...the richest, most diverse and
creatively potent phenomena...
The roots based music of six Nordic countries, Finland, Sweden, Norway, Denmark, Greenland and Iceland, plus Samiland is one of the richest, most diverse and creatively potent phenomena in contemporary music, encompassing everything from the purest traditional forms to the wildest electric freakouts. The contemporary folk music scenes of Finland, Sweden and Norway are the most highly evolved of all the regions and forms the primary focus of this collection.
There is a pronounced undercurrent of energy in contemporary Nordic folk music, a force that fuels its incredible creative evolution, and it is this energy that requires scrutiny. One vital element is the common thread of respect for tradition that connects each musician, each stylistic extreme and all points in between. Another is the absence, among most musicians anyway, of barriers between styles and genres, in recording and performing: these musicians (and they are countless in number) might, for example, make acoustic traditional music with one group of players one day, then turn around and make classical/chamber music, folk/jazz fusion, electric rock/folk, or even avant-garde improvisation, with another bunch the next day. It is quite a common modus operandi, this search for discovery. The simultaneous exporation of roots, coupled with the drive for
Innovation is part of what defines the Nordic music energy.
Perhaps the most significant and compelling manifestation of the Nordic force is the seemingly inherent talent for composing and arranging. It is much more than just a talent, however. In some sectors - Kaustinen, Finland for example - composing has actually become an integral part of the tradition. There and elsewhere, it seems almost genetic, the intuitive and skilful way that musicians arrange or compose music based on or inspired by traditional themes, styles or elements, but whose creations reach such a high level of sophistication and emotional impact. The Nordic countries are
awash with song sculptors, meloists, musicians that strive to make music that evolves and progresses, music to feel and experience, music to inspire, This is perhaps the most distinctive and consequential feature of the Nordic music phenomenon and the theme of this collection.
MARIA KALANIEMI - Playing the five-row accordion since age 8, with classical and folk music training, Maria Kalaniemi is one of Finland's most gifted, popular and respected accordionists, of any genre. Active on several fronts, including Swedish-Finnish group Ramunder, the international squeeze-box combo Accordion Tribe and the colourful Helsinki Melodeon Ladies (where she does her funky two-row thing), Maria's prime vehicle into international waters over the past few years has been her ensemble Aldargaz. The main thrust of the group is their striking, folk-inspired, original compositions (mostly by Maria and pianist Timo Alakotila)their complex yet emotionally engaging arrangements, and topnotch technical skills to match. 'Ahma' ('Wolverine')', the title track from the latest Aldargaz album,demonstrates the band's prowess and their ability to create an intricate and challenging work, while simultaneously setting those melodic juices gushing.
GARMARNA - Garmarna are family situated at the vanguard of modern electric Swedish folk music, spearheading a movement that has inspired numerous other bands influenced by their sound, style and achievements. Singer Emma Hardelin, with her unadorned yet seductive voice, interprets texts of medieval ballads with timeless and spellbinding effect. Instrumentally, the band expands their sound to bigger-than-life proportions with guitars, violins, drums, bass, hurdy-gurdy, Jews harps, bowed harps and more, all played with arresting power and emotional intensity. Both the heaviest electric rockers and modern production, samples, loops and effects provide the final zap to the cortex. 'Halling Järon', from Garmarna's third album, is an old Norwegian tune, reshaped and remodelled for maximum trip-inducing effect.
Annbjørg Lien - Norwegian Annbjørg Lien can rightfully be dubbed 'Queen of the Hardanger', A remarkably gifted musician, Annbjørg has a varied background, having played with jazz musicians initially, and folk musicians for the last decade or so, She currently works with Norwegian folk music group Bukkene Bruse, although it is her solo career that is generating the world wide acclaim. Technical skills aside, her talents as composer and arranger are well developed and she is keenly intuitive when selecting sympathetic collaborators - currently Bjorn Ole Rasch on keyboards and Väsen's Roger Tallroth on guitar. Together, they create a multilayered, rich, enticing, contemporary sound, 'Irianda' contains themes from music Annbjørg and Bjorn have written for a play, Stallubursa.
FRIFOT - The Swedish supertrio: multi-instrumentalist, composer, arranger, conceptualist and all-round musical guy Ale Möller, singer extraordinaire and fiddler Lena Willemark, plus fiddler and piper Per Gudmundsson. Ale and Lena, of course, are two of Sweden's leading folk music figures, internationally known foe their two excellent jazz-ish/folk Nordan albums on ECM. Ale has been one of the main architects of Swedish Folk for two decades, going back to the 1980s with the hugely influential band Filarfolket. Lena is known as Sweden's best folk music singer, with a diverse and successful career of her own. Per is a highly respected player, having recorded several solo and collaborative albums. Together they strike a common chord born of pure Swedish folk tradition, developed to express their collected creativity and a breathe new life into the old songs. 'I Denna Ljuva Sommartid' ('In This Lovely Summertime'), perhaps the most beautiful piece in the Frifot repertoire, is a popular hymn sung by Swedish schoolchildren on the last day of the summer term. This version, one of many known throughout Sweden, is given the brilliant and heart-hooking Ale Möller treatment, featuring harp, Lena's lovely voice and an irresistible melody.
TROKA - This dynamic and daring quintet from kaustinen, Finland, features three members of JPP (violin, harmonium, bass), plus viola and accordion players. Troka's distinctive features include Balkan and American influences and, of course, the accordion, played by nimble-fingered Minna Luoma. In Kaustinen - indeed in other parts of Finland, where composition is considered an essential part of tradition - Troka writers Matti Mäkelä and Ville Ojanen are regarded as two of the JPP's Timo Alakotila chipping in as well. Each piece breaks new ground and each one is an adventure of surprise and wonder. 'Kesäillan Tvist' ('Summer Night Twist') from their second album Smash, is a head-turner by violin/viola player Ville Ojanen, also known for his work with dance group Ottoset. Try keeping still for this one!
WIMME - Sámiland (lapland) covers the northern areas of Norway, Sweden, Finland and the Kola peninsula of northwest Russia. Apart from the drum, there is no traditional Sami instrument, so the joik is the primary means of expression. Joik, the Sami people's way of chanting or singing, is improvised and sounds similar to the chants of Native Americans. Each joiker has his or her own style. of course, and each Joike is presented in a different setting, either a cappella or with some form of accompaniment. Now the most popular male joiker worldwide, Wimme, from the Sámi village of Kelottijârvi, regions as 'King of the Modern Joik'. The most daring and innovative of all Sámi joikers, his voice is trance-inducing. almost otherwordly and is accompanied by acoustics, electronics, samples and trippy sounds. "Qainnahus' tells of a journey from Wimme's home mountain up to the frosty sky and the Northern Lights, and then beyond the real world behind the stars.
Värttinä - The Värttinä story is a long and fascinating one. What began in 1983 as a twenty-one- member group in Karelia, in south-eastern Finland, metamorphosed into a dynamic ten-piece, earned a platinum record with the album Oi Dai and went on to world tours and major-label record deals. The band's mission, then as now, is the revival and reinterpretation of Karelian runos (song-poems and Finno-Ugric vocal traditions, with contemporary presentation born of the collective creativity of the ten members. This involves composing original songs, arranging music among band members in a natural, organic fashion and delving deep into the vast wealth of old runos for texts and inspiration. Värttinä has thereby invented a sound like no other band in existence. An explosive female vocal quarter, six of Finland's best instrumentalists, endless percussive and rhythmic surprises, plus compositional and arranging abilities that improve with each album, converge to make Värttinä the chart-topping group they are and leaders in the Nordic music movement. 'Kivutar' ('Goddess of Pain'), a rhythmically challenging number with a distinctive string-section intro and outro, is taken from their latest Wicklow album IImatar (Goddess of Air).
EAC-APE & Full Booklet Scans [ 430 MB]
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