The Sound Poets’ 2013 album Tavs stāsts was one of the most memorable and striking Latvian music albums in recent memory. Catchy and vivid songs like “Kalniem pāri”, “Emīlīja” and “Nāc līdzās”, with their emotive and thoughtful lyrics and expressive melodies resonated with Latvian listeners and made the group one of the most popular in Latvia. “Kalniem pāri” in particular was one of the biggest hits of the past few years. Tavs stāsts also won the Zelta mikrofons award in 2013 for best pop/rock album.

With the critical and commercial success of Tavs stāsts, their second album was not just highly anticipated, but also expectations were set very high – duplicating that kind of artistic feat is a daunting task for any group.

In 2015, the group, made up of lead lyricist, vocalist, guitarist and keyboardist Jānis Aišpurs, Normunds Lukša on guitars, Kārlis Josts on bass, Pēteris Lunde on drums, and Undīne Balode on cello, released their follow-up album Pulsē. The album, though containing the characteristic deep lyrics and layered, nuanced music that their previous effort had, does not quite reach the heights of Tavs stāsts, but is still a solid effort and an artistically distinctive and notable album.

The Sound Poets’ songs are often about emotions, hopes and fears, and, in a similar vein to Tavs stāsts, which began with the song “No sevis vairs nav bail” (I am no longer afraid of myself), Pulsē also begins with a song with a similar theme – “Viss var mainīties” (everything can change) with its lyric “Ja var kļūdīties, tā noteikti būs – bailes neskarot, drosmīgam nekļūt” (If you can make a mistake, it will happen – without fears you will not become courageous). Beginning with acoustic guitar and cello, then gradually building to a powerful crescendo, the song is an appropriately grand start to the album.

The album was recorded in the Latvian countryside, by the Jumurda Lake, and, according to Aišpurs, the major theme of the album is an attempt to escape the daily rush of city life – running from home to work to the store and back again. The album has many songs and lyrics that refer to nature and have pastoral themes, such as “Ezers, salas, putni” (The lake, islands, birds). This song also features the guest brass section – Gatis Gorkuša on trumpet, and Artūrs Bērziņš and Krists Liepa and trombone, giving this song an almost orchestral feel.

The piano-based “Ziemas skats”, a calm, and all too brief musing on winter, is one of the most reserved tracks on the album, but at the same time, is full of hope – “visām ziemām reiz pienāk gals” (all winters end), and is a touching reflection on rebirth after a period of cold darkness.

The deliberate, pulsating introduction to “Skaistais gadsimts” is an appropriate beginning to this song about allowing time to pass – “tamdēļ ļauj, lai gadsimts iet, tas projām iet, tam jāaiziet” (“let the century pass, it will and must pass” – perhaps referring to the impending Latvian centennial in 2018?). The song also features lush vocal harmonies – Aišpurs has also recently turned to composition for choir – one of his works – “I am the Truth” for choir and string orchestra – was premiered by the State Choir Latvija in April of 2015.

The group also expands its musical palette on the album, with songs like “Skats no augšas” that feature some funk and soul elements, however, these new elements do not always work and even sound a bit out of place on the album.

Those picking up Pulsē and expecting hits on the level of “Kalniem pāri” or “Nāc līdzās” may be disappointed after listening to the album. However, it is clear that the group went on an intentionally and consciously different path with this recording, focusing more on layered sonic textures and lyrical canvases rather than creating radio-friendly hits. The group’s attention to detail in their songwriting and musical arrangements sets them apart from other popular music groups in Latvia, and they continue to enhance and polish their distinctive sound.

For further information, please visit The Sound Poets website.

Pulsē

The Sound Poets
TSP Music, 2015

Latvian American composer Dace Aperāne (or ‘Aperans’ internationally) has long been a significant presence in Latvian academic music. Beyond being a distinguished composer, Aperāne has been a tireless promoter of Latvian music internationally for decades now, ensuring that many Latvian composers and performers were heard by American audiences. Aperāne also helps organize the bi-yearly young Latvian musician camp, initially in Canada, and, in later years, in Latvia. Her expressive and nuanced music has been performed all over the world.

Recognizing not just the talent, but also the significance of this diaspora composer, the Latvian Music Information Centre released a CD of Aperāne’s piano works, performed by pianist Diāna Zandberga, entitled Skaņas un atskaņas (Sounds and Echoes) in 2015. This CD is the latest release in the LMIC’s Latvian Composers series.

One of Aperāne’s influences is folk songs, both from Latvia and other countries. The tender and delicate Latvian lullaby “Netīšām es iegāju” is fragile and delicate, not to mention beautiful and uniquely Latvian. Latvian pianist Liene Circene also included her interpretation of this work on her 2009 album Šūpuļdziesmas, as it is no surprise that this piece has inspired many pianists.

Turning towards American culture, the album also contains “Allegheny Air” and “Allegheny Dance”, inspired by the folk songs of the Appalachian Mountains. While “Air” is the calmer piece, providing a sonic portrayal of the scenic mountains, “Dance”, with its irregular rhythms, is a spirited and energetic dance, brought to vivid life by pianist Zandberga.

The slow and deliberate dance “Sarabande”, in a baroque style, is an engaging mix of the classical and the modern, and its alternating loud and quiet sections create an echo effect, of a melody travelling a great distance.

Zandberga, besides performing, is also the arranger of many of the works on the album – many of them were not originally written for solo piano, but for duo piano, chamber ensembles, and even orchestra – such as the music from the ballet Edith (based on the life of French singer Edith Piaf). The three pieces included on the album – “Dance of the Sparrow”, “Intermission”, and “Dance of Friends”, are imbued with a French charm, sprightly and energetic, and even a touch of humor. Zandberga’s arrangement retains all of the depth of the orchestra, but, at the same time, the arrangement for solo piano gives the music a particular intimacy.

The CD booklet includes biographies of both Aperāne and Zandberga, as well as notes on all the compositions in both Latvian and English.

The composer will preview the album, along with a performance by the THEIA Piano Trio (Aija Reke, violin, Daniel Dickson, cello and Han Nah Son, piano) at the Latvian church in Yonkers, New York on January 31.

Skaņas un atskaņas is another excellent release from the Skani label, celebrating the work of Dace Aperāne, a truly distinguished composer and someone long overdue for a retrospective compilation. Aperāne’s compositions, bringing together a broad range of international influences to form a unique and individual style, reveal a depth and warmth that will affect and remain with all listeners. In the hands of pianist Diāna Zandberga, these small gems come vividly to life, displaying a broad panorama of sounds and melodies. Skaņas un atskaņas is a truly memorable album of piano music.

For further information, please visit the Skani website.

Sounds and Echoes

Dace Aperāne – composer, Diāna Zandberga – piano
LMIC, LMIC/SKANI044, 2015

1. Sarabande
2. Three Haiku – I. Bell in the Mist
3. Song of the Goddess
4. Still – White Snow
5. Allegheny Air
6. Allegheny Dance
7. Cimbala
8. Dos Suenos – I.Cantiga
9. Arabesco
10. Netīšāmi es iegāju
11. Kokles dziesma
12. Nocturnes — I.Lento cantabile
13. Adagio
14. Andante expressive
15. Mozaīka
16. The Red Balloon
17. Music from the Ballet Edith — I. Dance of the Sparrow
18. Intermission
19. Draugu Deja
20. Romance from the musical Green Star

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