Reviews for Lars Horntveth..s Kaleidoscopic (Smalltown Supersound 2009)

The Guardian

4/5


Reeds player Lars Horntveth was one of the brains behind Jaga Jazzist, the clubby, noisy mini-big band who gave an extra jolt to the already buzzing Norwegian scene several years ago. His new album, Kaleidoscopic, is more self-consciously grown-up, and, by its very nature, poses several interesting challenges. For a start, it is a continuous 37-minute piece for orchestra - a one-track CD that bucks the trend for shuffle-listening. Like a musical interpretation of Saul Steinberg's single-line installations, it delineates a rambling, picaresque fantasy that moves steadily through different moods and timbres. There are moments best described as classy post-rock; others are minimalist or even "light classical". There are portamento-heavy ambient strings, with echoes of Ryuichi Sakamoto, and Bernard Herrmann-like theme developments. It's no magnum opus, but what Kaleidoscopic lacks in single-minded intensity is balanced by its generous evocation of an expansive, continuous panorama of textures and motifs, given human scale by Horntveth's agreeably gruff bass clarinet.



Timeout(London) 5/6 stars

MIXMAG 5/5 stars




MOJO 4/5


Delightful orchestral manoeuvers from Norwegian wunderkind. When
Oslo..s Lars Horntveth isn..t lending his instrumental talents to one of
the 50-plus albums he..s thus far guested on, he..s helming brass heavy
soundscapers Jaga Jazzist and composing lovely chamber works such as
those captured on his 2004 solo debut, Pooka. Not bad for a twenty
something. Kaleidoscopic, recorded in Riga with the 41 piece Latvian
National Orchestra, expands ambitiously on it..s predecessor –
effectively one 37 minute composition offsetting Horntveth..s deadpan
piano and discreet electronics with blissful, cinematic string
cadences, querulous woodwinds, rippling harps and twinkling
xylophones. Morphing from minimalist arpeggio to grand symphonic sweep
at the drop of a baton , at times it recalls Basil Kirchin..s jazzily
affable film music, at others it..s like Steve Reich..s Music For 18
Musicians glimpsed through an Ennio Morricone prism. Its hugely
impressive and you get the feeling Horntveth is still just warming
up” (, David Sheppard, MOJO


iDj

LARS HORNTVETH
KALEIDOSCOPIC
Smalltown Supersound, Norway, STS097CD
One track, 37 minutes, 34 string players, 3 percussionists: the numbers all add up to a wild ride through Jaga Jazzist's main man Lars Horntveth's vivid musical imagination. The players come courtesy of the Latvian National Orchestra, recorded at a church in Latvia and sounding sheeit hot. If you've got the cochones this would make a great start to a mixtape - or even a mixtape in itself. Stunning stuff: check it out. 4/5 Cal Gibson

Lars Horntveth, Kaleidoscopic (Smalltown Supersound)
Remix Magazine



Jan 20, 2009 7:35 PM Christine Hsieh (Writer)



Orchestrals from Jaga Jazzist master

The wistful opening notes of Kaleidoscopic languish uncertainly, backed by tremulous strings as the sound swell opens into a lush sweep of melody before pulling back again. And so it goes with Horntveth’s 37-minute composition recorded with the Latvian National Orchestra. Vignettes surface and dissolve, pizzicato begins and ends tentatively, and warbly keys step forward and recede. When the tremolos give way to firmer melodies, the piece hangs on the verge of coalescing. But just as quickly, the crowd disperses and we’re left with a haunting, forlorn coda that fades away. [4 out of 5 stars]



www.organart.demon.co.uk


ALBUM OF THE WEEK
LARS HORNTVETH – Kaleidoscopic (Smalltown Supersound) – The follow up to his rather acclaimed debut album Pooka. Lars Horntveth is Jaga Jazzist leader by day, this is the second album under his own name. Kaleidoscopic is one delicately refreshing thirty-seven minute composition recorded with forty-one members of the Latvian National Orchestra (34 string players, 3 percussionists, clarinet, flute, bass trombone and one harp) with Lars himself playing piano, horns and clarinets. The orchestra was lead by Terje Mikkelson, who now conducts the St. Petersburg Philharmonic and the Moscow Radio Orchestra.
Kaleidoscopic is a flowing piece, ever shifting in the most subtle of ways, evolving quietly without you really noticing the flowing change of dynamic or the increase/decrease of instrumentation. Always smooth, always soothing, never difficult, always inviting – an accomplished curve as it were. A journey via orchestrated sound that musically feels somewhere near Steve Reich, a more subtle flavour akin to Mike Oldfield’s Tubular Bells, specks of John Adams and his avant vastness here and there - nothing obvious, just hints, flavours (and we are skating around architecture here using mere words on electronic paper to try and convey this creative beauty once more). There’s a delicate playfulness to the orchestration and the way if flows and takes you with it, indeed if Kaleidoscopic was to be summed up in just one word than that word would have to be lovely. “This is Lars Horntveth’s largest and most challenging project yet” we’re told by the press release, sound like he accomplished rather a lot - this is a beautiful piece of work, a flowing, refreshing, graceful, soothing piece of classical experimentation, a meticulous journey to take yourself on again and again. Highly recommended



PowerofPOP.com

LARS HORNTVETH Kaledoscopic (Smalltown Supersound)

Much is to be said when time has to be scheduled to listen to an album. It’s been a long time coming and that is what Kaleidoscopic had me doing.

Kaleidoscopic is the follow-up to the critically acclaimed debut album, Pooka, by Jaga Jazzist and The National Bank leader Lars Horntveth.

Comprising of one composition spaced out in 36:47 minutes, Kaleidoscopic can be very easily labelled as cinematic – One can’t help but see various scenes play out before your eyes as the strings and horns blend and bleed from one emotion to another. Guided by 41 members of the Latvian National Orchestra led by Norwegian conductor Terje Mikkelsen, with Lars himself playing piano, horns and clarinets – your senses are immersed in the electro-tinged ambience, orchestral carpet rides and a frantic race to a place only you know.

This album is above all an auditory trip that harnesses a listener’s visual power – a little frightening even but beautifully seamless as the shifts and switches in moods with key instruments, paint your inner world with a touch of noir, epic and vast horizons, tranquil and forest-lush hideaways, and even a simple side walk at dusk, with just a pluck of a harp. My favourite ride on this journey began at the 27thminute mark - strings and Horntveth’s own piano playing wrap up the trip over the final ten minutes. An album that will be savored by any ardent fan of visual music journeys.

(Charlotte Lourdes)

Experimusic.com

artist: Lars Horntveth
title: Kaleidoscopic LP
label: Smalltown Supersound
release: 26/01/09

rating: 8.5/10

Best known for starting the unique entity known as Jaga Jazzist, a band hellbent on fusing contemporary “electronica” with trad-jazz chord sequences to enchanting effect, Lars Horntveth is back with his sophomore album ‘Kaleidoscopic’. An ambitious and sprawling audio document, ‘Kaleidoscopic’ is the largest and most challenging project Horntveth has accomplished and features 41 members of the Latvian National Orchestra. Intending for the music to flow from idea to idea, Horntveth wanted the score to grow and develop along with the state of his mind and thusly wrote the music chronologically into an open, endless score, similar to a diary.

The sprawling 37minute composition is in-keeping with its title as Horntveth assembles and records a 41 strong orchestra whose spectral sound he, alongside producer Jorgen Traeen, sculpts into a progressive and ever-transforming concatenation of glistening instrumental soundscapes that move fluidly from story to story with a classical yet new-age aesthetic. The result is a sweeping multi-movement symphony of astral atmospherics that intersects the points between contemporary classical, electronic-ambience and somber post-rock. The label notes that ‘Kaleidoscopic’ is a journey in sound that fits somewhere between Steve Reich’s ‘Music for 18 Musicians’ and KLF’s ‘Chill Out’, and we are inclined to agree. Covering a spectrum of dispositions whilst all-the-time keeping the concept of melody at its core, the elongated composition develops along an all-encompassing curve of tension and release designed to re-create a dreamy and theatrical spectacle in ones mind.

From romanticized and temperate neo-classical passages to increasingly edgy build ups that result in full bodied clashes of percussion, bass and trombone, and then back to lengthy, atmospheric and star-speckled valleys of glistening harp and flute accompanied by restrained strings, Horntveth has arranged this work with a keen focus on the gelling together of dynamic shifts. Melodic motifs jump out of the speakers with an enchanting sense of rhythm, their warm and analog production values making for a fuzzy and three-dimensional listen that keeps you riveted through-out the pieces many twists and turns.

Proving to be a perfect hallucinatory tool for scoring ones dream-sequences, ‘Kaleidoscopic’ is a progressive and melody-laced body of sound that more than delivers on its premise thanks to its expertly arranged, played and produced exercise in tension and dynamics. (KS)

For fans of: Tangerine Dream, Steve Reich, KLF

ALLABOUTJAZZ.COM
Kaleidoscopic
Lars Horntveth | Smalltown Supersound (2009)


By John Kelman Discuss

As a younger demographic increasingly accepts cross-pollination and challenges simple stylistic categorization, there's an increasing number of artists for whom defying boundaries has long since transcended conscious consideration and become, instead, an organic and completely natural modus operandi. Norway's Jaga Jazzist both regularly and successfully disregarded narrow confines and became, instead, something no longer resembling any of the markers that positioned it, while undeniably referencing the multiplicity of influences that made it such a popular group and launching pad for up-and-coming artists including trumpeter Matthias Eick and multi-instrumentalist Lars Horntveth. Horntveth's Pooka (Smalltown Supersound, 2004) was an engaging album of instrumentals, but Kaleidoscopic is a more profound effort—a 37-minute composition that, in its combination of acoustic and electric instruments and the participation of members of the Latvian National Symphony Orchestra, represents classical music for a new generation.
Horntveth's intention was to write a continuous piece akin to an ongoing diary, the result being a piece that shares little with the thematic continuity so often definitive of concept albums in, for example, the progressive rock community. Nevertheless, Kaleidoscopic demonstrates a flow that's equal parts Steve Reich's minimalism, Robert Wyatt's stylistic divergence, Stereolab's hypnotic, experimental ambient rock, Bernard Hermann's cinematic dramaturgy, and a taste of Bill Frisell's Americana roots music—all wrapped into a bundle equal to far more than the sum of its parts.

With 34 string players from the symphony orchestra, Kaleidoscopic is, at its core, based on a lush soundscape, although Horntveth's blend of pedal steel and harp lends its opening a curious oriental tinge while avoiding overt reference. Peaceful, with melodic tints to allow the music a freedom to explore any possible avenue, Horntveth also utilizes tuned percussion to create repetitive motifs that, when blended with consonant long tones, are trance-inducing despite lacking the iterative development so definitive in Reich's minimalism. And while some passages are clearly electronic in nature, they seamlessly mesh with the organic landscapes, feeling neither excessively artificial nor unnatural.

Rhythm-heavy percussion also features heavily in parts of Kaleidoscopic, even as soaring strings blend with finger-picked acoustic guitar, and even as a quirky combination of saxophone, tremolo'd vibraphone, and acoustic guitar lead into the piece's final minutes with a deceptively complex combination of contrapuntal ideation that's as evocative as it is cerebral.

Composing largely for orchestra while avoiding its stylistic pitfalls makes Horntveth's writing process for Kaleidoscopic a challenging one, as he ambitiously looks for new ways to utilize texture and stylistic ambience with centuries of preconception. In attempting to essentially create a new kind of classical music that, with its seamless integration of sonics not normally associated with it, Horntveth challenges its most glaring trappings, creating a work of great emotional depth that embraces tradition while relentlessly avoiding the beacons that set unnecessary expectation and precedent. Kaleidoscopic is a rare piece of music that sounds both familiar and new, intimate and beautiful while, at the same time, broad-scoped and expansive.


Hermitosis Blog interview - http://hermitosis.blogspot.com/2009/01/interview-lars-horntveth-releases.html

College Times - http://media.www.ecollegetimes.com/media/storage/paper991/news/2009/01/15/Music/Cd.Review.Lars.Horntveth-3587372.shtml
CD Review: Lars Horntveth
Nate Lipka
Issue date: 1/15/09 Section: Music
Media Credit: Johannes Worsoe Berg

The search for the “perfect song” – that which can match one’s mood and mindset, its rhythms and melody seemingly walking along at the listener’s side as a faultless companion – is almost always a fruitless one. Humans are ever-evolving beings, shifting in disposition and location too often for almost any artist to keep pace for more than a few minutes.

So the idea of a musical work operating in exactly the opposite way is an intriguing one, an idea that makes Lars Horntveth’s Kaleidoscopic a sweeping stab at a modern score, quite enjoyable.

Checking in at 37 minutes, the album is a single track that ventures into soft, electro-tinged ambience, roaring, frantic orchestral racing and everything in between. It’s a comprehensive grab-bag of moods and influences, a rainbow of sound-suites built by Horntveth’s own work on piano, clarinets and brass and 41 members of the Latvian National Orchestra.

Despite the manic, jagged switches in style, it swoops along rather seamlessly, displaying a power to actually mold a listener’s mood to fit its quick-shifting ridges. It’s a little bit frightening in that respect, but altogether pleasant.

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DustedMagazine.com
http://www.dustedmagazine.com/reviews/4751

One of the most common (and commonly annoying) tendencies among both professional and amateur music journalists is their liberal use of the word “cinematic.” Taken to suggest a song’s visual power – as well as a writer’s limited vocabulary – “cinematic” is one of those words that crops up most often in the context of music employing the use of strings, run times over 10 minutes, or album titles containing the phrase “Original Score.”

That said, Jaga Jazzist and National Bank figurehead Lars Horntveth will have every reviewer sounding lazy in lieu of a listen to his sophomore album, Kaleidoscopic. The Norwegian multi-instrumentalist has dabbled in film scores before on three occasions, but this idea was different: Instead of being commissioned specifically for a movie, Horntveth began with the idea of an open score, an initial idea to be toyed with and manipulated as time progressed and his own personal moods changed. In collaboration with producer Jorgen Sir Dupermann Traen and 41 members of the Latvian National Orchestra, Horntveth delivers an ambitious break from the post-rock and free-jazz pursuits of his main band.

Kaleidoscopic is one track that clocks in just shy of 37 minutes. It features 34 string players, three percussionists, clarinet flute, bass trombone, piano and a harp. The liner notes are penned by John Szwed and give a short overview of the relationship between film and music. Horntveth makes clear the premise, then uses multiple takes of his time with the orchestra over a two-day period in Riga to sculpt the sound he was after.

Inspiration for the music draws from sources such as Terry Riley, Joanna Newsom, Eleni Karaindrou, and Stereolab. Piano and strings set the course of the first recognizable melody, but after nine minutes the sound shifts to feature the bass trombone and three percussionists in a climax John Williams would be proud of. The ensuing dynamic shift, which leaves only the quiet pluck of a harp, is one way Horntveth keeps the listener’s attention throughout Kaleidoscopic; another is a quick skim of Jaga Jazzist territory near the midway point, a jazzy groove that lasts some eight minutes. Strings and Horntveth’s own piano playing wrap up the piece over the final ten minutes.

In recent interviews for this album, Horntveth has said that his goal was to create a balance between intensity and calm. As a logical progression from 2004’s Pooka, Kaleidoscopic achieves that goal by never languishing in any one section for too long. It seems appropriate that the only way to enjoy Kaleidoscopic is to play it from start to finish. After all, it’s cinematic.

By Patrick Masterson

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FirstCoastNews.com
http://www.firstcoastnews.com/life/music/news-article.aspx?storyid=129038&catid=61 ..


by Paul POP!

Essentially a one movement symphony, Lars Horntveth's latest album Kaleidoscopic is a 37 minute excursion into instrumental music utilizing an orchestra, electronics, and lots of ideas. Utilizing the Latvian National Orchestra, Lars was able to create an ocean of sound in which the listener could swim around in which is something he's be unable to do before.

Kaleidoscopic is epic in scope with a multitude of emotions and sounds fading in and out from minute to minute. It is a beautiful piece of of modern composition

that brilliantly mixes modern ideas and electronics with traditional classical instrumentation. It's impressive to hear Lars' ideas come to life as the music blends and flows from one genre to the next while maintaining a coherent core. For example, Kaleidoscopic easily flows from violins to tablas, tablas to violins, and violins to classical guitar almost as if these sudden changes were second nature. It's truly exquisite stuff that sounds as if it's composer, Lars Horntveth, has been writing modern classical music his entire life.

Whether or not Kaleidoscopic was originally intended to be so rooted in classical music is unknown, but Lars Horntveth has done a spectacular job here at composing a work of majestic sounds and ideas. That the Latvian National Orchestra was able to bring those ideas to life in fine fashion is a tribute to how versatile their orchestra is. While Kaleidoscopic may not be classical repertoire, give it time it might very well be. In the mean time, Lars Horntveth's Kaleidoscopic is a work that both his fans and classical music fans will enjoy.

©2009 Paul POP!. All rights reserved. This material may not be published, rewritten, or redistributed.

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Boston Phoenix - http://thephoenix.com/Boston/Music/75342-KALEIDOSCOPIC/

Review: Lars Horntveth's Kaleidoscopic
Smalltown Supersound (2009)
By MICHAEL PATRICK BRADY | January 20, 2009

Lars Horntveth creates worlds of his own with this 36-minute voyage, which never feels reliant on anything but itself (unlike most "cinematic music").

As a member of Norwegian experimenters Jaga Jazzist, Horntveth has been tagged with the "nu-jazz" label. Kaleidoscopic might be described as "nu-classical," a mixture of traditional orchestration, electronic flourishes, and blissfully meditative ambient passages that will endear it to fans of post-rock. With the Latvian National Symphony Orchestra in tow, Horntveth charts a course through swelling strings and quiet melodic interludes, a stream of consciousness that can't be anchored to any predetermined imagery.

It's easy to be swept away by the seamless progression of the arrangements, and the shifting themes and genres make Kaleidoscopic pass by quickly. Too quickly — some sort of epilogue might have made this relatively short album feel less ephemeral. It's still a refreshing opportunity to engage the imagination, if only for a short while.

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AlarmPress.com
http://www.alarmpress.com/6831/music-news/bpm-counter-first-five-of-2009/

Lars Horntveth: Kaleidoscopic (Smalltown Supersound)(Norway)
Norway’s Smalltown Supersound imprint is no stranger to 30 minute plus epic tunes-look no further than Lindstrøm’s latest album for proof of that fcat. However the sophomore album Kaleidoscopic from Jaga Jazzist leader Lars Horntveth takes that extreme to its logical conclusion with an album that is 37 minutes long and composed entirely of one track-”Kaleidoscopic”.

Do I dare call this a single and how much will it cost if I buy it on iTunes? Performed by Horntveth and the 41 piece Latvian National Orchestra the album is a concept soundtrack to an imaginary movie and what a movie it must be.

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Electronic Voice Phenomenon
http://elecvp.blogspot.com/2009/01/reviewed-lars-horntveth.html

Lars Horntveth
Kaleidoscopic
(Smalltown Supersound)


Similar Sounds: Jaga Jazzist, Peter and the Wolf, Supersilent, John Williams

The 36-minute "Kaleidoscopic" goes beyond the boundaries of pop, rock, indie, jazz, avant, noise--anything usually smothered and covered by us music journalist-types. As it happens, the piece and album known as Kaleidoscopic is a piece of composition. The sort of music one would devour in a three-piece suit as a polite crowd quietly anticipates the frenzied climax of strings and brass. The soundtrack to your latest jaunt to the art museum to catch the latest work of an under-appreciated painter/sculptor.

Lars Horntveth, of Jaga Jazzist, is no stranger to melding together sounds to create sonic texture. Yet Kaleidoscopic takes those tools and puts them to a different use. Hints of Jaga Jazzist, as well as Horntveth's 2004 pop-oriented solo work Pooka, invade Horntveth's swashbuckling composition, letting "Kaleidoscopic," swish and sway with the quietiest hush and the subdued clatters of percussion and cartoon music. The piece is versatile, fitting into any scenerio you wish to thrust upon it.

The only challenge to be found within "Kaleidoscopic" is what you garner from its fruit-riddled branches. Though the composition may seem down-to-earth amidst a sea of experimentalists and over-hyped indie phenomenons, the rich textures of "Kaleidoscopic" can appease, tease, and entice anyone with a musical ear ready for something as unusual as it is strangely familiar.?

SOUNDVENUE
The world's only definitive weekly dance music reviews

Lars Horntveth 'Kaleidoscopic'
(Smalltown Supersound)

Lars Horntveth is one half of Jaga Jazzist, and his second album 'Kaleidoscopic' was recorded with most of the Latvian National Orchestra. If you liked Johann Johannsson's outstanding 'Fordlandia' album towards the end of last year you'll definitely go for this, though on this occasion it's one, through-composed track that clearly gains intensity through its 37 minute span, as Horntveth tightens the screw. Best listened to in a quiet room to appreciate the softer textures, it hardly has any beats - but when percussion is introduced there is a pretty strong sense of rhythm. Even more effective are the sweeping unison string themes that bring extra warmth to the cool exterior. When listening to this you could almost be watching the Northern Lights, as textures dance and shimmer - and for staying in music in the January chill, it's a piece that takes some beating.



Cokemachineglow



:: Record Review



Lars Hornthveth

Kaleidoscopic

(Smalltown Supersound; 2009)

Rating: 70%



It’s thought that urban sociologists and musicologists had finally relegated classical music to some harmless cult status, a protectionist bastion for dabblers in the elite and exclusive, obsessive compulsive fetishists of technicality, and the odd armchair provocateur. But today we find ourselves with a retrospectively predictable inverse. Independent and urban music traffics in exclusivity via style and cool; classical music, for some, became the realm of the intensely personal, the authentic, and permanency rather than transience—the hot bath of subcultures breeding the bacteria of real art. Composers Stravinsky, Prokofiev, and Ravel were the uninitiated neo-classissists of their day; one wonders if albums by Gunther Schuller, Alexander Goehr, Glenn Branca, John Zorn, and even Nico Muhly qualify as today’s.


So when Jaga Jazzist leader Lars Horntveth offers an album with liner notes by John Szwed, author of Space is the Place: The Lives and Times of Sun Ra and So What: The Life of Miles Davis, it’s not all that surprising. The decision to compose a classical album is today posited in modalities of opposition, subcultural declarations that also, interestingly, suggest that the action is instantaneously ready for biography. It’s a thorny contradiction, one that states otherness while seeking instant credibility on the basis of an anachronistic and inaccessible canon.


Horntveth describes Kaleidoscopic as an attempt to sound as open-ended as a diary. Today’s cultural context is one that suggests that if one wants to say something, one simply picks up a guitar, grabs a mic, and says it. If divorced from that context, of course the album surrenders itself to a simpler aesthetic balancing of dynamic themes and movements. But then it wouldn’t be Kaleidoscopic; the action that is most important here is the non-vocal declaration of self, and the entitlement that comes with one’s name on an album cover and the music therein being entirely wordless with an emphasis on technicality. Thus, a confessional/instrumental album, as much about what Hornthveth chooses not to do as what he does. He’s unapologetically near the romantic—that straight-and-narrow conception of the gradual, modal build towards sweeping gestures affected by strings and cinematic strokes—and stays well clear of the conceptual, the textural, the minimalist, the counter-intuitive. Counterpoise this gesture to, say, Herbert’s appropriation of the classical, the big band, and whatever else he wants in service of often political tracts, or Hauschka’s microscopic specificity. All the more pleasant, some might say, for Kaleidoscopic‘s insistence upon itself. Nonetheless accomplished, I’d append. The album’s execution is flawless, if anything, leaving only its choices to doubt.


Horntveth’s bio, meanwhile, describes Kaleidoscopic as “37 minute long composition […] recorded with 41 members of the Latvian National Orchestra (34 string players, 3 percussionists, clarinet, flute, bass trombone and one harp).” In that description is the crux of its possible relevance: the unmitigated effort afforded its creation and undeniable vision is the stuff of easy praise. There is nothing not to like about Hornthveth’s subtlety, the careful accumulation of tones around space before transition to the next movement. Electronics and conventional instruments are blended without an overt attempt to clash the two. Around the sixteen-minute mark, bubbling tones introduce a central section that eventually complements, rather than contrasts, the emergence of strings. Like the album in context, each instrument is subsequent and deferent to the notion of Kaleidoscopic as a work.


This all leaves Hornthveth quite open to ridicule in the context of indie music. Were he to assemble 700 drummers in a park somewhere and ask them to play variations on a polyrhythmic scheme he’d get a pass simply for the notion that the sights and sounds produced thereby are uncommon and remarkable. But by subjecting himself to an established music oceanic in its depth and breadth, to say nothing of teeming with fish far bigger than himself, Hornthveth’s bravery is something that is again personal rather than musical. Removing this effort from that framework would be titanic disservice to both listener and artist.


:: myspace.com/larshorntveth

Conrad Amenta :: 26 January 2009 |