01	Polska Efter Pelle Fors						03:31
	02	Fortvivlans Polska (Desperation Polska)						02:14
	03	Haxpolskan (The Witch Polska)						02:28
	04	Skavlaten (The Chafing Tune)						03:06
	05	Olbackens Polska						04:12
	06	Sarna Gamla Brudmarsch (Old Sarna Wedding March)						03:57
	07	Multihalling						03:01
	08	Fulinghalling (Scamphalling)						05:41
	09	Polska Efter Olof Tillman						04:34
	10	Doplaten (The Baptism Tune)						00:46
	11	Polska Efter Hins Anders						01:43
	12	Lacknafta						03:13
	13	Bjornlaten (The Bear Tune)						03:53

www.noside.com

Anders Stake: fiddle, hardanger fiddle, 3 stringed keyed fiddle, Swedish bagpipe, bowed harp, Jew's harp, wooden flute, bass willow pipe (of PVC), (Swedish) fiol, hardingfela, moraharpa, svensk sackpipa, strakharpa, mungiga, sjoeflojt, bas-salgflojt (av PVC)

Bjorn Tollin: frame drum, string drum-hurdy-gurdy, 3 stringed keyed fiddle, (Swedish) tamburin, slaglira, moraharpa

Hallbus Totte Mattsson: lute, baroque guitar, hurdy-gurdy, (Swedish) latluta, barockgitarr, lira

This debut record was recorded and released in 1989 as an LP, but only released as a CD in 1993. The core trio which founded Hedningarna - Anders Stake, Hallbus Totte Mattsson and Bjorn Tollin - plays without any guest artists. The songs are all instrumental and are of a more traditional Swedish folk music type, with most compositions written by Anders Stake. All songs are acoustic. It sounds like a more sobre album when compared to their ensuing CDs, probably because it lacks the fine vocal acrobatics of the Finnish singers, and no electronic effects. In spirit it is very close to the Bla Bergens Borduner recordings, which Anders Stake also played a central role in.

Label: Alice Musik Produktion

Songs
Polska efter Pelle Fors (3.30, Vikbolandet trad)
Fortvivlans polska (2.10, Anders Stake)
Haxpolskan (2.23, Anders Stake)
Skavlaten (3.02, Anders Stake)
Olbackens polska (4.05 Anders Stake)
Sarna gamla brudmarsch (3.51, trad)
Multihalling (2.58, Anders Stake)
Fulinghalling (5.33, Anders Stake)
Polska efter Olof Tillman (4.35, Dala-Floda trad)
Doplaten (0.44, Anders Stake)
Polska efter Hins Anders (1.44, Mora trad)
Lacknafta (3.10, Anders Stake)
Bjornlaten (3.49, Ore trad)


Hedningarna, Hedningarna (Alice Musik, 1989; reissued by Northside, 2001)


This is the album that got the Hedningarna phenomenon going, a richly textured, darkly fascinating instrumental album by the "core" trio of Bjorn Tollin (frame drum, string drum, hurdy-gurdy, moraharpa), Anders Norudde (fiddle, hardanger fiddle, moraharpa, swedish bagpipe, bowed harp, jews harp, wooden and pvc bass flutes) and Hallbus Totte Mattsson (lute, baroque guitar, hurdy gurdy). On more recent albums, the group has expanded to include other players and some dynamite vocalists, most recently exploring the roots of Swedish folk traditions in Russia on Karelia Visa.

This Northside re-release brings a stunning album to North American audiences for fans who've liked the more recent discs and want more. As you may suspect, dear reader, I'm about to go into paroxysms of enthusiasm for the band and for this disc; in other words one of my gushing rants of extravagant praise. Please be assured that it is deserved. There is real magic here, made through a finely tuned sense of the way these traditional instruments should fit together with the tunes.

The album opens with "Polska after Pele Fors," a traditional with roots in an older era, an exotic, yet stately song played with what sounds like restrained passion -- dramatic and slightly dissonant. Hedningarna continues on, combining Norudde's originals with traditional numbers, without a missed step or a clunker on the disc. This is truly impressive for a debut, and it sounds as compelling now as in 1989. It is difficult to pick favorites, because they are all good. There is also a good balance between the wind and stringed instruments on melody, giving the disc a good flow across the tunes.

"Multihalling," a Norudde original, contains a great sense of a lilting conversation between the dark tones of the fiddle and one of the lower stringed instruments, guitar and frame drum -- I'm guessing here because the tracks do not have detailed information about instrumental arrangements. It pairs stringed instruments in melodic exchanges, along with minimal, but effective, rhythm and percussion. The result is something that sounds at once ancient and experimental. I hesitate to use the world music moniker here, with the associations of heavy percussion and over-obvious synthesis. But it is apparent that Hedningarna have a deft sense of how to make their material seem fresh, interesting and yet unmistakably drawn from an old musical substrate -- bedrock even. The wails of the strings, the way the flutes slip between notes, the subtle rhythm and the exotic sounds of the bagpipe and hurdy gurdy show why Hedningarna has since become something of a phenomenon.

"Doplaten / The baptism Tune", another original, is reminiscent of something klezmorim might have played in the last century, yet it satisfies today's listener with the deft percussion that keeps up a tension around the melody, building to a slow climax. The other standout is a traditional entitled "Sarna Galma Brudmarsch / Old Sarna Wedding March," which features a wailing melodic line on bagpipe that seems to hail from points deep in the heart of Asia. It's slow and not entirely happy (one doesn't know what to think of this wedding), reminding us that every new beginning is also an end to something as well. There are also several great wooden flute interludes that wail quietly, with that lonesome sound only the flute can make. At the risk of totally abusing imagery, in the introduction of "Fulinghalling / Scamphalling" I had the sense that the North American flute-playing deity Kokopelli had somehow become misplaced and was searching for his desert home, playing an eerie whistle tune while a low drone provided a sense of the wind blowing him around.

This is a not a fast and loud album, instead creating its sense of mystery at a deliberate pace that combines tension and grace. It's great music for keeping the mind active -- it never quite lets you go as you listen, but it doesn't force anything either. Norudde is a great composer who captures an old soul in his original tunes, while making music that is very accessible to contemporary sensibilities.

[Kim Bates]

Northside has a dandy site that points to several Hedningarna sites and sound samples.




Hedningarna by Hedningarna

In the late 1980s, Hallbus Totte Mattson, Anders Norudde and Bjorn Tollin found that in spite of totally different musical backgrounds they share the same basic groove, and a desire to go far back for the roots of the Old Norse culture.

These three formed the core trio that is Nordic supergroup Hedningarna. "Hedning" means "heathen" but also "unfaithful:" this band from the beginning has set its own course. Anders started to invent and build new instruments so that they could produce the sounds they were hearing in their heads.

Acknowledging their infernal groove, Hedningarna soon became the most popular band for dancing in Sweden. In 1989 the trio recorded this, their first album, a set of instrumental dance tunes.

Following this release, they joined forces with two Finnish women singers making a quintet that created a trailblazing sound and led the Nordic charge onto the world music scene in the 1990s.



"...the stark beauty of these eerie tunes can melt your igloo." -- Playboy


1 Polska After Pelle Fors 3:30
2 Fortvivlans Polska / Desperation Polska 2:10
3 Haxpolskan / The Witch Polska 2:23
4 Skavlaten / The Scrape Tune 3:02
5 Olbackens Polska 4:05
6 Sarna Galma Brudmarsch / Old Sarna Wedding March 3:51
7 Multihalling 2:58
8 Fulinghalling / Scamp Halling 5:33
9 Polska After Olof Tillman 4:35
10 Doplaten / The Baptism Tune 0:44
11 Polska After Hins Anders 1:44
12 Lacknafta 3:10
13 Bjornlaten / The Bear Tune 3:49






====================

Kaksi - SRSCD 4717
Released 1992

1. Juopolle / Gone to Sot
2. Kruspolska / Charmer?s Polska
3. Vottikaalina
4. Chicago
5. Viktorin
6. Aivoton / Brainless
7. Fulvalsen
8. Pal-Karl
9. Kaivonkansi
10. Skamgreppet / Siljan Line
11. Grodan / Toadeater / Widergrenen
12. Omas Ludvig
13. Kings Selma


TRA! - SRSCD 4721
Released 1994

1. Tass'on nainen
2. Min Skog
3. VargTimmen
4. Gorrlaus
5. SkrauTval
6. Pornopolka
7. Raven
8. SaglaTen
9. Tuuli
10. Tappmarschen
11. Tina Vieri

Kruspolska: SASHA mixes - WOKCD 2041
Released 1994

1. Kruspolska - single mix
2. Kruspolska - Munchkin Mix
3. Vottikaalina - album version
4. Kruspolska - album version

HIPPJOKK - SRSCD 4737
Released 1997

1. Hoglorfen
2. Navdi / Fasa
3. Drafur
4. Dolkaren
5. Bierdna
6. Kina
7. Forshyttan
8. Dufwa
9. Vals i fel dur
10. Skane
11. Graucholorfen

REMIX PROJECT - CDZING 17 / ZING 17
Released 1997

1. Dolkaren - Vocal radio edit
2. Bierdna - Spiral Trax Remix
3. Dolkaren - Redneck Hillbilly mix
4. Bierdna - Freestyle mix
5. Dolkaren - Max Reich mix

KARLEIA VISA - SRSCD 4744
Released 1999

1. Veli
2. Mita Mina
3. Alkusanat
4. Neidon Laulu
5. Ukkonen
6. Metsan Tytta
7. Stapals
8. Viima
9. Heila
10. Vispolska


GET all HEDNINGARNA records at http://www.indieshop.com




SANNA KURKI-SUONIO
Vocals

A member of HEDNINGARNA since 1991

TELLU PAULASTO
Vocals

A member of HEDNINGARNA between 1991 and 1996

ANITA LEHTOLA
Vocals

Replaced Tellu in 1996

BJORN TOLLIN
Tamburin, Vevlira, Slaglira, Octapads, Strakharpa, Moraharpa,
Ramtrumma, Programming, Sampling, Fogsvans and more

A member of HEDNINGARNA since the beginning in 1987

ANDERS NORRUDDE (former STAKE)
Fiol, Hardingfela, Moraharpa, Masmoraharpa, Strakharpa,
Svensk sackpipa, Salgflojt, Ko- & Get-horn he plays on anything

A member of HEDNINGARNA since the beginning in 1987

HALLBUSS TOTTE MATTSSON
Luta, Teorb, Lira, E-fiol, Mandora, Mora-oud, Slaglira and more

A member of HEDNINGARNA since the beginning in 1987

ULF ROCKIS IVARSSON
Basmandora, Bas, Drums

A member of HEDNINGARNA between 1997 and 1999





Related New Nordic Folk Music

The following Scandinavian groups are also very interesting from our point of view. If you enjoy listening to Hedningarna, you most probably will also like some of the bands below. Both of us, Thomas and Martin, started listening to the groups below after getting hooked on Hedningarna when they came out. We try to give you some tips on which of the CDs to buy, if you're interested in getting started with one of the groups CD's.

We're constantly impressed with the number of great groups which exist, and how much more excellent Nordic music can constantly be unearthed!

If you have questions or want to know more about contemporary Nordic folk music, join the mailing list we created for this! As far as we know, it is the only mailing list for this kind of music!


Bla Bergens Borduner
A band with four members including Anders Stake. One CD is released which was recorded in 1991. Great instrumental acoustic music that reminds a bit of Hedningarna's first album. Instruments played are: bozouki, hurdy-gurdy, cello, hardanger fiddle, fiddle, moraharpa, flute and a lot of Swedish bagpipes.

Mari Boine

Mari Boine is a Norwegian Lapp singer, doing what's called world music. She does not refrain from bringing in all kinds of instruments to accompany her in her Lapp jojking traditions such as Andean instruments, which complement her ethereal singing very well. Her voice is a special penetrating, magical one, which ranges from soft whispers which hover in the air and almost collapse, building up to crescendos, demonstrated in "Eagle Brother" in Goaskinviellja (Eagle Brother) (1993). Check out her discography. In 1994 Leahkastin was released, which seems to have a fuller, riper quality to it. Some people do not like to see Lapp singing mixed up with other instruments in this way, but by doing so, it accents her other-worldly voice. She has also released Eallin CD in 1996 (live) and just recently (Sept 1998) the acclaimed Balvvoslatjna (Room of Worship).

Recommendation for first-time listeners: Leahkastin

Den Fule
A raw mixture of Swedish folk and some funky rock with jazz undertones, they can be very hefty at times without being too heavy, very rhythmical. Den Fule (http://www.cabal.se/mnw/xource/denfule/index.html) combine the sharp howling of an electric guitar and the roar of saxophones with a repetitious, suggestive rhythm. Instruments played by 6-7 musicians from the groups Filarfolket and Groupa include: guitar, fiddle, flute, baritone and soprano sax, percussion, drums, bass. They have two records which are both excellent in their different ways: Lugumleik (1992), which is basically instrumental, with some very quick songs and won the Swedish Grammy for folk music in 1993; and Skalv (Shake) (1995), which also has male vocals. Some of the musicians play in other groups today, such as Ola Backstrom, Jonas Simonsson (Groupa), Sten Kallman.

Recommendation for first-time listeners: Lugumleik and/or Skalv.

Garmarna
Garm is the giant hound from Hel in Nordic mythology (may be equated with the Fenriswolf), who is chained up and howls until Ragnarok (Norse apocalypse), where he fights Tyr, both dying in the process. Garmarna, the howling wolves from northern Sweden, have already sprung their chains and are musically speaking on the loose! They have released four CDs so far: Garmarna (1993), Vittrad (Weathered) (1994), Guds Speleman (God's Musicians) (1996) and Vedergallningen (The Revenge) (March 1999). Lyrics accompanying all CDs are intense.

These 5 musicians are probably the group which play music which is closest to Hedningarna's in spirit, feeling and modern innovative spirit. Four guys playing hurdy gurdy, fiddles, harmonica, drums, djembe, darbuka, lute, electric guitar and E-bow plus the entrancing, penetrating vocals of Emma Hardelin also make for extraordinary listening. It is a voice which is very stable, is straight as an arrow, but bites into the core of your musical consciousness. The full sound the guys provide around Emma's voice, the "fat" drums which really go "dump-dump", bagpipes screaming in titles like "Varulven" or the sheer pulse on "Herr Holger" - all in all one of the best buys if you enjoy the new genre of electronic influenced Nordic music. Read this review for a colourful Garmarna praise! Or subscribe to Garmmail (garmarna@massproduktion.y.se) (just ask to be included).

Recommendation for first-time listeners: Vittrad and Guds Speleman.

Gjallarhorn

Gjallarhorn, a quartet from the Swedish part of Finland, has an excellent, epic debut CD called Ranarop - Call of the Sea Witch (1997). They are aggressively modern while still being very closely tied to both folk musical traditions and ancient mythology. The heart of the band is a mixture of fiddle, didgeridoo, percussion, mandola, fronted by the sometimes ethereal vocals of Jenny Wilhelms. The songs deal with mystical events, witches and gods and the woes of the sea, but they are carried on a contemporary sound. The old menuets, ballads and waltzes of Sweden and Swedish speaking Finland are given new life in the hands of this band. Instead of synthesizers, they rely heavily on the droning rasp of the didgeridoo, which lends both a modern feel and an ancient tone to most of the songs. Wilhelms voice is splendid, beautiful, but with a slightly sharp edge that befits both the subject matter and the music. Don't be surprised if this band makes a more international name for itself in the coming years. In the tradition of folks like Hedningarna, Gjallarhorn speak in tongues and their music reaches you though the language barrier with effortless beauty and strength. See more.

Groupa
Groupa has gone through many changes since it's inception in the early 80's. Their first CDs were Av bara farten (1983) and Vildhonung (Wild honey) (1985), both packaged in one CD nowadays (I know little about these). The third was Utan Sans (Senseless) (1988), when Hallbus Totte Mattsson used to play lute, 6- and 12-stringed guitar with them. He also played with them in their fourth album Manskratt (Moon laugh) (1990), in which Lena Willemark also participates with her great vocals, see below - it also received the Swedish folk Grammy in 1991. Today Groupa has changed from the more acoustic, traditional, sound it used to have when they were 5 members, and sounds more worldly with Tina Johansson's Afro-percussion and Rickard Astrom on keyboards or Jonas Simonsson's flutes and sax. In their latest CD Imeland (1995), only Mats Eden (fiddle, accordion, viola d'amore) are left from the old formation. This CD won another Swedish Grammy for folk music in 1996. Great music, strongly flavoured by Mats' extremely skilful fiddle-playing, but with a rounder sound. A compilation can be found for the American public called 15 years.

Recommendation for first-time listeners: Imeland

Gunnfjauns Kapell

Gunnfjauns Kapell is Gotland's (Swedish island in the Baltic Sea) best known folk band, at times even singing in the very distinct Gotland dialect! Albums we know of are: Sjelvar (1992), Naudljaus (1995), and the epic Volund (1998). Gunnel Mauritzon, a music-teacher from Gotland, is the organising talent behind this group of 5, which play: flute, guitar, oboe, tinwhistle, bodhran, 3 fiddles, bagpipes, Hardanger fiddle, fujara, drums, mandolin, accordion, spoons. There is some clear Irish influence in some songs, which does not disturb it; otherwise, it is only Gotland's music. The last CD, Volund, is the musical background to the musical about the mythical Volund, a smith and a dwarf, which includes some hair-rising pieces sung by the large accompanying choir.

Recommendation for first-time listeners: Naudljaus

Hoven Droven
Hoven Droven is Swedish heavy folk-hard-rock at it's best! Lively, it commands your feet to dance, has a good rapid, helter skelter beat! These 6 guys from northern Sweden have released two equally good CDs: Hia Hia (1994) and Grov (Coarse) (1996). In my opinion these are a must in your collection! Instruments which they dazzle with are fiddle, bass, harmonica, trumpet, accordeon, flugel-horn, percussion, sax, drums and guitars. A potent brew.

Recommendation for first-time listeners: Hia Hia and/or Grov

Me Naiset
Me Naiset (We Women) is a Finnish all woman a capella group with six members today, that sings traditional Finno-Ugric music as well as their own material. Anita Lehtola and Sanna Kurki-Suonio were once members of the group. One album was released in 1995. These Ingrian and Setuland songs can sound odd and hard to an "untrained" ear.

Lena Willemark and Ale Moller

Both Lena's and Ale's discography list must be very large. In all, 8 CDs I have at home with them. Ale and Lena are also playing together in many groups, and are often guest artists for others.

Lena is the productive dame of Swedish folk music, she always seems to be producing another CD, or participating in one. Lena plays the fiddle and sings with a voice unequalled in richness in Sweden. This northern Swede has fine sensitivity and strength, and is a delight to hear when she explodes in her expansive dialect!

Ale Moller is a multi-talented southern Swede from Scania who plays flutes, octave-mandolin, shawn, accordion, trumpet, bouzouki, hammered dulcimer, lute, percussion, folk harp, and probably other instruments I know little of.

Enteli is composed of Ale, Lena, Johan Soderqvist (keyboards), Bengt Berger (percussion) and Jonas Knutsson (saxes). They have released two CDs: Enteli (1994) and Enteli Live (1997), in which they play Swedish folk and improved music. They are excellent live, but sound very free, improvised and jazzy.

Other CDs where both appear together are: Nordan (1994), a magnificent piece full with medieval ballads, with plenty of known Swedish known musicians, including Bjorn Tollin. In 1996 two more CDs appeared: Hasten och Tranan (The horse and the crane) was music to a theatre-concert based on a novel by Sara Lidman; and Agram. Many of the musicians in Groupa also appear in both the CDs.

Another musician the pair also plays with is Per Gudmundsson, on bagpipes and fiddle - the trio then being called Frifot. Check out both Frifot (1991) and Jarven (Wolverine) (1996). Both CDs are extremely lively, bo Lena sings in a fine jazz-oriented with pianist Elise Einarsdotter Senses (1993).

The master trio Moller, Kallman and Ringdahl play exclusively with brass instruments on Vind (1994), a hauntingly beautiful CD with traditional tunes from Gudbrandsdalen in Norway and Dalarna in Sweden.

Recommendation for first-time listeners: Nordan (1994)

Phonix / Dug

Phonix is one of the few Danish groups which are somewhat well-known, releasing their debut CD Fra asken till ilden (From ashes to fire) in 1995. Recently they released another CD Ubrud (Outbreak). They are 5 musicians playing: piano-accordion, bass clarinet and clarinet, recorder, bagpipe and 3 fiddles. They are acoustic oriented, and play the friendly, light, entertaining folk, of which the song "Bodumhopsa" is typical. The effect of a bass clarinet instead of a bass guitar is a real eye-opener!

While this band is somewhat in the tradition of Sweden's Filarfolket and other folk-roots bands of Scandinavia, Phonix treads its own course. The band plays fiddles, bagpipes, accordions, clarinets and whistles, with a variety of percussion from around the world. They use folk tunes for the basis of their original work, adding jazz and other world-folk elements to the mix to give it an expansive feel. It can be driving, like the dark, rhythmic push of "Karavanen." They are at their best when the music is less dense, and the band has room for each instrument to work its way to the forefront. "Siker S?k" (sound sample) is the prime example of this approach, with a lively combination of bagpipe and accordion, then percussion and fiddle and other combinations as the song slowly goes through the melody, first in a baroque round, and then in a jazz improv. There are lively tunes, Latin grooves over Danish polskas and serene baroque airs, each showing off the elemental quartet with little studio effect or overdubbing.

Dug has two members belonging to Phonix, which plays some glad songs, others being more mystical, singing dark tales about Sigfried and the dragon Fafner in Danish (!) in Beware of Fafner (1997). Songs are traditional, but the array of instruments is much wider than in Phonix. Uppity songs like K?llingen and Wildhassen are extremely infectious!

This quintet is exploring how to merge new ideas with the old songs of Denmark, and are succeeding. The band is centred around the saxophones and bass clarinet, squaring off with accordion, hurdy-gurdy and fiddle, and held together with a solid, inventive rhythm section of bass and drum kit. The tunes on Beware of Fafner are mostly traditional or a mix of trad/original, moving through slow romantic waltzes to wild and woolly dance numbers. The arrangements are assured, not too far out and full of instrumental colour. The singing is rough-hewn and befits the darker, minor key songs that feature vocals. Dug is a good example of how far the Danish folk music scene has come and how far it will be able to go.

Recommendation for first-time listeners: Beware of Fafner

Sorkar och Strangar
Sorkar och Strangar (Gophers and Strings) is a small Swedish group with roots in the live role playing association "Gyllene Hjorten" (The Golden Deer). Totte has been playing in Sorkar och Strangar sometimes.

Sorten Muld
Sorten Muld (Black Soil) is a Danish folk music group that plays middle age ballads in a mix of traditional and new techno styles.

Tilja

Three young Swedish women playing traditional Swedish folk music on fiddles and keyed fiddle. The group has released one CD, Tilja (1997) which is really good, but they should be experienced live. That's when they prove their skill and enthusiasm.

Valramn
The trio Valramn reqruited a bass player a while ago as the fourth member. Shortly after that the Swedish band released the very good debut album, Lure. Great instrumental music with fiddle, bouzoki, flutes, bass, swedish bagpipes and of course hurdy-gurdy played by master Harald Pettersson.

Varttina
In Karelia, Finland, we have the excellent world famous group Varttina that also plays music with Finnish/Russian/Baltic historical roots. Compared to Hedningarna the music is very much based on strong female vocals, but the instrumentation is different with much accordion along with fiddle, guitar, bouzoki and bass. They released their first album in 1987. Seven albums are made so far. Varttina (1987) and Musta Lindu (1989) as the 20-piece "children"-group. Oi Dai (1991) and Seleniko (1992) during the great acoustic breakthrough period. And Aitara (1994) and Kokko (1996) as the more commercial, but still great period. In August 1998 their seventh album Vihma was released. Founder and ex-member Sari Kaasinen released her very good pop sounding CD Emo in June 1998.

Our recommendation for first-time buyers: Aitara.

Vasen
The most musicians in Nordman, except Hakan Hemlin and Mats Wester, actually form another group Vasen (Spirit or Noise) and are only hired by Nordman on recordings and tours. Vasen also performs separately with their own material, which is more traditional.

Wimme Saari
This is the Finnish Lapp jojker who became known to many Hedningarna fans for his participation in Hippjokk. After this CD I started looking into his work more closely, and it differs quite considerably from that which is to be heard in Hippjokk. Wimme (1995) and Gierran (1997) are both CDs with Wimme's at times throaty/raspish, at times velvety jojking in the forefront, with support from keyboards and quasi-psychedelic programming by Tapani Rinne. He has also participated in Rinneradio (Joik, Unik, Dances and Visions, Rok). It is incredible to hear how jojking can differ, and how he really can jojk an object (weathervane), an adjective (strong) or a natural occurrence (boiling spring, fog) to life. It is not music for those expecting the Hedningarna type of music, as expressing himself through his singing is Wimme's thing! It is mostly very calm music. Reviews can be found here.

Recommendation for first-time listeners: Gierran



Ordering
If you want to order records by these artists, info can be found on the ordering page.