Larsen
http://www.larsen.to.it

styles: post rock, dark ambient, experimental electronic, noise rock
others: Piano Magic, Lustmord, Fridge, Sonic Youth, Burning Store Core

HMKE EP
Important, 2005
rating: 3/5
reviewer: olskooly


Larsen's HMKE is a short, sweet teaser EP containing two original Larsen pieces, "M" and "K," sandwiched between two mixes (by Deathprod and Origami Galaktika, respectively). Though it is not the release that should serve as an introduction to the mysterious Italian experimental rock outfit (the band's debut, Rever, is the place to start), HMKE is nonetheless sufficient to whet one's appetite while awaiting the upcoming Larsen release, Seis, which is to be released, allegedly, in February, 2006.

The EP begins with "H," a mix from Deathprod, nom de guerre of the esteemed Norwegian composer Helge Sten, who is also part of the Supersilent collective. At just over two minutes in length, the track is the closest to dark ambient to be found on the EP. A minimal piece comprised of little more than ominous, ambient drones, "H" is the anomaly on the record, as it is almost wholly unrepresentative of the bulk of Larsen's increasingly vast body of work.

The two originals that make up the middle section of the HMKE EP are simple, beautiful pieces that expose the darker side of what is commonly and tediously known as post-rock. The gentle, icy guitars and haunting cello on "M" would not have been out of place on a spooky, instrumental The For Carnation outtake. Although it is constructed with extraordinary subtlety and a minimalist aesthetic, "M" never bores. Furthermore, it showcases the band's knack for utilizing textures to create a deep, brooding atmosphere. The track was originally the soundtrack to an audio/video art installation entitled "Pari o Dispari," by Italian artist Marzia Migliora. Larsen, in the time-honored post-rock tradition, demonstrate that they are in their element when creating background music, particularly of the autumnal variety. And if "M" evokes the moods of autumn, then "K" is its wintertime counterpart. The cello and accordion on the piece infuse it with a distinctly Nordic chill. The track betrays an even further connection between Larsen and the artists on the Rune Grammofon label. Though it is more atonal and strictly minimal than "M," the loping, circular nature of the piece allows it to become firmly embedded in one's consciousness.

"E," the EP's final track, is perhaps the most interesting piece on the record. Larsen have made a calculated and informed decision in handing the reins over to Origami Galaktika for this mix. Beginning under the mildest of guises, and creeping toward its chaotic and inevitable conclusion, this relentlessly bleak piece, more than anywhere else on HMKE, conveys the images of a snowy, ice-blasted wasteland. Additionally, it allows Julia Kent's gorgeous cello to stand prominently out of the mix. "E" is a fitting conclusion for a brief effort that has this reviewer waiting impatiently for the next one.

1. H
2. M
3. K
4. E

Play
Important, 2005
rating: 2.5/5
reviewer: jay


Wolfman's review of Larsen's last release, MUSM, ended with a quote: "'Larsen have two more albums (forthcoming)... if they're even half as fine as MUSM, they'll be utterly essential.'" He also said himself that he's "distinguished that a bright and dazzling future is ahead for them." These are very enthusiastic and totally reasonable sentiments when considering Larsen's work up to that point. Unfortunately, Play doesn't deliver on these predictions.

In preparing for Play, Larsen is said to have improvised on the melodies of Autechre, resulting in a loose interpretation of the electronic group's work, sonically dissimilar but conceptually related. My modest familiarity with Autechre confirms that this musical relationship is extremely inconspicuous, of interest only to devoted followers of Autechre and Larsen mythologists. But plain old fans of Larsen's previous work have very little to get excited about.

Many, myself included, were compelled to invoke the confused and stifling word "post-rock" when speaking of Larsen, even though Rever and MUSM bore a relationship to that genre's touchstones that was superficial at best. Maybe we were just sad to see post-rock become such a stodgy old fart and hoped to revive it (or at least its name) by declaring Larsen its newest, freshest, most inspiring member. These two albums were volatile, abstract, daring, and way more engaging than you would expect of what comes across as a pretty self-indulgent ensemble.

Play, on the other hand, reminds us why post-rock so badly needs this resuscitation. Where Rever and MUSM were mysterious and unpredictable, Play is linear and dull. It's not a bad record; it's just that everything that made the previous two so novel is absent. Gone is the primal energy and noisy experimentation, leaving little more than the tired crescendo-based blueprint from the post-rock songbook: pick a theme, add layers, get louder (or don't, for depth), repeat. Godspeed You! Black Emperor comparisons have never been more appropriate, as Play ends up sounding like a bad Godspeed record, except for "J," which could easily be confused for Godspeed's "Dead Flag Blues," and "P," the only truly interesting thing here.

This isn't bad music, but it certainly isn't why we listen to Larsen.

1. C
2. E
3. S
4. J
5. G
6. P

MUSM
Enterruption, 2004
rating: 4.5/5
reviewer: wolfman


When Larsen's second album Rever was released, much of the hype was generated from their idiosyncratic behavior during the recording sessions. In fact, there wasn't a review that I read that didn't reference the journey that Swans/Angels Of Light's Michael Gira tolerated to produce this eccentric Italian band. Most reviews failed to indicate whether this particular trip undertaken by Gira was worth his time. Rever certainly was brilliant and showcased the band's most revealing and haunting talent and aptitude. The comparisons to Sonic Youth and Godspeed You! Black Emperor were apt, but Larsen possessed a unique blend of brooding and ominous transference that exemplified their delicate attributes. And only on Larsen's newest limited edition album MUSM do these characteristics become exclusively apparent.

Larsen has been working vigorously lately confirming that two new albums will be forthcoming. Meanwhile, MUSM serves as an adequate retrospect of the band's finest work, introducing many indie rock listeners to their contemporary drone and rhythmic buzz. MUSM contains three remastered tracks from their unavailable debut album No Arms No Legs: Identification Problem, a 5-track, complete soundtrack for Windsor McCay's animated short movies, and Larsen's reinterpretation of Syd Barrett's "Vegetable Man."

MUSM's opening track "Montage From No Arms No Legs" is a hypnotic murmur of enchanted stillness, scorching gradually to a compelling acoustic guitar accompaniment, leading to a chaotic and apocalyptic buzzing, and finally to a full rhythmic instrumental barrage of noise. "Heidi 037" could easily reference Sonic Youth's underrated Made In U.S.A. soundtrack, fabricated on a melancholy bassline and mordant guitar embellishments. "Rebirth" speeds up the pace slightly, although the track contains the exact elements of the previous mentioned song. The addition of sampled crowd noise provides the song a necessary and justifiable tempo. And "How A Mosquito Operates," the standout track of MUSM, is a full-fledge assault of rock noise, consisting of a thumping drum sequence, monotonous accordion noise, metrical and frenzied guitar, and a thrashing, intertwining bassline that creates a fantastic opus to modern day anarchy and mayhem.

Larsen's MUSM is an implausible demonstration of their immense capacity and flair. Michael Gira's decision to work with Larsen certainly wasn't unintentional, recognizing the full potential of the band's gifted and remarkable music. And after listening to Larsen's exemplary compositions, I have to agree as well. Larsen's music is dark, mysterious, and mystifying, but I've distinguished that a bright and dazzling future is ahead for them. As quoted by Graeme Rowland of Brainwashed, "Larsen have two more albums (forthcoming)... if they're even half as fine as MUSM, they'll be utterly essential."

1. Montage from no arms no legs
2. Heidi 037
3. Rebirth
4. Little nemo
5. How a mosquito operates
6. The sinking of the lusitania
7. Gertie on tour
8. The centaurs
9. Vegetable man
10. Rehearsal #1

Rever
Young God, 2002
reviewer: amneziak
rating: 4.5/5


I'm not sure if I'm more intrigued by Larsen's music, or the fact that they have such an amazing story surrounding the release of their debut effort, Rever. Over the course of a year, the band sent numerous felt-wrapped CDR's to the United States for retired Swans front man, Michael Gira, to review. At the end of this time, Gira was offered a substantial chunk of money, a round trip ticket to Italy, and a letter with a request to produce Larsen's dark and dissonant debut album.

Upon arriving in Torino, Italy, he finally came in contact with what I can only assume was a strange and unusual situation. Larsen, headstrong on keeping their identities undisclosed, would not allow Gira to interact with them as they set out to record their album. Instead, they played behind a screen that allowed zero face-to-face contact. The only form of interaction he had was via a selection of "assistants" that were provided to translate and speak for the band when needed. In the end, about ten hours of experimental improvisation was captured and edited down to conveniently fit on one single disc.

One of the unusual things about this album is the track listing. The songs don't appear to be in any type of order. In fact, the titles themselves seem to be out of place as far as a cohesive album would be concerned. The first track, "Impro #2," leads right into the band's improvisational performance. Lyrics are unrecognizable and repetitive, yet get their point across. This song, like all others, is obviously music that has been edited to highlight certain moments of the performances. "Radial," the second track on the album finds the band at their most experimental. Coming in at just under twelve minutes, it's easy to see the level of intensity in which Larsen is capable of reaching. Discordant accordions and drones flourish throughout the entire twelve minutes. It's really quite mental if you allow yourself to dig down into the sounds.

Other tracks, like "Mentre," give some minor relief in the sense that this is where you'll hear some of the most harmonious moments; the same can be said for "Intermezzo." "Akin" is another one of the longer tracks on the album, which also happens to be the best overall song. Female Italian vocals permeate the prog-like canvas with dark and messy color. Like Garlands-era Cocteau Twins, I could care less what these ladies are singing about. The lyrics are pretty much irrelevant due to the fact that they are simply used to act as an instrument in themselves. Furthermore, Rever is an album that you simply have to surrender to. There is absolutely no need to analyze this music any further. Use of headphones would be recommended if you really want to hear all the intricate layers of abstraction that have been dispersed through this album.

1. Impro #2
2. Radial
3. Mentre
4. Finger Number Six
5. Intermezzo
6. Akin
7. Intro
8. Maya
9. Impro #1