Spiralling out from a palette of Lithuanian folk forms, this album feels like a sharp, cold and bright autumn morning, bracingly new. Once a three-piece, Merope is now a duo comprising Lithuanian singer Indrė Jurgelevičiūtė, who plays the kanklės (a Baltic chordophone with which she makes sounds that phosphoresce like frost or flash like streaking meteors) and Belgian multi-instrumentalist Bert Cools. They bring in a stellar supporting cast for their fifth album, including zither master Laraaji and jazz guitarist Bill Frisell, plus innovative composers Shahzad Ismaily and Toma Gouband.
Vėjula begins with Koumu Lil, about a newborn foal taking to its feet before heading across the fields. Fragments of Jurgelevičiūtė’s vocals burst in, like sunlight through clouds, over glimmering arpeggios on zithers and synthesisers, suggesting the momentary magic and fragility of early life. Just as beautiful is the more traditional Namopi, featuring both Laraaji and Ismaily. Its lovely violin melody emerges from an undertow of chimed strings and Moog shimmers, and carries you along in its bowed movements.
The most avant garde track, Aglala, based on a folk song about a spruce tree, writhes and rages as if it’s in the grip of a continental storm. Simpler, stripped-down tracks work even better, such as Lithuanian lullaby Lopšinė, sung in a deep, earthy register by Jurgelevičiūtė, in what is essentially a duet with Frisell’s unshowy, sensitive guitar. On Vija, the kanklės builds a repetitive jig, suggesting commonalities with other folk dances across Europe.
Its title, meaning “wind” or “breeze”, Vėjula ends with the traditional Lithuanian winter song, Rana, set against field recordings of the weather. It’s about a dove being encouraged to fly to the sea, drink water, and listen. In these thunderous times, dwell in these waters, your ears open, for succour.
Also out this month
On Kathryn Tickell’s Return to Kielderside (Resilient Records), the Northumbrian smallpipes player reworks her teenage debut album (1984’s On Kielder Side) with old friends and recent collaborators. It’s hearty, often moving stuff, especially when you hear curlews surround her on Sycamore Gap.
Tira-Tira by Duo Falak (Topot) is an engrossing collaboration between Tajik percussionist Shohin Qurbon and Russian guitarist Denis Sorokin, exploring Falak music, which originated in the Pamir mountains in pre-Islamic times. Usually performed by a solo musician accompanied by a dutar or rubab (an Iranian or Afghan lute), it’s transposed thrillingly to an electro-acoustic guitar and the Uzbek doira drums, ranging from twitchy free jazz-like improvisation to raucous, string-hammered noise.
Sudanese Gwana folk music is also showcased intimately on Maalem Houssam Guinia’s Dead of Night (Hive Mind), a seven-track live session by the singer and guembri lute player. Recorded into the early hours, his deep, enveloping voice and percussive playing are gorgeous throughout.
