Quick critique of Nils Petter Molvaer

James asks:
You’re ‘in two minds about [Nils Molvaer's] work’? What do you mean?

To which I replied (though I’ve added bits for this version):

Just that really – my unease consists of the following:

1. Nils and his band use breakbeats both at the sped-up d’n'b pace and the slower hiphop tempo. Both these musics in their day were cathartic, galvanising experiences – I still remember the wonder in the early 90s of hearing this alien music (Jungle) coming out of pirate stations such as Hackney’s Kool FM (I still have some tapes of these shows somewhere). I have a lot of this music on disc – to this day it sounds refreshingly vigorous, verging on jaw-droppingly wonderful. There’s a ’94 Greensleeves Ragga Jungle compilation that the kids and I danced to quite often recently). The music ran out of steam in the mid 90s as it got more pretentious. Molvaer’s music appears to misunderstand -or- hijack Jungle’s original intent and substitutes smooth sophistication for thrill.
2. Same goes for the 1970s Miles Davis influence that he’s acknowledged repeatedly which is the only other music in my humble opinion which gives Jungle c. 91-94 a run for its money.
3. The emotional range of Nils’s playing is rather narrow – it seems to stretch between a sort of proud defiance and mourning, but doesn’t go anywhere else.
4. On a bad day the music seems to be a big slab of stuff – it doesn’t break up or react or interact. It just sort of runs along until it’s over.
5. Again on a bad day, the music seems to tread a little too close to comfort to sanitised stadium rock.
6. Khmer looked like a very promising start, but instead of branching out and experimenting he doesn’t seem have to come up with any new ideas since and each album has been a case of diminishing returns. Streamer being his first new release in 3? years just re-presents old concerts (though I am enjoying it).
7. He’s very clearly influenced by Jon Hassell, but he hasn’t added anything to Hassell’s explorations – the best that could be said is that he’s popularised the latter’s innovations. I suspect in 20 or 40 years’ time Molvaer may have been forgotten while Hassell’s ouevre continues to be recognised for its tremendous influenuence. Some critics have suggested his work is as important as James Brown or PiL or Miles Davis, to name but a few.

Having said that I did enjoy the Marquee gig and do enjoy his music, but those are my doubts – you did ask!