Musiche dal Mondo: Scandinavia - Suoni dal Grande Nord (2001)

A great collection of modern Scandinavian folk, featuring some of the most representative artists in the genre.

Gjallarhorn are from the Swedish-speaking area of Finland, and as a result their lyrics are sung in Swedish (as opposed to Finnish, as one might expect of a Helsinki-based band). Although fairly traditional, the band does incorporate ethnic percussion instruments (from all different areas of the world) into their music, and uses a didgeridoo as their drone instrument (most bands use either hurdy-gurdy or Swedish bagpipes). This has gained Gjallarhorn some appeal among world music connoisseurs.

Hedningarna’s music is largely planted in Finnish tradition (even though the band itself is actually from Sweden), and is among the most rock-influenced of the Scandinavian folk bands. Hedningarna has also been around for quite some time, having released their first album in 1988. Compared to Garmarna and Sorten Muld, the band usually has a brighter, more cheerful sound. Hedningarna has been substantially influenced by rock bands such as Jethro Tull.

Värttinä is a Finnish band, playing a variety of Finnish folk and folk-inspired music. Their music consists mainly of several female voice parts, as well as accordion, kantele, bass, wind and percussion.

Other featured artists: Wimme, Väsen, Kimmo Pohjonen, Nychelarporkestern, Lena Willemark, Frifot, Maria Kalaniemi & Aldargaz, JPP, Markku Lepisto, Pekka Lehti, Swap and Slobo Horo.

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Riddu Riđđu 1991-2001 (2001)

«Every summer in the far north of Norway, in the land of the midnight sun north of the Arctic Circle, a unique music and culture festival is held in the municipality of Gáivuotna (Kåfjord), a few hours drive from the city of Tromsø. This festival, called Riddu Riđđu (which means, roughly, “storm off the water”), celebrates the music and culture of the Sami, the indigenous people of northern Scandinavia, and of other indigenous peoples of the world.» (Read more)

«For 10 years the Riddu Riđđu Festival has featured the culture of the Sami and other Northern Peoples. In 2001 Riddu Riđđu celebrates its 10^th anniversary. To mark this jubilee we have gathered musical highlights from past festivals. All tracks are live recordings from Riddu Riđđu, and are published by kind permission of the artists.» (From the liner notes)

Featured artists: Hedningarna, Wimme, Chirgilchin, Sara Marielle Gaup, Mari Boine, Sirmania, Sabjilar, Tiina Sanila, Elvel, Per Ivars Orkester, Namgar Lkhasaranova & others.

Thanx to Giuliano for this post.

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Värttinä - Vihma (1998)

«One of the most internationally successful acts to emerge from the contemporary Finland music scene, Värttinä revitalized the nation's folk traditions with an aggressive and ultra-modern style that eschewed not only the costumes of their ancestors but also the long-accepted cultural notion that women should sing unaccompanied. […] After Kokko, their trip into the barren land of neo-pop, it seemed as if Värttinä had shot their creative wad. That makes this all the more welcome, since Vihma, if not a return to the way things were, is at least a definite way out of the cul-de-sac. They lay their manifesto on the line with the opening title track, which crams in samples, programmed beats, a strong studio feel around an in- your-face attitude, as if to say, "We're back." And they certainly are, expanding the boundaries from the traditional music of their past to draw far more heavily on original compositions and a couple of tracks which utilize the Tuvan throat-singing tradition of Yat-Kha members Albert Kuvezin and Aldyn-ool Sevek (one of which even draws in the string section of fellow Nordic band JPP). "Kylän Kävjiä" revolves around the drone of a jew's-harp, mingling with the Yat-Kha overtones, while "Maa Ei Kerro" rests on a bed of keyboards provided by producer Richard Horowitz, who also contributes "Vihmax (Viha Remix)" to close out the album – a revamp job that's surprisingly not as radical as the original track. As always, the singing is powerful, with high, keening harmonies. But on Vihma, the instrumentalists feature more; instead of backup for the vocalists, they're now an integral part of the sound, with cunning, complex arrangements that add weight to the songs. It might not be a classic, but Vihma shows that Värttinä remains a force to be reckoned with.» (AMG)

Lyrics (with English translation) here

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Hidria Spacefolk - HDRSF-01 (2001)

Great ethnic-tinged psychedelic space rock from Finland. This is where it all began. And I bet you’ll ask for more…

«This group of five self-taught musicians will certainly capture the attention of Ozric Tentacles fans. Their music is loaded with textures and colours that leave most space rock bands sounding like a sample machine stuck in loop mode. It’s actually going somewhere: on all of their albums, the tracks evolve continuously, with the music occasionally returning to specific themes but with something new each time. Overall, their material sounds like a less guitar-dominated Ozric and without the heavy techno influence.
Their albums are pure instrumental excursions into psychedelia propelled by Tim Blake-like droning and burbling synths, Steve Hillage-like guitar arpeggios, pulsating bass lines, phasing sitars and precise drumming with the occasional Jethro Tull flute work (simultaneous flute blowing and vocalizing) and some infectious grooving rhythm lines that make you want to move around, bang your head and dance nonsensically. A fact worth mentioning: the acoustic elements on all of their albums are just as important as the synthesized ones, giving their sound a slightly Middle-Eastern or Far-East flavour.
Trippy, energetic, hypnotic space rock highly recommended to fans of Ozric Tentacles in particular, but will also appeal to those who don’t usually like the genre as the band knows how to diversify and never stays in one place.» (Progarchives)

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Kimmo Pohjonen - Kluster (2002)

«The recipient of Folk Musician of the Year awards in 1996, 1997, 1998, and 1999, Kimmo Pohjonen has brought a modern sensibility to the traditional accordion music of Finland. A veteran of pop and rock bands, Pohjonen continues to apply what he’s learned to the folk music of his homeland. […]

Credited only to Kimmo Pohjonen’s name, Kluster is actually a duo project with sampler artist Samuli Kosminen. Following the release of this album, the pair would start performing under that moniker. The title – and direction – of this album also contributed the "K" in KTU, Pohjonen and Kosminen’s subsequent collaboration with King Crimson’s Trey Gunn and Pat Masteloto. Kluster (the album) sees Pohjonen extrapolating on the more beat-driven aspects of his debut recording Kielo. The more Scandinavian folk elements are out, the rockier side gets more room to shine, and experimentation pervades every corner of the album. Every sound heard was produced either by Pohjonen’s accordion or voice. The accordionist is already prone to use digital effects to loop and manipulate his own playing. In addition, Kosminen plays accordion and vocal samples taken from Pohjonen. If Pohjonen strikes the body of his instruments a few times, Kosminen picks up on it and quickly produces a rock-like beat. Elsewhere, the samples are turned into abstract electro-acoustic pieces. Through it all, Pohjonen’s unique form of songwriting prevails: rock, even progressive rock riffs on accordion paired with an unshakeable folk feel. Tracks like "Ohimo," "Keko," and "Voima" are full-fledged prog rock tunes – you can actually hear how Gunn could fit in his Warr guitar licks. It’s no surprise that KTU performed these songs live. If on Kielo accordion and technology blended together to produce timeless music, things are different on Kluster. The instrument itself becomes more of a source than the center of attention. There is still plenty of virtuosic playing, but it is often hidden deep into the thick arrangements. Accordion enthusiasts should start with Kielo. Prog rock fans who want more after hearing KTU’s music should proceed here.» (AMG)

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