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ER


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Amazon's Nils Petter Molvaer Store

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Product details

  • Audio CD (10 Aug. 2010)
  • Number of Discs: 1
  • Label: Import Music Services
  • ASIN: B000BBRZUG
  • Other Editions: Audio CD  |  MP3 Download
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 139,998 in Music (See Top 100 in Music)

Product Description

titolo-erartista-nils petter molvaer etichetta-emarcyn. dischi1data18 ottobre 2005supportocd audiogenerejazz-brani----1.hoverascolta2.softerascolta3.waterascolta4.only these things countascolta5.soberascolta6.darkerascolta7.feederascolta8.dancer

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20 of 21 people found the following review helpful By degrant on 7 Nov. 2005
Format: Audio CD
8 years after Nils Petter Molvaer’s debut album for ECM, “Khmer”, comes “Er” an album of eight tracks, seven of which have one word titles all ending in the letters “er”. Although reminiscent of “Khmer”, “Er” has its own identity and is, in many ways, a more mature, contemplative albeit less arresting album. Although “Khmer” had its antecedents in Miles Davis’s 1970s work, it still seemed like a bolt from the blue, Molvaer’s eerie trumpet at once fitting in to the ECM aesthetic while the sampling, guitars and beats sounded more akin to albums by entities as disparate as No Man and the Aphex Twin.
Times have changed and although Molvaer’s trumpet is an individual as ever (like his compatriot Jan Garbarek, he has an instantly identifiable tone) the background beats are, in the main, more subtle and, I suspect, more likely to stand the test of time. The album opens wonderfully with “Hover” – with the first few notes of Molvaer’s muted and almost stoned horn leading into the rich instrumentation and eventually a much brighter, fuller trumpet sound as the song builds in intensity. The third track “Water” features a suitably more organic sound with bass to the fore. As is typical of the albums tracks, the song builds as the beats and then a female vocal comes in. Again, the song concludes with a stirring trumpet solo.
The fourth track, the ballad “Only these things count”, is the album’s centrepiece in more than one way. Its very title makes it stand out and the plaintive vocal which manages to be both melodic and lyrical and slightly staccato and forced is a welcome change from the slightly repetitive formula of the other similarly-titled tracks.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 7 reviews
12 of 12 people found the following review helpful
GREAT TRUMPET PLAYER, GOOD ALBUM 7 Nov. 2005
By A.J.H. Woodcount - Published on Amazon.com
Format: Audio CD
Nils Petter Molvaer has made some good music over the years. His trumpetplaying is very moody and he can set an atmosphere that not a lot of people can. The beats and electronics he uses are unique. The beats and sounds he uses create a lot of space in wich he can let a solo come to full advantage. The particular Molvaer-sound is only to be heard in the group of musicians Molvaer works with (the guitarist Eivind Aarset for instance; try his album Electronique Noir!).
I own three albums of Molvaer: Khmer, NP3 and ER. The first one (Khmer, 5 stars easily) is without a doubt the best. Most songs take their time to develop, but there always is a lot going on. Within the songs the tempo or volume build up. The beats are not the only things that count. And that maybe is Molvaer's trap: he manages to make his beats sound better and better, but they become so important that the rest of the music gets less attention.
NP3 had bigger beats than Khmer, but the album as a whole is a bit flat. But it's the most accessible and if possible happy one.
ER is down. Way down. And I like that. The album starts of really good. The first song is a killer! The second one is very sad. The intro's the songs lead to good beats that have a good dark atmosphere. But just like NP3 I miss the evolution of the songs beyond the beat. When Molvaer could pull that off again he could make a 6 star album.
There's one thing about the album I almost forgot to mention: there are voices on two of the songs of the album. The voice of Sidsel Endresen is a treat. She doesn't sound like a jazzsinger, and I/m glad about that. It wouldn't fitt. The singing is like a beat up Sally Oldfield or holds somewhere in the middle of Portishead and Clannad. Very tastefull!

When you don't own a Molvaer-album and you've got nothing against fantastic electronic beats, soundscapes and trumpet you must get yourself a Molvaer-album. This album for me is a five star album untill song number six. It's good enough, especialy the way the beats are recorded is good, but I believe Khmer has more to offer.
3 of 3 people found the following review helpful
ER: Music that explores and is worth exploring 18 Nov. 2007
By Peter Hodgins - Published on Amazon.com
Format: Audio CD
ER is Nils Petter Molvaer's most accomplished work to date. It is also maybe two albums in one. A first half of tracks drifting around melody, electro percussion and atmospheric sweeps. It culminates with 'Only These Things Count', a song, vocals courtesy of compatriot Sidsel Endressen; the remaining tracks are denser, exploring syncopation, rhythm and the texture of sound, electric and acoustic.

On each track Nils Petter Molvaer winds his trumpet, at times hinting at Miles Davis circa the mid-seventies or the treated sound of Jon Hassel. At other times he bends notes in an almost primitive or folkloric way. Breathing through the horn as though it were a voice. Making voice and instrument almost one. Reminding the listener perhaps of music's link with speech and language. He does all this over an atmospheric yet never overbearing palette of sound. Climaxes of instruments suddenly give way to space and the lone horn. A minimalist melody, that is plaintive or haunting.

The track titles are simple and starkly suggestive. Hover, Softer, Water, Sober, Darker, Feeder and Dancer. Only the aforementioned 'Only These Things Count' deviates from this trend.

Stand out tracks have to be 'Water', a beautiful intro, standing bass, sparse horn and electro effects, woven through with Endressen's wordless and stuttered voice. 'Hover' a subtly struck bass and rhythm syncopation, the horn drifting at times so far back into the mix, it stretches attention, as though drawing the listener into another room, only to return, breathy and warm. 'Only These Things Count', is a mixture of acoustic and treated sound framing a conventional song structure - the horn here mostly warm and intimate. And 'Dancer' a darkly rhythmic piece, with swirling guitar drones, sound loops, the trumpet here one minute, there the next, driving the music on, occasionally discordant and chaotic, but never less than compelling.

I was recently listening to this while driving out of London and up the M11 to Stanstead airport. A somewhat misty, November afternoon. Stretches of cloud and a deep autumn sun. It was the perfect soundtrack. Evoking the landscape, suggesting its history, its connections and yet so very urban and contemporary in its nature.

This is a special of music. It will bear repeated listening. It will draw you in from first listen Then reveal its thoughtfulness, its invention and depth with time. Worth your attention.
3 of 3 people found the following review helpful
Not for all tastes (or pockets) but ineffable, enchanting, and profoundly aesthetic. 5 Dec. 2006
By Caponsacchi - Published on Amazon.com
Format: Audio CD
Upon reading the titles of the tracks on "ER," I was prepared for a Windham Hill sampler of programmatic "nature-music" pieces. But Norwegian trumpeter Nils Petter Molvaer's muse, it soon becomes evident, is more closely related to the genius presiding over "In a Silent Way," "Bitches Brew" and similar projects by some of Miles Davis' '70s progeny. It's New Age music with a beat, but with nuanced textures mixed so deliberately and motifs insinuated so subtly that the inattentive listener is likely to miss altogether the gossamer fabric of these fragile yet frequently appealing, inviting constructions.

Molvaer's trumpet is too much in the background for this music to be mistaken for a Miles Davis session. Instead, the horn becomes another vibrant freqency floating in the sonic ether, whether producing muted plaintive sounds without the mute or suggesting a momentary chill when Molvaer blows through his mouthpiece sans horn. Even the multiple tracking of the instrument along with the layering of bird calls and human voices does little to disturb the Noh-like stillness of "Water," following "Softer" like diaphanous gauze yielding to the glimpse of a golden carp suspended in a moon-lit pool.

"Only These Things Count" is verbalized, sung moreover in English, thus threatening to rupture the listener's connection with the safe and magical harbor of the musical Zen garden. But soon the churning textures of the accompaniment lead to another quiet, intimate moment during which Molvaer's breathy trumpet supplies incandescent incantations over a single sustained pitch, a note evoking a wordless plainsong resonating with the dynamic energy field of consciousness itself.

The next piece, "Darker," momentarily establishes an almost funky groove, perhaps Molvaer's turn to run the voodoo down, but again he moves skyward, as "Feeder" offers the most extended, extreme trumpet solo on the CD--loud in dynamics or high in register only relative to its previous unobtrusive presence. The role of the trumpet as an "individual" voice is an open-ended question in music of such exacting scale and ecological balance.

"Dancer," the final piece--or, more precisely, movement of a continuous work (there are no silences between the compositions)--is descriptive of the acoustic properties of the piece itself, which emphasizes the rhythms of primitive percussion. But in its metaphoric invoking of dance, it's also an interpretive, revelatory key to Molvaer's paradoxical and poetic, even mystical, compositions that blur the lines between soloist and accompaniment, text and context, confounding any attempts at easy categorization of this music.

The listener's epiphany is that "ER" is, above all, a delicate but vital and indivisible organism, recalling if not demonstrating the understanding implicit in the poet W.B. Yeats' famous question about the relationship between the artist and his creation: "How can you know the dancer from the dance?"
The Path of ER 24 Nov. 2013
By PhiloX - Published on Amazon.com
Format: Audio CD Verified Purchase
Love all the pervious Amazon reviews of "ER" & agree with most of them. I bought NPM or Nils Petter Molvaer's first CD "Khmer" when it came out in 1997 & turned on my audio club with its new & different sounding Jazz Rock while testing out our speaker systems. The drums were thick & wild while NPM's trumpet was either soft & airy, or panicking around the music scales in the same vain but not sounding like Don Cherry's wilder moments. When NPM's 2nd CD "Solid Ether" came out I rushed to buy it but was surprised & disappointed with it's over electronic back grounds & violent rhythm section. The music had a negative feel as it entered into John Cage's "Music is Noise" territory. I lost hope in finding the direction of Jazz trumpeting in the 21th century until I took a chance & bought NPM's "Hamada" with revealed the softer side of NPM. I am now back buying the CDs of NPM & I am very pleased with "ER". Gone are the days of musical panic as NPM takes up the frozen olive branch of Miles Davis to Norway. His current trumpet technic during the slow songs reveals his lips blowing around the mouth piece. Years ago when I was playing the trumpet I always tried to avoid this, yet NPM is a professional & creates a certain mood with this airy soft sound. It sounds of a lonely trumpet call in the wilderness or seeking God in silence. As this is my 4th CD of NPM that I own, his melodies seem to follow a certain path & his "Far Away" panic calls are nearly the same in each CD. NPM's trumpet can sound as centuries ago of a warning or a call to war. Somewhere off in the far distant Norwegian mountains NPM is sounding the 7th trumpet of modern Jazz Rock.

This CD contains 2 songs by the most interesting Norwegian singer Sidsel Endresen. She sings in the background on "Water" & as the main singer on the only non-ER song "Only These Things Count" which is most profound & spiritual. I love all the NPM CD's so far after "Solid Ether" that I am thinking of buying the guitar player Eaivind Aarset's CDs.
er 8 May 2011
By Sain Alizada - Published on Amazon.com
3/5. A conceptual work from Norwegian trumpeter Nils Petter Molvaer stands out for seven out of eight tracks on the album having one-word titles all ending in "er". The electronica-based nu jazz with contemporary sampling and programming technologies integrated into a hypnotic and abstract soundscape of horns, guitars, drums and hand percussion makes for a fine and delicate listening experience. The music might sound weird at first, but it grows on you to the point you can see that this is actually how a contemporary take on Miles David would sound. The centerpiece of the record is definitely the verbalized gem "Only These Things Count" with lyrics written and intimately performed by Norwegian jazz singer Sidsel Endresen. Opening with an icy piano drops by Magne Furuholmen very much in the style of his movie soundtrack collaborations, this organic piece with acoustic guitar, percussion and double bass is by far one of the most melodic and lyrical songs Nils Petter Movlaer ever recorded. The track is followed by Molvaer's trumptet solo on mournful and chilly "Sober". These two tracks seem to have the greatest potential to stand the test of time. The rest of the album has a greater deal of sampling and programming and experiments with ethnic percussion and Eastern-style sounds, but Molvaer's trumpet sounds so smoothly the end result is a mystical and paradoxical ambience that every fan of electronica going beyond pulsing beats and synthesized sounds would enjoy. --Sain Alizada
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