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Reviews

Panzerpappa — Presenter Hulemysteriet
(Bandcamp no#, 2002, CD)

Presenter Hulemysteriet Cover art

Norway continues a trend for the retro-progressive bug with Panzerpappa’s second release, steeped in jazzy arrangements and structured rock songwriting. The quartet has been doing its homework paying attention to what’s been happening in Belgium with Universe Zero and Present as there are many Rock-in-Opposition influences that surface in these seven tracks. Saxophonist and keyboardist Steinar Borve plays a similar role to Didier Malherbe or Theo Travis in Gong: he’s a prime soloist and melodic focal point. His most memorable reeds contribution is on the album’s opening track “Spacefunkopera” as he carries a double-tracked lead against Endre Begby’s grungy guitar part. Borve’s keyboard prowess is also highlighted on “Jiddish Fake Polka” where the group shares musical kinship with Lars Hollmer’s works. “The Tool Is the 23rd Solution” is perhaps the band’s most ominous statement; the opening quickly transitions into a sax and guitar counterpoint not unlike some of Curlew’s recent CDs. The title track provides a stark contrast, as it could have easily been an outtake from the second Gilgamesh album. Closing out the disc is “The 99 Steps” (not sure if it’s named after the Hitchcock’s The 39 Steps or not) that showcases how well Borve’s organ and Mellotron playing work together. In summary, Panzerpappa have crafted a fine second album that is certain to make top ten lists of the year and secure a stateside festival appearance. Highly recommended.

by Jeff Melton, Published 2003-12-01

PanzerZappa maybe? You can sense a certain Zappa-like smartalecky wink in how this Norwegian quartet blends humor and rage, especially on the first track. One of the key ways Panzer grabs your attention is in how guitarist Jorgan Sjulstad switches smoothly from a loud distortion, to a clean jazz tone. Something simple you might think, but it’s amazing how so many players don’t even bother with it. Beyond this, I have to credit this band with a uniqueness I have not heard from Norway since Garbarek and Rypdal. You can discern that Panzerpappa has absorbed influence from Samla Mammas Manna, and perhaps Univers Zero (to stretch the imagination), but the drummer plays in a more straightforward rock style, giving the music a youthful immediacy that chamber rock usually doesn’t have. Keyboards, guitar, and wind instruments blend nicely, for a particularly charming, fun-filled romp, which avoids self-important chest thumping. Just like their mentors Samla, Panzer always keep the melodic motion paramount, without ever stepping into those hazardous traps where gimmicky manipulation and uninspired improvisational filler can separate a good solid band from a flawed might-have-been. Panzerpappa is in the former category, with, to be honest, a surprising offering here, that I recommend without hesitation. I still can’t believe this came out of Norway.

by Mike Ezzo, Published 2003-12-01

Panzerpappa is a Norwegian quartet playing a delightful variant of chamber rock. They use electrified instrumentation, keys, winds, acoustic percussion (some exotic), piano, and melodica. Melancholy becomes almost a given when discussing Norwegian acts, whether the dour symphonic rock of a White Willow or the pervading undercurrent of the black metal scene, but Panzerpappa avoids this common thread with sprightly melodic lines, possibly folk-based, and a brisk rhythm section. Slightly slower passages with melodica are, much as is the case with Samla Mammas Manna, presented almost with a wink, as the listener anticipates a return to livelier fare. Tons of bands perform material kind of like this; Samla Mammas Manna are the kings, but other members of the “avant-rock doesn’t have to make you sad” camp such as Miriodor, Hamster Theatre, and Interférences Sardines all make good reference points. Throughout the album it is common to hear two contrasting melodic lines over the rhythm instruments, with a predominance of sax. Even the drummer gets into the act using tuned percussion for harmonic counterpoint. The electrified instrumentation never dominates, giving Panzerpappa a less raw and more refined aura. As with any such ensemble, group interplay is even more important than the strength of the melodies, and here the band is more than up to the task, breezing through the seven selections with finesse and character. I know little of the band’s history or direction, but the music here speaks for itself, and what it is saying is well worth hearing.

by Sean McFee, Published 2003-12-01

Filed under: New releases, Issue 28, 2002 releases

Related artist(s): Panzerpappa, Electrond (Trond Gjellum)

More info
http://panzerpappa.bandcamp.com/album/hulemysteriet

 

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