These two superb, yet contrasting, releases hail from Denmark. Phonix are the more overtly "trad" of the two acts, with a largely song-based repertoire. Of the fourteen tracks on Pigen & Drengen, ten are songs, all of which have traditional lyrics. The music is mostly based in the tradition, but adapted and arranged by the musicians who comprise Phonix.

Those musicians are, in a word, sublime. Jesper Vinther Petersen is one of that rare breed of piano accordionists with the necessary facility to "multi-task" -- really bringing out the best from this hugely versatile instrument. Melody, counter-melody, rhythm, chordal accompaniment, dynamics, you name it, it's all happening between this man's fingertips and those keys, buttons and bellows. Katja Mikkelsen motors right alongside him in the melody department with violin, flute and recorder. While she's equally accomplished on all three, it was the recorder that stood out for this listener -- perhaps because it's largely regarded as a rather genteel, school orchestra instrument in my country (UK). In the hands and lips of Mikkelsen, it's a different beastie altogether, every bit as "kicking" as Paddy Moloney's tin whistle. For the vast majority of folk groups, the choice of bass instrument is a straight one between either the upright or guitar variety. For Phonix, it's neither, the role being filled by the Bass clarinet of Anja Praest Mikkelsen. It's an instrument that works beautifully in this context. The reedy tones compliment the accordion perfectly, while its thick, dense resonance provides a mightily "organic" platform for the violin, flute and recorder to spring from. Completing the awesome instrumental firepower of Phonix is Jesper Falch, who is quite simply a staggeringly inventive percussionist. Vocalist Karen Mose Norgaard has the sort of voice which belies her youthful appearance, full of depth and maturity. She particularly excels at the type of dark, narrative ballads for which UK folk journalist and "scenester" Peter Paphides coined the term "spooky folk." "Drommen" (The Dream), and "De 7 Brode" (The Seven Brothers), are superbly arranged examples of this genre, indeed "Drommen's" opening lines are "The night is heavy and black..." They're the kind of songs that Loreena McKennit fans go ape over, but whereas the Canadian has a tendency to utilize her full range of warbling, operatic histrionics, it's Norgaard's impeccable use of restraint in her vocal power that gives her singing its captivating, slightly menacing sensuality.

In short, Phonix haven't put a foot wrong in the creation of this CD, and its appeal should extend far beyond Denmark and the Danish Diaspora. Folks who love either (or both) Celtic music and traditional British balladry will find plenty of familiar reference points to entice them into this intoxicating album. The CD booklet helpfully provides translations for the linguistically challenged, and there's enough similarity in many of the words for the language barrier to be far from impenetrable.

The three men and two women who comprise Instinkt are all hugely admired and experienced musicians in their native land. Hur is therefore the debut release by what amounts to a Danish folk super group. The listener's attention is grabbed from the opening seconds by the thunderous snare drum of Vivi Di Bap, closely followed by the urgency of Martin Seeberg's flute, the soaring violins of Soren Korsho and Louise Vangsgaard and the pulsating bass of Malene D Beck. If you locked Ian Anderson, Chris Leslie, Ric Sanders and Gerry Conway in a studio for six months, with a Danish phrase book, a pile of jazz CD's and a hurdy-gurdy, there's a chance that they'd emerge sounding similar to this! In addition to their incredible multi-instrumental talents, all the members of Instinkt are credited as vocalists, and demonstrate a remarkable range of stylistic approaches. Sometimes there's a single voice delivering lines over sensitive, minimal accompaniment, other times the voices punctuate the surging power of the instruments with repeated, unison phrases, comparable to Kila. Now and again, one of the male vocalists really lets rip in that uniquely Scandinavian high, keening style that's felt equally in both the ears and diaphragm. You know, the one that induces epilepsy in dogs and mass outbreaks of hand waving in festival crowds. Festivals seem to be the natural environment for Instinkt. This is an often-colossal sound, full of rhythmic complexity, melodic intrigue, and powerful anthems. That "super group" appellation is more than a lazy cliché -- this is a group of musicians able to combine their immense individual talents with real, palpable verve.

Hearing these CDs as a solitary listener in front of stereo equipment, Phonix gets the vote as my first choice. If I had a few friends round, or (even better) was at a large, outdoor festival, then Instinkt would be the way to go. Oh, what the heck -- they're both wonderful, buy the pair of them!

[Stephen Hunt]