Folk singer and kokle player Biruta Ozoliņa has always pushed the boundaries of Latvian folk music.

One of the early members of the ensemble Iļgi, to her first album Bolta eimu in 1999 (performances of Latgallian folk songs featuring just voice and kokle – were one of the definitive Latvian folk albums), then to the almost new age Sirdsgrieži in 2002, the jazz folk of Patina in 2006, Ozoliņa has experimented with various interpretations of Latvian folksongs.

These experiments continue with the 2013 release of Sauli sēju, a collaborative effort with DJ Monsta (Uldis Cīrulis) where Ozoliņa sings and plays the kokle, while DJ Monsta provides drum programming, synthesizers and scratch to make a stylish and unique synthesis of the ancient Latvian folk songs and modern music technology.

Joining the two musicians on the record are Toms Poišs on bass, Mikus Čavarts on percussion, Jānis Pauls on cello, and Zane Estere Gruntmane on violin.

Though Ozoliņa has mainly performed songs from the Latgale region of Latvia, this CD contains not just songs from Latgale, but from the Kurzeme region as well. In fact, the CD booklet provides not just the texts of the songs, but which area the song is from.

Though some may bristle at the thought of adding programmed beats and scratches to Latvian folk songs, the combination is not as jarring as one might think. In fact, the electronic effects do not seem to overwhelm Ozoliņa’s kokle and voice, which remain always in the forefront. This interplay is particularly evident on closing track ‘Aiz upītes es izaugu’, where the percussive effects provide a unique rhythm. In fact, the song starts out very traditionally, with just kokle and vocals, so there is plenty on this album for the folklore purist to enjoy!

Also interesting is the fact that Ozoliņa sings many verses of these folk songs. Where some may be used to normally only singing a handful of verses, in songs like ‘Kur tu īsi buoleleņi’, there are more than a dozen, making for a lyrically dense performance of this folk song.

There are also some New age-type moments on the album as well, particularly the ethereal beginning to ‘Rudzu bolss’, featuring the cello by Pauls and violin by Gruntmane, as it builds into a crescendo with Ozoliņa’s normally fragile voice adding power and strength as the song progresses as DJ Monsta’s scratches become louder and more pronounced, then returning to the calm serenity of the opening.

‘Garā pupa’, an entirely instrumental track, features a guest appearance by kokle prodigy Laima Jansone. Though without vocals, this is one of the more melodic tracks on the CD, with Jansone’s kokle wizardry making for a memorable performance.

‘Ej gulēt vēja māt’ features just Ozoliņa’s vocals and simulated wind sounds. The arrangement, which changes from minor to major and back again, makes for a unique rendition of this prayer for the Wind Mother to stop the blowing wind.

Biruta Ozoliņa and DJ Monsta reveal unexpected and unforeseen aspects of Latvian folk songs on Sauli sēju, proving that the ancient and the modern can still go together quite effectively and musically. This collaboration has created one of the more unique Latvian folk music albums to be released in recent memory, and one can safely say that this ‘experiment’ has proven to be successful.

Artists website: http://www.biruta-monsta.lv

One of the most remarkable comebacks in Latvian popular music was the return of Otra puse. Having stayed relatively quiet during the end of the 90s and most of the first decade of the 21st century, the group released the album Nakts vai rīts in 2009, which was a major success and signalled the return of the group to the forefront of Latvian popular music, from where they had long been gone. Nakts vai rīts went on to win best pop album of 2009 and the song ‘Nakts vai rīts’ also won the “Radio Hit” award the same year at the Latvian Great Music Awards.

Of course, following up on a hit record is no easy matter, and Otra puse took their time crafting the follow-up (though there was a Christmas-themed album – Piparkūku sirsniņa – also in 2009), and in 2013 released Uzzīmē mani.

Though in the early 1990s Otra puse began as a project of Aigars Grāvers, of the band Jumprava, as the years went by the core of Otra puse became vocalist Normunds Pauniņš and keyboardist Ivars Makstnieks. As the group is an off-shoot of Jumprava, a band known for their use of synthesizers, Otra puse’s music is also synthesizer-based.

Otra puse’s songs are often about relationships, and their lyrics (many of which are written by long-time lyrical collaborator Ivars Kurpnieks), which are often in a direct, heart on one’s sleeve manner, have kept their songs on a very personal level, resonating with many listeners. The first song on the album, ‘Uzzīmē mani’, lyrics by veteran Latvian DJ Roberts Gobziņš, contains all of the trademark Otra puse elements – catchy, synthesizer-based introduction, Pauninš’s deep baritone, and personal lyrics. Pauninš sings “Esmu tā, kā tu mani uzzīmē” (I am how you draw me), while Makstnieks’ keyboards provide the solid foundation to one of the best songs on the album. The song also features co-lead vocalist Antra Stafecka, of the “Okartes skatuve” talent show, and her voice provides a distinctive contrast to Pauniņš’ vocals.

One of the major occurrences in springtime Latvia is the breaking of the ice in rivers, called “pali”, and lyricist Kurpnieks has used this imagery as a metaphor for a relationship in the song “Ave Pali”. “Saplaisās ledus, pāri upei tā nebūs, kas tad nokļūs pie tevis” (The ice breaks, there will be no path over the river, who will be able to reach you) describing with an aching sincerity the loneliness of two people who are unable to reach each other, in what is yet another standout track on the album. The song also features co-lead vocals by Aija Andrejeva (formerly known as Aiša).

Though the core of the group remains Pauniņš and Makstnieks, they are backed up by varied musicians, such as guitarists Arnolds Kārklis, Jānis Čubars, and Egons Kronbergs, bassist Jānis Olkešs, and drummer Mārtiņš Miļevskis, among others. Due to the album having taken four years to record, musicians came and went, and, perhaps because of that, Uzzīmē mani is slightly more uneven than Nakts vai rīts, and more of the songs have a ‘techno’ feel to them (since not many of the songs have an actual drummer, but have programmed drums), which at times gives the songs an overly ‘slick’ feeling to them. Songs like ‘Balss’ and ‘Kā nav tā nav’ would have worked better with a more organic feel with actual rather than programmed instruments.

Uzzīmē mani is a worthy follow-up to Nakts vai rīts, with a number of very strong songs and memorable melodies. Otra puse, who celebrated their 20th anniversary in 2013, are still going strong after their comeback, recording songs that still affect listeners with their personal lyrics and catchy hooks. The tandem of Pauniņš and Makstnieks are still a formidable combination, and Uzzīmē mani shows them at the top of their game.

Otra puse website: http://www.otrapuse.net

Perhaps one of the reasons the recently departed Latvian poet Imants Ziedonis was held in such high regard is that, even though his poetry was deep and thoughtful, it was often, at the same time, accessible and understandable.

It was not the head-scratching affair, opaque and oblique like some other poets – much of it was written in a language that the average reader could understand and relate to. In fact, Ziedonis had quite the knack for writing song lyrics – many songs featuring his words remain immensely popular. Something about his works lends itself to popular music. This has been reconfirmed many times – the most recent example being the Viegli album project, where various Latvian musicians wrote songs with the words of Ziedonis.

Recognizing this aspect of the poet’s appeal, the Latvian record company Micrec released the collection Dziesmiņas par prieku, a collection of songs all of which share a common thread – their lyrics are by Ziedonis.

The bulk of the songs on this collection are from the 1970s and 1980s, and feature Latvian stars and composers of that era. In fact, it seems like most every significant composer and artist from that era is represented here – composers such as Raimonds Pauls, Imants Kalniņš and Uldis Stabulnieks, and performers such as Viktors Lapčenoks, Nora Bumbiere, Ingus Pētersons, among many others.

It should be no surprise that most of the songs on this collection are by the most popular composer of that era (and still one of the most popular and influential composers today), Raimonds Pauls. Pauls, with a natural ability to write a catchy and memorable melody, used the lyrics of Ziedonis to compose what would become some of his most popular tunes. Songs like “Tāpēc jau, ka nevar zināt kāpēc” (performed by Edgars Liepiņš), “Nenes zvaigznes istabā” (performed by Ingus Pētersons), and “Meitene ar kallu ziediem” (performed by Credo)

One can also see how Ziedonis’ words were essential to the Latvian Reawakening in the 1980s, particularly in songs like “Tautas laiks” (music by Jānis Lūsēns, sung by Zigfrīds Muktupāvels), a memorable anthem from that era and a song that, even today, still gives me chills.

Ziedonis’ poetry also lends itself to choir music, and one such example is on this collection – “Mūžu mūžos būs dziesma” (composed by Valters Kaminskis) and performed by the Song Festival men’s choir. This song, with its basic truth “Mūžu mūžos būs dziesma, un mūžu mūžos alus smēķēs” (Song will live forever, and beer will always be tasty), has resonated with Song Festival audiences for decades now.

Granted, some of the lyrics here could be considered a bit trite. One example would be “Tā es tevi mīlēšu”, with music by Raimonds Pauls and performed by Nora Bumbiere and Viktors Lapčenoks, which is one of those songs that just about every Latvian knows (the chorus, at least), and is usually sung at loud volume after a few drinks. Still, though, the lyrics have given this song a universal appeal.

Packaging is minimal on this collection, though – there is only the list of songs and a photo of Ziedonis. It would have been interesting reading if the artists and composers had contributed some notes about what it was like working with and performing the poetry of Ziedonis. Or, at the very least, it could have provided some minimal biographical information, or perhaps when the songs were recorded. Still though, the most important aspect is the songs, and, in this aspect, the CD delivers admirably.

Dziesmiņas par prieku, besides being a tribute to the wordsmith Ziedonis is also a very detailed snapshot of Latvian popular music in the 1970s and 1980s. Ziedonis’ way with words was a natural fit for composers and performers, and his lyricism made for some memorable popular songs. Not that anyone really needs a reminder of what made Ziedonis’ poetry so exceptional, but this collection of songs, many of which are indelibly part of the national conscience, reconfirm Ziedonis’ place in the annals of Latvian poetry.