Our Last Hope Lost Hope

Our Last Hope Lost Hope was formed by Anders Widd and David Bolin in 2002 in Lund, Sweden.

The first album, Our Last Hope Lost Hope, was recorded with a ten-piece band in the winter of 2003 at the Domsaga studio in Sundsvall, Sweden. The first song on the album, Godstation, also appeared as the last track on the Zeromoon Sampler III: An Explanation of Difficult Music, released by Zeromoon in 2003.

The picture above shows the lineup used for a 2003 concert at the music festival Gatufesten in Sundsvall, which to a large extent coincided with the lineup used for the recording of the first album.

The planning of the second album, Persist, began in 2007 and the main recording session took place in the summer of 2009 in Jädraås, Sweden. It took another two years for the album to be completed, and it was finally released in the winter of 2011.

The planning of the third album began in 2016, and the album is currently being recorded.


Anders Widd (guitar, piano, synthesizer, bass)
David Bolin (guitar, banjo, bass)
Gustav Rydeman (guitar, banjo)
Stephan Brian (percussion, drums)
Simon Kallioinen (piano, organ, trumpet, trombone, bass)
Nick Broten (saxophone, field recordings)
Alexandra Nikoleris (violin)
Finn Lindgren (cello)
Aulis Kallioinen (drums, bass, synthesizer)
Martin Norberg (saxophone)
Jonas Lindgren (drones, field recordings)
Leif Elverstig (guitar, bass)
Lotta Andersson (violin)
Emma Ahlberg (violin)


The latest

While waiting for the new OLHLH album, check out our new project Fading Falls:

https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/618145842&color=131717 Fading Falls · Lightbulbs


Persist | Our Last Hope Lost Hope (bandcamp.com)

1.Kortege 08:35
2.A Woodland Passus / Places to Dream 08:07
3.Flickering Illuminations (+falling) 03:08
4.Dagsvärk / The Underpass 03:02
5.The Voice of Open Spaces & Soaring Structures 06:53
6.Sweethearts Revisited 05:27
7.Fog Light Exposure 05:51
8.Knox 03:01

The second album by OLHLH, released in December 2011.

Recorded in Lund, Jädraås, and Berkeley 2007-2011. Written and produced by Anders Widd and David Bolin, except “Sweethearts Revisited” written by Gustav Rydeman. Mastered by Ivan Karlsson. Cover photo by Sara Rydeman.

Anders Widd (guitar, piano, synthesizer, bass)
David Bolin (guitar, banjo, bass)
Gustav Rydeman (guitar, banjo)
Stephan Brian (percussion)
Simon Kallioinen (piano, organ, trumpet, trombone, bass)
Nick Broten (saxophone, field recordings)
Alexandra Nikoleris (violin)
Finn Lindgren (cello).

🔴 Help me to keep channel alive: http://bit.ly/whprpatreon 🎧 Join our post-rock community on Discord: https://bit.ly/whprdiscord
🎵 Follow our Spotify playlist: https://spoti.fi/2JuD7Vx

Our Last Hope Lost Hope

Our Last Hope Lost Hope | Our Last Hope Lost Hope (bandcamp.com)

1.Godsstation 11:20
2.Alternative Ending 01:12
3.Jonas’ Jive 02:58
4.Sösjö 1 12:44
5.And From This Chasm, With Ceaseless Turmoil Seething 12:17
6.To Make It All Worth While (Chaplin’s Last Dance) 03:06
The first album by Our Last Hope Lost Hope, recorded in January 2003.

Recorded in the Domsaga studio in Sundsvall, Sweden. Written and produced by Anders Widd and David Bolin. Mastered by Roger Bergsten. Cover photo by Johan Paulsson.

Anders Widd (guitar, bass, piano)
David Bolin (guitar)
Gustav Rydeman (guitar)
Aulis Kallioinen (drums, bass, synthesizer)
Stephan Brian (drums)
Martin Norberg (saxophone)
Jonas Lindgren (drones, field recordings)
Leif Elverstig (guitar, bass)
Lotta Andersson (violin)
Emma Ahlberg (violin)

(13) Our Last Hope Lost Hope – Tema – YouTube


Our Last Hope Lost Hope –

PersistLabel Score: 6.5/5

As a music reviewer, it’s always good to receive an album that can’t immediately be connected to the sounds of a handful of more famous bands. The pleasure is even greater in a genre such as post-rock, where so many lines of criticism have been devoted to how new, upcoming acts merely follow in the footsteps of the small number of luminaries. So, the taste of an outside genre thrown into the mix, some unconventional instruments, or a less typical structural approach becomes all the sweeter. Our Last Hope Lost Hope provides all that and more, to the extent that it is easily debatable whether it should even be called a post-rock band. That probably depends on one’s definition of the genre.

“Kortege” starts the melting pot. With a slow banjo and e-bowed guitar, the track immediately brings to mind the sparseness of westerns. Just as thoughts of My Education or Six Parts Seven start to form, OLHLH calmly blows them away with a saxophone – the smoky, cool jazz type that makes the listener feel like he should be riding a moped down rural Italian alleyways or sitting in a French wine bar in the early evening. These are not just little details to spice up a single track either, as both banjo and saxophone return over the course of the album. Persist is at its best when it dives fully into these outside genres. “The Voice of Open Spaces and Soaring Structures” is particularly compelling, partly led by the saxophone and brass, showing big band influences, and taking some of its cues from jazz even during the climax where an energetic, dissonant piano provides the main body of sound. The end of the track brings the bass to the foreground, highlighting its role throughout the album, which is much stronger than is favored by many post-rock bands.

OLHLH does have its clear moments in the genre, though. “Sweethearts Revisited” does away with most of non-typical instruments and meanders around a TV/radio interview sample for a few minutes before gathering momentum and taking off from the words “and that’s my biggest breakthrough, I think.” Generic though the form may be, the Swedes pull it off with a suitably cathartic climax and, more importantly, by choosing a sample that is actually quite interesting to listen to. Rather than the sort of air traffic control chatter and other background level talking that is often dredged up for these occasions, the speaker’s philosophic spouts on how we should all be able to say “I hate you” to each other because it’s “part of sharing” seem worth devoting some skeptical attention to. The voices of the interviewers/other speakers suggest some debate, but they are only barely comprehensible; by encouraging the listener to strain his ears for them, the track becomes much more engaging. The rest of Persist’s post-rock moments are quite understated by the genre’s standards – “Dagsvärk/The Underpass” almost falls into the dark ambient category – and this helps OLHLH maintain its distance from its contemporaries, as well as allowing these passages to sit more comfortably alongside the jazz, western, and folk sounds.

In general, it is this diversity of sound, influence, and instrumentation that makes Persist a joy to listen to. Its breath of fresh air comes not only from stylistic trickery, but also because many of the styles that it experiments with are refreshingly light of sound, especially any time the saxophone comes out. But, paradoxically, variety also prevents OLHLH from truly finding its mark. The constant changes stop the band from hitting its stride and carving out its own niche. Instead OLHLH sometimes borrows from others, sometimes hit spots that it could easily make its, but the band leaves before properly staking its claim and spends most of the time wandering between camps. While experimentalism and a reluctance to get stuck in conventions are to be praised, Persist does not quite make a coherent whole. Individual tracks hang together excellently, but they don’t always link to each other satisfactorily. The desire to keep moving sometimes leads to elements that could have provided these missing links being left behind. For example, the saxophone that decorates both of the album’s highlights (“Kortege” and “The Voice of Open Spaces and Soaring Structures”) is absent on too many of the other pieces, or the folk and western sounds could have been carried over into the more typically post-rock tracks.

However, Persist shows a highly commendable musical attitude from a creative band, and it makes another strong argument for Scandinavia being the place to be for boundary-pushing post-rock. If Our Last Hope Lost Hope can forge its myriad styles into a complete and individual sound, then there will undoubtedly be greater things to come.

Matt Gilley


Our Last Hope Lost Hope (elysianminorband.net)

Music | Our Last Hope Lost Hope (bandcamp.com)

Stupendous Swedish banking, its mix of genres and styles combined with a wide selection of instruments brings us numerous harmonious melodies very well structured, full of cadence and creativity with precise chords and magnificent solos of each instrument, it really is a delight for lovers of great music. , anxiously awaiting the third album. Congratulations on the great job, Aryon Maiden

Publicado por Aryon Maiden

Aficionado pela música em todos os momentos.

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