The Nordic Sound with Jameson Foster

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In this very special Nordic Sound Channel interview, I sit down with Espen Winther of Eldrim for an exclusive early look at the new record "Daudrastev" as we preview and discuss each track before the album releases. 

Espen has long been a vocal supporter of the channel, and it's truly been an honor to do this special collaboration in anticipation for both the new album release and the return to Midgardsblot. Cheers Espen, and thank you for trusting the channel with this cool opportunity to do something a little bit different. 

So sit back, relax, and let Espen take us through not only his story, but the story of Eldrim's new record "Daudrastev".

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In Nordein's newest offering, "Reisa", we're given a three-course meal teasing some new and old ideas to expect from the project in the future, taking us from the world of early 2000s "celtic" folk world of into a more contemporary dark folk sound by the EP's end. A short review for a short EP - let's talk about it!

"Nordein, fronted by Norwegian musician and producer Jørn Øyhus, blends Nordic folk with rich, evocative sounds. Known for his work with Nordjevel, Varde, and Byrdi, Jørn brings a unique touch to Nordein’s three albums and new EP, Reisa. This latest release merges traditional and modern elements, capturing the essence of nature's rebirth.

Nordein have for the past years been the main focus, with its three full length albums plus a handful of singles. Reisa is the new EP, hinting both backwards and forward in time musically, hailing back to the debut Nordariket, as well as pointing to new soundscapes. Spring is a journey on its own, beginning with melancholic Irish bouzouki in the forest accompanied by a owl (own night time recording). The track evolves beautifully from an introspective dark folk mood into a triumphant blooming ritual of spring, with sounds of flutes, choirs, viking drums and strings. Listening to the track is like going from a misty and gloomy early dawn, through full blown sunny mid-day and into the night. Spring is the celebration of nature coming back to life after the harsh northern winter, and encapsulates the very essence of growing, blooming and thriving, though with thoughtful undertones all the way."

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One of my favorite groups in the Nordic folk scene today is finally back, joined by the wonderful Norwegian hardanger fiddler Gura Kvifte Neisheim for the new maritime record "Kystnaert"

This has been my most anticipated album of the summer, and for good reason. I fell deeply in love with this group back in 2016 with their incredible "The Moon We Watch Is the Same" due to the fresh, exciting, and organic nature of their sound and original instrumentation which continued through "Neighbourhood" and "Sofa Songs".

Kystnaert has delivered in every way, and I really hope you all give this album a spin to experience the many things to love about the Floating Sofa Quartet.

"Revived coastal music from Norway, Sweden, Denmark & Finland.
For almost a decade Floating Sofa Quartet (FSQ) has been working across borders with their own take on Nordic folk music – shedding light on the shared cultural heritage of the Nordic countries and creating music that is both preserving and renewing their tradition(s).

Now FSQ joins forces with the renowned Norwegian fiddler Guro Kvifte Nesheim to take a plunge into the kindred musical traditions of the coastal regions of Norway, Sweden, Denmark & Finland!

Commissioned by the Farsund Folk Festival the project Kystnært (near the coast) is centered around the regional folk music of Agder in sourthern Norway – a tradition that has a clear kinship to the music of its neighbouring countries. With Agder as a starting point Kystnært explores the similarities between an assortment of musical bits and pieces from the Nordic coastal regions, fusing them all into a vivid contemporary concert experience."

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Let's dive into the debut album from a daring new folk/jazz quartet from Sweden.

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A new kind of album review on the Nordic Sound Channel. And what better way to return to the grind than with a new release from one of my favorite Nordic singers, Eivør.

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"Eivør calls her Nordic home in the remote Faroe Islands a landscape of extremes. Sitting in the North Atlantic Ocean just above Scotland and southeast of Iceland, with a total population of about 50,000, the climate is “full of contrasts—very dark, heavy winters and bright summers.” Growing up in a small village there, of about 400 people, it’s those contrasts that have inspired Eivør’s music throughout her career.

Often considered to be one of the most prolific and unique Nordic artists of her generation, Eivør has released 11 studio albums to date, crossing musical genres and always pushing the envelope of the expected. Awarded with the Nordic Council Music Price in 2021, Eivør’s musical journey continues to fascinate and has seen her perform across the globe; from Europe’s biggest festival stages to providing the soundtrack to Netflix’s hit series The Last Kingdom and the video game God of War: Ragnarök.

Her forthcoming new album ENN ties back to Eivør’s Nordic roots. Most of the lyrics, sung entirely in Faroese, were penned in collaboration with the Faroese poet Marjun Syderbø Kjelnæs. Eivør calls the lyrics to the title track especially “hardcore.” The song is about war—“the wars that are going on in the world especially lately, but that have always been going on,” Eivør says, “and how to find a glimpse of light in this overwhelming darkness.” The guttural penultimate track, “Upp Úr Øskuni,” is a thrilling outlier mixing growling beatboxing with visceral throat singing (it’s certainly Eivør’s most metal moment).

ENN stands out among Eivør’s discography as a bold new venture. Her debut for Season of Mist, the album leans heavier into dark electronics. Her new Prophet-5 synthesizer hardly made it out of the box before she keyed up “Hugsi Bert Um Teg”, a swooning bit of dream-pop that dances like the colors of the milky way.

On a grand scale, ENN follows a cosmic arc. The title track is a symphonic, war-torn space odyssey. But the album also dwells on more earthly concerns. Lead single “Jardartra” is told from the perspective of a wounded mother earth, who calls to us with a steadily thumping bassline that’s as dark and warm as our planet’s molten core. “Come lie down in my blue embrace”, Eivør sings, reaching into her operatic register, as if beckoning us toward the light.

On ENN, Eivør moves heaven and earth."

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In a first for the channel, multi-instrumentalist and folk musician Chris Welsh sits down with me in my own living room to talk about his storied career with over a decade as Sun and Moon Dance, his multiple collaborations with some Nordic Sound Channel fan favorites, and his perspectives as an American working in the Nordic music scene. Along the way, Chris reflects on the importance of animism and land stewardship in his creative voice, some minor grievances with the dark folk scene, and his own work cleaning up thousands of pounds of litter from the North Carolina wilderness with his Clean Sacred Lands project and how it relates back to his music.

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Join me in welcoming Jonathan Barendsma of Gealdyr, a rising star in the dark folk scene. In this conversation, Jonathan and I discuss the importance of music and art as escape and vicarious living for those in difficult situations, a mutual love of soundtracks, and dancing the line between Nordic and Celtic soundworlds.

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In this very special episode I'm joined by fellow musicologist and mentor Ross Hagen to talk heathen musicology and how he and Mathias Nordvig went about approaching "Ancestral North: Spirituality and Cultural Imagination in Nordic Ritual Folk Music" - a musicological book on the nordic pagan music scene. Thanks for the good hang Ross!

"Ancestral North: Spirituality and Cultural Imagination in Nordic Ritual Folk Music offers a detailed exploration of Nordic ritual folk music, a music scene focused on the revival of ancient folkways and archaic music that has found remarkable popularity around the globe. Once the domain of Viking reenactors and neopagan practitioners, the niche sonic and visual aesthetics of this music have found widespread visibility through a new generation of popular films, television series, and video games. The authors argue that many of these musical and media products connect with longstanding cultural attitudes about the Nordic region that conceive of it as wild, exotic, and dangerous, while also being a place of honor, community, and virtue. As such, the Nordic region and its music often becomes a vessel for reactionary escapes from all manner of modern discontentment. However, the authors also posit that spending time re-creating the music of an imaginary past offers participants the possibility for engagement and re-enchantment in the multicultural present."

Link to the Book

And more importantly, the 30% off code! - LXFANDF30

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https://seidrblot.bandcamp.com

In this interview, I'm happy to be joined by Visy Bloodaxe of Seidrblot to talk about a range of topics including the music he makes with the band, working with wood, how a love of medieval music led to him learning how to build his own instruments, and finding escape through music in a world filled with noise.

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Do musicians get the final say in what their music is called, and is genre meant to be a literal descriptor of the music we hear?

In the 3 years I’ve been running this channel, covering the music of Wardruna, Heilung, and almost everything in that sphere, I have had endless conversation over what to call this music with many alternatives offered for the sake of “anything but Viking music”. Dark folk, pagan folk, nordic folk (the worst option for reasons obvious to traditional musicians), heathen folk, new nordic folk… and even the major artists themselves have been outwardly disassociating from the level. But why don’t any of the alternatives stick instead of Viking music?

Join me in this conversation about the contentious yet seductive nature of the Viking music phenomenon from the perspective of an ethnomusicologist. Questions here are posed around the nature of genre, the binding themes of this music scene, artist and audience perspectives, and whether or not any of this is about historical accuracy at all, and if that matters to the ultimate enduring label of Viking music. 

Or, can we not change how we talk about Viking music at all before we change how we talk about the Viking age itself?

My ultimate hope is that questions brought up in this video start some needed conversations to be carried on as this genre continues to grow, instead of continuing the trend of dancing around the subject as we run on the euphemism treadmill. Because remember, I don’t have the answers, only the questions. The answers are what we as a community make them to be.

Thank you for watching.
-Jamo

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