Review: Mari Boine ‘Alva’

Ever since her first release in 1985, Mari Boine has been one of the most prominent forces in the Sámi music scene. Bringing forth traditional joik into modern folk and beyond, she gained a level of global recognition when Peter Gabriel re-released her 1989 album Gula Gula. But where others might have compromised in order to ride a wave of commercial popularity, Mari Boine did quite the opposite.

Not only did she fight back against the softening of her culture to make it more palatable, but her subsequent music showed absolutely no artistic give. This is the music of her people, interpreted in her way, and that is more important than anything else. She has always been a rebellious figure even amongst peers who, just by the nature of what they do, are already rebelling against oppression.

Sápmi is the area which covers the northern parts of Norway, Sweden, Finland and Western Russia, and the indigenous Sámi were highly discriminated against for much of the history of these nations. While the cultural and societal views may have changed, as with so many indigenous people, discrimination of the Sámi still exists within government policies, historic bureaucracy and corporate greed.

As I am not of Sámi descent, I won’t take it upon myself to tell their story, but at the bottom of this review there are links to some great resources should you wish to learn more about Sámi history, culture and music.

My personal journey into Sámi music started during a trip to Helsinki in 2019, and a chance viewing of a film called Birds In The Earth. Its message and visuals affected me deeply, and the soundtrack, provided by Sámi singer Wimme Saari and his regular collaborator Tapani Rimme, grabbed me with a grip that never let go.

It led me into an exploration of the world of Sámi music, and within this, I found some truly brilliant artists. Amongst my favourites are the traditional joik of Nils-Aslak and Niko Valkeapää, the minimalism of Johan Anders Baer, the sublime melodicism of Sofia Jannock, the rhythmic jazzy tones of the aforementioned Wimme, the psychedelic pop of Katarina Barruk, and the boundary pushing electronica of Isák.

They are all tied together by the unique structural beauty of their different languages, as well as the tradition of creating music that connects deeply with nature. However, Sámi are nomadic people who are sparsely distributed across a huge area. So, while there are ancient cultural and linguistic ties which link them, there is also a diversity that allows for a stunning breadth of sound.

Alva is absolute proof that Mari Boine remains as innovative, rebellious and powerful as ever…

Mari Boine continues to be a pioneer, and her albums Idjagieđas and Leahkastin are amongst my absolute favourites. Though electronic music has often played an element in her sound, Alva feels like her best embrace of synthesisers yet. Working with regular collaborator Svein Schultz, Mari and her band have created a sublime electro-acoustic world that evokes trip-hop, ambient, folk, pop and nu jazz without ever letting the music overwhelm the voice.

The opener Die dien luohkkái is an enveloping introduction, sliding through Sigur Ros style ambience but with a gentle force that leads into the swirling, percussive hooks of Dánsso fal mu váhkaran. It’s an opening couplet that sets the tone for the two distinctive types of song on this record, as well as the back and forth structure of the album.

On the one hand you have the more ambient tracks where the voice is primary. Olamuttos letne ain is full of slow, soft instrumentation balanced with pulsating deep bass and layers of ethereal voices. Mu eadni builds incredibly with a solemn yet tear jerking hopeful feeling, while Oainnestan delivers sparse, floating lines that twinkle and glisten in the background. The tracks Mieđušteapmi and Rohkos are pure minimalism that allow the voice to serenade beautifully and with a remarkable intimacy. Her use of joik is often quite sparing on Alva, which makes it even more impactful in the moments when it appears.

On the other hand, you have the more groovy, rhythmic tracks. Oidnojuvvon sees Mari’s voice wrapped in a bouncing, funky yet melancholic instrumentation, while Vuoi beaivi don eallima addi brings together guitar heavy folk with a middle section where strings, brass and woodwind seem to melt into one. Áhkánsuolu combines layers of driving guitar and bass that sit behind a humble but highly evocative vocal performance. Várjalivččet min vuolláneames has an intensity and strength, where the voice is backed by thumping beats and slices of industrial noise. Similarly, Anárjoh gáttis combines big hooks and dark instrumentation that feels like a mash of future and past somewhere between Björk and Beth Gibbons.

The closing track Lean dás is an astonishing duet with Ella Marie Hætta Isaksen. Formerly of Isák, she is one of the most prominent young vocalists in Sámi music. Listening to two such distinct voices from different generations twirl and mingle together, it feels as if they are discovering sonic connections and harmonies through an unstoppable ancestral force. It’s a magical, infectious and truly joyous way to close the album.

Considering the quality and creativity that is pouring out of the Sámi music scene, it would be easy to not consider a veteran such as Mari Boine as being at the forefront anymore. But Alva is absolute proof that Mari Boine remains as innovative, rebellious and powerful as ever. Her style has evolved across the years, and through her many albums and collaborations, she has allowed her voice to permeate different sounds. On Alva, this experience all comes together, and it would be hard to argue that this is not her best work yet.

As mentioned earlier in the review, below are some links to Sámi history, culture and music.

https://www.saamicouncil.net/en/home/
https://www.samer.se/2987
https://en.wikipedia.org/wiki/S%C3%A1mi_peoples
https://web.archive.org/web/20100326054014/http://home.earthlink.net/~arran4/siida/sami-yoik.htm

Label: By Norse Music
Band Links: Facebook | Bandcamp | Spotify | Instagram

Scribed by: Will J