Plus LOOPING HOME ORCHESTRA circa 1987. (Lineup details unavailable on album).
Lars Hollmer's Vendiltid is in my opinion one of the best progrock records from 80-s. The music is less complicated and "crazy" than Samla but it doesn't make it worse. Hollmer put real feelings into every composition on this album - sadness, joy, humor. The album has a lot of wonderful melodies with unmistakable Hollmer touch Strongly recommended for everyone who like Samla Mammas Manna and progrock in general.
On 1987's Vendeltid, Lars Hollmer emerges as a true bandleader, helming the Looping Home Orchestra quintet with its varied instrumentation including accordion, keyboards, bassoon, saxophone, flute, bass, drums, and glockenspiel. Here, the sonics take on the flavor of a Rock in Opposition band, particularly given the prominence of Sven Aarflot's bassoon, recalling Michel Berckmans' work with Von Zamla and Univers Zero, and perhaps Lindsay Cooper with Henry Cow. However, Hollmer is more willing to engage the listener with an accessibility missing from the Lovecraftian hell pit of UZ and the musical/political avant-gardisms of HC. If Sweden had an autobahn, "Spanska Trappan," with its steady rhythmic pound and power chords (and rock & roll bassoon!), would be a perfect soundtrack for downshifting and accelerating past those with more conventional '80s fare on their car tape decks, while "Utflykst Med Dameykel" maintains high energy and momentum but ups the creative ante with its polyrhythms, tight multi-layered arrangement, and compositional sense that knits everything seamlessly together. Flutes and bells dominate the jaunty neo-classical "Eyeliner," and "Through Glass" is both beautiful and eerie, with sustained keyboards, an unsettling theme, and a solitary bassoon seemingly providing a glimpse into an otherworldly realm. Other highlights include "Vendeltid" and "Misery," presenting moments of understatement and drama, balancing light and darkness, and standing as two of Hollmer's finest compositions of the decade. [Several selections from Vendeltid 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, which included bonus tracks.]
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.
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.
During the '80s, Swedish keyboardist/accordionist Lars Hollmer set off on his own path separate from Samla Mammas Manna and their offshoots, and fully hit his stride with the release of 1983's Från Natt Idag, a sometimes quirky slice of Scandinavian folk-flavored avant-prog rock on which Hollmer sang and played all the instruments, recording alone at night in his Chickenhouse studio. The accordion and Hollmer's occasional vocals impart warmth to the music, which is sometimes dominated by the type of electronic drum rhythms and synth tones that characterized the '70s-'80s prog era. Yet during this period Hollmer also used his personal studio to sculpt sound and atmosphere in a manner similar to Brian Eno -- "Skar" slots into Från Natt Idag in a way not too dissimilar from the way a track like "Zawinul/Lava" fit into Another Green World. And Hollmer followed up "Skar" with "Optimistbeat," a multi-tracked dose of spirited prog-folk with prominent accordion melody and a bridge of 100 percent pure rock & roll. "Nationsjazz," with its driving meter alternating between 6/8 and 5/8, would prove a killer tune for Hollmer's SOLA band to cover in a Tokyo studio nearly two decades later; the quintessentially uncategorizable "Fur Munju" (neo-classical ska fusion?) would get the multi-tracked Hollmer treatment here while also showing up in a full-band sextet arrangement on Von Zamla's No Make Up!, also recorded at the Chickenhouse in 1983 and released the following year. [Several selections from Från Natt Idag were later included in the 1993 single-CD 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, which included bonus tracks.]
The Samla Mammas Manna keyboardist Lars Hollmer made some very interesting solo albums in the '80s. By 1983 he had adopted the synth technology that was all the fashion back then. But unlike so much other synth-ladden music of the time, this album still sounds fresh and exciting thanks to Hollmer's unlimited originality, his instantly likable melodies and crazy rhythms. Besides the electronics there is lot of accordion as usual. Från Natt Idag (From Night Today) is a true solo album where everything is made by the artist.
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.
Lars Hollmer was the most prolific ex-Samla Mammas Manna member, with several different projects and collaborations going while maintaining his solo career. He quickly became a much heralded part of the RIO scene, but also scored a surprise radio hit with the charming ”Boeves psalm” from his first album ”XII sibiriska cyklar”, forcing Silence to release at as a single in 1983, two years after the LP was released. A lot of Swedes know the song without having a clue of Hollmer's past as a Samla Mammas Manna member or later activities.
”XII sibiriska cyklar” is an amiable collection of humorous vocal tracks and shrewd instrumentals, weaving together multiple musical traditions from different parts of the world into what can only be described as 'Hollmer music'. No-one can possibly question his significance to Samla Mammas Manna, but with his ideas isolated on a true solo album (he plays all the instruments himself), it becomes even more evident how crucial he was to the group's sound. ”XII sibiriska cyklar” is an endearing album which serious playfulness/playful seriousness is destined to make you feel nice and comfortable within.
”Vill du höra mer?” follows along the same lines, only with a broader soundstage, but it doesn't sound quite as fresh as the debut. It's good, but it would be even better if ”XII sibiriska cyklar” didn't already exist. The title track is the album's high mark, with lyrics about the life of a pained teenager making it one of the darkest tracks on any of these two albums.
”Vill du höra mer?” was the first of many releases on Lars Hollmer's own Krax label which stayed in business until Hollmer's untimely death in 2008.
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.
Lars Hollmer’s first solo album, most of which was recorded at his Chickenhouse studio in June through October 1980 and March 1981 on an eight-track tape deck, is an amiable, fractured, and sometimes downright wacky endeavor that might have lacked a bit of cohesion but nevertheless signaled the emergence of a great composer, even if that last assertion is based upon a single two-and-a-half-minute track, the timeless “Boeves Psalm.” Overall, XII Sibiriska Cyklar (named after the fable of a Siberian bicycle inventor) might have taken some fans of Samla Mammas Manna/Zamla Mammaz Manna, Hollmer’s Rock in Opposition outfit of the preceding decade, a bit by surprise -- they might not have known that Hollmer had begun playing accordion with the world/folk ensemble Ramlösa Kvällar in the late ‘70s and had grown quite fond of the instrument. So here, after Lars had become perhaps best known as a prog rock-ish electric keyboardist, he settled in alone at the Chickenhouse, happily strapped to a squeezebox (with other instruments and non-instruments within reach), ready to tackle a few folky forms -- waltzes, polskas, and the like -- and imbue them with his singular persona. As Hollmer listeners over nearly the next three decades would learn, the Swede could tackle nearly any genre and make it his own -- and it all started here.
He waltzes through the opening beer-hall singalong “Avlagsen Strandvals,” contributing falsetto choruses and whistling; the manic “Jajar du Idealfamiljen?,” in perhaps a twisted polska form, includes more crazed Samla-esque vocalizing, from an exaggeratedly robust tenor to choruses in more cartoonish falsetto; his accordion mimics a train whistle over the insistent keyboard-and-percussion rhythm of “Endlich Ein Zamba”; and, like any Scandinavian folk artist worth his salt, he navigates the tricky time signature of “Ja Änte Flöttar Ja Te Sjöss,” another singalong number, with both precision and infectious high spirits. Hollmer’s experimental side was not kept entirely in check, however, as “Kamelsväng,” with its burning synthesizer tone and wordless interjections, wouldn’t be out of place on a disc of early Soft Machine outtakes (a good outtake, but an outtake nonetheless); an uncharacteristically vehement spoken word interlude, “Bluesen,” features more of that fuzzed-up synth sound; and the final number, “Litet Piano” (recorded on cassette in 1976), ends the album on an understated note. Here and there throughout, Lars incorporates assorted household percussion, a music box, and bells, hinting at the magic of his recordings to come.
But yes, “Boeves Psalm” is here for the first time, and it would remain Lars Hollmer’s best-known piece throughout his life, performed by accordion soloists and ensembles, rock bands, big bands, chamber musicians, and even symphony orchestras. Written several years previously in homage to a deceased uncle, the piece has a beautiful melody simply repeated three times in its AABA form on the accordion, embellished as it proceeds with additional instrumentation, including harpsichord-like keyboard arpeggios and finally bells, building in power but nonetheless retaining its inescapable charm. On this version recorded by Lars alone, the adornments are relatively few -- this is a tune that can handle all manner of counter-melodies and in one symphonic rendition even concludes with a few bars of The Hallelujah Chorus! -- but its simplicity and heartfelt emotion, not to mention the fact that its composer is putting it on tape for the first time here, make it a beautiful and wistful listening experience. [In 1994 the Resource label released XII Sibiriska Cyklar and Lars Hollmer’s second LP, 1982’s Vill du Höra Mer, on a single-disc CD compilation.]
