and “litet Piano” was recorded on a cassete recorder in 1976. The final mix was made on one hot day and night by Anders Lind and Lars Hollmer in the MNW Studio, in April 1981, and later in the Chickenhouse by Lars Hollmer. XII sibiriska cyklar was originally released on vinyl by Silence Records in the summer 1981. Covers by Lars Hollmer.

All instruments and vocals by Lars Hollmer

01 – Avlägsen Strandvals (2:39)
02 – Piano De Jugugte (2:40)
03 – Hajar Du Idealfamiljen (1:36)
04 – Endlich Ein Zamba (2:36) (Sample in right panel)
05 – Inga Pengar (2:25)
06 – Kamelsväng (3:11)
07 – Ja Änte Flöttar Ja Te Sjöss (1:35)
08 – Boeves Psalm (2:30)
09 – Jag Väntar På Pelle (2:44)
10 – Bluesen (2:05)
11 – 44 Sekunderköpt Speldosa (0:44)
12 – Ung Harald (2:43)
13 – Litet Piano (2:28)

Lars Hollmer – Vill Du Höra Mer (Sweden 1982) [Avant-Prog-Folk] @320K

Vill Du Höra Mer was recorded during the Spring 1982 (with one exception) in the Chickenhouse, on the same old 8 track recorder. It was mixed by Tomas Gabrielsson and Lars Hollmer in the Chickenhouse, in July 1982. All instruments and vocals by Lars Hollmer, except on “180 sekunder hemma” where Alva, Gabriel, Johannes Strand/Hollmer and Saralotta Jönsson take part. The following instruments have been used: Yamaha electric grand piano, Neco and Hohner accordions, Hohner electric organ, Korg, Tage’s chime of bells, Allah banjo, guitar, mandolin, kalimba, bottles, mother’s crystal, Pelle’s congas, Hasse’s snaredrum, cymbal together with various saucepans and plink-plonk. Tomas and Kerstin are sitting in “Baldis” bar.
Vill Du Höra Mer was originally released by KRAX in August 1982.Cover by Lars Wikfeldt and Pelle Engman.

Lars Hollmer: accordion, keyboards, drums & percussion, vocals, everything else.

01. Starlep Signs (3:12)
02. Sweet (1:34)
03. Indojazz (3:10)
04. Soldaten (0:47)
05. En Slags Orfeo (2:52)
06. Övergång (2:33)
07. Baldis (2:07)
08. Retsicka (4:44) (Sample in right panel)
09. Dragfragment (1:48)
10. Glasmusik/Akarondo (10:05)
11. Kuckeliku (1:55)
12. Vill du Höra Mer (3:12)
13. 180 Sekunder Hemma (2:57)
14. Humanoid Robottango (2:37)
15. Finalvals (1:54)

Lars Hollmer – Tonöga (Sweden 1985) [Avant-Prog-Folk] @192K

For 1985’s Tonöga, Lars Hollmer brought a few friends into the Chickenhouse to help out here and there — notably Zamlas guitarist Eino Haapala and drummer Hans Bruniusson, as well as trumpeter Kalle Eriksson and soprano saxophonist Ulf Wallander. The musical palette is even wider and deeper than the preceding Från Natt Idag, ranging from the full-on Zamla prog of “Slutet Pa Tangon” (sounding like a Familjesprickor outtake) to the gentle lullaby of “Höstvisa,” the tick-tocking percussion experiment of “Klipp en Apa,” and the nearly funky worldbeat of “Karlafrique.” Elsewhere, meters and harmonics are particularly adventurous in “Lilla Pas du Valse” and the title track, “Damernas Rumango” is a fairly straightforward prog tango, and “Arvevals” is an accordion waltz accented by a spectral flutelike melody. As the ever-changing program wraps up with “Simflageldans,” a tune as engaging as anything dreamed up by Simon Jeffes at the Penguin Cafe, and the dramatic “Harmonium III,” with an emphatic march-like cadence and dramatic crescendo, one could only guess what Hollmer might dream up next, and it turned out to be a leap into bandleading with the Looping Home Orchestra’s 1987 release, Vendeltid. [Several selections from Tonöga were later included in the 1993 single-CD Hollmer comp entitled Lars Hollmer 80-88 (later re-released as The Siberian Circus), and in 1998 Resource Records included the entire album in the very worthwhile two-CD set Tonöga/Från Natt Idag/Vendeltid. Among the bonus tracks on this set is a hyper live version of “Lilla Pas du Valse,” retitled “Alfa Beta Pas du Valse” and somewhat mysteriously presented as a bonus track to Vendeltid rather than Tonöga.]
-Dave Lynch (All Music Guide)-

Another amazig solo album by Lars Hollmer of Samla Mammas Manna. The album features a lot of styles and emotions, all delivered with unique Lars Hollmer style. I would say the first part of the album is more experimental (Onk Kch Onk Kch being the example), the second part contains more melodical and traditional music which is a mixture of folk, prog, RIO, jazz, tango and God knows what else. There is a lot of accordion all over the album, my favorite tracks are Lilla Pas du Valse & Harmonium III, but the rest is also very solid. Having heard only 2 Hollmer solo albums (this and Vendeltid) I must admit that Vendeltid is a little bit omore consistent than Tonöga. 3.5 stars really but I like it very much so I give it 4.
-Yurkspb2 (Prog Archives)-


Lars Hollmer: accordion, keyboards, vocals
Guest musicians:
Alva Strand Hollmer: vocals
Eino Haapala: guitar, mandolin
Gabriel Strand Hollm: vocals
Hasse Bruniusson: drums
Kalle Eriksson: trumpet, congas
Mattias Jonsson: vocals
Ulf Wallander: soprano saxophone


01. Onk Kch Onk Kch (3:44)
02. Slutet På Tangqn (3:25)
03. Höstvisa (Autumn Song) (3:28)
04. Klipp en Apa (2:53)
05. Karlafrigue (3:55)
06. Lilla Pas du Valse (2:26) (Sample in right panel)
07. Tonöga (3:02)
08. Damernas Rumango (3:25)
09. Arvevals (2:42)
10. Skiss M. Brest O Segosero (1:48)
11. Annu Ingen Pelle (1:56)
12. Rindatröst (3:52)
13. Simfågeldans (3:44)
14. Harmonium III (5:27)
15. Originalexperiment (Bonus) (1:19)


(No Covers)

Lars Hollmer – Andetag (Sweden 1997) [Avant-Prog-Folk] @192K

All the depth, beauty, charm, and wonder of Lars Hollmer’s music can be found in 1997’s Andetag, recipient of a well-deserved award from the Swedish equivalent of the Grammys. Although one can hear many musical elements throughout the CD, it is a disservice to Hollmer to describe him merely as a synthesist of diverse genres and styles into some form of pastiche. His compositional sense is too strong for that, matched by his ability to tug at the emotions with the dramatic buildup, the warm textures, and of course the lovely melodies. Listeners unacquainted with the Swedish composer/ keyboardist might conceivably be put off by the initial moments of the first track, “Stråk“, with its dirgelike tempo and orchestral keyboard overlays, which, if dragged out too long, could indeed have been quite a dose of prog-minded heaviosity. But even here, the touches of accordion, bells, and violin leaven any tendencies toward majestic overload and, like so much of Hollmer’s music, impart a light touch. And this is merely an opening vignette for a long and varied journey, ranging from the floating multi-tracked vocal piece “Kvar Om Igen“, with an intimate flavor and melody reminiscent of Robert Wyatt (on a tune like Shleep’s “Maryan”, for example) and “Asianet” (which, as you might guess from the title, melds Hollmer’s keyboard drone, pulsing accordion, and a clip-clopping rhythm to a strong Asian folk-flavored melody — perhaps foreshadowing his future work with SOLA in Japan) to “Cirkus I“, sort of a demented speedy fanfare-polka on steroids. Yet the longer multi-sectioned pieces that smoothly shift gears following their initial thematic statements into new areas of melody, harmony, and rhythm are the true standouts, and make the case that Hollmer should be considered a composer in the league of Piazzolla (or at least what might’ve happened if the Argentinean tango master had somehow wandered into Univers Zero’s Ceux du Dehors session at Etienne Conod’s studio in Switzerland and begun ordering the group to lighten up just a tad). There is a compositional integrity to pieces like “Now“, “Aska“, and the moody closing “Videpiano“, with the listener brought to unexpected yet somehow familiar territory. And to top it all off, there are those melodies that nag at the memory — you’ve heard them before, but where? Certainly never in music quite like this, with the drive of rock and the evocativeness of European folk, along with a seasoning of classical music’s sophistication (but not its seriousness). Andetag is somewhat less quirky than some of Hollmer’s previous solo works — there is a richly consistent sound throughout the album (which includes instrumental contributions from bassist Wolfgang Salomon, violinist Santiago Jimenez, Samlas drummer Hans Bruniusson, and UZ/Von Zamla bassoonist/oboist Michel Berkmanns) and the whimsy is kept in check, and it doesn’t sound as if he reached for the closest kitchen implement within reach to use as a percussive device.
One might argue, then, that Andetag is somewhat less “fun” than Tonöga, for example, but this also represents what Hollmer can achieve when his vision is at its most cohesive: music that is truly unified from start to finish despite 16 individual pieces (from one to no longer than seven minutes in length) and the composer’s globetrotting sense of genre and style. With the typically paradoxical mix of power and understatement, Andetag is pure Lars Hollmer, and an indispensable part of his catalog.
-by Dave Lynch-


DISCOGRAPHY:

Lars Hollmer solo:
XII Sibiriska Cyklar (1981)
Vill Du Höra Mer (1982)
Från Natt Idag (1983)
Joggingcharleston Singel (1984)
Tonöga (1985)
The Siberian Circus (compilation, 1992)
Vandelmässa (1993)
Andetag (1998)
Utsikter (2000)
Autokomp A(nd)more (2001)

with Samla Mammas Manna:
Samla Mammas Manna (1971)
Måltid (1973)
Klossa Knapitatet (1974)
Snorungarnas Symfoni (1975)
Kaka (1999)
Dear Mamma (2002)

with Zamla Mammaz Manna:
Schlagerns Mystik / För Äldre Nybegynnare (1978)
Familjesprickor (1980)

with Von Zamla:
Zamlaranamma (1981)
No Make Up (1983)
1983 (1999, rec. live 1983)

with Looping Home Orchestra:
Vendeltid (1987)
Door Floor Something Window (1993, live)

with Yuriko Mukoujima:
Duo Live and More (2003, live)

Lars Hollmer: Arcordion,Percussion, Keyboards, Vocals
Wolfgang Salomon: Bass, Bass Kalimba, Cymbal
Santiago Jiminez: Violin
Hans Bruniusson: Drums
Michel Berkmanns: Oboe
Alba and Rinda Strand Hollmer: Choir

01. Stråk
02. Kvar Om Igen
03. Now
04. Asianet
05. Tot Brass
06. Cirkus I
07. Cirkus II
08. Försök
09. Flyg O Forget
10. Aska (Sample in right panel)
11. Nya Tag
12. Zwei Kneipe
13. Ovnuserg I+II
14. Samma Dag
15. Teknoloo
16. Videpiano


(No Covers)

Lars Hollmer – Utsikter (Sweden 2000) [Avant-Prog-Folk] @192K

As the calendar moved from 1999 to 2000, the world looked forward to a new millennium and Lars Hollmer continued as he had for the past three decades — gathering with his musician friends at the Chickenhouse to make music that stands outside of time’s passing fads. The result was another fine CD, Utsikter, the 11th disc to be released on Hollmer’s KRAX label. Sonically, Utsikter is one of the Swedish keyboardist/ composer’s lighter efforts, often tending more toward folk and even neo-classical chamber music flavors rather than prog rock, with his accordion and melodica featured more prominently in the mix than electronic keyboards. The album also has more of a “band” feel than Hollmer’s preceding solo CD, Andetag, recalling elements of the Looping Home Orchestra’s Vendelted in its multi-instrumental arrangements, and perhaps foreshadowing Hollmer’s next group, SOLA, although without SOLA’s electric rock and even fusion edge. Many longstanding Hollmer collaborators are important contributors to the overall sound, including several — bassoonist/oboist Michel Berckmans, violinist Santiago Jimenez, and bassist Wolfgang Salomon — who appeared on Andetag but play on a larger number of tracks here. The music is of consistently high quality throughout, beginning with the waltzing “Augustins Tema“, whose theme first appeared in Hollmer’s “Augustin Lesage”, a 17-minute multi-tracked suite that closed out the Hardis Bruts various-artists compilation (dedicated to “raw art”) on the In-Poly-Sons label.
The comparatively sprightly and detailed arrangement here features prominent violin, bassoon, recorder, and accordion; with its evocative melodies and rhythms skirting the edge between classical romanticism and sprightly European folk, this tune would prove lovely even when revisited again by the duo of Hollmer and violinist Yuriko Mukoujima on 2003’s mini-CD Live and More, but the Utsikter version remains definitive thus far. Hollmer permits himself a few moments to cut loose on the melodica over a bubbling groove in the middle section of “Denglad“, but as is often the case with him, most of the CD is thoroughly composed. The intro to “Ambler” is anthemic in its writing yet understated in its delivery — Hollmer at his most quietly powerful — but the tune then segues into an upbeat dance rhythm in a fashion that might surprise only those unfamiliar with this composer’s many left turns. “Lädereld” ambles along the trail in 5/4 cowboy mode, echoing Lasse’s earlier “Starlep Signs” (minus the yodeling!), while the 7/8 “Südaf” improves on the rougher yet still appealing version first heard on the Vandelmässa CD (and also performed beautifully, complete with a wordless vocal part by Maria Kalaniemi, on the Accordion Tribe CD Sea of Reeds). It should be noted that Utsikter has no “drummer” per se (which may have been the impetus for a jokey track like “Drums, mm…“, featuring Hollmer earnestly explaining the positive features of the skins over his decidedly arrhythmic electronic drum bashing). Yet Utsikter is often highly percussive, drawing comparison to Zamlaranamma by the original Von Zamla quartet, which also featured percussion instruments but no one sitting behind a conventional kit. In fact, “Voilapük” — which first appeared on the Volapük album Polyglot in 2000 with a guest appearance by Hollmer — sounds like a Von Zamla rendition with its bassoon and accordion embellishments, its bed of insistent rattling percussion, and a driving 7/8 meter on the vamp. At the CD’s conclusion, “Brev” is chamber music of delicate and wistful beauty, with an underlying two-note motif trailing off in search of resolution it never finds, and the brief title track has a feeling akin to a traditional Celtic air, with a beautiful unison oboe and accordion melody over Hollmer’s orchestral keyboard backing. “Utsiker” segues into the final accordion/vocal lullaby “Nån Kanske Vet” (“Someone May Know”), as Hollmer once again demonstrates that writing and performing music of innocence, warmth, and charm is entirely consistent with artistic maturity. Only the immature would feel themselves too mature to enjoy Utsikter’s gentle conclusion.
-by Dave Lynch-

DISCOGRAPHY:

Lars Hollmer solo:
XII Sibiriska Cyklar (1981)
Vill Du Höra Mer (1982)
Från Natt Idag (1983)
Joggingcharleston Singel (1984)
Tonöga (1985)
The Siberian Circus (compilation, 1992)
Vandelmässa (1993)
Andetag (1998)
Utsikter (2000)
Autokomp A(nd)more (2001)

with Samla Mammas Manna:
Samla Mammas Manna (1971)
Måltid (1973)
Klossa Knapitatet (1974)
Snorungarnas Symfoni (1975)
Kaka (1999)
Dear Mamma (2002)

with Zamla Mammaz Manna:
Schlagerns Mystik / För Äldre Nybegynnare (1978)
Familjesprickor (1980)

with Von Zamla:
Zamlaranamma (1981)
No Make Up (1983)
1983 (1999, rec. live 1983)

with Looping Home Orchestra:
Vendeltid (1987)
Door Floor Something Window (1993, live)

with Yuriko Mukoujima:
Duo Live and More (2003, live)


Lars Hollmer: Guitar, Piano, Arranger, Drums, Keyboards, Programming, Whistle (Human), Melodica, Electronic Drums, Mixing, Main Performer, Mandola, Engineer, Choir, Chorus, Voices, Piano (Electric), Harmonium, Cymbals, Accordion, Percussion
Coste Apetrea: Mastering, Six String Banjo
Wolfgang Salomon: Bass, Guitar, Bass (Electric), Bass (Acoustic)
Santiago Jimenez: Mandolin, Violin, Cajon
Matti Andersson: Flute
Michel Berckmans: Percussion, Voices, Gong, Horn (English), Bells, Recorder, Oboe, Bassoon
Kalle Eriksson: Trumpet
Rinda Strand-Hollmer: Choir, Chorus
Alva Strand-Hollmer: Choir, Chorus

01. Augustins Tema (4:06)
02. Nåt (2:34)
03. Drums..MM. (1:22)
04. Denglad (3:21)
05. Skum (3:00)
06. Ambler (5:01)
07. Lädereld (Leather Fire) (2:45)
08. Nu Räcker Det (It’s Enough Now) (1:19)
09. Lelle Katta (Home Made Holiday) (2:18)
10. Choleric in Geneva (Live) (0:56)
11. Voilapük (3:02) (Sample in right panel)
12. Lat Minut (Lazy Minute) (1:05)
13. Südaf II (3:53)
14. Dron (4:28)
15. Brev (Letter) (5:28)
16. In Limbo (1:41)
17. Utsikter…Nån Kanske Vet (Views…Someone May Know) (3:51)


(No Covers)

Lars Hollmer – Vandeltid (Sweden-1987) [Avant-Prog-Folk] @256K

After four solo LPs brought in in the single-handed attempt Lars Hollmer in the autumn more or less arranged 1986 again volume, which looping Home Orchestra, with which he presented his compositions with concerts in completely Europe. Besides it brought some new numbers in in its Heimstudio, which appeared then 1987 as its fifth solo album together with Sven Aarflot, Sven Jansson, Olle Sundin and Marten Tiselius between autumn 1986 and autumn 1987.

“Vendeltid” offers the typical sounds from the Hollmer sound universe, an eccentric, easily diagonal Folkrock, which stands completely in the RIO tradition of the predecessor projects Samla Mammas Manna, Zamla Mammaz Manna and Von Zamla. Compared with the previous Hollmer disks the whole failed somewhat more rockiger and naturally, since correct volume is here to course, more variedly instrumented.

Beside Hollmers keyboards and further sound producers provided with keys (accordion, Melodika), also often determine the flute and the bassoon of Aarflot the music. Quicker, strange Rocker (the introductory “Spanska trappen” sounds e.g. nearly like 80’s Synthiepopnummer, if the bent clocks and the rhythmically honking bassoon there were not), folkige skirt dances, relaxed sound landscapes (marvelous e.g. the calm “Eyliner” is which like a rivlet of kristallener sounds from the boxes flows), sharp-edged Kammerrocker, bizarre Songs, carried coffee house numbers, adventurous Humpapolkas and avant-garde, nearly wild sections become detached here lively.

An example for this marvelous music is “roundabout music”, which begins with experimental, violent sound thrusts, in order to then change over into a bizarren mourning march, which increases ever more, until the number there-hops nearly merrily, underlaid with knochigen Xylophonklaengen and klanglich determines from the bassoon, before the piece dissolves again in diagonal sound thrusts.

Hollmer has a singular feeling to connect and with a tidy prize humor provide at the same time in a piece of Eingaegliches with unusual one. Who likes strange Folk RIO, how him e.g. also the colleagues of Begnagrad, to the Ensemble Rayé and Nimal in the program to usually have, spinend the predecessor formations of Hollmer, Finns of Alamaailman Vasarat and also the Islaender of Hinn the Islenski Pursaflokkurinn, which should have actually also with “Vendeltid” very much fun.

The album comes along somewhat elegischer and more reservedly than the later live admission “Looping Home Orchestra Live one 1992-1993”, on which some the pieces of “Vendeltid” are to be also found. Since there besides “Vendeltid” at present only together with “Från Natt Idag” and “Tonoga” on a double CD are, one should seize perhaps only once to the live album. With favours one can after-put then with the other Hollmer works.
-Babyblaue (Translated from germany)-

DISCOGRAPHY:

Lars Hollmer solo:
XII Sibiriska Cyklar (1981)
Vill Du Höra Mer (1982)
Från Natt Idag (1983)
Joggingcharleston Singel (1984)
Tonöga (1985)
The Siberian Circus (compilation, 1992)
Vandelmässa (1993)
Andetag (1998)
Utsikter (2000)
Autokomp A(nd)more (2001)

with Samla Mammas Manna:
Samla Mammas Manna (1971)
Måltid (1973)
Klossa Knapitatet (1974)
Snorungarnas Symfoni (1975)
Kaka (1999)
Dear Mamma (2002)

with Zamla Mammaz Manna:
Schlagerns Mystik / För Äldre Nybegynnare (1978)
Familjesprickor (1980)

with Von Zamla:
Zamlaranamma (1981)
No Make Up (1983)
1983 (1999, rec. live 1983)

with Looping Home Orchestra:
Vendeltid (1987)
Door Floor Something Window (1993, ao live)

with Yuriko Mukoujima:
Duo Live and More (2003, ao live)


Lars Hollmer: Akkordeon, Piano, Keyboards, Melodika, Voice, Drums, Bells
Sven Aarflot: Bassoon, Sax, Flute, Keyboards, Bells
Sven Jansson: Keyboards, Piano, Voice
Olle Sundin: Bass, Keyboards, Guitar, Balallaika, Bassdrum
Marten Tiselius: Drums, Glockenspiel, Voice

Tracklist:

01. Spanska Trappan
02. Vendeltid
03. Utflykt Med Damcykel (Sample in right panel)
04. Eyeliner
05. Through Glass
06. Snogang/Klocklat
07. Gitarette
08. Karusellmusik
09. Misery
10. Experiment On Tour
11. Alfa Beta Pas du valse (Bonus)
12. Profetgospel (Bonus)
13. Joggincharleston (Bonus)
14. Det maste bli gjort (Bonus)

(No Covers)