Few voices in Latvian popular music are as recognizable as the voice of singer Viktors Lapčenoks. Throughout a decades-long career, many of the songs he has sung have become essential classics of the Latvian popular music repertoire. One could even say his voice was the defining voice of the 1970s in Latvia. To celebrate his many achievements, and to celebrate his 70th birthday in 2017, the record label MicRec released the latest entry in their Leģendas series with a collection of his best and most popular songs.

Lapčenoks’ powerful and distinctive voice are a major reason many of these songs remain popular even today, and it is not at all an exaggeration when music critic Daiga Mazvērsīte, in her liner notes to this collection, compares him to world famous rock singers like Robert Plant and David Coverdale. His crisp and clear delivery can be heard in songs like the all-time classics like ‘Zied ievas Siguldā’, ‘Kurzeme’, and ‘Inese’.

Though Lapčenoks worked with many composers, his primary compositional collaborator is Latvian popular music composer Raimonds Pauls. Their work together began in 1971, and, together, they produced an amazing collection of popular music songs.

Besides Lapčenoks’ collaboration with Pauls, the other artist that he frequently collaborated with was singer Nora Bumbiere, and this collection has six of their duets, including such popular songs as ‘Grieze’ and ‘Undīne’. One can see why they were a particularly popular duo, as their voices mesh together effortlessly, with their natural and professional sound.

Though many of the songs he performed were serious and dramatic, there are still moments of humor, for example on the swaggering rock ditty ‘Vardīte’, which, though sung from the point of view of a frog, is still one of the album’s highlights. One could say the same for the song ‘Ai-dundur-dundur-dun-dun-dun’, an otherwise silly song that is made memorable by Lapčenoks and Bumbiere.

Though many of the songs Lapčenoks recorded were popular songs, this collection does contain a few songs that are a bit more ambitious in scope, perhaps even progressive – for example, the expansive ‘Čakarnītis’, which is raised by Lapčenoks’ soaring, expressive vocals. The same could be said for ‘Manai dzimtenei’, which, though it became even more popular as a Song Festival song, Lapčenoks’ deeply emotional delivery revealed the strength and beauty of this song, and allowed it to grow into one of Pauls’ most popular songs of all time.

Of course, at times the powerful performances can become slightly overwrought, for example in the song ‘Varbūt’, a sentimental song about what might have been, but might have benefited from a more nuanced, subtle approach.

Distilling multiple decades and hundreds of songs onto a single CD is simply not possible, so there were quite a few tracks left out. One does wish that they included tracks with music by other composers that Lapčenoks has worked with throughout the years (all tracks on the album were composed by Raimonds Pauls). This is also not the first ‘best of’ release for Lapčenoks, as there have been multiple throughout the years, so long time fans may already have most of these songs on CD already, so perhaps it could have included a few more rarities and less frequently heard songs. However, as introductions to the artist, this is still an excellent, comprehensive collection.

Viktors Lapčenoks could very well be considered the voice of the 1970s in popular music in Latvia. Many of the songs he recorded remain immensely popular today. This Leģendas release, containing many of those songs, will reaffirm Lapčenoks as one of the greatest popular music singers in Latvian history, and serves as a fitting tribute to this monumental singer and his voice.

For further information, please visit the Viktors Lapčenoks website.

Latvian rock band Dzelzs vilks, with their aggressive music and bleak lyrics, has been plying their trade for more than a quarter century. Their songs have a broad range of musical styles, including elements of industrial, punk, and heavy metal music, but also folk and traditional elements. To celebrate their twenty-fifth anniversary, the group released a two CD set of their best songs – Dziesmas pilnmēness naktī – in 2016. The album collects songs from their many popular and acclaimed albums, such as 2003’s Ļauj man tevi, 2004’s Manās mājās sieviešu nav, and 2007’s Sārtā rītausma, among others.

The group, led by vocalist, guitarist and principal songwriter Juris Kaukulis, have achieved enduring popularity in Latvia for their very personal and emotional songs, often about failed and unhappy romantic entanglements, which have resonated with their listeners with their direct and often very explicit lyrics. Kaukulis’ distinct vocal style has been an integral part of their success, and one often hears pain and torment vividly in his vocals. Kaukulis is joined by Kaspars Tobis on synthesizers, drummer Mārcis Judzis and bassist Kārlis Aiviķis (though through most of their history, Armands Butkevičs provided bass).

Dark and foreboding elements are woven throughout their songs, such as ‘Draudzene nakts’, an ode to the approaching night, and, as noted by Kaukulis in the liner notes, the song was inspired in part by a tomcat that passed his window one midnight, and Kaukulis noticed the cat was missing an eye and an ear, and possibly some teeth as well. This dark image adds to the feeling of dread captured in Kaukulis’ vocals and lyrics.

Failed or short-lived relationships are often documented in detail in their songs, such as ‘Tev oranži mati’, ‘Vienas nakts meitene’, and ‘Vēlreiz’, with its cry of despair in lyrics like ‘Man vairs nav tev ko teikt, bet lūdzu ļauj aizmirst tevi’ (I have nothing further to say to you, but please let me forget you). Though deeply personal, the songs do occasionally veer into the territory of self-parody, such as on the silly ‘Dibenā rautais disko’ (a song so vulgar, Judzis requested that the song not be performed at one concert, as his mother was in the audience).

A particularly striking track is ‘Sažņaudz manas rokas’ (from 2009’s Dzelzs vilka teātris), which was the title song for the theatrical production of ‘Tas trakais, trakais Harijs’ (directed by Dž. Dž. Džilindzērs), and featuring vocalist Ilze Ķuzule-Skrastiņa. The song, built on an ominous sliding guitar riff, like many of their songs, expresses sentiments of alienation in lyrics like ‘Enģeļi tevi mīlēt nepratīs’ (Angels will not know how to love you).

Though the group’s history began in 1991, the earliest recording on this collection is 1997’s ‘Ja būtu man spārni’, a song whose rawness is in sharp contrast to their more polished recent recordings. Displaying a more hardcore approach, with heavily distorted guitars and growling, almost death metal-like vocals, the song still contains many elements that are still a part of their music today.

Dzelzs vilks have also dabbled in folk music with memorable results, particularly on their album Uijā uijā nikni vilki, released in 2008, and have collaborated with other folklore ensembles like Forshpil, and even created their own folklore ensemble – the Jauno Jāņu orķestris. This collection does not include any songs from their folk music explorations, which is unfortunate, as these were some of their strongest and most memorable efforts. Perhaps the group wanted to focus on their rock oeuvre on this collection, but leaving out their works in the folk genre disregards a large section of their creative output, and denies many potential new listeners from hearing this material.

Dziesmas pilnmēness naktī is a comprehensive and thorough display of Dzelzs vilks’ quarter century of uncompromising performances. The group has recorded many memorable songs throughout the years, and has shown a remarkable consistency in quality during this time. Though some may find it challenging to listen to songs that are almost uniformly bleak and somber, their words speak to many listeners with their directness and emotional frankness. Maintaining this kind of intensity for so many years is an admirable feat, and, as this collection shows, Dzelzs vilks have built up an impressive and memorable repertoire.

For further information, please visit the Dzelzs vilks website.

 

After a five year pause after their last album, 2011’s Tur saulīte pērties gāja, Latvian post folk ensemble Iļgi return with Tur kur mīti, released at the end of 2016, their latest collection of songs inspired by Latvian folk music and songs. As with most all of their albums, there is a thematic thread woven through all the songs, and this time it is myths and mystical elements.

The title of the album, Tur kur mīti, (as per the group, the lack of a comma is intentional), is actually a play on words, as ‘mīti’ can be both interpreted as ‘myths’, but the title can also be interpreted as ‘The place where you dwell’.

The group’s members remain unchanged, with Ilga Reizniece on vocals and violin, Māris Muktupāvels on vocals, kokle and accordion, Gatis Gaujenieks on vocals and bass guitar, guitarist Egons Kronbergs, and drummer Mārtiņš Linde.

In keeping with the mystical themes, the songs on the album have more of an ethereal, mysterious atmosphere about them. The reserved and reflective nature of the songs might be a surprise to those listeners that enjoy more their lively, energetic songs, like the ones on Sēju vēju or Kaza kāpa debesīs, but fans who enjoyed calmer albums like Totāri or Kur saulīte pērties gāja will find much to enjoy here. Muktupāvels has mentioned that he expects their next album to be livelier.

The ambling nature of many of the songs on the album becomes clear with the first track, ‘Laima’, about the nature of this Latvian goddess of good fortune and luck, which also appropriately features guest kokle performer Laima Jansone, and the sounds of the kokle add a dreamlike quality to the song.

The tempo does pick up slightly on the song ‘Vilki’, a song about giving a wolf gifts of bread and socks to discourage him from taking the young goat. The narrator even warns the little goat about the kind of clothes the wolf wears – a short jumper and well-heeled boots. The song is inspired by a winter solstice children’s game (December is considered ‘The Month of the Wolf’ in Latvian folklore), where the goats run away from the wolf.

A driving Gaujenieks bass line forms the foundation for the song ‘Istabā’, which is then built on with Kronbergs’ guitar and Muktupāvels’ accordion, and then features Reizniece’s violin, and is a song with Roma-like elements, particularly in the chorus. Muktupāvels’ characteristically deep bass voice gives the lyrics a chant-like nature.

The album concludes with what is certainly one of the most beautiful songs the group has ever recorded, ‘Kumeliņi’ (though in the CD booklet the song is called ‘Jūriņa’). This tender, almost lullaby-like song about two yellow horses that emerge from the sea, forms a fitting end to this album of mystical tales and creatures and this journey through the many facets and legends of Latvian folklore.

The album booklet includes all the lyrics with English translations, but one wishes they had taken the opportunity to provide a bit more detail about the legends and myths that they are singing about, so those less familiar with Latvian folklore would appreciate the songs even more.

Though, when one does reach the end of the album, one does get the sense that perhaps they could have included one or two more upbeat numbers on the record, especially when considering their previous album was similarly low-key. Granted, the intention of the album was to be a meditation on myths, but Iļgi are often at their best when they perform more energetic songs. Still, Tur kur mīti remains yet another example of why Iļģi, over their more than 35 year career, with their modern interpretations of Latvian folk songs and texts, have achieved worldwide fame and recognition – the ancient, mystical words and melodies remain just as vital and relevant in a contemporary setting and interpretation.

For further information, please visit the Iļģi website at www.ilgi.lv

Tur kur mīti

Iļģi
2016

Track listing:

1. 1. 1. Laima
      2. Istaba
      3. Oši
      4. Māra
      5. Jumis
      6. Koki
      7. Pele
      8. Vilks
      9. Kumeliņi