Weserbergland: Sehr Kosmisch Ganz Progisch

The brainchild of Ketil Vestrum Einarsen, Weserbergland finds the White Willow man stretching out in his own band as they incorporate sounds from the likes of Can and Tangerine Dream - and it would appear, having a blast in the process. Not that Sehr Kosmisch Ganz Progisch is a laugh a minute, but by pinning a looser, less austere tone around a Kraut Rock framework, it's clear that this involved four track (but near 50 minute) effort has been a labour of love. Joined throughout by Gaute Storsve on lead guitar and bass, Jacob Holm-Lupo on bass, guitar and programming and Mattias Olsson on drums and percussion, the trio are augmented by a varied cast that bring everything from saxophone and trombone to synth and Fx to an already brimming to the top blend of electronics and 'conventional' instrumentation.

"Tanzen Und Springen" begins what is a varied, winding journey, all manner of twists and turns undertaken as repetitive beats swirl around your head. Sometimes heady and dreaming, synths come to the fore to layer down thick coats of atmosphere that leave you isolated and yet somehow comforted. These interjections create a break from hi-hat swishes and programmed toms like a rush for freedom, before the controlled clamour returns to whisk you off anew and leave you exhilarated in the process. Guest guitarist Einar Baldursson adds a second guitar solo as the song fades away, the gentle sting creating a lasting effect that stays with you. "Das Trinklied Vom Jammer Der Erde" steps out further, the calmed middle section this time being almost like a cosmic circus. A near silence causing you to crane in to the sounds before an explosion of keys and synths has you reeling back for fear of lifting you off the floor. Here the drums clatter as the synths howl like whale song, before the guitars crank up and make sharp uncompromising stabs. That it all wheels away into wistful synth meanders creates a remoteness that actually leaves you wanting more, while still being thoroughly satisfied.

Picking up where its precursor left off "Die Kunst Der Fuge" spirals up through a near church organ like grind into this album's clearest crescendo, the tone uplifting as it ever reaches higher. Although if you're looking for some comfort after all the melee, the crazed percussion that rains down on a structure that feels too simple to hold off the barrage, causes a feeling of unease and distrust that while intentional, can result in disconnect. Leaving "Tristrant" to hit hard while being possibly the most song like piece on show, synth 'voices' leaving an 80s electro-pop feel that is as unexpected as it is welcome. Although again the reliance on popping percussion that doesn't necessarily care what the main body of sound is looking to achieve, will either leave you agog with excitement or aghast at the wasteful turn.

With their first offering Weserbergland should cause much excitement at what may come to follow. The offerings are wide and varied and yet too often there can be a feel of frameworks followed and similar paths tread, the trope of starting small before branching out into dreamy middle sections and crazed conclusions maybe relied on once too often. However if you have the predilection to ignore these minor quibbles and simply go with the flow, this is undoubtedly the album for you.

Track Listing
1. Tanzen Und Springen
2. Das Trinklied vom Jammer der Erde
3. Die Kunst Der Fuge
4. Tristrant

Added: February 3rd 2018
Reviewer: Steven Reid
Score:
Related Link: Weserbergland on bandcamp
Hits: 1200
Language: english

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