The Swedish nyckelharpa is a fabulous instrument. It combines the earthy, slightly rough sound that echoes from the medieval times with the fluid clarity and beauty of the classic violin. Since I first heard it when I was a teenager, already then fascinated by centuries past, I have been enchanted by it.
That instrument, with its virtuoso player, explains one third of my fascination with the Swedish folk icons Väsen’s brand new album Vågor (Waves). In the hands of Olav Johansson, the nyckelharpa reveals all its aural dimensions and it’s pure magic for me.
Another third comes from a truly rare instrument and its Väsen master, Mikael Marin. If my internet sources are right, the bass viola is a late Renaissance / early Baroque instrument with a sound that’s kind of in the middle of the cello and the viola, capable of going fairly high but, more importantly re: this album, producing a surprisingly deep bass range as well.
On Vågor, Mikael mostly plays the bass viola like it was a bass guitar. He’s done so before but I don’t think it’s been this consistent and rhythmically strong before. We’re talking a folk music bass viola version of a Paul McCartney / Geddy Lee hybrid here; I’m honestly knocked over by the stuff Mikael plays here.
The final third in my excitement are the tunes themselves and how Olav and Mikael create, just between the two of them, different moods and textures for each piece. It’s not only about the versatility of the instruments, it’s how these two work their tools. The stereo mix that has Mikael on the left and Olav on the right makes it easy to pay attention to what they are doing individually.
From the syncopated, hypnotic bounce of Kungshatt (The King’s Hat) to the elegant but powerful flow of Motströms (Against the Stream) and the melancholic waltz of Kvarnbo kvarn (Kvarnbo Mill), Vågor is a thoroughly impressive and also strangely visual, despite featuring only two instruments and musicians. Masters at work, absolutely.
FolkNotes 