Laar evolved what amounts to a sculptural approach to sound, and a sense of The Big Picture, uncommon among improvisation’s detail fetishists (Steve Lake / Wire)
In the performances of his Temporary Soundmuseum the musician Kalle Laar cultivates a very special sound-culture. While Erik Satie wanted to furniture a room with his Musique d’Ameublement, Kalle Laar introduces a sustained imaginary movement into the room, having the effect that one constantly needs to reassure of the music. Because what he is magically elaborating at the mixing board, using LPs, CDs and electronics, are nothing but constantly dissolving structures and sounds. Every moment turns into a moment of passage. You can never feel sure.

At the beginning of the 1990s, Kalle Laar, who was born in Germany but is of latvian-estonian origin, was part of the Knitting Factory Impoviser’s scene, playing guitar mainly in duo with japanese drummer Takashi Kazamaki. You can instantly feel, that there is a musician at the turntables, who can play and juggle with forms and their dissolution. For him, turntables and the mixing board are but legitimate instruments that only need to be used in a slightly different way then the usual ones. By now his music has reached such a sensitivity for the detail, making stylistic or cultural borders unnecessary (such as danceable or not) - there is just a single and unique flow of sounds. He himself is talking about ‘sound-travels’, you could also say ‘cinema for the ears’. Because like in a movie the sounds, imbedded songs, hints and quotations all follow a scenario that is thoroughly musical. The exotic stands besides the trivial transforming each other, not only sharpening your senses for nuances, fine sounds and differences but also relativating ones ideas about what is close and what is strange and foreign. If one wants to name these performances you might call them something like ‘self- or auto-stranged’, because within this continuum Kalle Laar manages the music to question itself.

You can hear Kalle Laar on various CDs with Elliott Sharp, Christian Marclav, William Parker, Kazutoki Umezu. Meanwhile the focus of the work in the sonic field has broadened considerably. Besides giving concerts as a musician and/or dj he is working on sound-sculptures and installations, preparing radioplays and composing music for theatre and films. He is also working as a producer for the Trikont- Our own voice - label, giving lectures and was teaching at the Fachhochschule München, on architecture and sound and received the city of Munich music award.

Christian Wolf, Saalfelden Jazzfestival program 2002
Inevitable to agree that because of Laar’s ability to surprise, all attempts to categorise or define his playing are sheer waste of time ... it may intrigue listeners again and again (VOX)
Sound installations (exc)
Hommage to Amalie Hohenester, Wallfahrtsort Mariabrunn. Deutz Brücke (bridge crossing the Rhine river), for designer Ingo Maurer, Cologne. Fujisan Records, Lukas church Munich, with Philip Lachenmann. There is no sound in space, lothringer13, Architecture Parlante: Talking Windows Kanzler Munich, Stimme der Wissenschaft (The voice of science), Deutsches Museum 2003, The Phantom Voice, Architects week 2004, Munich
Over the last years Laar collaborated with many exceptional musicians (Butch Morris, Christian Marclay, Dietmar Diesner, Johannes Bauer, Wayne Horvitz, Conny Bauer, Markus Stockhausen, Sato Michihiro), was part of numerous performances (f.e. with K.A.Sonderborg, A.R.Penck, Nina Hoffmann, Colin Gilder), wrote music for films and theatre, and participated on various festivals (New Music America, Nickelsdorf Konfrontationen, Zuid Netherlands Jazz Festival, Bizen Art Festival, Moers Jazzfestival)
latest project
Together with his wife, the poet, artist and musician Augusta Laar he founded
KUNST ODER UNFALL, combinig electronic music, poetry and visuals. Cd accompanying the poetry book by Augusta Laar weniger stimmen, edition selene, Vienna 2004, also on Temporary Soundmuseum presents ...)
regular collaborations
The duo with the Japanese percussionist Takashi Kazamaki exists since 1989. On various tours in the USA, Europe and Japan they gave more then 100 concerts and recorded numerous CDs.
Various projects with choreographer and dancer Lynn Parkerson, New York
with Frank Schulte: Electronic Lounge. From exotica to electronic listening, DJ and live electronics (Jazzfestival Moers 2003).

In 1996 he founded in collabaration with the artist Barbara Holzherr the Temporary Soundmuseum, located in the Städtische Galerie im Lenbachhaus in Munich, Germany and the Nights of Lost Music were launched. Laar works as musical director and dj, realising numerous events organized by the Temporary Soundmuseum. See for details.
with KUNST ODER UNFALL: weniger stimmen. Cd accompanying the poetry book by Augusta Laar, edition selene, Vienna 2004
Sucker’s Finale / Lullaby for James Coburn (Giù La Testa), auf Ennio Morricone Remixes vol.1, Compost Records 2003
Me, myself & I, auf on/off. intermedium, Intermedium Rec.016, 2003
Metropolis Vinyl Picture Disc Series
Los Angeles I & II, 2001
São Paulo I - XII, 2002, 12 Picture Disc LP Box-set
with Takashi Kazamaki: Return to Street Level, 1990 Ear Rational, with Elliott Sharp, Christian Marclay, Tom Cora, Nick Didkovsky, Paul Hoskin - Zizs, live in Tokyo & Yokohama, 1989 Omba/Tokyo, with Otomo Yoshihide, Umezu Kazutoki - Floating Frames, 1992 Ear Rational, recorded in Tallinn, St.Petersburg & New York,with William Parker, Masahiko Kono, Vincent Charinoff - Moving, 1996 Konnex, with Samm Bennett and Umezu Kazutoki
Malsch, 1998, tkm1, 7“ (Metzgermeister Schäbitz beim Messerschleifen)
laar/zeitblom: Das Warheads-Oratorium, Karmakar/Farin, Musik laar/zeitblom, Prod.Bayer.Rundfunk1997 - hypersound concrète, audiolounge. intermedium I, BR - links in big boxen, with Ulrich Schlotmann - soundstories, BR - Metropolis. After Thea von Harbou and Fritz Lang, by Michael Farin, Ariola 2002
with Ensemble Uncontrolled
Tales from the Forest, 1996 Leo Rec., rec. live at Strange Fruit, Oiso, Japan, with Christoph Gallio, Mart Soo, Eduard Akulin - Links, 2001 Slam Records
Straten - Unterirdischer Tourismus. Ein Hörspiel von Maria Volk, with ThoThmann Anlagen, 1996 Hörsturz
Radioplays - Hörspiele
‘Das Warheads-Oratorium’ von Romuald Karmakar, Michael Farin, Realisation: Bernhard Jugel, laar/zeitblom - Radiomix. Live in Bayern2Radio - Vox Zombie. Wir hören die Stimme der Toten. Live-Radiofeature von Walter Filz, WDR 1999 - Metropolis. Von Michael Farin nach Thea von Harbou und Fritz Lang, BR 2000 (Hörspiel des Jahres 2001, Silver Medal New York Festivals) - M-Eine Stadt sucht einen Mörder. Nach Fritz Lang, von M. Farin, Regie B. Jugel, laar/zeitblom, BR 2002 - São Paulo Tracks. BR 2002
Music for films
Turksib, Dokumentarfilm über den Bau der Turkestan-Sibirischen Eisenbahn, Victor Turin, Russland 1929
The Death of Dark Animation in Europe, Priit Pärn 1992
Anima Doc, oTTo Alder, Stuttgart 1992
He disappeared into complete silence, Christine Cortina, München/New York 1994
Der Hauch des kleinen Gottes: Fjodor Chitruk und seine Filme, oTTo Alder 1998
Leon und Lara, Britta Sauer 2004
Musik for the CD-Rom projekt by designer Ingo Maurer
Temporary Soundmuseum presents, tkm2, 2001
La Paloma. One song for all worlds, vol.I, 1995 (Preis der Deutschen Schallplattenkritik),
vol.II, 1996, vol.III, 1997, vol.IV, 2000
Coco Schumann - 50 Years in Jazz, 1997, Coco Schumann Quartet live, 1999
Berlin. Großstadtklänge - Rare Schellacks 1908 - 1953, 1999
(all at Trikont, Munich)
Lectures and radio broadcasts on sound, sound design & history, history of popular music, A short History of Electronic Music including live-electronics/dj

Workshops and lectures on various aspects of sound perception, awareness and reconstruction/composition, Tallinn Music Academy, Estonia, University Regiomontana Monterrey, Mexico, Goethe Institutes Sao Paulo, Brasil, Cordoba, Argentine, Moscow, Deutsches Museum of The History of Science and Technology
Scholarship at the Munich University on architecture and sound

Publications: The Temporary Soundmuseum, Tonabnehmer. Populäre Musik im Gebrauch (Popular Music in Use), published by Harald Justin and Nils Plath, Münster, 1998, What a day for a daydream. Das Gedicht, 2003