The breaking of boundaries, both in the stylistic and geographic sense, is strongly encouraged among the performers of new Nordic folk music, often with excellent results. A fine example of this is the multinational band Frigg. Alina (fiddle), Esko (viola, fiddle, nyckelharpa, harmonium) and Antti (double bass, fiddle, viola, harmonium) Järvelä represent the newest generation of the most celebrated family of Finland's pelimanni tradition. Likewise, Gjermund and Einar-Olov Larsen (both on fiddle and Hardanger fiddle) come from a similarly renowned Norwegian musical family. With Petri Prauda (cittern and mandolin) and Tuomas Logrén (guitar and dobro) providing support, Frigg not only cross musical borders between Finland and Norway, but also delve into Irish and American folk traditions as well. Its members have put their own distinctive stamp on the new Nordic folk genre with this, their self-titled debut CD.

The opening notes of the brief, fast-paced opening track "Meltaus" will immediately rope in fans of JPP, the most famous purveyors of the pelimanni style. Despite the use of guitars as accompaniment instead of the harmonium, the debt Frigg owe to the tradition is unmistakable. With the second tune "Särö," the combination of guitar and cittern becomes more prominent, and Frigg begin to more clearly carve their own niche as a result. The non-Finnish elements of the band's sound begin to emerge on the next two tunes. First, Frigg try their hands at a Swedish-sounding polska titled "Nuorten Miesten Spieli." This is followed by a tune, composed by Gjermund Larsen, for a Norwegian dance called a halling. The band gives this tune a distinctively American flavor with a prominent dobro and the addition of drums, played by guest musician Rami Eskelinen.

"Eliaxen Speli," another short traditional tune, contains a couple of interesting twists. Its minor key melody evokes some of the edgier Swedish polskas, but the arrangement is clearly Finnish, and the 6/4 meter of the tune defies any easy categorization. Frigg then promptly hop back to Norway with "Salmetone," a somber tune somewhat resembling a slow air, performed by the two Larsens on hardanger fiddles. "Antilope Island," arranged by Antti and Esko Järvelä, brings back the ensemble fiddling heard on "Meltaus." This tune soars with energy, thanks to the driving rhythm of the guitar and cittern. It would take an exceptionally gifted player of the more stately and traditional harmonium to match the spark which Logrén and Prauda provide for Frigg on this track.

On "Takomistanssi/Ruuankummi," Frigg shift effortlessly between jig and waltz rhythms, inserting a sliding dobro into the mix to color the sound even further. Anchored by strong melodies, this is the best piece on the album. Two more strong tracks, the Finnish jig "Egi" and the bluegrass foot-stomper "Ril," reflect the band's willingness to play anything. Yet somehow, none of the styles sound out of place or unnatural in Frigg's hands. "Kotkanpää" starts out as a fairly standard pelimanni piece, but the tune becomes more distinct with the presence of the dobro and a few hints of dissonance in the arrangement. The polska "Matts Näsi" opens quietly with the cittern and guitar by themselves, but soon the fiddles and drums turn it into a rousing celebration. The album then closes with "Eräänä Kauniina Päivänä," a more subdued polska featuring JPP's Timo Alokatila on piano.

Like JPP before them, Frigg have taken what was handed down to them, and brought in multiple outside influences to redefine the sound in a way that suits them. And also just like JPP, the tunes are catchy, the harmonies are tight and precise, and the playing is flawless throughout. It will take more than one album for Frigg to make a serious claim to the title of standard-bearer of the pelimanni tradition, but the band has certainly made an encouraging step in that direction with their first CD. Another album is in the works, and Frigg are currently preparing to open for the great Swedish band Väsen in the headlining show of next month's Nordic Roots Festival in Minneapolis. I'm looking forward to it.