theguardian.com
Krets's Debut Album Showcases Experimental Norwegian Folk Music
Krets, a new Norwegian folk label, has released a debut album featuring Malmin's experimental folk music from Rogaland, inspired by early-to-mid 20th-century recordings; the album showcases diverse sounds and styles, including Åshild Vetrhus's funeral dirge singing.
- What is the significance of Krets's debut album in the context of contemporary folk music?
- Krets, a new Norwegian folk label, has released an album of experimental folk music from Rogaland, drawing inspiration from early-to-mid 20th-century recordings. The album features a unique blend of traditional instruments and styles, with a focus on the human soul's depth. The duo Malmin, consisting of Anders Hana and Olav Christer Rossebø, showcase the diverse sounds of Rogaland, including harding fiddles, mouth-harps, and langeleik.
- How does the album's use of traditional instruments and vocal styles contribute to its overall impact?
- The album's experimental approach challenges traditional folk music norms, creating a unique soundscape. The inclusion of Åshild Vetrhus's funeral dirge singing adds another layer to the album's complexity, blending seamlessly between styles. This release demonstrates the power of folk music to explore themes of the human condition with raw emotional intensity.
- What potential future trends or developments in folk music might be influenced by this album's unique approach?
- Krets's debut album may influence future folk music experimentation by demonstrating the potential for blending traditional and modern elements. The album's unconventional approach and exploration of diverse sounds may lead other artists to explore similar themes and techniques, pushing the boundaries of folk music's conventional style. The album's success could also encourage more collaboration between folk artists and musicians from other genres.
Cognitive Concepts
Framing Bias
The framing is generally positive and enthusiastic. The review highlights the unique aspects of each album, especially Malmin's 'anarchistic' approach and Knapp and Diver's collaboration. However, the highly positive description of Malmin might overshadow more critical assessments of other albums.
Language Bias
The language used is descriptive and evocative, employing words like "deliciously diabolical spells," "jarringly so," and "heartbreaking." While these are strong adjectives, they are used to convey the reviewer's subjective interpretation and don't appear to misrepresent the music. However, the subjective terms such as 'deliciously diabolical' could be seen as biased.
Bias by Omission
The review focuses primarily on three albums, neglecting others potentially released in the same month. While this is a common practice due to space constraints, it leads to a bias by omission. The absence of other releases might skew the reader's perception of the month's musical landscape.