KORNMO

Norwegian trio Kornmo arose early 2015 from the ashes of the band Morild that disbanded around 2014. Chief composer and bass player Nils Larsen wished to continue making music, but sought a slightly different challenge this time, namely focussing entirely on instrumental music. Along with his friend of 50 years and previous band mate from Morild, Odd-Roar Bakken, he started a new musical project to fulfil this wish. To complete the band, Nils asked his son Anton Larsen to join on drums, now Kornmo was formed. This is a project that solely records original progressive instrumental music, and the band does not perform any live gigs but released four albums: Svartisen (2017), Vandring (2019), Fimbulvinter (2021) and recently Vårjevndøgnsnatt (2024). About their previous effort Fimbulvinter (2021) I wrote: "I am pleased with this new Kornmo album, to me it sounds as their most elaborate and compelling effort, recommended to fans of vintage keyboards, and melodic and harmonic symphonic rock like Seventies Camel, Barclay James Harvest and Mike Oldfield."

Band info: "The new album Vårjevndøgnsnatt (Night of the Spring Equinox) is Kornmo's fourth concept album, based on a story that begins in Ireland and ends in the deep Norwegian forests. This is reflected in the musical expression, both compositionally and through the choice of instruments. Science, philosophy, myths and folklore colour the story that Vårjevndøgnsnatt is based on, which can be read in both Norwegian and English in the accompanying booklet."

Because I have reviewed the previous 3 Kornmo albums I got this new album so I have become more or less a 'connaisseur' of the Kornmo sound, haha. Their can be described as a simply structured but vere tastefully arranged blend of symphonic rock, folk and classical, with the focus on colouring the music with moving guitar work and pleasant vintage keyboard layers, backed by a solid rhythm-section. To me the omnipresent Mellotron sounds as a kind of voice in the instrumental music, especially the flute-section. About the influences, Kornmo reminds me of Camel, BJH, Anthony Phillips and Mike Oldfield, and the mellow side of fellow Skandinavian bands Anglagard and Landberk. Most of the atmospheres are pastoral sonic landscapes, every now and then the moods shift to a mid- tempo or sumptuous eruptions, to keep the attention, with dynamics and tension.

Each of the five long compositions (between 9 and 20 minutes) has its own musical developments and the trio succeeds to deliver a pleasant amount of variety with the instruments.

Sendebud Fra Vest (17:44) : Lots of flowing changing atmospheres, from dreamy to mid-tempo and bombastic outbursts, wonderfully embellished with Mellotron flutes and violins, Hammond, Minimoog, piano, acoustic guitar and a Scottish bagpipe sound.

Huldras Hale (19:24) : This longest track generates a lot of pleasant musical moments. From a slow rhythm featuring sensitive electric guitar, Mellotron flute and Minimoog solo to a brassy Mellotron and a Mike Oldfield-like medieval climate. From fiery electric guitar and soaring Hammond in a slow rhythm to a bombastic eruption with swirling Hammond and rock guitar, topped with a Minimoog solo a la Rick Wakeman. From a mellow part with piano, acoustic guitar and soft synthesizer flights to 24-carat bombastic symphonic rock with Hammond and Minimoog. And from soaring tremolo Hammond to a sumptuous conclusion featuring howling electric guitar, Minimoog joins and finally a Mellotron flute, wow.

Den Dype Skogen (15:41) : This long composition delivers a lot of fine musical ideas and flowing shifting moods, with a strong balance between mellow and more lush and bombastic parts. The instrumentation varies from dreamy Mellotron flutes and - violins to majestic church organ, howling electric guitar and Rick Wakeman inspired Minimoog runs. Top notch 70s inspired symphonic rock!

Altets Hav (9:11) : This shortest composition (only 9 minutes, haha) alternates frequently between dreamy and bombastic, with Vintage Keyboard Heaven (from swirling Hammond to spacey Minimoog) and lots of rock guitar.

Ly (Vuggesang) (11:50) : The final track is the most mellow one featuring an intense blend of acoustic guitar, soaring Hammond and tender Mellotron cello and - flute, simply beautiful!

Highly recommended to the fans of symphonic rock with pastoral overtones.

Another band that desperately needs attention in terms of positive reviews is this Norwegian symphonic instrumental combo whose career has been nothing short of genius, with highly rated works that have made an impact in Progland (I have all four albums and love them all!). Essentially a talented trio since day one, back in 2017, featuring Odd-Roar Bakken on guitars and keyboards, bassist Nils Larsen and Anton Larsen on the drumkit, offering zero vocals to their visionary and philharmonic prog suites that sonically paint vivid soundscapes that encourage drifting into dreamland. The cinematographic tracks are elongated affairs that are structured in such a manner as to keep the arrangements in constant progression mode, spanning a variety of styles, from pastoral acoustic, to bombastic symphonics, as well as Scandinavian folk elements in that inimitable tone. Lengthy soloing on both guitar and keys elevate the passion to glorious levels.

The adventurous "Sendebud Fra Vest" elegantly unveils a bucolic setting, guided by some masterful acoustic guitars, organ underpinning, a delicate flute joining in perfectly, combine to entrance the listener into an ethereal universe. When the swaying bass and the drums kick into gear, its only to establish the platform for a prolonged and shimmering electric guitar solo. The transition to a rather unexpected Japanese sounding theme stimulates the mood further, violin orchestrations taking over diligently, a perfect Celtic variation for another protracted fretboard incursion, synths allied in the effort, and crashing cymbals notwithstanding. Acoustic guitar resumes the initial medieval thematic that just keeps rising to a higher plane, influenced by a pushy organ, a rousing Larsen bass intrusion and a swerving synthesizer melody that unites them all. Brother Anton ups the ante on the percussive side, leading the arrangement into a mellow jazzy ride, the bass and piano in full regalia before finalizing this epic 17 minute+ ride with a final pastoral curtsy.

Scandinavian folk involves a fair amount of mythical forest creatures and "Huldras Hale" beginning cautiously and naively perhaps with some sweet low-key meanderings, the seductive keyboards carrying most of the load. Its just the opening stages of a spirited adventure that seems to explode out of nowhere, a communion of spirits that expands into that broiling organ sound once again, the jolting rhythm picking up steam, hauntingly crisp and magical like the Norse winds. The electric guitar smoothly enters the discourse, restrained at first as it seeks to construct a build-up of emotions, confiding in the piano and the rhythmic pulse to move forward. The stirred-up organ seems to be the catalyst for the more rousing outcomes, ultimately passing the baton to a sprinting synth line that hauls the others along for the ride. The elastic bass and lavish piano work in tandem to shift into a different sidebar, a melancholic pool of feudal revelry, at times forlorn and taciturn, a classic Norse characteristic if there ever was one. A riveting guitar solo finally screeches in through the clouds to simply slay the beast. Tragically beautiful music.

The aural camera keeps filming in the deepest forest on "Den Dype Skogen", an astute collage of contrasts, the cold and warm realms that only Mother Nature can create in all her glory. Cottony softness, velvet layers and satin sheen are delivered through a variety of acoustic elements, a church organ blending in to veer the atmosphere towards a more solemn reality, where the percussive side percolates, the burly bass slicing into stormier gales, and more complex movements abound. When the exuberant Bakken guitar decides to screech, it does so unapologetically. This collision of heavy and light is utterly fascinating throughout the composition, even when the transitions forge new pathways through the lush timberland. The expert orchestrations excel in creating the springboards necessary to keep the flow unremitting. Both the organ and guitar underline the melody that was there all along, blossoming finally into a pipe organ flourish to settle the score.

Kornmo opts for a more experimental mission on "Altets Hav", a 9 minute+ keyboard festival that chains together a plethora of vintage sounds, the spotlight on synthesizer and churning organ carving out the melody, repeated by the guitar and violin resonances. Ultimately, the mood gets chaotic, almost dissonant, frenetic and almost schizoid before falling back on a jazz lounge feel that showcases the opposite extreme, verging on a serenade. Electric guitar rages just enough to keep the tension on full alert, before sweeping into a fluttering synthesizer extension that had classic Camel all over it.

Like any worthy epilogue, "Ly (Vuggesang)" retraces the rustic sense that opened the curtain on this magnificent ride. Acoustic guitar and organ connect their efforts to evoke a distant past, a time when longships unleashed their sails and sent the valiant Norsemen on their epic oceanic voyages around the globe. Effortlessly melodic, imaginative beyond the normal prog boundaries, the flute sounds submit the soul to profound introspection, the guitar caressing the heart, the orchestrations laying down the foundations to search for dreamland. A much- needed panacea in our current, unusually troubled world. One of the most soothing tracks I have heard in many a decade.

Instrumental music played by gifted and passionate performers, who let their musical tools do all the messaging needed. 4.5 Glittering auroras

the LP on 2023! KORNMO "luminous phenomena" is the instrumental trio formed in 2015 distilling symphonic, atmospheric and melodic rock-prog on the ashes of MORILD; a vintage sound stamped 70's, 3 partner musicians for 50 years and classical music, jazzy at times; demanding folk escapades on landscapes loaded with dark atmosphere. The relaunch of Vandring's completely remixed and remastered version, the latest according to Anton, allows you to feel a fresher, melodic, less vintage sound in a progressive instrumental rock lineage with symphonic roots. Within 4 seconds, the same titles can be heard in this LP version.

"Demring" between 'once upon a time and 'shine', cinematic and floydian fusion, intro allowing to bring "Oppbrudd" for a sound of cold Scandinavian spaces, folk acoustics reminiscent of NOEKK, EMPYRIUM or GRAILS; it then rises with dry drums and dithyrambic guitar solo. "Vemod" continues with a piano ballad and a CAMEL-like solo, full of feeling and sensitivity. "Nord" follows with a pastoral flute before letting the guitar wander on an air that Mike OLDFIELD would not have denied. "Nunatak" arrives with a folk-medieval-Scandinavian sound and hints of the 70's for the guitar approach, the camelian breaks above all and the enchanting melodic detours on GENESIS; then this final stratospheric guitar to the TANGERINE DREAM which flows from source.

"Taiga" oldfield guitar arpeggio again to bathe in a heavenly fresh and jovial, rural sound; like a little DICE. "Kveld" connects stereo piano arpeggio on synth layer; the vintage melody-ballad to 'donf' also allowing to realize the level of musical excellence, between APHRODITE'S CHILD and BARCLAY JAMES HARVEST of yesteryear and we pass on "Ild" to the sustained rhythm and the organ taking for a festive air, ideal for strolling in the cool mornings on snowy land; melodic flute then military break, spartan, it bursts from all sides from Odd's fingers. "Aske" follows guitar arpeggio on Mogg letting tunes scroll with various breaks to get lost even more easily in the wilderness; long tune that unrolls and makes you wander. Finally "Føniks" ends again with a guitar arpeggio at the start leaving the instrumental drift to spread out over the musical waves; very good for washing away the vicissitudes of life.

KORNMO distills after remixing this 2nd album to let yourself be immersed in an agreed genre, the 70s vintage prog, doped with fondant folk melodies where the dinos CAMEL and GENESIS carve out the best part of reminiscences, the festive side approaching a FOCUS. Atmospheric symphony where keyboards are highlighted, an LP remix for the pleasure of taking back the time of listening, for vinyl addicts.

3.5 stars. This is the debut from KORNMO out of Norway, a mature trio of bass, drums, guitar/keyboards. A Kornmo is apparently a popular cracker sold in Norway which made me smile making me think of FRUITCAKE also from Norway. Nils the bass player composed the music and the band arranged it all. They originally released this in 2017 recording it in Odd-Roar's(guitarist/keys) home studio. It was self-released on a cdr but then in 2018 they re-released it on another cdr, again self-released but completely re-mixed, obviously not happy with the original sound. I have the 2022 version released on Apollon Records and mastered by WHITE WILLOW's Jacob Holm-Lupo. So at least I have the best version possible.

This is an all instrumental album worth almost 66 minutes over 11 songs. I do prefer this to their latest "Fimbulvinter" an all instrumental concept album that just didn't do a lot for me. Very little in the way of breakouts or contrasts etc. which we do thankfully get here. I really feel that this comes across as a "paint by numbers" Prog record where on each song we get constant changes and repeated themes which is what we all like because we're on this site but again like their latest this is a long album for this type of music. Give me 42 minutes! Anyway I'm thankful to hear some outbreaks of guitar and organ on here along with mellotron and this is a good album just not my cup of tea these days.

KORNMO are an instrumental trio out of Norway including Odd-Roar Bakken who was in the Lord Of The Rings wasn't he? Anyway he is in the band ADVENTURE and I reviewed one of their albums recently. He pays a variety of keyboards and guitar on here while we get Nils Larsen on bass who also wrote the music. Nils son Anton J.R. Larsen is the drummer and he also mixed and produced the album while all three arranged the music. Oh and Jacob Holm-Lupo from WHITE WILLOW and many more bands mastered it.

The music is Symphonic and slow to mid-paced without much in the way of breakouts and at over 71 minutes I did find this a tedious listen at times. Kind of samey and uniform as well and I did think of FRUITCAKE who I like but this is different without the vocals in play. Just about all the information in the liner notes is in Norwegian except where they say to go to Facebook to get the English version.

Some really nice music on here but I lack the patience. Plenty of organ and synths on this one and it's very retro and warm but just not my thing. There are so many positive reviews on this album around the internet so my review just offer a different opinion. Yeah lets go with that. The album's title come from Norse mythology and the cover art seconds that name meaning Great Winter which according to this mythology will come before the end of the world. This really was a change of pace for me but please check them out.

This is the first time I have come across Norwegian prog act Kornmo, a trio who comprise Odd-Roar Bakken (keyboards, guitar), Nils Larsen (bass) and Anton J. R. Larsen (drums & percussion), but this is their third album. Mind you, if you had told me this had been released 50 years ago as opposed to 2021, I would have believed you as there is nothing here which ties it to the present day apart from the quality of the recording. Odd-Roar and Nils first met many years earlier, and later founded Adventure in 1990, then later forming Morild, before moving onto their latest venture where they have utilised the talents of Nils' son Anton.

The sounds being utilised by Odd-Roar are classic Mellotrons, Moogs and Hammond, often providing lengthy held chords while the bass and drums take the lead. It is quite Wagnerian at times, powerful and dramatic with no rush whatsoever. One can imagine songs such as "Dovre Faller" being performed on a pipe organ in a cathedral with the sounds reaching up to the vaulted ceilings as there is a real majesty which is almost like a religious experience. While some may imagine they might be like ELP, they are actually far removed, as they are looking more towards traditional folk and classical music, and this is part of the joy as they are not attempting to be like any of the other bands around. They say they are influenced by Camel, but in reality, they have little musically in common apart from them playing only instrumentals. The songs vary between 3 and 13 minutes in length, and when played on headphones this is a style of music which transports the listener as when this is playing nothing else exists. Symphonic yet delicate, powering yet gentle, this is a great album which fans of classic prog would do well to discover.

FIRST REVIEW OF THIS ALBUM

Norwegian trio Kornmo arose early 2015 from the ashes of the band Morild which disbanded around 2014. Chief composer and bass player Nils Larsen wished to continue making music, but sought a slightly different challenge this time, namely focussing entirely on instrumental music. Along with his friend of 50 years and previous band mate from Morild, Odd-Roar Bakken, he started a new musical project to fulfil this wish. To complete the band, Nils asked his son Anton Larsen to join on drums, now Kornmo was formed. Kornmo is a project that solely records original progressive instrumental music, and the band does not perform any live gigs.

After my review about the second album entitled Vandring (2019) here are my words about Kornmo its debut album (2017, re-released in 2019). The title is inspired by the glacier found in Glomfjorden in the north of Norway by the same name, which loosely means 'the black ice'. The 11 instrumental tracks sound firmly in the symphonic rock tradition, the structure is very simple, with the focus is on embellishing the melodic and harmonic music with an intense guitar sound and wonderful vintage keyboards.

The one moment the climate is dreamy with acoustic guitar and soaring Mellotron violins, or tender piano and fragile electric guitar. The next moment you can enjoy slow and compelling atmospheres with moving guitar and lush Hammond, or sumptuous outbursts with flashy Minimoog flights (like in Fallvind) and fiery guitar runs. To me Camel sounds as a main source of inspiration, especially in the tracks Sn', Nordlys, Smeltevann (swirling Hammond and flashy pitchbend driven Minimoog), Uv'r (dynamic and bombastic with fiery guitar), Sn'tind (great work on the Hammond) and the beautiful closer F'n, a Symphonic Rock Heaven, the wonderful violin sound comes from the Nord Stage as a MIDI-keyboard.

Alongside Camel I also trace obvious elements from other Seventies symphonic rock bands and artists. But Kornmo certainly doesn't sound derivative, lots of own musical ideas, highly recommended to the symphomaniacs who are into simply structured but very tastefully arranged melodic and harmonic instrumental 24-carat symphonic rock.

My rating: 3,5 star.

FIRST REVIEW OF THIS ALBUM

'Norwegian three piece formation Kornmo arose early 2015 from the ashes of the band Morild which disbanded around 2014. Chief composer and bass player Nils Larsen wished to continue making music, but sought a slightly different challenge this time, namely focussing entirely on instrumental music. Along with his friend of 50 years and previous band mate from Morild, Odd-Roar Bakken, he started a new musical project to fulfil this wish. To complete the band, Nils asked his son Anton Larsen to join on drums, now Kornmo was formed. Kornmo is a project that solely records original progressive instrumental music, and the band does not perform any live gigs. Thus far this collaborative effort has yielded two albums: Svartisen (2017, remixed and remastered in 2019) and Vandring (2019). Kornmo is inspired by bands such as Camel and Jethro Tull, as well as artists like Mike Oldfield, Bj'rn J:son Lindh, and Pekka Pohjola, blended with a distinctive touch of Nordic folk tones'. Information provided by Anton Larsen, early July 2020.

This second effort from Norwegian trio Kornmo entitled Vandring is in the vein of the warmly welcomed debut album Svartisen: instrumental 24-carat symphonic rock that sounds melodic and harmonic, with flowing shifting moods and dynamic outbursts. It's pretty simply structured but very tastefully arranged with the focus on moving Hackett/Latimer-inspired guitar work and lush vintage keyboards, including lots of Hammond organ, along Mellotron and Minimoog. The rhythm-section does a solid job.

My highlights.

Many flowing changing amtospheres featuring with flashy Minimoog, a swirling Hammond soli, fiery and finally a heavy bombastic outburst with powerful guitar and lush Hammond in Oppbrudd.

A strong build-up from mellow to more lush, embellished with Mellotron, twanging guitar, Hammond and finally a howling twin guitar sound in Nord.

Another strong build-up from dreamy to bombastic featuring a vintage keyboard drenched final part and varied guitar work (Symphonic Rock Heaven) in Taiga.

First dreamy with piano and soaring keyboards, then a slow rhythm with lush Hammond waves, halfway beautiful cello play, culminating in a compelling dark atmosphere and moving guitar (Latimer/Hackett), and finally tender cello and and twanging guitar in Kveld.

The final track F'niks delivers a lush instrumentation and cascades of shifting moods: from a folky acoustic guitar and melancholical cello sound to a heavy explosion with raw rock guitar work and propulsive rhythm-section, then from moving guitar runs and Mellotron violins to bombastic with powerful and howling runs guitar with Hammond (again Symphonic Rock Heaven), concluded with a soaring tremolo Hammond sound, wow!

The band its first genuine epic composition, entitled Nunatak (close to 13 minutes) is the magnum opus on this second Kornmo album. The first part contains a blend of swinging piano, and bombastic outbursts with a church organ sound, and Mellotron flute. Halfway a slow rhythm with Minimoog and Hammond, and powerful electric guitar work with fiery runs. It sounds very dynamic. In the second part a swinging rhytmm with sensational pitchbend driven Minimoog solo, then melancholical violin classical sound, raw guitar and Mellotron violins. A nice musical idea is that this interlude is blended with the classical piece Bourree. Next fragile electric guitar and soaring Hammond, and a slow Minimoog solo. Finally a strongly build-up guitar solo, from sensitive to fiery, topped with lush Hammond, what a splendid, very compelling grand finale, this is Kornmo in its full splendor!

If you are up to simply structured and intense instrumental 24-carat symphonic rock Kornmo is a band to discover!

This review was previously published (in a different version) on the website of Background Magazine, the oldest Dutch progrock source.