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Written in Folk Roots issue 151/152, 1996
BUKKENE BRUSE
Åre
Grappa GRCD 4100 (1995)
Much meatier than the trio’s 1993 debut album, Åre is more
instrumentally-oriented than its predecessor. There’s more energy here, in
Annbjørg Lien and Arve Moen Bergset’s hardingfeler, nyckelharpa and fiddle and
Steinar Ofsdal’s flutes, more light and shade and passion in all the playing and
singing; the feeling of neat correctness has largely gone, as has the distancing
limpid cathedral reverb which on the previous album combined with Bergset’s
soaring tenor to give a best-behaviour, ecclesiastical atmosphere. (There’s a
strong church music strand in Norwegian folk song, and whether or not as a
result of that, many of the highest-profile, commercially-recorded singers, male
and female, tend to sound “trained”. There are other folk styles, though, some
with the same sort of feel as Scottish traditional singers; for recordings of
them, try NRK/Grappa’s encyclopaedic 10-CD set Norsk Folkemusikk, which
hasn’t yet thudded onto the FR review mat.)
The intensification of that Norwegian floating
modality and high, silvery sound is evident in Ofsdal’s playing - more of the
feel of the no-holed seljefløyte overtone flute and breathiness of the
sjøfløyte, less of the recorder. There’s gutty drive where it’s needed from
footstamp and Ofsdal’s occasional bowed bass, and the band is augmented by Bjørn
Ole Rasch and Kåre Nordstoga’s acoustic-sounding, mostly pipe-organish
keyboards. From a British Isles point of view it’s a shame, though, that, while
The Fair-Haired Child (An Páistín Fionn) is by way of a tribute to
one of their inspirations, Micho Russell, they chose a not particularly notable
instrumental rendition of the oft-heard Irish song The Foggy Dew as the
final track of an album of otherwise distinctively Norwegian music. OK, it’s
their album, they can play it if they like it, but why as the closer, which is
the tune most likely to ring in the memory?
© 1995
Andrew Cronshaw
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