In a contemporary setting, the ancient tones of the Erlend Viken Trio were introduced to us on their highly-acclaimed previous albums, Frie Tøyler (2014) and Nykomlingen (2017). Frie Tøyler received the 2014 Norwegian Folkelarm Award.  The trio is building a strong reputation for invigorating and fresh instrumental music as crisp as a cool morning in one of Norway’s mountainous, fjord-riven districts of Hardanger or Voss.  The trio blends elements of desert blues, American old-time music and folk-rock energy into a vibrant collection of roots-based compositions. The trio includes Erlend Viken (Hardanger fiddle, fiddle, octave fiddle, vocals), Marius Graff (guitar) and Sondre Meisfjord (double bass). On their latest album, Fete slåtta (that means “fat hay”), guest musician (and the album’s producer) Olav Torget plays n’goni (an African 3-5 stringed guitar/lute) on three tracks, “Brureslått,” “Nerlo” and “Sprenglek,” the latter meaning “explosive game” that includes some of Viken’s understated scatting vocals following the melody. 

Paying homage to Norwegian traditional music, let’s look at the three solid musicians’ resumes. Erlend Viken has played music with Odd Nordstoga, Bigbang, Susanne Sundfør, Ingebjørg Bratland, Erlend Ropstad, Mathias Eick Quintet, OnklP & De fjerne slektningene, and Majorstuen. With Earlybird Stringband, he was nominated for two Norwegian Grammy Awards. He has won the “elite group” for regular fiddle at the National Games for Traditional Music and Dance in Norway (2016), and Viken composed several commissioned works for Ultima Oslo Contemporary Music Festival (2020). Marius Graff is a sought-after guitarist and multi-instrumentalist. He´s a vocalist, guitarist and composer in the chamber pop ensemble “TeleGram,” and he has worked with some of Norway´s biggest artists like Marit Larsen and Lillebjørn Nilsen. Sondre Meisfjord has been a part of Come Shine, Gjermund Larsen Trio, Hekla Stålstrenga, Urban Tunells Klezmerband, and Trondheim Jazz Orchestra (with Pat Metheny).

Basing their creative arrangements on various Scandinavian dances (halling, gangar, springar, reinlender, polska, vals, etc.), the trio provide some unique and exploratory sounds that are both rhythmic and relaxing. Just as you may think you’re experiencing a familiarity with the polka “Thor Lohne” or waltz “Forslund,” the musicians paint their sonic canvas with colors of different character and content. Most exciting are those tracks derived from the distinctive Norwegian dance called the halling. “Nedrelid” and “Edna en Eldegard” have a two-beat rhythm that floats with fluidity. A traditional halling is typically danced by a solo male who incorporates plenty of energy, acrobats and improvisation into the steps. Eventually, the dancer attempts to leap and kick a hat from a stick held by a girl perched high on a chair.   

Based on other common dances, “Brureslått” and “Suldal” are calmer, walking dances done by couples, and these dances are associated with Hardanger fiddle repertoire.  “Suldal” comes from a springar, the most widespread of Norwegian dances, nominally in 3/4 time but with rhythm so flexible that the three beats rarely have the same length. It’s certainly a pleasure to hear their take on traditional music and how their vision can be so forward-looking without ever sounding anachronistic.

And what fan of world music doesn’t like the bright tones of Hardanger fiddle?  Beautiful sounds emanate from the instrument as it is tuned higher than the normal violin, and it has four sympathetic strings that vibrate beneath the bowed strings. In the hands of an accomplished player like Viken, it resembles a couple instruments, and the evocative trio is even somewhat orchestral at times with their impressionistic sound. Closing with a solo psalm tone on octave violin, “Gamleåret seig i hav” (meaning “the old year is tough in the sea”) seems to be a reflective look back while also being hopeful and optimistic towards the future.  (Joe Ross, Roots Music Report)