The chamber folk music of Icelandic quartet Umbra allows one to experience an impressionistic state of being pleasantly lost in thoughts, daydreams and fantasies.  Three years in the making, Bjargrúnir offers fanciful melodic musings drawn from well-researched folk songs and ballads from centuries past.  The oldest text, at track 11, “Úr Sigurdrífumálum” (“The Ballad of The Victory Bringer”) draws from poetry of the 13th century but arranged with original contemporary music by the all-woman quartet.  Umbra’s fourth album also draws inspiration from various other sources, including historical records, tapes and collections of folk songs and ballads. With meticulous attention to detail and high-quality audio recording, the women of Umbra could be considered Icelandic song-carriers as they sweetly sing wistful remembrances of bygone days in songs such as “Amid the Town We Twain Stood” (Stóðum tvö í túni), “The Mirror of Friendship” (Vinaspegill), “In the Firths” (Fagurt er í fjörðum) and “The Moon Quatrains” (Mánavísur).

Highlighting the status and trials of women throughout the centuries, the songs and ballads reflect on Icelandic weather conditions, scattered farms, devastating natural forces or traumatic historical events. Many of the poems also convey feelings of unfaltering perseverance, tenacity, drive, dauntlessness, and liberation. Umbra’s research led them to the valkyrie Sigurdrífa’s ancient counsel on how to wield magical runes to aid women.

Umbra is Alexandra Kjeld (double bass, long pipe), Arngerður María Árnadóttir (Celtic harp, Indian harmonium), Guðbjörg Hlín Guðmundsdóttir (violin, viola, long pipe) and Lilja Dögg Gunnarsdóttir (Irish flute). All four women sing, with Lilja and Alexandra handling most of the lead vocals. Track four, “Reverie” (Draumkvæði) is especially nice in that it features both lead singers, and track seven “The Song of Charlemagne” (Karlamagnúsarkvæði) even adds lead singing by Arngerður. Try to discern the different qualities of their three lead voices. Guest percussionists Eggert Pálsson and Matthías M.D. Hemstock appear on three tracks apiece. Carefully cultivated, enchanting music lends immediacy and accessibility to the story songs. Delicate and passive reflections on life in beautiful melancholic moments retain emotional depth without ever sounding anachronistic. (Joe Ross, Roots Music Report)