An Hessian Guide to Folk Music

Folk music aspires to animate the vestigial remains of forgotten traditions whose symbols and perennial soul still arouse the fascination of the moderns. A particularly immersive and picturesque form of music, it momentarily takes the listener away from the mindset of cyclical consumption and artificiality to evoke an experience of the sacred. The reverence for nature and the cosmos, the communion with the ancestors and the reminiscence of the past and ancient civilizations are all important elements that find their stronghold in modern renditions of folk music when no other activity or institution seems to shelter them or even recognize their role in an healthy and truly fulfilled existence.

For these reasons, folk seems to be a popular genre among open-minded metalheads looking for something different and meaningful. This guide is by no means complete, as it couldn’t possibly be, but covers some essential bullet points that work as an introduction and incentive to the discovery of more artists in this vein.

I. Modern artists reproducing traditional music

This section comprehends musicians attempting to bring to life genuine traditional music composed in ancient times. Obviously, pure authenticity is impossible and thus a leap of imagination is required in many cases, and it is natural that many of the following artists employ modern adornments in their renditions of folkloric music. Nevertheless, the focus is on producing the most faithful reproduction within whatever limits there are.

Petros Tabouris Ensemble – “Ancient Greek Dances”

Absolutely enchanting and transportive compositions that transpire a genuinely noble sense of joviality and celebration of life. One can see the passion for the world cultivated by people whose gods dwelled immanently in the sights and sounds of their everyday reality, where the distinction between worldly and divine or sacred and profane fades to reveal a spirit of conquest and victorious affirmation. A sense of mystery and reverence is also present in these dances that are, as expected, a far cry from the modern artificial and robotic music used for the same purposes.

Ensemble de Organographia – “Music of the Ancient Sumerians, Egyptians and Greeks”

Many of these melodies have a fragmentary character and are very short (30 seconds in some cases), almost leading to the experience of a fleeting sonic breeze. This actually adds to the sensation of witnessing vestiges of long lost ancient traditions that can only be accessed from afar and through a muddy image, the same way the ruins of Mesopotamia are only a shadow of the glory they once harboured.

Synaulia – “Music of Ancient Rome” (Vols. I & II)

Synaulia are a group of researchers, archaeologists and musicians dedicated to the exploration of Ancient Rome and the execution of authentic music and dance from that traditional world based on their research. This album, their magnum opus and the summary of their work, encompasses a wide range of moods, from bellicose and warlike to peaceful and even mystical, with many of the songs providing appropriate accompaniment for the ecstatic trance induced by the Dionysian rituals or the mighty and terrifying transcendental visions of the Mithraic initiations.

Kirsten Bråten Berg & Hallvard T. Bjorgum – “Runarstreng”

Mostly consisting of traditional folk music from Setesdal, in Norway, this compilation includes both secular and religious songs brought to life by Kirsten’s majestic voice (which is at times the only instrument) and fiddle accompaniment by Bjorgum. The beauty and tranquillity of Scandinavian landscapes is mirrrored by these pastoral songs; listening to them provides to the modern world one of the closest experiences to participating in the oral transmission of culture and values as it was practised in virtually every folk tradition. 

Niekku – “Niekku”

An ensemble dedicated to uncovering traditional music from Finland. Expressive vocals compliment these surprisingly subtle compositions featuring developing moods through dynamic instrumentation, evolving melodies and rhythmic variation. 

Estampie – “Crusaders: In Domine Nomini”

A lavishly produced collection of medieval European songs, with additions such as natural sounds (e.g. drops of water), powerful percussion and majestic ethereal voices that capture the suffering, longing, glorious exaltation and a wide range of emotions underlying these chants. This release contains iconic songs that are essential for anyone looking to become acquainted with the musical expressions of this time period and culture.

Ensemble Renaissance – “Roots of the Balkan”

This Serbian folk music compilation aims for a holistic portrait of the music from Old Serbia, thus, a variety of genres and moods are weaved throughout the album, from cheerful popular dances to more serene chants and instrumental pieces. This makes for a rich listening experience, employing a variety of instruments and styles, akin to an organic stroll through a village, witnessing a multitude of events comprehending an entire spectrum of emotions.

Hespèrion XXI – “Díaspora Sefardí: Romances & Música Instrumental”

Much of the Sephardic music that has come to us from the Middle Ages was composed after the expulsion of the Sephardim (Jewish communities living in the Iberian Peninsula until the 15^th century) and, in the process, absorbed Oriental and African influences from their new homes in places like the Middle East and North Africa. This eclectic mixture leads to a unique and syncretic musical expression. This compilation features sophisticated arrangements and longer songs displaying progressions between different sections through the use of dynamic percussion and long, nuanced melodies.

Gyuto Monks Tantric Choir – “The Perfect Jewel: Sacred Chants of Tibet”

This music offers a peek at a tradition that is not only an alternative, but almost an exact opposite to western notions of beauty. The famous throat singing technique on display here allows the practitioner to produce several sounds at once, being able to create entire chords simultaneously. This effect and the correspondingly tremendous (but sparsely deployed) instrumentation that accompanies it create what is commonly called the “terrible sublime”, a terrifying impression of the sacred, similar to what Arjuna witnesses when he contemplates Krishna in his true form in the Bhagavad Gita.

II. Modern music in traditional style

This category refers to original compositions from modern musicians that are written in a given style of folk music from a particular tradition. This requires a rigorous study of said musical traditions, often complemented by ethnographic studies, in order to be able to create music that could pass for something actually composed in the respective temporal and geographical frame.

Väsen – “Väsen”

A trio of virtuous Swedish musicians that emulates the spirit of traditional Scandinavian music so well that one would easily mistake these compositions for actual traditional songs. The tone is, for the most part, joyous in a truly fulfilling and celebratory manner (we’re tempted to call it Dionysian), as we can see from the inclusion of waltzes and dances, but there is also space for the melancholic and meditative.

Le Mystère des Voix Bulgares – “Le Mystère des Voix Bulgares: Volume 1”

This album captures a form of music that will sound very exotic to many listeners, with its abundance of dissonant harmonies, prevalence of high-pitched singing and unusual rhythms and modal scales. Many westerners may even find an almost “extraterrestrial” quality in these sounds, even though it faithfully corresponds to the folk music tradition of Bulgaria. A lot of these vocal harmonies could very accurately be called heavenly and epiphanic, creating a powerful sonic world that resembles the call of the Mother Earth, her dialogues with Heaven and her lamentations.

Urze de Lume – “Ibéria Oculta”

Like most musical attempts at recreating the Gallaecian spirit, with its gothic splendour and distinctive natural surroundings, this album carries an innate melancholy and nostalgia; this is complemented by the often harsh and rough timbre of a type of Iberian bagpipe (in contrast to the more melodic counterpart from the Scottish Highlands). The album emanates the mystery proper to a pagan tradition that has disappeared but still garners fascination, with music that is vibrant, dynamic and inspiring, brimming with jovial ritualism.

Gjallarhorn – “Ranarop”

Containing both original compositions and recovered traditional songs, this album displays an eclectic approach that makes use of both faithful elements and ingenious idiosyncrasies (like the use of a didgeridoo as a drone instrument) to summon a picturesque portrait of the more pastoral and tranquil side of Nordic Folklore. A special spotlight should be given to the sublime and transcendental “Kulning”, an example of the Scandinavian herd calling genre.

Toumani Diabaté – “The Mandé Variations”

Mali musician Toumani Diabaté showcases the melodic potentials of the kora, a West African string instrument and the only that is played throughout the album, in a departure from his previous work with ensembles. The compositions are calm, meditative and spiritually evocative, displaying the beautiful timber of this instrument, and draw not only from traditional material but also from more modern western influences that are nonetheless coherently integrated.

Carlos Nakai – “Canyon Trilogy”

Indigenous American musician Carlos Nakai is one of the prominent divulgers of the Native American cedar flute; this album is a good representation of his work with the instrument, consisting in mostly short pieces and improvisations that instantly bring to mind the imposing American deserts and canyons. The music possesses an almost shamanic flair under which nature is transfigured and assumes a divine aspect; the relative lack of variation may provide some difficulty for the listener, but also encourages more attentive listening.

Roberto Lara – “Argentina: The Guitar of the Pampas”

This album sees Roberto Lara performing music for acoustic guitar by Abel Fleury. Aficionados of the classical guitar will find here a different expression of the instrument’s potentialities, with a very distinct Latin American flavour to the melodies and “grooves” harkening back to the tradition of Argentinian workers who composed songs and texts on their guitars during the lunch break. The music here, however, is instrumental and tends more towards the technical side, but the spirit is intact.

III. Neo-folk

We are now dealing with a relatively popular subgenre inspired by ancient cultures and the forgotten modes of existence inherent in them without rigorously conforming to the theory behind their respective musical traditions. Musically, authenticity is no longer a priority, since most of these artists work within modern styles despite the possible employment of some genuinely traditional elements. We should also add that neofolk also includes a specific subculture, not restricted to, but mostly oriented towards music, that mixes ancient and medieval imagery, specially that which concerns battles, ritual and great empires, militaristic attitude and themes, and modern allusions such as World War II and fascist aesthetics, all weaved together by an eclectic and avant-garde sensibility; likewise, the music also blends folk elements with industrial, noise and a generally experimental disposition. Although there is certainly music of quality created under this niche, it is not our goal to cover it here since it deviates too much from our theme; it might perhaps provide the topic for another article, but for now we’ll stick to the bands below.

Sangre de Muerdago – “O Camiño das Mans Valeiras”

Gentle finger-picked guitar melodies, accompanied by other instruments like the harp and the violin and the soft voice of bandleader Pablo C. Ursusson, lull the listener into a sonic space reminiscent of fairy tales. The songs are wonderfully evocative in their simplicity but make the most out of their constituent elements by the use of pauses as an introduction to new themes, dialoguing instruments and vocal harmonies. An enchanting complement to wanderings through the galician woods.

Tenhi – “Kauan”

With a rhythm section entirely taken from a rock context, Tenhi exemplify the syncretic approach of neofolk bands in their attempt at evoking ancient moods and illustrating perennial tales through modern means. Various traditional instruments are employed in long songs occasionally deviating from the typical verse-chorus structure and indulging in extended atmospheric and melancholic instrumental sections sparsely interrupted by soothing and distant vocals, as if sung from the mountains through layers of morning mist.

Vàli – “Forlatt“

Another neofolk project that gives pre-eminence to the acoustic guitar whose melodies provide the blueprint for most songs, on top of which other instruments add their layers. Flute and synthesizers lend a glacial and ethereal shade reminiscent of the sonic equivalent of cold wind; the focus, however, remains resolutely in the guitar and the simple but entrancing patterns that are extracted from it, repeated and developed in a manner not dissimilar from ambient music. The aim is a relaxing and warm mood, resulting in an experience akin to watching the snowy forest from a window in a cabin, sitting next to the hearth. 

IV. The most recent examples

With neofolk’s rising popularity, mirrored by the increasing interest in paganism and ancient cultures, civilizations and spiritualities, some of its most recent exponents have attained considerable mainstream recognition and commercial success. By this point, we’re talking about music inspired by modern genres such as ambient or film soundtracks whose aim is, more than anything else, the transmission of the spirit underlying folk music and the traditions from which it derives.

Osi and the Jupiter – “Uthuling Hyl”

A project from the United States inspired by Northern European Paganism and featuring majestic and meditative cello from Kakophonix (who plays in several metal bands and related projects). Some of the tracks may feel stagnant and uneventful at first, particularly when the cello is absent and the music is entirely left to ambient synth soundscaping and percussion, but they actually present great opportunities for aided meditation and inner contemplation, which are surely some of the goals of this music.

Wardruna – “Skald”

Norwegian project Wardruna is probably one of the most popular of the recent wave of mythology and folk-inspired bands, having been featured on TV series and video games and benefiting from the rising interest in the Viking Age and its cultural forms. While earlier albums present a bombastic, film-score inflected sound with diverse layers and aiming for the “epic”, this work consists of stripped down, simpler songs, featuring Einar Selvik’s vocals and the gentle instrumental backing of a single instrument at a time, in a recreation of the bardic or skaldic experience as it may have been in the Viking Age; in doing so, it reveals the bare essence of Wardruna’s music and allows its appreciation and assimilation at a more intimate and profound level.

Heilung – “Lifa”

Heilung tend more to the “tribal” side of traditional music, focusing on a visceral, intense experience highlighting the contact with primordial and instinctual realities and the ritualism that emerges from their recognition and integration in the rest of existence. All of these songs are vibrant and vicious, with aggressive rhythms and vocals both animalesque and ethereal, leading the listener on a powerful ecstatic voyage.