Moberg Lie
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Moberg Lie


Band Folk Acoustic


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What makes Grannar stand out from the crowd is the bass playing! It is not often that bass players make themselves a name i Swedish folk music. About time?
Martin Eriksson provides the foundation, with or without bow, on his acoustic bass (upright bass). Very much so in Pär Moberg`s Fyrtornet och Släpvagnen, where he gets the chance for some heavy brilliance. [...] You suspect that this guy could play anything.
I also have to mention Jon Sirén`s Brudvals till Pär och Annika. [...] The song gives you shivers. Incredibly beautiful"
- Lars Lind

The Neighbours gives examples of some sensitive and delicious interaction in their music. Beautiful harmonies, an effective combination of traditionals and own compositions, and a seductive goove in all tempos. Favourite track; Leonard Ellis`s "Grannar`s Waltz".
- Alexander Agrell,

"Listening to this collection, the traditional influence is obvious, but there are intriguing variations. "Lik 10 Andra," for example, is a very straightforward folk song, with the added attraction of some virtuoso work on the double base by Eriksson. "En Svunnen Tid," which follows immediately, begins with a solo by Eriksson -- yes, on the double bass -- and resolves itself into a very nice traditional ballad. If our ears had not already been alerted by "Grannar's Waltz," we would really think we were in for fifteen tracks of Swedish folk tunes. The waltz is a step outside that arena, I think -- smoothly sensuous, sounding as much Irish as Swedish, it defies any attempt to assign a locale. [...] What's more fun to talk about is the marvelous sounds these three pull out of their instruments. "Juliregn" is simply unclassifiable, the combination of violin and soprano saxophone creating colors that in my experience are pretty much unique, punctuated very nicely by a light touch on the bass, all in the service of a lilting tune that, if we were some distance west, would immediately be dubbed a reel. And then we catapult immediately into the very Highlands-sounding opening of "Avskedvals/Langans Tankar." Brace yourself -- the whole disc is like that, with tunes that might have started off as traditional but went their own way, given a startlingly fresh sound by three talented musicians." - Robert M Tilendis

GRANNAR! (Means "neighbours"). Everyone would love to have neighbours like this, who creates a lively atmosphere in your staircase, just as they do in thsi Malmö street. [...] waltzes and polskas, all are interpreted with calm energy and well disposed arrangements. The group has existed for ten years, and they have reached a notable maturity, which gives us a very pleasing cd. - Trad Magazine, France

"The album is mostly instrumental and very well played. It’s pure and honest acoustic Swedish folk that sounds up to date, but with an ancient soul. This album is perfect for those who are into the Swedish style of playing, combining the violin with the saxophone. A combination that is about to become typically Swedish, so many albums I heard the past years with this combination. This is one of the nicest!"
- Folk World, March 2010

”There are delicious, sinuous lines, most notably on "Brudvals Till Pär Och Annika," and some unusual pairings, in unison or harmonizing. It's a pleasure to hear, sometimes surprising, always delightful, and a sign that this band has that special something that sets it apart. As debuts go, this is glowing, and promises an excellent future indeed. ” -

"The musical lines of John Sirén`s fiddle and Martin Eriksson`s double bass intertwine with those of multi-instrumentalist Pär Moberg`s saxophone or hurdy-gurdy in an equally fateful way. The waltzes and polskas are exquisitely played in close-knit arrangements, the notes dancing through the air in tightly choreographed lines, repeatedly approaching one another and backing off again without a stumble or a stepped-on toe. This is dance music of contained energy, equally physical and cerebral—enjoyable not only for moving about, but just as much to sit and listen. Rather than driving one to dance with whirling-dervish intensity, it is polite, inciting either thoughtful dance or dancing thoughts. Though short—the eight pieces clock in at about 25 minutes-it is an extremely rewarding listen."

Dirty Linen, USA, June 2006 - Dirty Linen

"It was a pleasure to have you visit us in Vancouver, B.C. We musicians thoroughly enjoyed your music workshop—great tunes, good teaching. The concert and the evening of dancing were great, we all enjoyed your energy and musicianship. Someone commented last night that they had never heard so much music come from just three players!"

- Scandinavian Cultural Center, Vancouver


First demo recorded in March 2013




Jo Asgeir and Pär have a lot in common. They both play instruments that have had a hard time being accepted as OK in the tradition. They are both eager composers as well as musicians. And they are both heads of university folk music educations: Pär is head of the education at the Academy of Music in Malmö Sweden, and Jo Asgeir at the Ole Bull Academy in Voss, Norway. Both have a background in other genres; Jo Asgeir in classical music, Pär in rock. And they both play with other well-established bands: Jo Asgeir with Kvarts, and Pär with bands such as Tummel, Grannar, World Mix Orchestra etc.
They met the first time at a Nordtrad conference in Helsinki 2012, and immediately found that they worked well together musicwise. Thanks to a support from the Swedish Artrs council, it has been possible for them to meet and rehearse, and they intend to break to the world market during the autumn of 2013.
When playing together they have a very intimate musical connection, and their music is quite spontaneous. It works just as well in a small room with the audience close up as on a big stage, or for that matter for dancing as most of what they play is actually dance music.