Search - Mari Boine :: Eight Seasons

BREATHTAKING POWER AND BEAUTY

Larry L. Looney | Austin, Texas USA | 06/10/2003

(5 out of 5 stars)

"This latest release from Sami singer Mari Boine is simply another reason to wonder why this talented artist isn't more widely known and appreciated. Nordic music in general has found a much wider audience in North America over the last 10+ years (many thanks to Philip Page...) - bands such as Varttina, Hedningarna, Vasen and others are garnering well-deserved attention. When Mari's earlier GULA GULA album was released by Peter Gabriel's greatly-respected Real World label, I thought that might be the open door for her - then Antilles released a US compilation, RADIANT WARMTH, that was stunning in its power and scope. Still she seems to be on the periphery, rather than at the center (where she belongs) - maybe this excellent recording will change that. Music is a fickle business - so much depends on chance, which seems a shame when so many work so hard for so many years to produce art from their souls. That's exactly where Mari Boine's music originates - and you can hear it in every track here.Sax great Jan Garbarek guests on the first track - Mari has worked with Jan before on some of his projects for the prestigious ECM label. The arrangements on this disc are varied, but for the most part are more centered in electronics and loops than the previous stateside releases mentioned above. There are exceptions, of course - notably the beautiful `Hymn', also mentioned by another reviewer below. There are a couple of tracks sung here in English - which I must admit I actually find a little distracting. I've never had a problem listening to vocals in another language (an English translation to view is nice) - I think the original language conveys more of the singer's feeling and emotion. Mari's English here comes across nicely, however - unlike efforts by many artists that sound like soulless phonetics. The beauty of the words is what carries the songs successfully from one language into another.I would love to see Mari's ROOM OF WORSHIP released in the US - from what I've read about it, it's an excellent example of her work as well. In the meantime - if you enjoy creative, innovative world music that remains true to its roots, you owe it to yourself to give EIGHT SEASONS a listen. It's stunning."

Mari Boine: The Enchanting Chantress

Michael Bettine | Milwaukee, WI United States | 05/09/2003

(5 out of 5 stars)

"For the uninitiated, Mari Boine hails from the frozen arctic area of Norway. She is one of the indigenous "Sami" people who inhabit the north of Finland/Sweden/Norway. Like many indigenous peoples, the Sami have been overtaken by European immigrants who sought to civilize them by giving them religion and stamping out their native culture. Boine, once a school teacher, set out to rediscover her forbidden roots and bring back the rich musical traditions of her people. Over the course of seven recordings, she has released an impressive body of work. The Sami music is rich in rhythmic chant and a vocal style called "yoiking." The yoik is akin to an improvised chant the embellishes certain words or vocal sounds. It is often reminiscent of Native American singing, or at times, even jazz scat singing.Her newest effort, Eight Seasons, is her first for the new Jazzland label run by keyboardest Bugge Wesseltoft, who also plays on and produced the CD. While Boine might seem a curious choice for a "jazz" label, her music is not that far from what fits into the jazz mold today. Boine has guested on several ECM recordings by saxophonist Jan Gabarek, and he returns the favor by playing on I come From The Other Side. Wesseltoft brings an electronic edge to Boine's acoustic music. The song opens up with Mari singing over a synth pad, then a heavy drum beat and bass enters. To his credit, Wesseltoft has captured the rhythmic trance of Boine's music without destroying the heritage. Gabarek adds alto sax, weaving his lines around Boine's voice, which is in the same register. At times it's almost difficult to tell which is which, as they blend together so well. As a side note, most of the vocals here are sung in Boine's Sami dialect, which adds to the richness of the music."Song For The Unborn" features vocals in both Sami and English. In keeping with her traditions, most of the lyrics speak of trying to keep tradition alive amid the encroachment of everything modern. "I feel the wind that whispers through my skin melodies of ancient broken dreams," she sings. The song unfolds slowly, with her voice floating on top of a stark backdrop of bass, drums, and a few melodic notes on guitar and flute. The effect is haunting and trance like. The most traditional sounding song is "Sarahka's Wine" which sounds much like a Native American chant. Boine sings over acoustic guitar and drums. "By The Source Of Aurora B" is an ode to her homeland. She sings over an almost drum `n bass track. Percussion sounds move in and out of the mix, and the drum loop keeps things hypnotic. "Soul Medicine" is similar, with electronic percussion and bass mixed with flute and acoustic percussion. "Hymn" is a plaintive vocal sung over acoustic guitar. "Butterfly," sung in English, is the closest to her past recordings. The percussion and bass set up a simple, driving rhythm; while guitar and flute play on top. Again, the word hypnotic comes to mind. Boine's yoiking on vocal syllables is not too far removed from jazz scatting. "You Never Know" is a gentle ballad, opening with guitars and her voice. Drums with brushes and bass are subtly added to fill things out. But the music never intrudes on her voice.The surprise here is the bluesy "Tundra Flower". The song is a slow shuffle played on acoustic guitar. A Native American sounding flute solos on top of things. The song is reminiscent of African guitarist Ali Farka Toure. "Let Silver Protect" opens slowly with Boine yoiking over ambient sounds. A drum `n bass rhythm enters with ethnic percussion on top. The rhythmic chanting fits perfectly with the modern groove. The CD closes with the very simple "Give Me A Break" which features Boine on both voice and acoustic guitar, and the flute of Carlos Z. Quispe. The gentleness of her voice comes through, sounding reminiscent of folk singer Buffy St. Marie or early Joni Mitchell.Much like Finnish yoiker Wimme's collaborations with the electronic duo, Rhinne Radio (check out their three wonderful releases on Northside), producer Wesseltoft has managed to successfully combine Boine's intimate and personal music with ambient/electronic music. The important thing here is her voice. She is an amazingly gifted singer who not only has power and range, but has the phrasing and interpretation that few singers have. No matter what language she sings in, the music is astounding. Although difficult to find, this CD is highly recommended."

Intoxicating Soul Music

o dubhthaigh | north rustico, pei, canada | 05/04/2003

(5 out of 5 stars)

"Mari Boine first came upon the world music scene through Peter Gabriel's Real World label. It was a natural fit for her percussion and programmed laden rhythms, heightened with breathy flutes, sinewy guitars and vocal prowess that would shrink Sinead O'Connor. If you have followed Mari since, you know she has only gotten more mysterious, more powerful. In many respects, it was she who jump started the niche market of Scandanavian and Nordic Music, much as Mairead Ni Mhaonaith did with Gaelic music.
That said, this release, made available through the impressive impressario efforts of Minnesota label, East Side, is her strongest to date. The music, co-written with other Finnish writers and band colleagues, deals thematically with the spiritual heritage of a people who were the precursors of the Sami in Northern Finland, above the Arctic Circle. Their very ability to survive seems mystically enhanced by their nearly complete non-attachment to the tools and artifacts of all other early history races. They virtually willed themselves to exist and thrive and found a way to dwell in wonder, connected deeply to the mysteries of this world in which we are thrown.
The music, as I have indicated, has the elements of Peter Gabriel, although with less of his gee-whiz-look-at-all-these-gizmos approach, and more organically centered around Mari's impressive percussion skills. Mari and Evelyn Glennie and Terri Lynne Carrington are thre of the most impressive percussionists working in the 21st Century, and in this outing, Mari claims the Nordic realm as her own. She is an impressive composer as well. Lyrics are written by a number of poets, all of whom are focused on considering what it is about life that is most true. No silly love songs here. Gratitude to the Creative is expressed through a woman's realization of her ability to give birth to the future. Non-attachment brings a liberation with existential consequences to be embraced. Wine and dance intoxicate the spirit and seduce the passions beckoning the future to cast its spell and midwife the world to its next epoch.
You'll find yourself thoroughly given over to the charm within this music. Your soul will intoxicatingly revel in the dream-like wonder created herein. This is a remarkable triumph from a master. Kudos to East Side for bringing this intensely soulful music to North America."