Laimas muzykanti began as a group of musicians to accompany the Daugavpils folk dance group Laima. Its long-standing director, Artūrs Uškāns, has guided the group through its 10-plus-year evolution to what is now essentially two groups in one: the “small” group that plays traditional instruments and performs at folklore festivals and for folk dance groups, and the “large” group that plugs itself in and plays ethno-rock. Laimas muzykanti’s new compact disc, Orkla bolss, offers some of both, although the lasting impression is of the heavier side.

Orkla bolss, which translates as “the voice of the plow,” begins with a catchy and mildly Cajun-inspired beer song, “Oi dīveņi.” The next song, “Jauna meita,” is heavier and even includes a guitar solo. “Laiviņīka mosa” begins quietly, but eventually picks up the pace, while the following song is a stunningly simple, yet beautiful, a capella rendition of a mythological text. By the fifth track the musicians are back to ethno-rock, this time with the well-known tune “Auga, auga rūžeņa.” Even though the song’s melodramatic ending borders on overdone, the lively chord changes and transitions are very fun. The songs seem to keep getting better and better!

Orkla bolss loses its originality and edge, though, with “Sieļejis daņcs,” a beer-swilling, Pippi-Longstocking-braids-and-freckles caricature of folklore. The three tracks that follow are somewhat better, but all continue with the same oom-pa-pa beat. Have a listen for yourself, though, to decide whether the criticism is justified.

By track nine (“Ceiruļs”), and definitely by track 10 (”Čigons”), the musicians are thankfully back to ethno-rock. The CD ends with the quiet, but very well done, “Pīzacieļu reitā agri.”

Laimas muzykanti has all of the standard rock instrumentation—drums, electric guitar and bass—and knows how to use it. But the accordion, kokle and flutes lend a definite ethnic sound, as does, of course, the fact that they sing traditional texts in Latgalian. Most of the melodies sound traditional as well. Laimas muzykanti brings to mind a Latvian version of the Oyster Band or Steeleye Span, folk-rock bands from England.

Despite the couple of songs in the middle of the CD, Orkla bolss is a fresh sound among recent Latvian recordings. (At the very least, it’s a pleasure to listen to the young women’s voices.) May Laimas muzykanti continue what it is doing!

(Editor’s note: A version of this review appeared in Jauno Laiks, a bimonthly supplement to the Latvian-American newspaper Laiks.)

I recently spoke with a friend whose father had just passed away. She told me about returning to her hometown and about her struggles to convince her own mother that it would not be “improper” to include one Latvian folk song as a part of the memorial service. All of this took place right here in Latvia, among normal Latvians, and goes to show how far removed from their own traditional culture many have become.

And so I am very glad that Skandinieki—the best-known Latvian folklore ensemble—has released a recording of wake and funeral songs. The compact disc, called Veļu upe pārplūdus’ (The River of Spirits is Overflowing), contains 24 songs and dances from all parts of Latvia. The collection is a good representation of the hundreds of songs devoted to death and funerals. Please don’t dismiss this CD just because it’s funeral music. This is very important listening material! Plus, it’s not as somber as you might expect.

The texts may be sad, but they are also profound and comfortingly clear-sighted. Interestingly, many Latvian dainas (folk verses) describe death, wakes and funerals from the perspective of the deceased. The deceased may tell those who have remained behind how to prepare for the burial, how to decorate the cemetery, or how to sing and dance at the funeral feast. Yes, dance! An essential part of a Latvian funeral is ritual dance. One of these rituals is the stamping out of the deceased’s footsteps (pēdu izmīšana), so that their spirit may rest easily and not return to the land of the living. An example of this practice is included on the CD, “Nominu, nodeju māmiņas pēdas.” Another funeral dance or game is “Sieviņ brauca mežās,” in which a blindfolded participant must guess who his fellow dancers are.

Other songs of note on the CD are “Dedzan man skalu” about the death of a fisherman and “Vakar māti glabājām” and “Kas tevi šaukie,” both sung in rarely heard dialects. “Zin, Dieviņi, kālabati,” “Jūdzat bēŗus, jūdzat raudus,” “Divejādi saule tek” and “Dzīvoš’ ilgi, nedzīvoš’” are fairly familiar melodies and texts, but the rest of the CD will probably be completely new material for many listeners. The melodies alone of “Viena pati balta puķe” and “Te ganiņi ganījuši” are beautiful enough to make your heart break. “Eim’ pašas māsiņas” is another dance. “Visi ciema kukainīši” is not only upbeat and in a major key, but it even pokes gentle fun at the legions of insects that are awaiting the singer’s death. Talk about a healthy attitude towards death! Near the end of the CD is a Liv wailing song, which does not at all fit in with the reserved manner of Latvian funeral songs. It’s sung so convincingly, though, that it’s fascinating to listen to—almost to the point of being uncomfortable.

Some of the songs on Veļu upe pārplūdus’ have kokle, ģīga or violin accompaniment, but the arrangements are all very simple and the main focus of the CD is definitely on the voices, melodies and texts. Skandinieki is a large group and consequently tends to have a pleasant choral sound. Ten different singers are featured on the CD, with the voices of the directors Helmī and Julgī Stalte being particularly powerful and full of character. Again, don’t be frightened off by the seriousness of these songs. If you allow them, they will give you great comfort and strength, even if you are not in mourning.

By the way, my friend’s mother later grudgingly admitted to her that the inclusion of the folk song in her father’s memorial service had been appropriate…and even very beautiful and moving.