Progressive rock group Holy Lamb releases its fourth album

Latvia, with its abundance of musicians, has produced groups performing in just about every musical style. For such a small country, the diversity in Latvian performers is quite extensive, and many artists have achieved critical and commercial success. However, a genre that remains minimally explored among Latvian musicians is progressive rock.

The term progressive rock, an altogether vague term (the general idea is that this style of music is a ‘progression’ or even evolution from rock music itself), refers to groups that put a greater focus on musicianship, headier and weightier lyrical topics, and, generally, play longer and more complex songs, often with multiple tempo and style changes within a single song. This style of music, though perhaps achieving its greatest artistic peak in the 1970s with British groups likes Yes, King Crimson and Pink Floyd, continued to expand and grow in the decades afterwards, with successes from groups like Canada’s Rush and America’s Dream Theater. One might think that such challenging music might have difficulty finding an audience, but the genre boasts millions of fans all over the world.

It is perhaps a surprise that few Latvian artists have embraced the progressive rock style – much of Latvia’s contemporary classical music is difficult and challenging. Still, of the few Latvian bands to perform in this genre, the group Holy Lamb has achieved perhaps the most success.

Holy Lamb can rightfully be considered veterans – the band was founded back in 1991 and almost a quarter century later, at the end of 2015, released their fourth album Gyrosophy. Perhaps coincidental, perhaps not, but another common aspect of progressive rock ensembles is frequent lineup changes – more than a dozen musicians have performed as part of the group. Today, the group’s lineup has stabilized and is Aigars Červinskis (bass, vocals), Juris Rāts (keyboards), Aleksandrs Volperts (guitar), Ansis Markauss (guitar, bass) and Toms Circenis (drums).

Their many decades performing is clearly audible on Gyrosophy, as the album is a polished and mature record, displaying the extensive musical talents that listeners have come to expect from the best progressive rock outfits. Spanning a wide variety of styles and influences, Gyrosophy is one of the most satisfying progressive rock albums in recent memory.

Often, many progressive bands are dreadfully serious, but Holy Lamb does add the occasional touch of humor in their music, which is a welcome addition. In fact, Gyrosophy opens with the curiously titled “PorkPower”, which even includes pig noises among the textured melodies. The swine theme is also reflected in the album’s cover art, which also features a pig in space (perhaps an indirect reference to the Muppet Show’s ‘Pigs in Space’ sketch).

The melodic aspect of Holy Lamb’s music appears on the song “To the Boy I Used to Be” – vocalist Červinskis provides a reflective performance, appropriate for this song about lost innocence. Guest artist Liene Sējāne gives the song an additional dimension with her flute performance.

Guitarist Ansis Markauss provides a solemn introduction on acoustic guitar on ‘Murderous Words’, which then turns into a harsher, edgier motif for this song about the biting criticisms we unleash on each other, particularly those closest to us.

‘Trouble Vision’, the longest song on the album (just over eight minutes), is a song about being unable to let go of hopeless endeavors, especially after much time and effort has been invested, is, like many songs on the album, full of tension and anxiety. Červinskis sings ‘screaming through the forests of anguish, in hope that you’ll hear my desperate voice’, bringing forth the torment in the lyrics.

Currently Gyrosophy is only available as an internet-only download, but there are plans to release a physical album at some point during 2016. The lyrics to all the songs can also be found at the group’s Bandcamp site.

Holy Lamb have released a satisfying and engaging album in Gyrosophy – with their decades of experience they have put together a finely crafted collection of songs, revealing not just their musical talent, but also songwriting creativity. The album holds its own with other recent progressive rock releases, and hopefully will help them reach a wider audience. Intricate, accomplished, but never plodding or dull, Gyrosophy is a significant achievement for these veterans.

For further information, please visit www.holylamb.lv
Gyrosophy - Holy Lamb

Gyrosophy

Holy Lamb
2016

Track listing:

  1. PorkPower
  2. To the Boy I Used to Be
  3. Murderous Words
  4. In the Safety of My Hilltop Empire
  5. Trouble Vision
  6. This Amazing Race
  7. Out of Place
  8. Down the Memory Hole

Egils Kaljo is an American-born Latvian from the New York area . Kaljo began listening to Latvian music as soon as he was able to put a record on a record player, and still has old Bellacord 78 rpm records lying around somewhere.

Untapped potential for Latvia’s institutions of higher education

A meeting of the working group for diaspora policy issues took place in the Ministry of Foreign Affairs on 10 May. There, representatives of the diaspora, institutions and various organisations of Latvia discussed the question of attracting students from the diaspora to studies in the higher education institutions of Latvia, as well as the participation of the diaspora in the exchange programmes for elementary and secondary school students.

During the meeting, Pēteris Kārlis Elferts, Ambassador-at-Large for the Diaspora of the Ministry of Foreign Affairs, emphasised  “the large and yet untapped potential for attracting youth of the diaspora as students to study in the universities and technical schools of Latvia. This is an area of activity, he said, which needs more attention and where I would like to urge the educational institutions of Latvia to direct even more effort.” The Ambassador noted that such directions of work should be included in the remigration policy to strengthen the Latvian identity of the diaspora, its link to Latvia and to promote the return of young people to Latvia.

There are several institutions of higher education institutions working in this direction already. Representatives from the Stockholm School of Economics in Riga introduced the participants of the meeting to the Heritage Programme which offers studies in English, for a fee, in Latvia for either a semester or an entire academic year, thus enabling an increase in language fluency through performing research and getting on-the-job experience in Latvian companies parallel to regular studies.

Last year, during the West Coast Latvian Song Festival in San Jose, California, the University of Latvia had a stand with information on the study programmes at the university and significant interest was shown. Associate Professor Arvils Šalme, a representative of the University of Latvia Foundation (LU fonds), confirmed at the meeting that the University of Latvia is indeed increasingly trying to expand the possibilities for the diaspora. He noted that one should think about attracting young people from the diaspora not only to academic education, but also to extracurricular activities and studies as well as distance learning.

Ambassador Pēteris Kārlis Elferts reminded participants that young people with Latvian origins, when studying in Latvia, have the opportunity to use the advantages of their dual citizenship by studying here as a citizen of Latvia. In comparison to the costs of studies in America for example, they would be considerably lower in Latvia. Moreover, the study by the researcher Dr. Ieva Birka about Latvians from America and Canada confirms that the majority considering the possibility of moving to Latvia are in fact young people aged 18 to 25.

On the subject of involving students from elementary and secondary schools in the exchange programmes in Latvia, Kristaps Grasis, Chairman of the Executive Board of the European Latvian Association noted that diaspora families are demonstrating an interest in such opportunities and he emphasised that young people of the diaspora are an important target group. The possibilities of studying in a Latvian school would provide the opportunity to be in a Latvian environment, strengthening Latvian fluency and ties with Latvia, thus fostering the possibility for studying or working in Latvia in the future.

The international non-governmental organisation AFS Latvija informed participants about the inter-cultural student exchange programme for teenagers from 15 to 18, which offers, for a membership fee, the possibility for Latvian children to study at a school and live in a host family in another country, and for children from the diaspora to do the same in Latvia. The organisation demonstrated an interest in attracting children from the diaspora to this programme.

The working group meeting also discussed the proposal that such school exchange programmes could be oriented toward children from the diaspora and adjusted to their particular needs, and that such programmes could receive state support. In the meantime, organisations can be encouraged to address members of the diaspora as well as the residents of Latvia in the course of implementing the existing programmes.

The diaspora working group meeting was also attended by representatives from the World Union of Free Latvians, Ministry of Culture, Ministry of economics, Ministry of Education and Science, the Society Integration Foundation, the Latvian National Cultural Centre, Latvian Association of Local and Regional Governments, the National Centre for Education, and the international youth organisation – AIESEC.

Communications Directorate
Communications Group
Tel.: (+371) 67016 272

Email: media@mfa.gov.lv

New album contains collection of Latvian composer Plakidis’ vocal chamber music

Latvian composer Pēteris Plakidis has always been a unique voice in Latvian classical music. Combining many elements in various music genres, he has created a distinct sound and style. His long compositional career has seen success in symphonic music, choir music, and, particularly, in vocal music.

Perhaps the secret to Plakidis’ success in the field of vocal chamber music is that the singer he worked with the most – mezzo soprano Maija Krīgena – is also his wife. This tandem composed and performed a very large body of vocal work, leaving their indelible mark on Latvian music.

Recognizing their contribution, American record label Albany Records gathered together a number of historical recordings of Plakidis’ music and Krīgena’s performances on the album Tu brīnies manu dziesmu (You Wonder at My Song), a collection of Plakidis’ vocal chamber music. These recordings, almost all from the archives of Latvian Radio, span decades – from 1969 to 1989, and are a memorable document of this creative partnership.

Plakidis often used the poetry of modern Latvian poets for his compositions, and this collection features the words of poets like Imants Ziedonis, Māris Čaklais, as well as Ojārs Vācietis, whose ‘Skumja dziesma’ (Sorrowful Song) begins this collection. The appropriately mournful piano part, often just one note played between Krīgena’s vocals, accentuates Vācietis’ text, particularly phrases like “Visas manas grūtās bēres vēl ir priekšā” (All my difficult burials still lie before me).

Mournful themes continue in ‘Pastorāle’ (poetry by Knuts Skujenieks), and in this song, Krīgena’s musical accompaniment is only an oboe. The brief, single note phrases weave in and out of Krīgena’s vocals, making for a haunting, atmospheric performance.

Though almost all of the pieces use lyrics by Latvian poets, there is one arrangement of a Latvian folk song included in this collection – “Kas dimd, kas rīb”. Plakidis is one of the very few Latvian composers whose compositions occasionally have humorous elements, and this arrangement features the more quirky stylings of the composer. While the vocals are a fairly straightforward performance of the song, Plakidis backs it up with a noisy and clattering piano, appropriate for this Mārtiņi festival song about Mārtiņš himself making a lot of noise when approaching in his wagon.

Plakidis combines vocals with a variety of instruments in many of the pieces here, such as the fiddle and vocals in ‘Balta puķe ezerā’ (lyrics by Skujenieks), and organ and vocals in “Sarkanā svece” (lyrics by Valdis Grēviņš).

Plakidis worked in the theatre for much of his career, and there is an element of theatricality in many of his songs, such as in ‘Raganas dziesma pirms sprieduma pasludināšanas’ (The Witch’s Song Before Sentencing), lyrics by Māris Čaklais. The titular witch, defiant until the end, cries ‘Lai uguns iziet caur manu sirdi’ (Let fire go through my heart), and is consumed by fire (the rising flames represented by the quick tinkling of the piano). This terrifying imagery is brought vividly to life by both Plakidis’ music and Krīgena’s singing.

Granted, this collection of decades old historical recordings may not be of interest to everyone. Still, compositions created during the era of Soviet occupation were often subjected to strict guidelines and committee oversight, however, talented composers like Plakidis could still flourish creatively, even within these severe conditions. Hopefully this release will raise interest and awareness of Plakidis’ music, and ideally lead to further releases of the vast treasure trove of recordings in the Latvian Radio archives and elsewhere. And not just of Plakidis’ music – many 20th century Latvian composers have been underrepresented in the CD age. Thanks also must be given to Albany Records for releasing this collection. Though they are a label mainly focused on American classical music, they have also released a few CDs by the New York Latvian Concert Choir.

The CD booklet contains extensive notes on the composer and Krīgena in both Latvian and English by Latvian musicologist Arnolds Klotiņš, as well as all the lyrics (with English translations) for the vocal works. Oddly, though, the booklet does not identify the instrumentalists, which is unfortunate.

Compared to other Latvian composers, very little of Pēteris Plakidis’ music has been released on CD, and that is why You Wonder at My Song is not only a collection of significant historical recordings, but also a testament to both the compositional ability and creativity of Plakidis as well as the vocal talent and distinctive, rich voice of Maija Krīgena.

For further information, please visit the Albany Records website at http://www.albanyrecords.com

Peteris Plakidis - Tu brīnies manu dziesmu 001

You Wonder at my Song, Vocal Chamber Music

Pēteris Plakidis
Albany Records, TROY 1548, 2015

Track listing:

  1. Skumja dziesma

Lyrical cycle

  1. Vēja vilks
  2. Ugunī
  3. Pastorāle

Trīs Ojāra Vācieša dzejoļi

  1. Upei pāri
  2. Sadzīs pēdas vēji tev
  3. Siltā lietū

Divas dziesmas ar Raiņa dzeju

  1. Daudz simtu jūdžu tālumā
  2. Ganiņš

Trejžuburis

  1. Sveces dziesma
  2. Vēja dziesma
  3. Svečtura dziesma
  4. Kas dimd, kas rīb
  5. Valsis

Trīs Māra Čakla dzejoļi

  1. Rudens rītā
  2. Auseklis
  3. Raganas dziesmiņa pirms sprieduma pasludināšanas
  4. Atvadvārdi
  5. Sarkanā svece

Mazs diptihs

  1. Steigā
  2. Pelēkā diena

Kamerkantāte “Ezers”

  1. Skan stabule pār ūdeņiem
  2. Balta puķe ezerā
  3. Ne vairs dzērves, ne vairs svīres

 

Egils Kaljo is an American-born Latvian from the New York area . Kaljo began listening to Latvian music as soon as he was able to put a record on a record player, and still has old Bellacord 78 rpm records lying around somewhere.