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Written in fRoots issue 217, 2001
ILGI
Seju Veju
Upe UPE CD 016 (2000)
VARIOUS ARTISTS
Šupuldziesmas
Upe UPE CD 018 (2000)
Until recently, very few Latvian roots albums existed, and hardly any on Latvian
labels. Indeed it was, and still is, hard for a record label of any kind to be
economically viable in the countries formerly in the Soviet Union, because if a
CD proves popular it’s bootlegged and sold on market stalls throughout the land
for a quarter the legit price.
But in Latvia there exists Ainars Mielavs’s Upe label, which despite all that has
since 1997 released a string of well produced and beautifully packaged CDs, all
distinctively Latvian and many of them with roots in or connections to
traditional music. Mielavs is a radio broadcaster and the leader of popular rock
band Jauns Meness, which has drawn unto itself members of folk band Ilgi,
specifically multi-instrumentalist Maris Muktupavels and singer/fiddler Ilga
Reizniece. In turn Ilgi has moved in an increasingly folk-rock direction.
The rockification of a traditional music tends to move it closer to a sort of
European folk-rock mainstream. What keeps it characterful is usually the shape
of the tunes, the vocal sound and the presence of some of the particular
country’s traditional instruments. In Ilgi, apart from Reizniece’s fiddle plus
guitar, bass and drums, those defining sounds are of the Latvian bagpipes and
kokles (the Latvian form of the Baltic zither closely akin to the Finnish
kantele), both played by Muktupavels, who is, incidentally, the brother of
leading Latvian ethnomusicologist, kokles and bagpipe player Valdis Muktupavels.
And Seju Veju “tie [or sow] the wind”) is the band’s most confidently assertive
work yet, lively folk-rock with echoes of other European revivals indeed but
full of the character of Latvian traditional song.
Šupuldziesmas is the work of Reizniece and Muktupavels too, together with Gints
Sola and others, but this isn’t folk-rock, but something much more serene, since
the title means “lullabies”. Those here come from the collection of Jekabs
Vitolins, and they’re sung gently unaccompanied or to gentle accompaniment
largely led by kokles with occasional touches of atmospherics. This isn’t
intended as an exhibit of dead songs; the booklet notes say “our hope is not
that our lullabies supplant yours, but that this collection will encourage and
inspire you to learn some new ones. Your children don’t really care whether you
learned to sing in a classy choir or among the bears; they will, in any case,
think your singing to be the very best.”
© 2001 Andrew Cronshaw
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