fribo

Reviews

Songlines – May 2007 **** Their door is always open…
Album Review by Fiona Talkington

There are a growing number of groups covering the sort of material which Fribo perform. But I’ve yet to hear anyone with the variety and finesse of this young trio: the Norwegian singer Anne Sofie Linge Valdal; the Scotland-based singer and Hardanger and fiddle player Sarah-Jane Summers; and Ewan MacPherson, who plays guitars, mandola, Jew’s harp and sings too. The story goes that they met around a table in Edinburgh in 2003.
A huge amount of thought has gone into the production of this album. It’s far more than a collection of tunes: it flows immaculately, and there’s plenty of space to enjoy each individual’s skills. Linge Valdal opens with a Norwegian welcome song, which takes us into some typically Norwegian Jew’s harp playing from MacPherson, before we find ourselves seamlessly enjoying traditional Gaelic mouth music from Summers. There are fiddle tunes, jigs, gorgeous evening psalms from Norway (with imaginative percussion from guest musician and producer Fraser Fifield), haunting bowed mandola, and a hypnotic tune from Lancashire.
The trio describe their music as a collision of traditions; it’s certainly one which has sparked a vast amount of creativity without ever losing a sense of the music’s roots. Above all it’s an album that’s brilliantly produced, fun, moving, engaging, adventurous and a sheer delight from start to finish. Fribo translates as open house, so take it as an invitation to step in and meet them.

Rock n’ Reel Vol No 2 March/April 2007 ****
Album Review by Danny Moore

Fribo are an Edinburgh based three-piece comprised of members hailing from Norway (vocalist Anne Sofie Linge Valdal), Scotland (Sarah-Jane Summers-fiddle and vocals) and England (Ewan MacPherson-guitar mandola and vocals) and The Ha O’ Habrahellia is their debut album.
What immediately strikes you is the freshness and zest emanating from the trio. And whether it’s the hauntingly beautiful voice of Valdal, their up-tempo reading of Norwegian tune sets or the enthusiastic working of a set of bagpipe tunes, it’s all wonderfully addictive.
There’s plenty of magic in their own arrangements too, particularly on their hypnotically engaging acid-folk-style ‘Beneath The Fir Trees’ and a spooky ‘Nu Solen Gaar Ned’, not to mention the inventive trad-meets-techno of’Hei Huskomi Hei’. On ‘I Mine Kate Ungdomsdagar’ it’s the plaintive fiddle work of Summers that creates the required atmosphere. Another fine release from Fellside.

Dirty Linen no130 – June/July 2007
Album Review By Kerry Dexter

Not your everyday Celtic acoustic trio, nor your everyday Norwegian one, either. Fribo has taken varied influences from Norway, England and the Scottish Highlands to create a sound that is both unique and entirely part of tradition for it’s debut recording. Anne Sofie Linge Valdal, the Norwegian in the group, handles most of the lead singing in a fine and natural voice that communicates the emotion of her songs and invites the listeners to join in, even if they don’t understand Norwegian. British guitarist Ewan MacPherson offers lead singing on several of the tracks in folk-based tenor voice and also fine backing guitar, guitar solo and bowed mandola.
Sarah-Jane Summers is the Highland fiddler, hailing originally from Inverness and bringing that lively and rich tradition into the mix. Outstanding tracks include MacPherson’s take on a 19th century reading of the Beltane story, Valdal’s quiet, reflective version of a Norwegian evening hymn, “When the Sun Sets in the West,” and a set of three pipe tunes called ‘The Wife She Brewed it” put over to fiddle by Summers.

Taplas No 141 - May 2007
Article By Keith Hudson

“…Essentially, Fribo’s ethos is to create new music out of old ingredients and , if their album – reviewed elsewhere in this issue – is anything to go by, they do so with considerable aplomb.

Album Review (Sally Clayden)

Fribo are at their best when the three instruments of guitar, fiddle and voice stand alone, interweaving and working together in seemingly simple arrangements, with no need of any additional atmospherics. Billed as “new music from the old north – three cultures – one sound”, they are singer Anne Sofie Linge Valdal from Norway, Scottish fiddler Sarah-Jane Summers and guitarist Ewan MacPherson from England.
First impressions, appropriately enough, are that their music has a strong sense of place. The high, clear voice of Anne Sofie beguiles, particularly when she’s singing (the Norwegian equivalent of… E.M ) Port-a-beul Gaelic mouth music, while the distinctive violin and Hardanger fiddle playing of Sarah-Jane is a revelation – so light and jaunty in one tune, all darkness and brooding in another. Ewan’s guitar is particularly effective and inventive in sets like the great Moro g Far.
These are very assured, expert in developing contrasting emotional colours within a tune. Typically a song will start with voice and simple guitar backing, adding in darker elements and minor chords after a verse or two. Particularly enjoyable are the Hardanger set and the På Snei/Port-a-beul set, which simply swings along with lightness and energy.

Oxford Times - April 6th 2007
Live Review

‘New band Fribo showed they will be a force to be reckoned with in years to come’

Netrhythms – May 2007
Album & Live Review by David Kidman

This is a bit of a departure for the Fellside label, known primarily (albeit not exclusively) for its English folk releases. Let’s leave aside for now the perhaps slightly Tolkienesque “baggage” of the group name, and concentrate on what this new multi-national trio has to offer. Which is actually some distinctly intriguing and inspiring music: it’s dubbed “new music from the old north” on their press release, and that’s not a bad description as it turns out. In fact, what a wonderful sound they make: though largely traditional-sounding, it’s also an astute and highly unusual blend.

Only a few weeks ago, Fribo appeared at the Celtic Connections Festival; I saw them in York shortly after that, and they certainly made a very strong impression with their unique combination of talents and musics. And although they’re based in Edinburgh and include an element of Scottish traditional music in their mix, it’s probably fair to say that Fribo’s biggest influence comes from Scandinavian music. In that regard, straightaway you notice they’re blessed with a striking vocalist, the young Norwegian singer Anne Sofie Linge Valdal, who sings clearly and most beautifully in the approved traditional style.

The other two members of Fribo are equally splendid however: Sarah-Jane Summers (fine fiddle and hardanger fiddle player and 2003’s Scottish Young Traditional Musician finalist, who’s already worked with the Unusual Suspects and Malinky) and Ewan MacPherson (excellent and innovative guitarist, who’s appeared on albums by Malinky, Alasdair White, Croft No 5 and The Unit).

For their debut album, then, Fribo present a compelling sequence of songs with a few tunes intermingled. And although the vocal portions of the album include examples of both traditional and recently-composed Scandinavian song (some by Anne Sofie herself) and some lively and groovy Port-a-beul (mouth-music), what’s most special about Fribo is the way they blend these and other ostensibly disparate sources so creatively and yet naturally. Take track 3, where Sarah-Jane has adapted part of a Norwegian melody (itself uncannily like a port-a-beul) to resemble a Scottish jig, the peculiar rhymes of its lyric being sung in a delicious, typically scattish mode. Wordless scatting occurs on several tracks in fact, even during a pair of lullabies which incorporates eerie drones both vocal and instrumental.

There’s some experimental use of programming and sequencing (courtesy of Fraser Fifield) which expands and enhances the acoustic textures on some tracks, but the overall sound of the album remains admirably uncluttered, pure, cool and refreshing. Programming adventures aside, there are other really inventive touches, such as Ewan’s use of a bowed mandola on the Norwegian evening psalm Ned I Vester and a chiming, tolling backing for the peaceful Nu Solen Går Ned, both absolutely enchanting effects. As is the deliciously rhythmic wordplay of the children’s song Hei Huskom I Hei. Two of the vocal tracks are sung not by Anne Sofie but by Ewan: his own new setting of a Runeberg text Beneath The Fir Trees (which the composer Sibelius had set) is dark and beguiling, and The Beltane is a hypnotic and enigmatic neo-Pagan offering.

Among the purely instrumental tracks, The Wife She Brewed It is a vivacious adaptation by Sarah-Jane of three of her favourite pipe tunes, while on the track 7 set she plays a Hardanger halling tune in “a very Scottish style”. Its potentially impenetrable, somewhat tongue-twisting title aside, Fribo’s debut is full of masterly, intoxicating impressionism, a seriously rewarding and intensely original album which may well end up on my year’s-best list come November.

Fiddle on – June 2007
Album Review by Tom Bell-Richards

Fribo are a young trio: Anne Sofie Linge Valdal, a singer from Norway, and from Scotland, Sarah-Jane Summers (fiddle) and Ewan MacPherson (guitar). This CD, their first, feels much more Scandinavian than Scottish. It opens with Anne Sofie's voice, unaccompanied, very traditional. The other two then join in with Hardanger-ish fiddle, plus funky rhthym guitar and jew's harp. It is extremely well done. A lot of the CD is built around "sung tunes", wordless singing or words chosen for rhyhtm rather than meaning, often in short alternating phrases, again with guitar and fiddle. The depth of simplicity here is tremendous. Infectious rhythms stand next to haunting beauty. There are two darkly-worded songs from Ewan and one pure strathspey set from Sarah-Jane. Altogether it's an impressive piece of work, and comes accompanied by extensive notes in a bilingual booklet. Short of a track by track description, I'll just have to recommend it highly.

fRoots May 2007 No.287 (Thumbs Up Rating)
Album Review

Skilful and deservedly rising Edinburgh-based trio featuring Norwegian singer Anne Sofie Linge Valdal’s light, high-register vocals, fiddler-singer Sarah-Jane Summers and Malinky’s Ewan MacPherson on guitar, mandola and vocals. They bring a new trans-North-Sea perspective and ideas to well-chosen, non-obvious trad songs and tunes, mostly Norwegian with some Scottish and originals.

Sing Out! - 6th June 2007
Album Review by Chris Nickson

With a mix of Norway (singer Anne Sofie Linge Valdal), Scotland (fiddle/hardanger fiddle/vocals Sarah-Jane Summers) and England (guitarist and singer Ewan MacPherson), Fribo conjure up a unique, sometimes magical sound on their debut. Valdal possesses one of those ineffably high, clear voices only Nordic women seem to attain, and she uses it go great effect. There’s plenty of peurt-a-beuil (mouth music) from both Scotland and Norway, although it’s changed around a little–sometimes played instead of sung (or even sung fiddle tunes). Summers is highly accomplished on both fiddle and the Norwegian hardanger fiddle with its sympathetic strings that’s showcased perfectly on “Hardanger Set.”

The programming that’s used here and there occasionally benefits the music, whilst at other times it seems intrusive; it needs to be felt more than heard. The choice of material is superb, far from the folk mainstream, with “Beltane” a standout. It’s hypnotic, a Scots song by way of Lancashire. It’s very simple at heart, based over what’s really a waulking rhythm, and with a compelling atmosphere. Indeed, atmospheric is a term that could be used about the entire disc.

Fribo have emerged with a sound that’s entirely their own, a hybrid where all the parts create equal tension. What can seem low-key is subtlety, a less is more ethos that works beautifully. Welcome Fribo to the world of folk.–CN

Alt.Celticmusic.com
Album Review

FIRST HEARING: Scotland meets Norway for a wee session? Not quite as this is much more organised than that, in fact it's all quite tasteful, the music, the booklet, the concept. Probably more of a challenge than your normal Celtic albums but well worth having a listen as those involved all have a ++ history and they are not just doing this for fun.

The Herald, Monday April 2, 2007
Live Review by Rob Adams

Fribo with Auvo, Scottish Storytelling Centre, Edinburgh ***

Northern Streams has been a consistently interesting strand of Edinburgh's traditional arts celebration, Ceilidh Culture, continuing the good work of the Queen's Hall's much missed Across the North Sea series in promoting links with Scandinavia.

Whereas Across the North Sea often imported its attractions, Northern Streams this year was able to call on two Scandinavians currently resident in the UK, Anna Haglund and Anne Sofie Linge Valdal.

Haglund's opening fiddle duet with Sarah-Jane Summers of Fribo was a striking introduction, combining lilting gracefulness with those slightly vinegary Nordic harmonies to fine effect. Haglund then joined the English half of Anglo-Finnish quartet Auvo, adding her sweetly expressive singing and sinewy fiddling to Tom Oakes' flute and Julian Sutton's accordion in a set that roved across the European dance catalogue with no little skill.

Anne Sofie Linge Valdal's native nous and Summers' enthusiasm for the Norwegian tradition and able embracing of the hardanger fiddle have given Fribo one of the most distinctive sounds on the Scottish folk scene.

Joined by guitarist Ewan MacPherson and augmented here by Paul Jennings' cajon (a Peruvian box finding increasing favour among percussionists), they focussed largely on Valdal's attractively percussive songs. MacPherson's lyrical reading of Beltane, with its tale of odd goings on in a Sutherland wood, together with very effective bowed cittern and pipe tunes skilfully transposed on to Summers' fiddle add further flavours to a group that may not yet be quite the finished article but offers much to enjoy.

Inverness Courier - 16 March 2007
Live Preview / Article

Norse influences and a dash of Highland inspiration

TRADITIONAL trio Fribo may take their musical influences from across the North Sea, but fiddler Sarah-Jane Summers received her own musical education rather closer to home, writes Calum Macleod.
The sole Scot in the band, alongside Norwegian vocalist Anne Sofie Linge Valdal and English guitarist Ewan MacPherson, Summers will be back on home ground when Fribo appears at the Crown Court Hotel tonight as part of the Eden Court in Exile programme.

Her family farmed at Dell of Inshes for five generations and she was taught to play by the great Highland fiddle tutor Donald Riddell, whose other pupils include Wolfstone’s Duncan Chisholm, Bruce MacGregor and Iain MacFarlane of Blazin’ Fiddles.
“I was one of Donald’s last pupils and I was very lucky to be taught by him,” Summers said.
“He was completely inspirational.
“He had such knowledge, not only of the music, but of the stories behind the tunes.”

Though she was taught in the Highland style, the Scandinavian influence in her music also goes back to her childhood in Inverness.
“My parents met in Norway and my mum is a Norwegian speaker,” Summers explained.
“They used to get cassettes of Norwegian music to play and I was always surrounded by the music.”
Always inclined to mix Scottish and Scandinavian styles, Summers has taken it one step further with Fribo and also plays the traditional Norwegian hardingfele or Hardanger fiddle.
Unlike its Scottish cousin, the Hardanger fiddle has an extra set of strings which run under the fingerboard and vibrate sympathetically when the other strings are played.
“That can give you a big, full sound, a very sweet sound. I love it as much as the Scottish fiddle, but because it’s a different sound, it’s just another string to my bow,” she said.
“The Scottish fiddle is more suited to playing fast jigs and reels, while the Hardanger fiddle is good for slower tunes.”

Scandinavian music has taken on a higher profile in Scotland in recent years and has always influenced the repertoire of Shetland fiddlers in particular, but Summers takes the music a step further, not only because she plays an authentic Hardanger fiddle but because her bandmate Anne Sofie Linge Valdal sings in Norwegian.

“People respond to the beautiful sounds,” Summers added. “We’ve had a great response. Fribo’s album was launched in January and it’s been really popular.”

The band has played many festivals and venues in the UK and Europe since the musicians first came together in 2003, among them the Skye World Music Festival, the Orkney Folk Festival, and Celtic Connections, and is to tour Norway in May.

“It’s only in the last couple of years we’ve really made a big effort with the band, but it’s been a good process,” Summers said.

Her own CV includes playing with the band Malkiny, touring with the Grand Union Orchestra and appearing with the Unusual Suspects, but she is also in demand as a teacher on both sides of the Atlantic having recently taught courses at the Swannanoa Gathering in North Carolina and two miles up in the Rocky Mountains of Colorado.

Along with her teaching and band commitments, Summers continues to give solo performances and is currently recording her own album with guest musicians including fiddler Gordon Gunn and Liz Knowles, formerly of Cherish the Ladies.

“It should be out by the end of the year and hopefully I’ll get some gigs for that,” she said.

Hopefully that will also include a return to Inverness.
“It’s good for me to see the old faces,” she said.