New albums from Zenobia and Karen Mose

Zenobia
I Vintermørkets Hal

Go’ Danish Folk Music GO1810

Karen Mose
Vingefang

Go’ Danish Folk Music GO0310

Finally, vocal albums seem to be getting a little less rare in Denmark, and this pair are real gems. The second release from Zenobia is very apt, an album for winter, as soft, drifting and mystical as snow itself, but with plenty of warmth. The trio of voice, accordion and piano is filled out with guests on several cuts, always to excellent effect, whether it’s harmonica blending with accordion on the instrumental “Julepolonaise” or a string quarter offering sublime backing to the gentle “Der Er Ingenting I Verden Så Stille Som Sne.” Across the entire disc the arrangements are wonderful, never a note more than is needed, stripped down yet wonderfully full. There are surprising moments, but always there’s ample beauty. These three women are really used to each other now, and there’s a sense of confidence and adventure in what they do here, which is making something that’s essentially timeless. Many of the words and melodies are old, some have religious origins, but Zenobia moulds them so there’s a sense of the whole, a real flow to the entire album. With this they really fulfil the potential they showed on their debut.

Karen Mose is on the disc, singing backup (with others) on one track. But she takes centre stage with Vingefang, a mix of traditional and more modern material that’s a perfect delight. Working with a relatively small group, there’s ample imagination going on here and some absolutely stellar performances, not least from Mose herself. She’d said in an interview that she wanted to use songs she’d heard growing up, and most of these probably are. But they’re refracted through an adult prism, so “Hamborger Bro,” for instance, is filled out, and has a glorious organ solo as its climax. Even a common song like “Lørdag Aften” is transformed, using just voice and bouzouki. Dobro and pedal steel feature often, to great effect, whether as atmosphere on “Sorgen” or spice on “Blomstrende Jasminer.” The connecting thread is Mose’s voice, a superbly sensitive instrument that’s as effective overdubbed on “Farvel Min Ven” or on the indie-folk sounding “Tåren.” About the only piece that seems slightly out of place is the country song “Sig Mig” – not for the song, but because it seems more grounded than the others, which have a lush, floating quality. That’s nowhere more true than on the opening title track (from Mose’s own pen), an odd melody that becomes quite psychedelic with swopping strings and voice working together over some excellent drumming, and ending up in territory halfway between Mazzy Star and “Lucy In The Sky with Diamonds.” Karen Mose has been an excellent singer for years. The only question is, with this so good, why did it take her so long to make a solo record?