Norwegian composer Kenneth Lien and DJ Center Of The Universe continue their adventures finding common ground between modernity and tradition with their second collaborative album, Norsk Elektronisk Folkkesmusik.
Allying Hardanger fiddle and jaws harp with the kind of beats found in electro-halling, disco-gangar and springar d’n’b is still a novel idea and one with which they are trying to show a natural progression from the sixties through to the modern day. Familiar dance staples like the Roland TB-303 and TR-909 flex their elegant muscles against instruments that have been around for hundreds of years and the outcome is a real ear -opener.
Spread across nine tracks, the union of electronic beats and analogue instruments has something for everyone. It is possible to dance to it, but it also has a connection to campfire traditions passed down the ages. So while the feet and brain register the beat, the heart is swollen by the churn of the fiddle, its wayward wildness tempered by the urban simplicity. It is utterly irresistible, but I couldn’t help noticing its similarity to some of the bhangra sounds that come out of Punjab; that desire to merge old with new and to give the dancefloor denizens a new fix. Where it varies is with the subtle electronic textures and drum fills that are added to the backdrops that give structure, and work as a kind of counterpoint to the plaintive cry of the fiddle and the insistent scoff of the jaw’s harp. As dance music the euphoric element is there in the fiddle, its inability to stay placid or measured drives the emotional centre, with key riffs pushing the songs into new territory. There is quite a lot of sharing in the division of labour, with the loping beats often taking centre stage as the fiddle wanders or the beats may drop away and allow ancient mystic beauty to hold sway for a short time.The album is really well mixed and sequenced very, with little break between tracks giving the vibe of a well-selected DJ set; moments of Euro banger heaven to chilled out drift in a matter of moments. Then the beats might be the more relaxed element, with the manic churn of the fiddle the dramatic centre. Towards the end, the addition of electronic bass gives extra heft while the spacey electronics add a dreamy quality and it is as much the judicious use of beats that offers variety as the swapping of the chosen instruments.
The final track though is a drum’n’bass earworm that is possibly the perfect distillation of what these two visionary producers are attempting and a perfect way to end what is a truly entertaining selection. Dancefloor or listening room? It is up to you to decide.-Mr Olivetti-
