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Weserbergland biography
Founded in Oslo, Norway in 2017

WESERBERGLAND is a special project comprised of well known prolific musicians and collected by Ketil Vestrum Einarsen, composer and veteran flutist of the Norwegian prog rock scene. He's mainly known being part of White Willow for almost 20 years, as well as collaborating with other groups like Jaga Jazzist, Motorpsycho, Panzerpappa, Kaukasus, to name a few.

The term Weserbergland is also standing for a region in Germany, and as Ketil has been a krautrock enthusiast since he discovered the music due to the record collection of his friend's hippie father in the early 90s, the project name has gained a rather serious background.

Consequently their debut album 'Sehr Kosmisch - Ganz Progisch' bears influences from bands like Tangerine Dream, Can, Cluster, Harmonia, and is spiked with a huge dose of 70s progressive rock in general. Though not appearing like a retro sounding effort, this is also influenced by his former band JAGA JAZZIST and similar.

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3.97 | 31 ratings
Sehr Kosmisch, Ganz Progisch
3.74 | 4 ratings
Am Ende Der Welt

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Showing last 10 reviews only
 Am Ende Der Welt by WESERBERGLAND album cover Studio Album, 2020
3.74 | 4 ratings

Am Ende Der Welt
Weserbergland Krautrock

Review by TCat
Special Collaborator Eclectic / Prog Metal / Heavy Prog Team

4 stars Weserbergland is made up of Norwegian progger Ketil Vestrum Einarsen who has been with the band "White Willow" for 20 years and has also worked with "Motorpsycho", "Jaga Jazzist" and others. In 2017, he released the first album "Sehr Kosmisch, Ganz Progisch" under this project name and that album, being a study in Krautrock born out of his love of his fathers record collection, landed the project under the Krautrock sub-genre.

In 2020, he gathered another set of musicians and created another album "Am Ende Der Welt". This album was aiming at a different kind of sound, and for that, he included Gaute Storsve on guitar, Jan Terje Augestad on piano, Maria Grigoryeva on strings and Molesom creating effects from turntables. These artists, along with himself manipulating sounds and etc on his computer, created this two track album, which is actually one track split into two tracks in order to place it on Bandcamp.

Listening to this wonderful and interesting melding of sound, the listener will notice that it is almost nothing like the traditional Krautrock at all. While it is true that Einarsen takes the basic idea of krautrock in creating a piece of art that follows the drone-like, seldom changing chord structure of the genre, he completely goes beyond any other boundaries of the genre, stepping freely into avant-garde and electronic territory and then surrounding everything with the organic sounds of traditional instruments. It takes the krautrock roots and transforms them into an almost alternative universe of "What if Krautrock ended up sounding more complex and sans melodies and constant rhythms?" The result is something almost completely unlike anything else.

The music starts off simple enough, seemingly naïve and almost ambient. But almost right away, there are some infusions of minimal electronics and effects that create this lovely soundscape. As the track continues with no real agenda or hurry of any kind, it transforms as it goes, until eventually you are in this drone-like atmosphere of otherworldly sounds and layers, all of the instruments contributing their usual sounds but being manipulated here and there by effects and etc. The music ventured away from anything resembling a melody as its real purpose is to explore sounds and combined layers of sound. The first part does rely on dynamics much more as it flows from walls of sound to softer and more intimate sections that all eventually build back up again. The second part of the track, however, is much more thick and heavy, most of it made up of several layers of improvised sounds that gel together by fluctuating around the same key. The center of the 2nd part is very dense and demanding, but listening closely, you will notice that each instrument has it's individual part as the effects continue to manipulate an growling and almost vocal sound along with it. During the last 4 minutes of the 2nd part, the sound all starts to deconstruct itself and Einarsen manipulates his flute by torturing the sounds that come out of it.

The translation of the title means at the end of the world. It really fits is you let your imagination wander. The album is dark and demanding, yet the instruments are bright. It is quite pleasant to listen to at times, but wanders off into extensive sections of noise and chaos. It all seems to hang on a very thin line between electronic avant-gard music and contemporary straight-out classical music. It is definitely not for everybody and those that love krautrock will probably be uneasy with the genre designation, but the basics of the genre are there, they are just overtaken by a modern impressionistic style. During the first half of the track, it was easily hinting at being a 5-star recording, but the long, noisy section that makes up most of the 2nd half brings it down a bit. However, I will still highly recommend this to someone that loves the avant-garde style with a lot of electronic manipulation paired with traditional sound. Definitely a very intriguing and interesting album, but very dense at times and difficult to penetrate. I can see it possibly getting better with more listens, but for now it is a 4.5 star album rounded down to 4 stars, but showing a lot of promise.

 Sehr Kosmisch, Ganz Progisch by WESERBERGLAND album cover Studio Album, 2017
3.97 | 31 ratings

Sehr Kosmisch, Ganz Progisch
Weserbergland Krautrock

Review by Mellotron Storm
Prog Reviewer

4 stars This is the project of Ketil Einarsen probably most known being part of WHITE WILLOW and JAGA JAZZIST but he's played on so many albums over the years. And he's enlisted many of those musicians he's played with to help him out here. Ketil wrote all the music and produced this recording, while playing flute, clarinet, keys, guitar and he adds programmed sounds. His buddy in WHITE WILLOW Jacob Holm-Lupo adds bass and guitar but he also mixed and mastered this album. Many of these musicians have played together. In fact five of these guys play in THE OPIUM CARTEL. Mattias Olsson from ANGLAGARD fame and more adds drums and he's very important to the sound here. Stephen Bennett adds keys and he's from HENRY FOOL, of course there's Lars Fredrik Froislie from WOBBLER adding synths and clavinet. How about Einer Baldursson the guitarist for GOSTA BERLINGS SAGA but also he's played with WHITE WILLOW and NECROMONKEY.

So a Krautrock album from Norway? Well Ketil was introduced to Krautrock in the 90's and fell in love with it. The band's name comes from a very beautiful area of Germany where the mountains and that river create gorgeous scenes. The music reminds me of HARMONIA, LA DUSSELDORF along with some CLUSTER and Eno influences I believe. Lots of higher pitched synths and keys but really the more I have listened to this the more intrigued and impressed I become. It's all instrumental but for some brief vocal melodies from Ketil. This is a homage to the 70's Krautrock scene. What an interesting album and there's so much talent on display here and so many connections.

"Tanzen Und Springen" gets us started and it's percussion and drums at first before a full sound arrives with guitar, keys and more. HARMONIA comes to mind here. It settles down after 2 minutes with bass and more before kicking back in. High pitched sounds after 3 1/2 minutes followed by an interesting sounding guitar solo. I do like that bass 5 minutes in. Drums and percussion like the intro follow after 5 1/2 minutes. A change before 7 minutes as spacey sounds dominate before some atmosphere adds depth. A full sound returns before 8 minutes with guitar, drums and much more. Percussion ends it.

"Das Trinklied Vom Jammer Der Erde" opens with experimental sounds. Interesting stuff as a beat starts to slowly build. Faint sitar can be heard eventually then some dark and melancholic synths arrive changing the mood. It turns louder after 2 1/2 minutes and the drums speed up as we hear mostly drums and synths here. It slows down a minute later before picking back up before 4 minutes. Lots of drums and synths once again. There's so much going on after 5 1/2 minutes. Incredible! Flute before 7 minutes with drums and synths. A calm a minute later as different sounds come and go until it kicks in with power. Nice. Check out that bass before 9 1/2 minutes, then those high pitched synths come to the fore. Love the drumming and guitar before 11 minutes. A dark and spacey calm takes over before 12 minutes and it becomes experimental with some avant Krautrock stuff to the end.

"Kunst Der Fuge" opens with light keys and spacey sounds. Drums and deep sounds join in just after a minute. It then picks up in pace, organ too. That drumming is relentless. Some brief vocal melodies after 3 1/2 minutes but the drums and synths continue to lead the way. Spacey synths 8 1/2 minutes in with the drums and bass standing out. The guitar comes in late then electronics ends it.

"Tristrant" is my favourite. Drums to start as spacey sounds join in. Bass and synths will arrive as well in this catchy soundscape. Man this reminds me of HARMONIA. Love the sound 2 minutes in, it's quite moving for some reason. A change before 3 minutes as it all stops and horns kick in. Back to that previous sound rather quickly though. More of that moving section before 5 minutes. The horns are back 7 minutes in. there's so much going on at this point but it will wind down to the end.

A solid 4 stars and an album that I'll get a lot of mileage out of given how unique it sounds. Well done!

 Sehr Kosmisch, Ganz Progisch by WESERBERGLAND album cover Studio Album, 2017
3.97 | 31 ratings

Sehr Kosmisch, Ganz Progisch
Weserbergland Krautrock

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars When guitarist-producer Jacob HOLM-LUPO (WHITE WILLOW, THE OPIUM CARTEL), flutist-keyboard player Ketil Vestrum EINARSEN (WHITE WILLOW, JAGA JAZZIST, WOBBLER, MOTORPSYCHO), guitarist Gaute STORSVE (RHYS MARSH) and drummer extraordinaire Mattias OLSSON (ÄNGLAGÅRD, PINEFOREST CRUNCH, PÄR LINDH, WHITE WILLOW, THE OPIUM CARTEL, NECROMONKEY) get together to create an album of music in tribute to the Kosmische Music (Krautrock) artists of the 1970s you can bet it's going to be a good one. And it is! Each song on the album is like listening to a drum, keyboard, and guitar clinic. It's as if JAGA JAZZIST and CAN were merged--as if Lars and Martin HORNTVETH were collaborating with Jaki LIEBEZEIT in this, the 21st Century, with all of the gizmos and effects that give 21st Century musicians such versatility and variety. The bass is often keyboard or computer driven, but it works. Mattias' drumming blends computer technologies with the live kit sounds. The keyboard and guitar sounds and techniques used are all over the place. Overall, the music is derivative, yet experimental; it's rhythmic and yet avant; it's militaristic yet psychedelic. It's genius!

1. "Tanzen Und Springen" (9:44) the most melodically memorable song on the album but perhaps the least adventurous. Nice lead guitar work (especially the Todd Rundgren-like work in the ninth and tenth minutes). (9.25/10)

2. "Das Trinklied vom Jammer der Erde" (15:42) starts off very etheral/ambient before electronic drums and deep synth washes take over. Such a deeply engaging song--definitely one of the highlights of 2016/2017 for me. Even the "copied" Pink Floyd "Time" reverbed rototoms and the Holger Czukay-like radio samples in the last three minutes are wonderful inclusions. (9.75/10)

3. "Kunst Der Fuge" (12:02) AMAZING drums and awesome organ/keyboard work. (9.5/10)

4. "Tristrant" (8:48) with the sound base of a 1980s song by ABC (there's so much of that 80s retro sound going around, why not in Kosmische Musik?) Great synth, winds, and percussion work. I love the cacophonic buildup in the second half and then the slow release toward the end. (9.25/10)

Five stars; a masterpiece of progressive rock music and a brilliant shot in the arm for the resurgent Kosmische Musick scene.

 Sehr Kosmisch, Ganz Progisch by WESERBERGLAND album cover Studio Album, 2017
3.97 | 31 ratings

Sehr Kosmisch, Ganz Progisch
Weserbergland Krautrock

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars Norwegian band WESERBERGLAND is the creative vehicle of composer and musician Ketil Vestrum Einarsen, an active musician with a long resume, albeit of the kind often found in liner notes rather than in more prominent, bold letters on an album. With this new venture he steps up as a band leader for the first time, and this debut album was released in the spring if 2017 through Norwegian label Apollon Records.

While I do not find this CD to be a krautrock production in a purebred manner, I do suspect that the main audience for this album will be found in that crowd somewhere. Most likely those among this audience that enjoys an artist with a modern take on old traditions and the inclusion of elements also outside of this specific field. Otherwise many people with an affection for instrumental progressive rock in general should find this album to be a rewarding one I suspect.

 Sehr Kosmisch, Ganz Progisch by WESERBERGLAND album cover Studio Album, 2017
3.97 | 31 ratings

Sehr Kosmisch, Ganz Progisch
Weserbergland Krautrock

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

4 stars Due to uncounted contributions to diverse bands, respectively music projects, Ketil Vestrum Einarsen can be seen as a real key figure when it comes to the prog rock scene in Norway. Now recently he could form a unit that should implement his personal vision of a krautrock inspired progressive rock album. And so 'Sehr Kosmisch Ganz Progisch' appears with a German title of course, moreover this is pointing to an Harmonia song. Besides a bunch of guest musicians the bands core is completed by Gaute Storsve and White Willow's Jacob Holm-Lupo, both on guitar as well as bass, and finally drummer Mattias Olsson of Änglagård fame.

While residing at the Weserbergland border since my birth, this issue attracted my attention in particular, you bet! But, are there even any specific relations to notice concerning krautrock and this region in Germany? Oh yes, there are some. The initial Umsonst & Draussen festivals launched in Vlotho for example. And temporarily, similiar to Kraan residing in Wintrup for some time, the Weserbergland has been a retreat for Hans-Joachim Roedelius and Dieter Moebius above all, both representing the band Cluster. This probably might have helped to name the project just like that.

The album shows a very unique flow and flavour. Although some references are given, for me it doesn't sound like blatantly leaning at any well known kraut outfit, fortunately. Thus 'Sehr Kosmisch Ganz Progisch' evolves to a revelation per se for every prog fan, especially when looking for something new and innovative. The particular songs are skillfully weaving diverse music styles and ideas, deriving from different epochs, to something very open minded and experimental. Well, that is mirroring a krautrock spirit, isn't it? Furthermore Mattias Olsson's drum presence is motoric, very special in general.

The approach to combine kosmische electronics and rock music is fulfilled. And so somewhat in the vein of Harmonia, Cluster, Neu! the charming and relaxed Tanzen und Springen - originally an old folk traditional - appears in a cinematic, symphonic manner, decorated with some nice guitar work. Followed by the Gustav Mahler adapted Das Trinklied Vom Jammer Der Erde, starting very melancholic, concerning the mood reminding of Kaukasus, but then provided with a very strong and dynamic flow furthermore. Kunst Der Fuge is picking up the legacy of baroque composer Johann Sebstian Bach with industrial alike implemented drums, partially just like forced by a machine, partially very tricky - a great challenge.

Finally tending to some free formed jazz in between Tristrant spiritually seems longing back to the 12th Century after all, pointing to the love story of Tristan and Iseult, which has been nothing but an emotional rollercoaster affair to them. Musically this is realized in a rather dramatic manner. And no wonder, most of the guest musicians are involved in this song. While taking some episodes from the German cultural history as a template, Ketil Vestrum Einarsen has started something really unusual and precious here with 'Sehr Kosmisch Ganz Progisch'. Krautrock? What else? Maybe for some reason, but if, surely equipped with the prefix Neo.

 Sehr Kosmisch, Ganz Progisch by WESERBERGLAND album cover Studio Album, 2017
3.97 | 31 ratings

Sehr Kosmisch, Ganz Progisch
Weserbergland Krautrock

Review by Einwahn

5 stars Well this came from nowhere didn't it?

Apparently there has long been an undercurrent of admiration for Krautrock in today's glorious Scandinavian prog music scene, and led by Ketil Vestrum Einarsen it's all come together in an album that I've been listening to repeatedly for months now. I really can't get over 'Sehr Kosmisch, Ganz Progisch' and certainly can't do it justice in text. There are already excellent reviews of this album from PA's senior reviewers but any 'Krautrock' or 'Psychedelic/Space Rock' fan simply must hear this masterpiece. One feature not previously noted is the classical track titles:

'Tanzen und Springen' is a madrigal by the Dutch Renaissance composer Hans Leo Hassler (I wonder if this comes from guest musician Lars Fredrik Frøislie of Wobbler).

'Das Trinklied vom Jammer der Erde' is a song by Mahler.

'Die Kunst der Fuge' is a famous collection of pieces by Bach.

'Tristrant' is a romance by a 12th century German poet called Eilhart von Oberge (ditto to note for track 1).

Phew - going back to Krautrock(!), here's my take on the original inspiration: the band's geographical name 'Weserbergland', and the music of the first two tracks, are vintage Neu!. On both of that band's major albums there are 'geographical' titles ('Weissensee' on the 1972 album, and 'Seeland' on the 1975 album). The lovely, languid electronic style of these tracks is particularly similar to Weserbergland's 'Tanzen' and 'Trinklied'. The last three minutes of the second track also sound inspired by Irmin Schmidt's semi-musical electronics (such as on Can's 'Bel Air' to name one example).

But when it comes to 'Kunst' and 'Tristrant', I am simply overwhelmed, I've never heard the like. Walls of magnificent sound, beautiful melodies surrounded by all sorts of complexity and Planet Zog percussion. The last track especially is where all the guest 'stars' (in our world) perform and it has to be heard to be believed. A special mention (again) to Lars Fredrik Frøislie who thereby features on both my favourite albums of 2017 (no prizes for guessing the other).

Verdict: Einwahn's #1 album of 2017.

Thanks to rivertree for the artist addition. and to Quinino for the last updates

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