Frigg, “Dreamscapes”
Celebrating their 25th anniversary this year, Frigg have long established themselves as one of the leading string bands in Nordic folk. A small army of six musicians, what has always astounded me about the band is how effectively they use their numbers to their fullest capabilities, often times in their recordings sounding like there’s a full orchestra at their disposal. Their attention to orchestration and texture is second-to-none, and even when all three fiddles are chugging along at full steam, everything just fits into the arrangement. This rich texture of Frigg’s sound, combined with a relentless spirit for both innovation and tradition, is what sets Frigg apart as one of the most versatile and captivating bands of their generation.
Dreamscapes is Frigg’s eighth studio album, following up from 2023’s Perintö. As you all know, Perintö ranked quite high at #2 on my Best of 2023 list. Frigg reigned in their more progressive elements to instead dedicate the album to the heritage of Konsta Jylhä’s Finnish dance band tradition which has defined Finnish folk music since its revival in the 60s. Knowing that Frigg rarely sticks to the same idea between albums twice, I have been on the edge of my seat in the weeks leading up to Dreamscapes’ release, waiting to see where they would go this next, with the album cover proving to be the perfect teaser for the imagination.
The record kicks off with Daydream 1 – Bridge, a poetic opening because a bridge of course musically connects the different musical ideas in a work or could be a literal bridge which takes you from one land to another. Opening the album with a bridge, I couldn’t help but feel they were intentionally inviting us to a different land from the previous album – or a dream, rather - and as Dreamscapes went on, this theory became only more convincing to me. Daydream 1- Bridge kicks the album off with a torrent of lush chords, which wash over you guided by a melancholic fiddle line, setting already in the first minute of the record an evocative atmosphere that will come to define the record.
With Valsette, the rhythm section plucks a flowing spectrum of chords between mandolin, guitar, and bass, before grounding in a loose waltz rhythm for the main melody. Floating and grounded sections trade off throughout the tune, culminating in a gorgeous fiddle break cascading in more lush harmonies in the spirit of that atmosphere established in Daydream 1. Västkusten Twist then brings an abrupt interruption to the melancholy of the album’s opening for a playful and metrically chaotic game of snarling strings, even featuring a killer bass solo.
Alliko then brings us back into the quasi-impressionist cascade of harmonies which lead into a mid-tempo fiddle tune reminiscent of Dreamers’ Circus, and yet another bass solo. (They’re spoiling me at this point). Following Alliko is Ilon Haikeus, the first track of 2025 to bring me to tears. This stunning piece of music is a highlight of the album for me, with a pathos so rich I still can’t pin it down to any one emotion. And with it being on the same album as tracks like Vittra Square Dance, their versatility as a band remains rarely matched.
Speaking of – with Vittra Square Dance and Game of Frigg, the band introduces some stylistic elements reminiscent of contemporary bluegrass jamming in the vein of Goat Rodeo Sessions or Punch Brothers with Vittra Square Dance being one of the most experimental tracks on the record, even bringing in more percussive and groovy elements. Circlesquare then brings in a neomedieval vibe reminiscent of Virelai, and Lupaus is crafted with more lush experimental harmonies reminiscent of what one would hear from the Danish String Quartet. Finally, the album closes on a fun note with Alarm Polska, blending seamlessly the traditional earthly side of Perintö with the intensely progressive sound of Dreamscapes. Ending in one last lush, warm harmony that washes over you into the silence of the album’s end.
One track I skipped over that I intentionally wanted to save for last is Troll’s Twilight. This tune is the most memorable on the album for me. It sets the tone of walking through the deep woods at dusk with Kittelsen’s Skogtroll keeping his one eye on you. The use of drum, shaker, and jaw harp is also a unique touch in Frigg’s discography, evoking very strongly the atmosphere of trolldom. (Also, great minds think alike? I use the same exact percussion in my own troll folk album). You guys know my academic interest on trolls and fiddling, so I love how unapologetically this track brings the troll magic. A fitting choice for an album set in a dreamworld.
The name of the game with Dreamscapes is just what it says on the box. The record is both as spirited, diverse, and eclectic as our dreaming hours, while woven through with rich and evocative harmonies that hold it all together. 25 years on, Frigg shows no signs of slowing down, never afraid to explore new ideas beyond the borders of tradition, while also sounding as nothing less than themselves. Dreamscape is but one more testament to the rich legacy that Frigg has left for generations to come.
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