Scandinavia

MUSICROUGHGUIDES
THE ROUGH GUIDE to the music of
Scandinavia
Scandinavia has a long tradition of musical
innovation. From the dulcimer players
and folk fiddlers of yore to the band of
nineteenth-century classical composers
(Nielsen, Sibelius, Rosenberg, Grieg) who
consistently pushed the envelope, the Nordic
region has always bristled with creativity.
Nowadays contemporary musicians are
fearless innovators unshackled by the
politics of genre.
Quite why Scandinavia has always been a
hub of experimentalism is a stiff question for
any sociologist. Perhaps it is due to a legacy
of exploration left over by the fearsome
Norse warriors of the late eighth to eleventh
centuries. Perhaps it owes something to
the long history of political and cultural
collaboration between the kingdoms of
Denmark, Norway and Sweden. Perhaps it
is to do with Scandinavia’s positioning as a
key point of trade and exchange. Whatever
the academic explanation, the music of the
Nordic countries as explored on this Rough
Guide is typically light, bright and forwardthinking.
The Scandinavian scene has drawn
admiration from fans across the world,
yet at the same time remains curiously
underrepresented in the European and
American music industries. Those who have
discovered the music are quickly converted;
the compiler of this collection, Phillip Page,
relocated to Finland from Texas in the mid1980s because of his fascination with Finnish
music going back to 1971. He is well versed
on things Scandinavian and has carefully
sculpted this compilation to showcase
some of the most adventurous artists from
the deepest corners of Finland, Sweden,
Norway, Denmark, Iceland and Sápmi.
The album opens with the tinkling sounds of
‘Lóri’ by Icelandic ensemble Amiina. Other
Icelandic contributions come from Valgeir
Sigurðsson and múm. Iceland has a rich
history of folk music that dates back to the
fourteenth century. Although the indie scene
is now strong and popular across the island
nation, Iceland’s isolated geographical
position, some 603 miles from mainland
Europe, meant that until the nineteenth
century the country was relatively free from
foreign influence. There is an aesthetic of
quiet minimalism instilled in each of the
three Icelandic tracks included on this album,
which befits the country’s remoteness well.
Gently looping electronic riffs, blurred layers
of fuzz and the slow-burning development of
simple thematic ideas can be heard on each.
‘Guilty Rocks’ by múm is the most upbeat of
the three by far, yet still takes the format of
understated almost ethereal electronica.
Heading east to Norway, the music of Arild
Andersen, Benedicte Maurseth and Annbjørg
Lien takes on a distinctly jazz-inflected tone.
Jazz first arrived in Norway during the early
twentieth century, when foreign bands
like Feldman’s Jazz Band and Jack Harris’
Premier Syncopated Five began touring
hotels and clubs. Soon Norwegian jazz bands
sprung up, playing popular dance tunes on
violins, banjos, clarinet, piano and drums. In
1923 the saxophone arrived and Norwegian
jazz really began to gather pace. During
the late 1930s Norway explored the swing
craze and trademarked its own fiddle-based
version of the style nicknamed ‘string-swing’.
Then came the five-year-long occupation of
Norway by the German Nazis (1940–1945).
Despite the occupation, the Norwegian jazz
tradition survived, re-emerged during the
latter half of the same decade and became
a red-hot scene once more. With the dawn of
the 1960s experimentalism and modernism
took centre stage and the likes of Jan
Garbarek, Karin Krog and Svein Finnerud
rose to prominence. The artists on this
Rough Guide are each indubitably influenced
by the jazz history of Norway. Arild Andersen,
one of Europe’s leading bass players, began
his career as a member of the Jan Garbarek
Quartet (1967–1973), worked with Karin Korg
and played for visiting musicians including
Sonny Rollins and Chick Corea. Benedicte
Maurseth and Annbijørg Lien both play
the hardanger fiddle and have shaped their
careers around exploring the intersection
of folk, Baroque and improvised jazz
fiddle music. Frigg fuse Nordic forms with
American bluegrass producing their quirky
mix – ‘Nordgrass’.
Denmark is another country with a strong
jazz tradition and deep folk history. The
members of Valravn have Danish, Swiss,
Ecuadorian and Faroese roots. Their sound
explores old ballads from the Faroe Islands
accompanied by traditional and electronic
instruments. Their name translates as
‘raven of the slain’ and refers to the idea
of a supernatural raven that had eaten part
of the body of a knight or nobleman killed
in battle. The name sums up the band’s
music well: they ingest the traditions of old
and re-produce new magical music that is
both rooted in the past yet still relentlessly
forward-looking. Sorten Muld are a Danish
folktronica band who mix traditional lyrics
with techno soundscapes.
Sweden is well-known as a musical
exporter of pop acts such as Abba and
Neneh Cherry, yet has also long been an
epicentre for Scandinavian folk. During the
1960s a roots revival took hold and young
musicians regularly performed at folk
meetings called spelmanslags – popular
trends edged towards jazz and rockoriented folk. Nowadays, bands like Katzen
Kapell draw on influences as broad as Nino
Rota, Astor Piazzolla and Frank Zappa, all
mixed in with Arabic and Eastern European
flavours. Johan Hedin and Gunnar Idenstam
excitedly explore the matching of organ
and nyckelharpa. The late and legendary
keys player Lars Hollmer fused folk and
progressive rock to produce ecstatic creative
music whether he was playing solo, as a
member of the Accordion Tribe, or with a
band of Japanese jazz players.
Finnish musicians also make a sizeable
and significant contribution to the track list
of this Rough Guide. Musicians like Maria
Kalaniemi and Timo Alakotila, Värttinä and
Milla Viljamaa fuse flavours of Karelian,
classical and electronic musics together into
a tasty mix. One of the most striking tracks
on the album is contributed by an ensemble
of
Finnish-American
collaborators.
Accordionist Kimmo Pohjonen, sampling
master Samuli Kosminen and renowned
string quartet Kronos Quartet create a farout panoramic soundscape on ‘Särmä’,
an infectious track that encapsulates
Scandinavia’s insatiable thirst for weird and
wonderful innovation.
exploration of the best music straight from
the source.
The Sami are Arctic indigenous people
inhabiting Sápmi, an area encompassing
the far northern regions of Sweden, Norway,
Finland, the Kola Peninsula of Russia and
the border area between south and middle
Sweden and Norway. Their cultural identity
is closely tied to that of an improvised
musical practice called joiking. Wimme Saari
is one of the best-known joikers from Finland
and features on the glorious techno-ambient
track ‘Texas’. True to Scandinavian form,
Wimme is no stranger to collaboration and
has worked with artists including the French
composer Hector Zazou and the Dutch band
Nits.
Les sociologues ont du mal à déterminer
pourquoi la Scandinavie est, depuis toujours,
un lieu d’expérimentation. L’héritage des
redoutables guerriers vikings, qui ont
conduit l’exploration de ces terres du
VIIIème au XIème siècle, peut être invoqué.
Ou la longue collaboration politique et
culturelle des royaumes du Danemark, de
Norvège et de Suède, voire la position de la
Scandinavie, point nodal du commerce et
des échanges. Quelle que soit l’explication
fournie par les scientifiques, la musique des
pays nordiques, comme l’illustre ce Rough
Guide, est légère, brillante et avant-gardiste.
The Rough Guide To Scandinavia is an
encyclopedic volume that really penetrates
the Scandinavian space. Enjoy an in-depth
La Scandinavie est une région de longue
tradition musicale, où l’innovation est reine.
Des joueurs de dulcimers et violoneux
d’antan aux compositeurs classiques qui
repoussèrent les limites musicales du
XIXème siècle (Nielsen, Sibelius, Rosenberg,
Grieg), les habitants des pays nordiques
ont toujours brillé par leur créativité. Quant
aux musiciens contemporains, ils sont des
innovateurs aventureux, jamais entravés par
les codes des genres musicaux.
La scène scandinave a conquis des
admirateurs dans le monde entier, tout
en restant relativement sous-représentée
dans les industries musicales européenne
et américaine. Elle a rapidement converti
ceux qui l’ont découverte: Phillip Page,
l’auteur de cette compilation, a par exemple
quitté le Texas pour la Finlande au milieu
des années 1980 après avoir découvert
la musique finlandaise en 1971. Féru de
musiques scandinaves, il a soigneusement
sélectionné les morceaux de cet album pour
mettre en valeur quelques uns des artistes
les plus aventureux de ces contrées reculées
- Finlande, Suède, Norvège, Danemark,
Islande et Sápmi.
L’album s’ouvre sur les notes cliquetantes
de ‘Lóri’, interprété par l’ensemble islandais
Amiina; les Islandais Valgeir Sigurðsson
et Múm contribuent également à la
compilation. La riche histoire musicale de
l’Islande remonte au XIVème siècle. Bien que
la scène alternative soit aujourd’hui présente
et populaire sur toute l’île, l’isolement
géographique du pays –1 000 kilomètres
le séparent de l’Europe continentale -, a
maintenu celui-ci relativement éloigné des
influences étrangères jusqu’au XIXème
siècle. Avec leurs traits électroniques tout
en souplesse, leurs sons duveteux et leurs
thèmes simples, les trois titres islandais
choisis révèlent une esthétique minimaliste
et tranquille, semblable à celle du pays. Des
trois, ‘Guilty Rocks’, par Múm, est de loin le
plus gai; il revêt pourtant toujours une forme
électronique minimale, presqu’éthérée.
Plus à l’est, en Norvège, la musique d’Arild
Andersen, de Benedicte Maurseth et
d’Annbjørg Lien s’infléchit distinctement
vers le jazz. Ce style a gagné la Norvège au
début du XXème siècle, avec les tournées de
groupes comme le Feldman’s Jazz Band ou
les Jack Harris’ Premier Syncopated Five.
Des ensembles norvégiens de jazz se sont
bientôt constitués, qui jouaient des airs de
danse populaires sur des violons, banjos,
clarinettes, pianos et percussions. En 1923,
l’arrivée du saxophone a accru l’influence
du jazz. Puis, à la fin des années 1930,
la Norvège a exploré le swing, créant un
nouveau style, basé sur le violon, surnommé
le string swing ou «swing à cordes». Malgré
l’occupation nazie, entre 1940 et 1945, la
tradition du jazz norvégien a survécu et a
émergé de nouveau dans la seconde moitié
des années 1950. Au début de la décennie
suivante, pourtant, l’expérimentalisme et le
modernisme ont pris le pas sur le jazz, avec
des musiciens comme Jan Garbarek, Karin
Krog et Svein Finnerud.
Les artistes choisis dans cette compilation
sont indubitablement influencés par
l’histoire de la Norvège en matière de jazz.
Arild Andersen, un des plus grands bassistes
européens, a débuté dans le Jan Garbarek
Quartet (1967-1973), travaillé avec Karin
Korg et collaboré avec Sonny Rollins et Chick
Corea. Benedicte Maurseth et Annbijørg
Lien jouent toutes deux du hardanger fiddle,
le violon norvégien, et ont construit leur
carrière dans l’exploration et l’improvisation,
à l’intersection de la musique folk, baroque
et jazz pour violon. Quant au groupe Frigg,
il fusionne les formes nordiques avec le
bluegrass américain, produisant ce mix
étrange, le nordgrass.
Le Danemark hérite lui aussi d’une riche
tradition de jazz et de musique populaire.
Les membres du groupe Valravn, originaires
du Danemark, de Suisse, d’Equateur et des
îles Féroé, explorent de vieilles ballades de
ces îles en s’accompagnant d’instruments
traditionnels et électroniques. Leur nom,
qui signifie «corbeau des défunts», fait
référence à un corbeau surnaturel ayant
dévoré pour partie le corps d’un chevalier tué
dans une bataille. Il résume bien leur œuvre:
ce groupe assimile les traditions anciennes
et invente une musique magique, à la fois
héritière du passé et résolument nouvelle.
Quant au groupe danois de folktronica,
Sorten Muld, il mixe chants traditionnels et
environnements techno.
La Suède est connue pour avoir exporté des
stars pop comme Abba et Neneh Cherry,
mais elle est également depuis longtemps
l’épicentre du folk scandinave. Les années
1960 y ont été marquées par une renaissance
de ce courant: de jeunes musiciens ont
régulièrement joué dans les spelmanslags
un folk tendant vers le jazz et le rock. De
nos jours, des groupes comme Katzen
Kappel tirent leur inspiration d’artistes
aussi divers que Nino Rota, Astor Piazzolla
et Frank Zappa, assaisonnés de sons arabes
ou d’Europe de l’est. Johan Hedin et Gunnar
Idenstam ont exploré avec talent l’alliance de
l’orgue et de la nyckelharpa. Le légendaire
Lars Hollmer a opéré aux claviers la fusion
du folk et du rock progressif en une musique
créative et extatique, aussi bien en solo, au
sein d’Accordion Tribe ou avec un groupe de
jazz japonais.
Les musiciens finnois apportent une
contribution de taille à cette compilation.
Des artistes comme Maria Kalaniemi et
Timo Alakotila, Värttinä et Milla Viljamaa,
fusionnent les musiques de la Carélie,
du classique et de l’électronique en un
savoureux mélange. Un des titres les plus
étonnants de l’album est fourni par un
ensemble de musiciens finno-américains:
l’accordéoniste
Kimmo
Pohjonen,
le
maître du sampling Samuli Kosminen et le
célèbre quatuor à cordes Kronos Quartet
inventent les sonorités panoramiques de
‘Särmä’, un morceau contagieux qui traduit
la soif insatiable de la Scandinavie pour
l’innovation, l’étrange et le merveilleux.
Les Samis sont un peuple indigène arctique
de Sápmi, une région qui englobe les
territoires septentrionaux de la Suède, la
Norvège, la Finlande, la presqu’île russe
de Kola et la région frontalière entre Suède
et Norvège. Leur identité culturelle est
étroitement liée à la pratique musicale du
joiking. Wimme Saari, un des meilleurs
joikers de Finlande, interprète ici le glorieux
‘Texas’, à l’ambiance techno. Fidèle à
la forme scandinave, Wimme collabore
également avec des artistes comme le
compositeur français Hector Zazou et le
groupe néerlandais Nits.
Their edgy folktronica has earned them
performances at festivals across Europe.
Le Rough Guide To Scandinavia, volume
encyclopédique qui pénètre tout l’espace
scandinave, vous invite à une exploration en
profondeur de la meilleure musique de cette
région.
KATZEN KAPELL – Swedish sextet Katzen
Kapell perform a unique combination of
tango, classical, jazz and rock music. Their
music leaps into unexpected territory: as
one reporter put it, ‘Their music fits in
everywhere and nowhere.’ On the track
‘Bellatores’, the music is embued with
emotional depth via the work of composer
Magnus Andersson Lagerqvist.
AMIINA – Amiina stepped into the limelight
in 2007 with the release of their debut
album, Kurr. Never afraid to experiment,
they employ a jumble of instruments:
musical saws, kalimbas, music boxes and
more. ‘Lóri’ is a distinctive opener – minimal
and laid-back, with a charming homemade
flavour to the sound.
ARILD ANDERSEN – Arild Andersen’s CV
reads like a Who’s Who of Norwegian music.
He has recorded seventeen albums in his
own name for ECM. ‘Sjugur Og Trollbrura’ is
an arrangement of a traditional Norwegian
song about Sjugur and his troll bride. The
vocalist is the well-known folk singer Kirsten
Bråten Berg.
VALRAVN – Valravn’s combination of raw
energy, electronics and Nordic folk roots has
earned them three nominations for Danish
Music Awards. The charismatic singer Anna
Katrin Egilstrøð is from the Faroe Islands,
an island group situated roughly halfway
between the coast of Scotland and Iceland.
MILLA VILJAMAA – Mainly known for her
work as a pianist and harmonium player with
the Finnish accordionist Johanna Juhola,
Milla has also produced a great range of solo
work featuring adventurous compositions
for harmonium and ensemble. ‘Ansa/The
Trap’ is taken from her second solo album,
Minne (2011), which was honoured with a
Finnish EMMA nomination in 2012.
VALGEIR SIGURÐSSON – Valgeir has
long been in demand as a producer for
international artists – he has collaborated
with the likes of Björk, Feist, CocoRosie
and múm, to name but a few. He also is a
composer and musician and has recorded
two solo albums. The delicate evocative
sounds of ‘After Four’ are taken from his
debut, Ekvílibríum (2007).
MARIA KALANIEMI & TIMO ALAKOTILA
– Maria is known as the premier folk
accordionist of Finland. Timo is the well-
respected and much-in-demand pianist,
harmonium player, composer, arranger
and producer whose work spans folk, jazz,
classical music and more. Maria’s distinctive
and personal style involves intuitive and
sensitive use of the accordion bellows.
Timo’s compositions and arrangements are
melody-based expressions that are always
emotionally moving.
MÚM – múm was formed in 1997 by
original members Gunnar Örn Tynes and
Örvar Þóreyjarson Smárason. Electronics,
trumpet, cello, ukulele, guitars, percussion
by Finn Samuli Kosminen, plus vocals and
odd melodic pop music with head-scratching
lyrics, make for a brilliantly conceived,
unique style.
KIMMO POHJONEN, SAMULI KOSMINEN
AND KRONOS QUARTET – The album Uniko
is the result of a fantastically successful
collaboration between Finnish accordion
explorer Kimmo Pohjonen, electronic
percussionist/sampler Samuli Kosminen
and the Kronos Quartet. Electronic and
acoustic accordion and string sounds are
sampled by Kosminen and reproduced via
his machinery, then mixed live with the
sounds of the whole group. ‘Särmä’ is like an
Arctic winter dream with a wide seascape of
otherworldly voices and sounds.
ANNBJØRG LIEN – Annbjørg is the wellrespected and internationally popular
player of the Norwegian hardanger fiddle.
Her music is mostly self-composed while
being tradition-based and influenced by
other cultures she experienced in her
travels around the world. ‘Gode Gut’ is a
delicate and melodious instrumental piece
dominated by Annbjørg’s earthy fiddle tone.
JOHAN HEDIN & GUNNAR IDENSTAM –
The nyckelharpa is a traditional Swedish
chordophone, played here by Johan.
Gunnar is the internationally known concert
organist, composer and arranger, winner of
the Grand Prix de Chartres improvisation
competition. Together, their vision is one
of Gothic shadows, Baroque elegance, fiery
furnaces and frozen summits, tunes of old
and the dance of the day.
FRIGG – Frigg’s music has been coined
‘Nordgrass’, a term which neatly condenses
their two central influences – Nordic folk and
bluegrass. The core of the group features
Antti, Esko and Alina Järvelä on fiddles,
double bass and more. Add even more fiddles,
dobro, guitar, mandolins and one Norwegian
and you get a powerful concoction that takes
Nordic fiddle-based music to exciting new
heights. Frigg infuse their live shows with a
healthy dollop of humour, heaps of energy
and, of course, a bucketload of skills.
VÄRTTINÄ – Värttinä’s frontline powerhouse
of female singers Mari Kaasinen, Susan
Aho and Johanna Virtanen is supported by a
sturdy and versatile instrumental ensemble.
Earlier in this decade they released their
album Miero and co-wrote the music for the
Lord of the Rings musical in collaboration
with A. R. Rahman. ‘Ruhverikko’ (‘Dark Girl’)
is the infectious opening track, from their
new album, Utu.
BENEDICTE MAURSETH – Benedicte began
to play the hardanger fiddle when she was
7 years old and has ever since continued to
explore the music of the Hardanger region.
She performs as both a string player and
a traditional vocalist. ‘Mellomspel’ is a
haunting track taken from her album Alde
and was originally composed as part of a
score she produced for a theatre production
of Andvake, based on a novel by Jon Fosse.
SORTEN MULD – Sorten Muld or ‘Black Soil’
are a Danish band that are often described
as ‘folk-tronica’. Their music is elegant yet
dynamic electrified folk featuring heavy
electronics and the whispery lead voice of
Ulla Bendiexen. Their last recording, 2002,
was a limited edition soundtrack that was
released only in Denmark and is now quite
a rarity. ‘Gylden Gloed’ is hypnotic piece
featuring atmospheric muted trumpet.
LARS HOLLMER – If there is an unsung
genius of Scandinavian music, it is surely
Lars Hollmer (1948–2008), a prolific and
uncompromisingly adventurous musician
who produced his own unique music for
nearly forty years. Folk music was a major
influence on Lars’ output and, combined
with his electric alt-rock side, the result
was a brilliant fusion. ‘Snabb’ is a typically
Hollmer-esque odd-beat rhythmic braintwister taken from his last album, Viandra
(2007).
WIMME – Wimme Saari is the most wellknown Sami joiker from Finnish Samiland.
He fuses shamanistic chant with modern
techno-electro-trance soundscapes. Joiking
is a vocal practice unique to the Sami people
and is said to have overlaps with Native
American chant. ‘Texas’ is perhaps Wimme’s
most recognized and classic song.
06 VALGEIR SIGURÐSSON After Four
01 AMIINA Lóri
from the album KURR (EVER11CD)
(Amiina) pub Ever Records. Licensed from Ever
Records/!K7 Label Group.
02 ARILD ANDERSEN Sjugur Og Trollbrura
from the album ARV (FXCD133)
(trad, arr M. B. Landstad) pub Kirkelig Kulturverksted AS.
Licensed from Kirkelig Kulturverksted AS.
from the album KODER PÅ SNOR (CD87180)
(Valravn) pub Westpark Publishing. Licensed from
Westpark Music.
04 KATZEN KAPELL Bellatores
from the album MAXIMALISM (RR002)
(Magnus Andersson Lagerqvist) pub STIM/NCB. Licensed
from Ragadang Records.
14 BENEDICTE MAURSETH Mellomspel
from the album KHOOM LOY (HCD7250)
Bedroom Community.
AS. Licensed from Grappa Musikkforlag AS.
(Valgeir Sigurðsson) pub Pollination Music. Licensed from
07 MARIA KALANIEMI & TIMO ALAKOTILA
Yötuulet
from the album AKERO (AKEROCD011)
(Maria Kalaniemi/Timo Alakotila) pub Maria Kalaniemi/
Timo Alakotila. Licensed from Akero Records.
03 VALRAVN Kelling
10 ANNBJØRG LIEN Gode Gut
from the album EKVÍLIBRÍUM (HVALUR3)
08 MÚM Guilty Rocks
from the album GO GO SMEAR THE POISON IVY
(FATCD46)
(Gunnar Örn Tynes/Örvar Smárason) pub Warner Chappell
Music Publishing Limited. Licensed from FatCat Records.
09 KIMMO POHJONEN, SAMULI KOSMINEN AND
KRONOS QUARTET Särmä
from the album ALDE (HCD7259)
(Annbjørg Lien/Bjørn Ole Rasch) pub Grappa Musikkforlag
11 JOHAN HEDIN & GUNNAR IDENSTAM Halling IV
(Benedicte Maurseth) pub Grappa Musikkforlag AS.
Licensed from Grappa Musikkforlag AS.
15 SORTEN MULD Gylden Gloed (Golden Spark)
from the album JORD, LUFT, ILD, VAND (THE FOUR
ELEMENTS) (SMCD1)
from the album LÅTAR II (CAP21807)
(Gunnar Idenstam) pub Johan Hedin/Gunnar Idenstam.
(Ulla Bendixen/Henrik Munch/Martin Ottosen) pub Sorten
Licensed from Caprice Records.
Muld. Licensed from Sphagnum.
12 FRIGG RajRajRaj
from the album GRANNEN (FRIGG00007)
16 LARS HOLLMER Snabb
from the album VIANDRA (RUNE271)
(Esko Järvelä) pub Manus. Licensed from Frigg.
(Lars Hollmer) pub STIM. Licensed from Cuneiform
13 VÄRTTINÄ Ruhverikko (Dark Girl)
from the album UTU (ZENCD2141)
Records.
(music Matti Kallio, words Mari Kaasinen, arr Värttinä)
pub Zen Master Publishing Oy. Licensed from Zen Master
17 WIMME Texas
Records Oy/Rockadillo Records.
05 MILLA VILJAMAA Ansa/The Trap
(Kimmo Pohjonen/Samuli Kosminen) pub Hoedown Arts
from the album MINNE (MVCD001)
(Milla Viljamaa) pub Milla Viljamaa. Licensed from
from the album TEXAS (ZENCD1039)
(music J. Kokkonen/T. Rinne/M. Wallenius/W. Saari, words
W. Saari) pub Zen Master Publishing Oy. Licensed from
Zen Master Records Oy/Rockadillo Records.
from the album UNIKO (ODE1185-2)
Oy. Licensed from Ondine Oy.
Festium.
Annbjørg Lien
Frigg
Katzen Kapell
Milla Viljamaa
Benedicte Maurseth
Visit www.worldmusic.net/scandinavia
for music information, video clips and free tracks.
Johan Hedin & Gunnar Idenstam
MUSICROUGHGUIDES
RGNET1282CD
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