Monday, January 27, 2014

Hoven Droven - Grov (Sweden-1996) [Folk-Rock] @320

Re-uploaded by request

Hoven Droven's music is a unique and powerful blend of traditional folk and fierce hard rock, where violin and electric guitar duel for the audience's attention. A diverse background created by sax, drums, percussion and bass complements this combination. Keywords: power, finesse and playful virtuosity.

The band's name is a slang phrase which means "whatever" (at least in their home province of Jämtland in northern Sweden). In their case, it could just as well mean; "things will take care of themselves." Despite sometimes chaotic organizational methods, none of them are able to explain how they have managed to perform on almost every major Swedish television and radio program and in North America. Looking at their individual schedules, it's a wonder that the band can get together to play at all.

01 - Slentbjenn
02 - Timas Hans
03 - Myhropolska
04 - Grovhalling (Sample in right panel)
05 - Tjangel
06 - Okynnesvals
07 - Klarinettpolska
08 - Grottan
09 - Kerstins Brudpolska
10 - LP-Schottis
11 - Skvadern
12 - Stilla
13 - Jamtlandssangsvalsen

Gustav Hylén: Trumpet
Kjell-Erik: Eriksson Fiddle
Pedro Blom: Bass
Björn Höglund: Drums, Percussion
Jens Comén: Saxophone
Bo Lindberg: Guitar, Accordion

Monday, January 20, 2014

Pekel - Mannen Van De Maas [1993 Netherlands] @192

Uploaded by request

The ensemble Pekel performs exuberant folk music from the Low Lands in its own
inimitable contemporary style. In Pekel’s set of instruments, we find traditional instruments like bagpipes, Jew’s harps, and flutes, but also “new” instruments like accordion, guitar, and double-bass.

The ensemble's name comes from a liquor that local fishermen used to drink.

Pekel was founded in 1990 and now (2013) consists of 5 musicians. The members
all are professional musicians since time immemorial, and have recorded many LPs and CDs in various ensembles (notably Perelaar).  Pekel is playing in theatres, schools, at fairs and banquets, as well as festivals worldwide.

The musicians of Pekel are not only interested in old Dutch sources, but also in the music recorded by ethnomusicologists during the 1950s and 1960s. However they like to apply modern popular music theories to their essentially traditional repertoire. In recent years they have included more and more own compositions into their repertoire. A fair part of Pekel’s repertoire consists of instrumental dance music (polka’s, waltzes, madlots).

01 - De Kermis
02 - Te Haarlem in Den Houte
03 - Koos en Toos
04 - Mannen Van de Maas
05 - Smouse Groenmarkt
06 - Jan Mijne Man / We Hebben Een Vos, Een Wolf en Een Haas
07 - Oue Mazurka / Luchtige Maagden
08 - Gabriel en Janneke
09 - Lage Landen / KlompendansDe Rommelpot
10 - De Troubadour
11 - Pelgrimstocht
12 - Ik Klom de Boom Al Oppe / Juzaine
13 - Anna Jacoba

John Bazuijnen: Vocals, double bass, guitar.
Peter Moree: Vocals, guitar, charango, recorder, bells.
Kees Wagenaar: Vocals, accordion, hrdy-gurdy.
Theo Schuurmans: Vocals, bagpipies, harp, tinwhistle, woodwhistle, flute, 
bodhran, percussion.

Wednesday, January 15, 2014

DRD - DRD [2008 Spain (Asturias)] @256

Kindly provided by Ron friend

DRD perform a mixture of traditional dance music and songs, mainly from the western part of Asturies and on a mixture of Asturian traditional instruments such as flute and fiddle, as well as on guitar and bouzouki. DRD recorded their first album in 2005 (with guest Irish piper, Jarlath Henderson) and are an exciting and innovative new voice in European folk music. They were recently selected by the Spanish Arts Council to represent Asturies in a series of high profile concerts.

01 - Inera 1
02 - Escorniellu
03 - Penera
04 - Raidoriu
05 - Moxeca
06 - Tremoria
07 - Rodendu
08 - Nora
09 - Frayon
10 - Canxilones
11 - Branza
12 - Pendoles
13 - Tremoria 1 (bonus)

DOLFU R. FERNÁDEZ: (violin, voice)
RUBÉN BADA: (Bazouki, guitar, violin, viola)

Youtube: Click here.

Friday, January 10, 2014

Sourdeline - La Reine Blanche [1976 France] @320

Re-uploaded by request

On the first release by Sourdeline, their roots in traditional folk is very clear, improvising on the melodies and songs and dance rhythms of the old music with repetitive patterns and beautiful arranged harmonies on the tunes. They developed their own combination of folk instruments that would develop the right atmosphere : simple bodhran-like hand drum rhythms, bowed psalter and zither, acoustic guitar and crumhorn with violin and vocals are the foundations also for further development of a new song repertoire that would fit with the old songs so that a revival of these ideas, present in a setting travelling amongst ordinary or common folks, is established, a reinvention of the minstrel principle for common people. The female lead singer has a very convincing beautiful voice for it, the male singers an absolute support. On two tracks we can hear the Bert Jansch with John Renbourn influence more clearly, overshadowed or adapted by the medieval arrangements. This album shows a fine foundation for practical French minstrel music and of the Sourdeline style in general.

01 - Le Château De Chantelle
02 - La Dent Du Loup
03 - La Belle Est Au Jardin D'Amour
04 - M'en Vas À La Fontaine
05 - C'est À Ville
06 - Mon Petit Frère
07 - La Reine Blanche
08 - J'Ai Vu Le Loup, Le Renard, Le Lièvre
09 - Princesse De Rien
10 - Le Chaudron
11 - L'Eglantine Est Eclose / Lève-Toi Donc Belle / Quand Mon Père Il M'A Mariée

Catherine (chant, dulcimer)
Pascale (violon)
Dada (chant, guitare, madolocelle)
Jacky (chant, tabla, percussion)
Sésen (chant, flute, cromorne, dulcimer)

Tuesday, January 7, 2014

Sourdeline - Jeanne D'aymé [1978 France] @320

Re-up by request

Stylistically one could compare the vocal harmonies on some tracks to Malicorne, its medieval inspirations to Tarentule, and a few exotic touches has made some associate Emmanuelle Parrerin with it. Most of the album is rather sparsely arranged in a rather pastoral way, with a few folk dance movements and an acoustic percussive track. The female lead voice is lovely, like in Malicorne’s band, but also the lead male voice has a beautiful softness. Instruments like bto in the mix. The original inspirations on old music make something reborn in a rooted tradition alone worth keeping vivid, like Sourdeline also does.

The band name Sourdeline refers to the earliest bagpipe invented by a Frenchman in Italy Baptiste Riva, an instrument with 4 chanters and a complex key system, and which had an extra pump like an accordion which allowed a steady flow. This instrument could work as a reference to the old music, but more specifically the band just liked the sonority of word, which fitted well to their music (as a sort of lyrical explorative gentleness a matter of speaking). 

01 - Au Roc D'Anglars
02 - La Fontaine
03 - La Belle Abandonnée
04 - Ronde De Mai
05 - Jeanne D'Aymé
06 - Voici La Saint Jean Et La Saint Pierre
07 - Complainte
08 - Hé là où vas-tu donc ?
09 - Si J'Avais Un Galant
10 - Ils Sont Bien Peles
11 - La légende de Saint Nicolas
12 - Trois Danses
13 - Unknown

Catherine Burban (chant, dulcimer)
Jean-Pierre Dallongeville (chant, sitar)
Jean-Pierre Danielsen (chant, flute)
Jacky Izambert (chant, tabla, percussion)
Alain Lousteau (chant, percussion)
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