Singer, songwriter, producer, DJ, and record company director Ainars Mielavs has long been a significant presence in Latvian music. Starting in the late 1980s when, with the group Jauns Mēness, he became one of the most recognizable vocalists in Latvia, and the group became one of the most popular ensembles in Latvia during the 1990s. At the start of the 21st century, Jauns Mēness went on extended hiatus and Mielavs became a solo artist (though he did keep the core of Jauns Mēness in his solo ensemble). Later he renamed the ensemble Mielavs un Pārcēlāji (after one of Jauns Mēness’ earliest hits – the song “Pārcēlājs”) and, most recently, in 2015, the group released its latest album – Atsaukties.

In his music and lyrics, Mielavs has frequently combined various influences, including the Celtic rock of U2 (particularly during the Jauns Mēness years), and the introspective lyricism of Peter Gabriel, as well as Latvian folk music. Mielavs’ distinctive vocal style also was a major aspect of Jauns Mēness’ and his solo success, particularly as he moved away from the rock approach to a more ballad like approach – like in his hit “Tu saviļņoji mani”.

Seven years have passed since the group’s last album of original material – 2008’s Bezgalīga lēna deja. However, Mielavs remained busy during that time, releasing the albums Nospiedumi (2009)and Nospiedumi 2 (2012), collections of cover songs performed by himself and friends, as well as 2011’s Latviešu romances, a collection of well-known Latvian ballads such as “Miglā asaro logs” and “Vēl tu rozes plūc”.

Though Jauns Mēness is no longer active, the group Mielavs un Pārcēlāji retains much of the core of Jauns Mēness – besides vocalist Mielavs, there is also guitarist and music co-author Gints Sola, drummer Juris Kroičs, guitarist Aigars Voitišķis, and Jānis Stafeckis on double bass.

Atsaukties, as Mielavs himself has said, is a particularly autobiographical record, inspired by many events in his life, particularly during childhood. Mielavs often paints vivid pictures with his lyrics, and one such example “Par Daini un krievu kaimiņiem”, a story of a childhood neighbor of Mielavs – Dainis – as well as some Russian neighbors. Mielavs returns to this childhood scene with a nuanced portrait of Dainis – a frequent drunk who also showed tenderness to the young boy – “Dainis dzēra un kāvās, bet pieplaka vienmēr” (Dainis drank and fought, but always was kind to me). Mielavs balances the bitter reality of adulthood with the optimism of youth in this engrossing song.

Further childhood memories are related in the song “Gandrīz”, a song about accidents that almost happened to him, and, even though these terrible things (including almost getting hit by a car on two separate occasions) were close to happening, the optimism was not lost – “Es turpinu balināt matus ar bērnības saules stariem” (I continue to bleach my hair with the sunshine of childhood).

Aspects of adult life are presented in parallel with childhood games in the song “Kaļimbamba”, a children’s game (similar to Red Rover) where one team demands that a member of the other team tries to break through their line. Guitarist Gints Sola has always been an integral part of the music, in both Jauns Mēness and Mielavs’ solo work, and this is one of the few songs on the album to have a heavier tone and allows Sola to move to the forefront.

Also in 2015, author Jānis Žilde published his book on the history of the group Jauns Mēness – entitled Piekūns skrien debesīs (published by “Dienas grāmata”, 207 pages). The book provides biographies of the band members, and follows the history and successes (and also endeavors that were less successful) of the group from the 1980s until today. The book also provides an honest description of the challenges and difficulties of achieving success in the music industry, particularly in Latvia.

Still, at the end of this relaxed and mellow album one does wish that Mielavs would stray out of his comfort zone and go into a higher gear and take a chance or two. Though he has not lost his knack to write a catchy melody with thought-provoking lyrics, Atsaukties will be for some, quite familiar and reassuring territory and, for others, maddeningly restrained. In fact, during a recent concert in Riga, it seemed that drummer Juris Kroičs has to use all of his available self-control to not start whaling away at the drums. Only at the end of the concert, with songs like “Kad mēness jūra krīt” and “Ai, jel manu vieglu prātu” did things start getting truly lively.

Clearly, Mielavs is satisfied and happy with his particular Latvian folk ballad niche, and Atsaukties is certainly one of his better efforts in this field. Though musically it may cover already well known ground, lyrically Mielavs’ personal and autobiographical lyrics provide a depth that is rare in Latvian popular music today. Backed by some of the most talented musicians in Latvia, the album is one of Mielavs’ most memorable efforts, showing that, even after thirty years, Mielavs retains his unique voice, lyrical style, and ability to make compelling music.

For further information, please visit the Mielavs un Pārcēlāji website.

Atsaukties

Mielavs un Pārcēlāji
Upe, UPEAMCD003, 2015

1. Gandrīz
2. Vieni un otri
3. Kaļimbamba
4. Varis
5. Latvju zīmes
6. Ar sakniebtām lūpām pa liepu gatvi
7. Par Daini un krievu kaimiņiem
8. Zelta skalošana
9. Ķīvītes, dzērves un mēs

Female a cappella vocal group Latvian Voices have found success and have received much recognition in the short time since their founding in 2009. Having performed all over the world (the United States, Australia, Asia, and many European countries), winning many awards, and releasing multiple acclaimed albums, the groups’ fame and renown continues to grow. The group was also selected to be the musical ambassadors of Riga when it was the European Capital of Culture in 2014.

The past few years have seen many albums from the group. These include the albums inspired by Latvian folk songs – Tā kā taka (2011) and Sounds of Latvian Nature (2014) as well as a second Christmas themed album Zeit der Wunder (2014) – with German vocal group Viva Voce. At the end of 2015, the group released their latest album – Pāri robežām (Beyond Borders) which has a more popular music approach – vocal arrangements of some well-known popular songs, world music selections, as well as original compositions. Though the style of the album is a departure from their previous albums, Latvian Voices continue to display their talent and versatility, whatever the genre may be.

Latvian Voices, now a sextet, is made up of singers Laura Jēkabsone, Zane Stafecka, Andra Blumberga, Elīna Šmukste, Nora Vītiņa, and Laura Leontjeva. Many of the group members also actively work with Latvian choirs and vocal ensembles.

Though the group has moved away from the traditional and academic performances of their previous albums and has made a conscious decision to make an album that could potentially have world wide appeal (half of the songs on Pāri robežām are in English), the group has never shied away from the influences of popular music, which have been part of their repertoire since their first album – 2010’s Waving World Wide.

Group member Laura Jēkabsone also proves herself to be an adept songwriter and arranger, as the record includes Jēkabsone’s original works. These include the bouncy “Honey Tree” and the rousing “Pāri Robežām”.

Some of the arrangements stay quite faithful to the original, such as Jēkabsone’s arrangement of Alanis Morissette’s “Thank U”, where even Morissette’s vocal style is imitated. Then there is the arrangement of the Beatles’ “Strawberry Fields Forever” which, for much of its running time, is almost unrecognizable.

Continuing the theme of being beyond borders, the group also presents their interpretation “Elas”, a song by Mercedes Peón, an artist from Galicia in northwestern Spain. To ensure authenticity, the singer even underwent special training in Galician pronunciation. Besides showing the group’s versatility, the song captures the spirit and enthusiasm of the original Iberian version.

For those that still expect the traditional and academic, Jēkabsone also provides her own music for one of poet Aspazija’s best known poems – “Mēness starus stīgo” (a challenge, considering that composer Emīls Dārziņš’ choir work with this text is one of the most popular Latvian choir compositions of all time). With the otherworldly vocalize at the introduction, the fantasy and mysticism of Aspazija’s poem is given a particularly ethereal feel. The absorbing portrayal, which reveres and enhances the text, is a fitting and satisfying conclusion to this musical journey.

A significant aspect of any record’s success is the producer, particularly in the case of Latvian Voices, where there are multiple singers and each voice needs to shine through clearly. For Pāri robēžām, the girls enlisted Latvian percussionist extraordinaire Rihards Zaļupe, who, as it turns out, is not just an excellent drummer, but has an excellent ear for production, as each individual voice can be heard with excellent clarity. Also, consequently, perhaps it is also no surprise that the album has a very significant percussive element, with many drumbeats and effects to be heard in many of the songs.

For some reason, the group does not identify either the original performers/songwriters for the songs or who arranged them – the information that appears in this review had to be taken from a recent concert program. Otherwise the CD booklet contains brief notes about the group and the concept of the album.

Though some listeners might have preferred the group continue with their Latvian folk song inspired performances, Pāri robežām is a natural, not to mention enjoyable, progression in their careers. Fusing popular, world music, and academic elements, the album is an engrossing listen. Beyond simply being excellent singers and arrangers, the group also displays an exceptional energy and vitality in their performances. In their short history the girls quickly made a name for themselves, and with each passing year become even more well-known on the world stage, and Pāri robežām, with its inspired arrangements and lively performances, should bring them the larger audience and appreciation they have earned and deserve.

For further information, please visit the Latvian Voices website.

Pāri robežām

Latvian Voices
SIA LV MUSIC, 2015

1. Sākums un gals
2. Pāri robežām
3. Honey Tree
4. Sanomi
5. Viegli
6. Strawberry Fields
7. Sleeping at the Wheel
8. Elas
9. Explorers
10. Thank U
11. He Lives in You
12. Dear Mr. Henry
13. Mūsu laiks
14. Mēness starus stīgo

DaGamba are an instrumental ensemble that brings together both Western and Eastern music, as well as classical and popular music, to create unique musical pastiches formed of individual parts from various sources. On their second album Recycled, they bring together a wide variety of styles, from classical to rock to traditional Persian music.

Dagamba formed in 2011, and now the group includes Latvians Valters Pūce and Antons Trocjuks on cello, Lithuanian pianist Dainis Tenis, and Iranian percussionist Hamidreza Rahbaralam (who plays traditional instruments like the daf, udu and dohol). The musicians’ first collaboration was on an arrangement of Carl Orff’s “O Fortuna” from his work “Carmina Burana” (which is, unfortunately, not included on the album) and their unique blends have resonated not just in Latvia, but internationally as well (the group also performed as part of the Glastonbury Festival).

The title of Recycled is appropriate, as the group take existing material and reuse and refurbish it, creating something entirely new. For example, the group takes elements from Russian composer Sergei Prokofiev’s music for the ballet “Romeo and Juliet” and combine it with the theme music from the 1980s TV show “Knight Rider” in the work appropriately entitled “Prokofiev the Knight Rider”. These two dramatically disparate elements are melded together seamlessly by DaGamba, creating a unique synthesis. The Kinght Rider theme performed on cello gives it an added tension and urgency.

It may seem unusual to hear the works of Mozart and rock group Radiohead together, but DaGamba combine elements from Mozart’s “Requiem” and the Radiohead song “Paranoid Android” into a work titled “Paranoid Amadeus”. Though composed centuries apart, the sadness of Mozart’s “Lacrimosa” and alienation of Radiohead’s “Paranoid Android” flow together in an engrossing work of melancholy.

DaGamba’s Eastern influences and the talents of percussionist Rahbaralam come together in the work “Bach Goes to Iran”, which, as its name would indicate, combines the music of Johann Sebastian Bach with the music of Iran. The work begins with the well-known Prelude No. 1 by Bach, then with a dramatic mid-stream tempo and style change, naturally and organically changes into Persian motifs.

The group created the work entitled “It’s OK, it’s Latvia” by infusing elements from the Latvian rock band Pērkons’ song “Gandrīz tautas dziesma” (music by Latvian composer Juris Kulakovs) and perhaps the best known composition by Czech composer Bedřich Smetana – Vltava (or Moldau) from his work Má Vlast, music that embodied the spirit of the desire for Czech independence. Similarly, Kulakovs’ music often had national patriotic elements (though, considering that the 1980s were still well within the Soviet era, these patriotic elements were obliquely presented through the almost absurdist lyrics of Māris Melgalvs). These similarities allow the music of Smetana and Kulakovs to be fused together into a cohesive and catchy performance.

The packaging of the album is very limited – one wishes that they had provided a bit more detail on their choices, and why they put some of the compositions together. Also, the actual compositions that were “borrowed” are not identified (beyond naming the composer or group that performed them), so it is up to the listener to identify the works specifically. In some cases, the music is quite recognizable, but in some other cases it may not be so easily identified – some listeners might not be as familiar with the works of, say, Prokofiev.

Some listeners may be shocked by these occasionally incongruous combinations, but others will appreciate and enjoy the creative and inspired arrangements on DaGamba’s Recycled. Providing a fresh take on many well-known melodies, some hundreds of years in age, these modern interpretations and arrangements make them as relevant today as they were in centuries past. Merging the music of various composers and continents and centuries, DaGamba’s talented and skilled members provide new perspectives and viewpoints on these compositions. Using sources as diverse as Rachmaninoff and Muse, Handel and Celtic music, Beethoven, among many others, DaGamba’s Recycled is at once familiar and fresh, altogether an enjoyable and entertaining listen.

For further information, please visit the DaGamba website.

Recycled

DaGamba
DaGamba, 2015

1. Aquarium
2. Prokofiev the Knight Rider
3. Irish Sarabande
4. Bach goes to Iran
5. Paranoid Amadeus
6. Hysterical Rachmaninoff
7. Ode to Joy
8. Ruhballad
9. It’s OK, it’s Latvia
10. Solveig’s Song