Enya – “From Where I Am”

Hey people! 🙂 

   Today, I want to share with you an instrumental piano piece by Enya. To me, most of Enya’s instrumental piano music has an extremely characteristic and very easily recognisable feel to it, and I guess this particular composition is the most Enya-ish. 

Úlla Pirttijärvi – “Gietkka” (Cradle).

Hi hi people! 🙂 

   Even though I generally really like Sámi music very much, there hasn’t been much of it that I’ve shared with you guys on here. Moreover, I think I haven’t ever shared any Sámi music from Finland on here, so it’s time to do it now. Ulla Pirttijärvi was actually the very first Sámi singer that I came across. I had just fallen in love with Finnish language, and wanted to look up some Finnish folk on Last.fm, and Ulla Pirttijärvi’s music was the first thing that Last.fm decided to show me and, while technically it wasn’t exactly what I was looking for, because when I went looking for Finnish folk I was thinking, you know, Finnish-language, “actual” Finnish folk, I loved her music straight away because it was so different from anything I’d ever heard before and really beautiful. I didn’t even know that it wasn’t the “actual” Finnish music. I mean, I could hear that this didn’t quite sound like the Finnish language I was accustomed to hearing so far, , I knew that Finnish doesn’t even really have letters like “g” or “b” which I could hear in her language, but, who knows, maybe they have such distinctive dialects, or something? I didn’t have a clue about such a thing as joiking at the time either. I don’t know when exactly it was that I ended up actually learning about Sámi music and culture and what joiking is and that it’s a separate thing from Finnish, but for sure when it comes to my love for the Sámi language and interest in Sámi music, at least some of the credit for sparking that in me must go to Ulla Pirttijärvi. 

   And this song is one of my favourite songs by her. I must say that I am not sure what its actual title is. Spotify says “Boares Gietkka/Lullaby” other places say just “Gietkka”. What I’m quite sure of is that gietkka likely means cradle. I’ve even found a 

translation 

For this song, although I have absolutely no idea how reliable it is. 

  The cradle had been left in the shed
The old cradle
in the corner of the shed, swaying in the wind
and hummed bedtime songs to it
 
Rocking babies a long time ago
To sleep

 

Enya – “Anywhere Is”.

Hey people! 🙂 

   Today I’d like to share with you this quite cheery song from Enya’s 1995 album The Memory of Trees. It originated as some staccato piece with a marching feel to it, only with backing vocals, and Nicky Ryan (Enya’s producer) and Enya herself rejected it from this album at some point, but then Rob Dickins from Warner Music had a listen to it and really liked it, seeing the possibility of commercial success in it, so they ended up including it on the album. As is often the case, Roma Ryan’s lyrics were inspired by the music and written later on, and are about finding your home. Which, as Enya said in an interview, resonates with her a lot, because she only feels like she can compose music in Donegal, where she’s from. 

Highasakite – “Mother”.

Hiya people! 🙂 

   Today I have a brand new single for you from this great, indie pop/rock band from Norway. I really like their music, I really like the vocalist and lyricist Ingrid Helene Håvik. I’ve already shared one song from them years ago, called “Five Million Miles”. I saw this song in my Release Radar on Spotify this past week and I liked it right away. It’s really catchy so it got really stuck in my brain after listening to it just once. Most often, I don’t consider this a very good quality in a song, but there are exceptions, and, well, like I said, I do like this one. I think mostly because, while being catchy, at the same time it’s also quite raw. I believe this single is the first one from their upcoming album of the same title or that’s what I’ve heard, so if that’s the case I’m really looking forward to it. 

Nadia Birkenstock ft. Roxane Genot – “Lament for Owen Roe O’Neill”.

Hey people! 🙂 

   This mournful piece I’d like to share with you today was composed by Turlough O’Carolan, an Irish harper and composer whose many compositions, played by different harpists, I’ve shared on here so far. Nadia Birkenstock is also someone whose music has been featured on this blog a couple times before. This time round, she plays this together with the French cellist Roxane Genot. I love the combination of harp and cello so much, though cello always makes me sad because it reminds me of my late friend Jacek from Helsinki who played this instrument. As for Owen Roe O’Neill, he was a soldier and leader of one of the Irish Catholic revolts against the rule of England. 

Aberjaber – “Taith Madog” (Madog’s Journey”

Hey people! 🙂 

   Today I have an interesting piece for you from the Anglo-Welsh group Aberjaber, one of whose members was Delyth Evans (currently Jenkins), the harpist whose solo music I’ve also shared quite a lot with you on here. This piece, as you can see in the title, is called Madog’s Journey in English, and I don’t know that for sure, but it feels quite safe to assume that the Madog is the Welsh prince Madog ab Owain Gwynedd, who is said to have sailed to the Americas some three hundred years before Columbus.

Enya – “Athair Ar Neamh” (Father in Heaven).

Hey people! 🙂 

   Today I’d like to share with you another song by Enya, one that really resonates with me, mostly because of how it sounds. It’s just so extremely beautiful. It’s inn Irish Gaelic, and the English translation, which I’ve taken from the Enya Blues website but which I believe come from the album notes or something like that, is below: 

 

Father in Heaven, God help us.

Father in Heaven, God help me.

My soul, my heart, my voice

praise to you, oh God.
Long is the day, and peaceful,

long is the night without gloom,

happiness, joy, love,

praise to you, oh God.
I praise you from day to day.

I praise you night after night.
Father in Heaven, God help us.

Father in Heaven, God help me.

The moon, the sun, the wind,
praise be to you, oh God.

 

Sinéad O’Connor – “He Moved Through The Fair”.

Hey people! 🙂

As much as I don’t really care too much for Sinéad O’Connor as an individual, and don’t even like all of her music, I really do like some of her songs a lot, and especially many of her renditions of Irish folk songs are absolutely great. I really like this one, too. I’ve already shared it in two versions, a harp instrumental by

Carol Thompson

and a capella by the stunning

Anne Briggs,

so this is yet another one, and totally different from the both previous ones, also in that it’s actually from a female perspective which I also really like.

Slobodan Pilic – “Pavane Pour une Infante Defunte” (Pavane for a Dead Princess).

Hey people! 🙂 

   For today, I picked a classical piece for you, more exactly its harp arrangement. Pavane for a Dead Princess was composed by Maurice Ravel and dedicated to his patron – Princess de Polignac. – Despite its title though, I’ve read that its not really a tribute for any “dead princess” in particular, rather, it was simply born out of Ravel’s interest in Spanish customs and traditions, and he simplly titled it this because he liked the sound of it. That’s a great reason, in my opinion. I like things that just sound good, even if they don’t make a whole lot of sense when it comes to meaning. I don’t have a clue who Slobodan Pilic is though, other than he clearly must be harpist, and probably is one of those folks who have some exclusive contracts with Spotify or however that works, because his music only seems to be available there. Perhaps he’s also one of the artists like those whose music is produced by the Swedish Epidemic Sound label, whose music is royalty-free and apparently Spotify used to promote that a lot more than anything else and people got indignant that these artists must be “fake” because there’s no information that can be found about their existence under the names they use on Spotify. I believe Slobodan Pilic is not from Epidemic Sound but it could be some similar thing perhaps. But that isn’t really relevant, I think this piece sounds great on the harp. 

Simone Tang – “Shame”.

Hi people! 🙂 

   Let’s listen to some Scandipop today. But, for a change, it will be neither Swedish, nor Norwegian, but Danish. I rarely share any Danish music on here, which is simply because I don’t really listen to it all that regularly. Whenever I do, I think I should start doing it more often and go down the rabbit hole a little bit, because I do have really good experiences when I do it ,but somehow it has never become a regular thing. 😀 Anyways, this is a singer that I’ve recently heard about, and because she cites Emilie Nicolas as one of her favourite artists and influences, I thought I had to give her music a listen, because I really love Emilie Nicolas and I was very curious if I’ll end up feeling similarly strongly about Simone Tang as well. And, well, while of course she’s definitely doing her own thing, the influence can be heard quite clearly imo. I really like this song of hers, this was her debut single. 

Simon Smiles ft. Emelie Tängemark – “Hiding”.

Hey people! 🙂 

   Today I have an electronic song for you which I’ve known thanks to Spotify for a couple years now and I still really like it. It’s the result of collaboration between the Swedish musician Simon Smiles, and the vocalist Emelie Tängemark. 

Bukkene Bruse – “Folketone Fra Sunnmøre” (Folk Tune From Sunnmøre).

Hey people! 🙂

Today I want to share with you this very melancholic and nostalgic-sounding folk tune from Norway. Sunnmøre, where it comes from, is a district in Norway. I’ve known this piece for many years now, thanks to Last.fm, and I still love it very much. Bukkene Bruse are a Norwegian folk group that have been around since the 80’s, their name comes from “Tre Bukkene Bruse” the Norwegian title of the fairytale “The Three Billy Goats Gruff”.

Cornelis Vreeswijk – “Till Linnea Via Leonard Cohen” (For Linnea Via Leonard Cohen).

Hey people! 🙂

Today I thought that I’d share with you one of the songs that Cornelis Vreeswijk wrote to a woman called Linnea. All these Linnea songs are more or less erotically charged, and I always liked to think that this Linnea is at least based on his second wife – the actress Bim Warne – whose actual name was Birgitta Gunvor Linnea, and because I’ve always got the impression that, despite all the usual relationship storminess that was pretty much the norm in his life, his relationship with Bim was best out of his three wives. Besides, the album “Linneas Fina Visor” (Linnea’s Fine Songs) on which most if not all (can’t remember exactly) of the Linnea songs were released, came out when they were still a couple. And I still don’t know whether that is actually the case, but years later I read something that implied quite strongly that it’s possible. Especially that he based a lot of his characters on real life people. There’s also another version of this song called Till Gunnel. Honestly though, I’ve always been intrigued by what’s Leonard Cohen got to do with this, and I can only assume that, since Vreeswijk borrowed a lot of songs or melodies or motives etc. from other artists who wrote and/or sang in other languages, that includes “Nancy” by Cohen, so perhaps in some way it’s also the case with this one, perhaps it’s based on some song that was originally Leonard Cohen’s or something like that. But because I don’t really have much of an idea about Leonard Cohen’s music, I’ve no idea if this is true.

I thought I wouldn’t be able to write a translation for this, but I did it, and it wasn’t even all that difficult, though I did have several issues witt it. There’s one line that I absolutely cannot make out what it’s supposed to mean so I had no better option than to leave it out. In some places I feel like my English wording is a little off but I had no better ideas. Then there is the line that I translated as “Of my mother’s only son” but have a problem with the “of” because there’s actually the Swedish word “på” used in the original, which is typically translated as on, but it doesn’t really make sense to me. I of course know that prepositions work very differently from one language to another, but even in Swedish I feel like the word “av”, which would literally translate as “of” to English, would make much more sense here. So either my Swedish is a lot less advanced than I think (not that I think it’s actually, properly Advanced, but you don’t have to be extremely advanced to understand prepositions in a language I believe 😀 ), or I don’t understand the sense of this line, or perhaps “på” can be used instead of “av” in some more poetic contexts like here.

Another line I had ann issue with was about the pen that floats, where I left out a word because I had no idea what to do with it. The original word is “värdig” and it literally means worthy. Can a pen be worthy? Perhaps it’s supposed to mean something like that that it’s dear to him in a way, or deserving of appreciation, because it’s the pen with which he writes songs for Linnea and no other pen would suit this? That’s what came to my mind, but I doubt that it’s actually true. Perhaps in this case “värdig” is meant to be an adverb, but then it should be “värdigt”. You can have adverbs that look like their adjective counterparts in Norwegian, but I don’t think I’ve seen it in Swedish (well, unless an adjective ends with a “t” but that’s irrelevant here). So what is most likely imo is that the word “värdig” must have a wider scope than what I’m aware of.

Here’s the translation:

 

Linnea, what do you want to hear?

I forget it every time

I have something in my ear

That maybe can become a song

It quivers in the guitar

It asks for a beautiful grasp

Now I open the case

And kiss your lower lip

Sit still and quiet, Linnea

Here comes a beautiful verse

(…)

Chases me here and there

A crumhorn and two timbals

Disappear far away

The guitar shivers in the arms

Of [?] my mother’s only son

An Eskimo opens a window

Then the whole room becomes cool

Out flow seductive vapours

That rhyme was ingenious

You know I can keep the heat

I guess you know that I know it

I am as hot as Saturn, at least

And strong as a magnet

Now this song is soon over

You notice it already yourself

My pen floats forward (…)

Like the timber in some river

Sit still and quiet and wait

Remain in your picture frame

Because when I am done writing, Linnea

The pen is as good as lame [?]

Now all the stars become matt

And stiffen like tinfoil

On the deserts dry and flat

Watering holes spring up

Darkness gives way to the night

And it is not day yet

Linnea, here is your song

Linnea, and here am I

Mared – “Yno Yn Barod” (Already There).

And for today, I’d like to share with you this really captivating song from Mared Williams, whose music I’ve already shared many times before on here, both as a soloist as well as the vocalist for Y Trŵbz. I really like her expressiveness in this song. 

Song of the day (6th January) – Silver “Jag Drömmer” (I Dream).

Hey people! 🙂

I thought I’d share this nice, kind of idealistic-sounding, Swedish song with you. Silver are Ellen Vingren and Jenny Wahlström, who are also parts of other music projects, at least Ellen is for sure, I’m not 100% sure about Jenny. They’re also both Christian and perform Christian music as well. The lyrics to this are really easy so I was able to translate them for you:

 

I dream about loving myself

I dream about being genuine and for real

I dream about daring to feel

About being artistically sharp and free

And that the feeling survives the storm

That silver turns out to be gold

It looks like it could be so

But it feels difficult to reach just yet

Maybe I dream too little

I dream that the sail will be hoisted

That the last word in this has not yet been said

And that the ship survives the storm

That silver turns out to be gold

It looks like it could be so

But it feels difficult to reach just yet

Maybe I dream too little

You know what, you know what, you, I hear them everywhere

The tones that they stole we’ll get back thousandfold

You know what, you know what, you, I hear them everywhere

We shall get everything back

Those who lost themselves but have been found

Silver turns out to be gold

The ship survives the storm

Silver turns out to be gold

Nadja Birkenstock – “Il Est Ne Le Divin Enfant” (He Is Born, The Divine Child).

Hey people! 🙂 

   Epiphany is coming tomorrow, so it’s still Christmas time, and I decided to share with you this joyful French Christmas carol, played by the German Celtic harpist. 

Susan Scott “Clair De Lune”.

Hi people! 🙂 

   Today, let’s listen to this very famous and beautiful piece by Claude Debussy, played by Celtic harpist Susan Scott. I really like this composition, and I think it sounds especially good on the harp, harp is a great instrument for playing music about the moon, imo. 

 

Aine Minogue – “The Selkie” & Cecile Corbel – “The Great Selkie”.

Hey people! 🙂

I think I’ve shared that on my blog already that one of my favourite folk creatures are selkies. So today I thought I’d share with you two songs about them, which are practically variations of one song, both vastly differing arrangements. Both Aine Minogue’s and Cecile Corbel’s music has already been featured on my blog. They’re both harpists. Aine was born in country Tipperary in Ireland but currently resides in the Boston area, whereas Cecile is from Brittany.

Usually when I share two versions of the same or almost the same song it’s because I can’t choose between them, but here, I can say with no hesitation that Aine’s version speaks to me much more. Still, I really like Cecile’s version too, and I think it sounds very interesting, and even more so when you compare the two.

Aine Minogue:

Cecile Corbel:

Cezinando – “Håper Du Har Plass” (Hope You Have Space” & ISÁK “Sávan Dus Lea Sadji”.

Hiya people! 🙂

I’ve been familiar for years with the song I want to share with you today, and I’d known it’s a cover of something, but had no idea of what. You may recognise ISÁK if you’ve been reading my blog from the early days because I shared one song of hers – “Face The Truth” – back then. She’s still one of my favourite Sami pop artists, and Sávan Dus Lea Sadji was one of her earlier songs as far as I can recall.

So recently I was listening to some Norwegian music on Spotify and heard “Håper Du Har Plass” by Cezinando that sounded oddly familiar and for a while I couldn’t quite recall what it reminded me of, but eventually figured it out that it sounds just like the ISÁK song, except it was obviously in Norwegian rather than Sámi, and indeed, that is the song which ISÁK covered. Now I like both versions a lot.

Cezinando is Kristoffer Cezinando Karlsen, he is a rapper, singer and songwriter who’s music has been highly acclaimed in Norway, and he lives in Oslo and is of both Norwegian as well as Portuguese descent.

 

ISÁK is actually a band, but I believe its founder and frontwoman- Ella Marie Hætta Isaksen- also uses it as her own artist name. She won a Norwegian song competition Stjernekamp in 2018, and I believe she is now more recogniseable in the mainstreamy world (or at least the more mainstreamy Norwegian world) due to her collabing with Alan Walker.

I managed to do a translation of the Cezinando version, which I’ll share below. This time, since he’s from Oslo, it’s not nynorsk 😌 ) but some bits were still challenging for me for various reasons. Sometimes I knew what something meant in Norwegian but found it difficult to find the right English words that would work in something as concise as lyrics but also convey the sense as well as I’d like. Some bits I could understand literally but wasn’t sure what exactly they’re supposed to mean or whether they’re idioms or whether I was in fact understanding something wrong, to the point that in a few places it seemed rather nonsensical like that line with the cellar. :O

There’s nothing that interests me anymore

Or feel like a genuine feeling

And it has just started to pour down

So I hope you have space

I hope you have space for me, again

Could be just a matress that can lie in the toilet as far as I am concerned

I hope I get a pass into your palace

I can keep calm and sneak around as if I was walking on glass

I hope there is space somewhere inside the heart that you’ve inherited from your mother and me

I hope you have space, I hope you have space

I come all alone and with no pass

You can tell me when I need to pay attention and put me in my place if you find a window for me

Oh, catch me when I fall or lose myself, and the last flame or spark

I will let you cry yourself out for a life with me on my cost if you find a window for me

I’m coming back home

[…] was home again

I cannot go to her again

It is my fault that it has ended

So she has things that boil down in the cellar that burnt the home [???]

And I have things in the closet and in the folder [?]

I let it ring two times before I hung up so you can call me back up, and I will see your name on the screen – with a picture – of you

I hope you have space, I hope you have space

You can tell me when I need to pay attention and put me in my place if you find a window for me

Oh, catch me when I fall or lose myself and the last flame or spark

I will let you cry yourself out for a life with me on my cost if you find a window for me

I come all alone and with no pass

I have slept out before

Then I was closer to the real me

The one far from the perfect, little defective me

I thought it was Jesus when you woke me up, but I’m easily fooled

The whole life and the whole world has been on me

So I gave up trying to make them understand me

I can make dinner, its the same for me

What about frozen hash?

I hope you have space, I hope you have space

I come all alone and with no pass

You can tell me when I need to pay attention and put me in my place if you find a window for me

Oh, catch me when I fall or lose myself and the last flame or spark

I will let you cry yourself out for a life with me on my cost if you find a window for me

There’s nothing that interests me anymore

Or feel like a genuine feeling

And it has just started to pour down

So I hope you have space

I hope you have space for me

Again, again, again, again

Every time I’ve wanted to come back home to you

I wasn’t expecting to be able to find a translation of ISÁK’s version, but, surprisingly, I did, and as far as I can tell as a practical non-Sámi speaker (yet) it seems fairly decent. You can find it

here.

My nature has changed, crushed

And it feels no more

It is fitting that it has began to rain again now

I hope you have

Hope you have

Space for me

I don’t ask for much

I could even

Go sleep on the floor

Then I wish that I could

Get away from this pain because

Nothing feels okay

I wish you have space somewhere

In your heart that you got from your mother and me

I hope you have space

Space for me

I am all alone now

Nothing matters

I promise to obey and be good

If you would let me in

Oh, save me when I hurry

Or lose myself

When the last lights have died out

You can cry in my arms

Give me the burden

If you would let me in

I return home again now

Most unfair in the world

How they don’t find peace anymore

When they know who is guilty

And then look for ways that

Must kill the sorrow

But my ownership is in their house

Because of that I don’t have strength to quit

Knocking their door

Even though each wound shouts not to tease

I need you

I hope you have

Space for me

I am all alone now

Nothing matters

I promise to obey and be good

If you would let me in

Oh, save me when I hurry

Or lose myself

When the last lights have died out

You can cry in my arms

Give me the burden

If you would let me in

I hope you have

Space for me

I am all alone now

Nothing matters

I promise to obey and be good

If you would let me in

Oh, save me when I hurry

Or lose myself

When the last lights have died out

You can cry in my arms

Give me the burden

If you would let me in

I hope you have

Space for me

I am all alone now

Nothing matters

I promise to obey and be good

If you would let me in

Oh, save me when I hurry

Or lose myself

When the last lights have died out

You can cry in my arms

Give me the burden

If you would let me in

Cezinando:

ISÁK: