There's nothing like gorgeous weather to make the summer fly by, and nothing like music to mark its high points. (I know whereof I speak, since if you come to Bumbershoot this Labor Day weekend, you'll find me working in the press office.) There are plenty of good selections this time out, including, at last, a new release from Lúnasa -- although this comes with a word of warning. Hedningarna has a new best-of collection, and Asian Massive elder DJ Cheb i Sabbah has a new set of productions and remixes. Wimme yoiks to the spirit world, Santtu Karhu and Talvisovat rock us from Russia and Lisa Gerrard takes us on an aural journey with the Whale Rider.
It seems appropriate to begin by saying that Lúnasa's new CD, Redwood (Green Linnet), has finally been released. However, there's a wrinkle. It's not in the performances; Lúnasa are arguably the best up-and-coming traditional Irish band performing today, as anyone who saw them live at the Tractor Tavern last spring can surely agree. The music is well chosen and beautifully arranged.
However, almost as soon as Redwood was released, the album elicited controversy. Things may have changed by the time this article sees print, but as of this writing, Lúnasa is claiming that the Green Linnet label used the wrong master when pressing the CD, resulting in an inferior product. There's also news that the label is being sued by a number of artists in its roster, all of whom claim that the company owes them royalties that have not been paid. I mention this because it may affect your decision whether or not to buy the CD. Check the band's website at www.lunasa.ie and judge for yourself. I acquired the album before I heard about this situation, and had I known beforehand I might have chosen not to purchase it.
No similar stories circulate about the NorthSide label, which has figured prominently in this column within the past year. Based in Minneapolis, the label imports music from Sweden, Norway, Denmark and Finland, embracing a wide variety of Scandinavian music from an impressive array of cultures. Hedningarna, one of the label's flagship acts, has released a retrospective collection, 1989 - 2003, which both serves as an excellent introduction to the band's work and showcases that work's considerable variety. There's a trance remix of "Kruspolska," a bluesy instrumental piece appropriately titled "Chicago," and a number of songs based off of traditional lyrics. If, despite my recommendations, you haven't gotten around to picking up anything of Hedningarna's yet, you could do worse than to start here, and for stalwart fans, there are the requisite new tracks to pique your interest.
It's the trance sensation that's sweeping the nation -- it's the musical genre known as Asian Massive, and if one were to point to a single figure as its spearhead, that would have to be DJ Cheb i Sabbah. The Algerian DJ and audio producer, who's been spinning since 1964, has been a fixture on the San Francisco club scene since the 1980s, and has worked with names from Nusrat Fateh Ali Khan to Don Cherry. In Cheb's wake have followed a number of other DJs and musicians who exemplify a growing trend toward globalization in music. As Far As - A DJ Mix (Six Degrees), which is a collection of remixes, Cheb-produced tracks, and original material, ranges from Middle Eastern pop (Natacha Atlas' "Soleil d'Egypte") to an atmospheric mix of jazz and classical Indian music (Trilok Gurtu's "Have We Lost Our Dream?") to groundbreaking electronica (Asian Dub Foundation's "Colour Line"). The mix of traditional and avant-garde present in this collection is what the modern electronica movement is all about; that Cheb i Sabbah can be involved with it for so long, and still be so forward-thinking in his approach, is commendable. A strong spiritual component is woven throughout. While the considerable variety here means you'll have to pick and choose if you intend to use this CD for ritual purposes, it also means that you'll find something to go with just about anything you have in mind.
Speaking of trance and NorthSide, one of the most interesting discs to cross my desk this year is the new CD from yoik singer Wimme. Titled Bárru, the CD features a collaboration with two jazz/electronica artists, showcasing the adaptability of this ancient singing form. Originating in the Sámi culture of northern Europe, yoik's resemblance to certain forms of Native American chant has been remarked on often enough to suggest some cultural connection. In addition to tonal and rhythmic similarities, yoik singing also emphasizes an affinity with and reverence for the natural world. The song titles, such as "Njavvi" ("Torrent"), "Gorzi" ("Waterfall"), "Cearret" ("Arctic Tern") and "Guoldu" ("Whirling Snow") reinforce this emphasis. Describing a vocal style as "chant" might give an impression of repetition or droning, but there are plenty of dynamics here, which the electronic rhythms and jazzy flourishes help to accentuate. The music ranges from ambient meditations to fast, highly danceable beats -- often tracked next to each other.
Speaking of weird musical fusion from the far north, a close second in the interesting-disc department is Santtu Karhu and Talvisovat's Hyvästit Karjala (Hot Igloo). Hailing from the Russian side of the Karelia region that overlaps Finland and Russia, this ensemble lurks somewhere between the traditional music of the region, progressive rock, blues and probably one or two other things. In some of the rhythms and flutes one hears what might be echoes of Ireland. Mixing genres is all the rage these days, as this installment of Earth Tones has already shown, but few bands draw together genres this diverse, and few of them do it this well. Simply put, Hyvästit Karjala rocks. The opening track, "Armoittoman Lapsen Uni" ("Orphan's Dream"), is perfect full-volume road-trip music; lead singer Santtu Karhu's vocals are a revelation. Another high point is "Bazaril Käydyy," a fast-paced song full of skirling flutes that brims with energy and life. Oddly enough, it may remind you of Bela Fleck. The instrumentation is much more rock and roll than any folk arrangement of any sort, which only adds to the effect; there's enormous energy and invention here. The downside is that this CD might be difficult to find; not even Amazon carries it. Try visiting the label's website at www.hotigloo.com. You may wind up ordering it from Finland, but it's worth asking if they have a North American distributor. See also their regular distributor at www.mnw.fi.
If it's still in theaters by the time this sees print, I urge you to go see Whale Rider. Based on a Maori legend, this film, which took home a slew of awards this year, is the tale of a girl claiming her birthright as a leader of her people, with a stunning young actress in the lead role. Meanwhile, the soundtrack, composed and recorded by Dead Can Dance's Lisa Gerrard (4AD), is stunning in a different way. Fans of DCD and of Gerrard will definitely enjoy this; an ambient wash of multilayered sound, the score is evocative of water and the tides of the sea. At the same time, it possesses sufficient musical tension and direction to keep from becoming boring, and the music stands quite well on its own. For the most part reflective and meditative, the recording is definitely suitable for certain kinds of ritual work, particularly those involving water, trance or guided visualization. It's also remarkably soothing, but not soporific.
Upcoming shows: See www.bumbershoot.org for details about the Bumbershoot Arts Festival on Labor Day weekend. Bluesman Otis Taylor plays the Tractor Tavern on Thursday, August 21, and Danu plays the same venue on Wednesday, September 24. Two Loons for Tea has a free show at noon in Volunteer Park on August 24, and the Reverend Horton Heat is at the Showbox on Friday, September 12.
Genevieve Williams is a Seattle freelance writer and drummer who can be reached via e-mail at rimrun@drizzle.com. Local and pagan musicians are encouraged to submit material for review.