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Written in
fRoots
issue 360, June 2013
FUNI
Flúr
Green Man GMCD007 (2013)
Iceland has made a strong image for its pop and rock music, with Björk, Sigur
Rós and others and Reykjavik’s Airwaves festival, and for its visual art and
dramatic volcanic landscape, and the Icelandic epic sagas are well known as
literature. But very few Icelanders sing its traditional songs, even though many
are archived in the Árni Magnússon Institute.
A leader among the exceptions is Bára Grímsdóttir, who
has been singing and arranging the old rímur ballads and other folk songs since
she heard them on her family’s farm as a child. A decade or so ago she met, and
subsequently married, English folk musician Chris Foster. Since then the pair,
as Funi, living in Reykjavik, have not only been researching and working with
the songs, which are traditionally unaccompanied, but to accompany them they’ve
brought back into use the old Icelandic instruments: the fretted dulcimer
langspil and strange two-stringed fiðla. There’s very little evidence of the
playing styles of these instruments, save that both were bowed, so they’ve had
to deduce their own.
This, the second Funi album, doesn’t feature fiðla, but
Chris’s guitar, langspil and newly-acquired hammered dulcimer and Bára’s kantele
provide a delicate ringing-stringed environment for most of the songs, while
some Bára sings unaccompanied. Chris is now deeply immersed in Icelandic music
and as well as having developed new approaches to his already modal guitar style
to fit these modal songs he joins her on vocals, in Icelandic, for some tracks.
Guests occasionally contribute vocals, double bass, clarinet or sax.
The lyrics are mostly from named 19th and 20th-century
writers or poets. As Rósa Thorsteinsdóttir of the Árni Magnússon Institute
points out in her introduction to the booklet notes, rímur lyrics and the
kvæðalög melodies weren’t firmly attached to one another; it was normal for
singers to use or modify whichever tune appealed to them at the time. (Rósa
herself has been a tireless worker on this material and advocate of making it
available and used, and she was key in the release of the archive compilation CD
Raddir – Voices and Steindór Andersen’s Rímur album).
Funi’s melodies are mostly traditional, or occasionally
new-composed as in the closer, a 17th-century hymn text set by Bára in the
voice-switching, ‘medieval’-sounding parallel fifths of tvisöngur style.
Not only is the music on Flúr attractive,
melodious and varied, Funi are pioneers in bringing Iceland’s neglected song
tradition appealingly into the light of the 21st century, where hopefully some
of Iceland’s many young musicians will pick up on its possibilities as they have
so distinctively in pop and rock.
(Incidentally, the late and much-missed producer Hector
Zazou told me when was making his big Songs From The Cold Seas
multi-artist CD project in the mid-1990s that he was having trouble finding
anything in Iceland that could be regarded as traditional music, until he went
for tea with Björk’s auntie, and so came across the song Björk sang for the
album).
www.funi-iceland.com
© 2013 Andrew Cronshaw
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