WYN

There is something stunningly eerie about Scandinavian folk music, perhaps even more so than its Celtic cousin, as it somehow conveys the serene iciness of the vast Nordic expanses. It's a contrast of human warmth and polar atmospherics. I love both the Irish-Scot-Breton folk genre , with musicians as diverse as Iona, Blackmore's Night, Clannad, Horslips, Gryphon, Mostly Autumn, Karnataka, Viima, Malicorne, Seven Reizh and Kad as well as even more mainstream artists such as Enya, Loreena McKennitt, Alan Stivell, and the Chieftains. There is so much spirit in this musical genre, whether inspired by proggy or more traditional elements. The Scandinavian prog scene has always infused their major players with loads of colorations that made Landberk, Anglagard, Anekdoten, Sinkadus and White Willow so attractive to fans worldwide. Tiny Norway's Shine Dion is the magical duo of multi-instrumentalist Par Selör and the breathtaking vocalizations of Janne Hanssen , aided and abetted by various side musicians stroking violin, flute, accordion, mellotron, mandolin, saxophone and percussion. Let's just say that the material, the delivery and the moods are simply stellar evocations of a pristine culture that manages to express the myriad of characteristics of this beautiful land. One can hear the crispness of winter snow, the bold envelope of northern winds and the outright majestic landscapes with stunning mountains and fjords, a seemingly endless horizon of sheer splendor. "Wyn" is not complex stuff, yet it is basking in deep medieval melancholia, with no particularly weak track, each one a platform for Janne's angelic voice and some soothing mostly acoustic arrangements. The legendary mellotron makes a few appearances, perhaps to stamp the proceedings with a clearly prog label, as it becomes quickly evident that this is not new age, traditional folk or world music. This singular detail makes this a most appealing and ultimately crucial addition to any diversified prog collection. Both "Wyn" and the previous debut "Killandra" are surefire winners that will warm your winter nights, when you need to really"chill" after a hard day on the tundra. 5 icebound fjords.

This 2002 release is the last we have heard from the Norwegian duo apart from a single appearing in 2005. Their website remains active so I suppose there is still hope for more of their ethereal blend of Scandinavian and British Isles folk with a twist of light prog. They haven't altered much, with even the backing band remaining largely intact. As on "Killandra", the overall pace is slow and deliberate a la later CLANNAD or earlier LOREENA MCKENNITT. As before, a couple of tracks are relatively energetic, the better of these being the sweet "Waves of Green".

For prog fans be forewarned that they have backed off on the already limited use of lead guitar in favor of violin, which doesn't stop the opener "Flowering" from being both menacing and mesmerizing. "Moonlight Voice" is another favorite, thanks to a simple ascending guitar figure that enhances the guitar, whistles and voice. Finally, the closer "The Valley's Song" is afforded the greatest opportunity to soar in its 7 minute of languid flutes, fiddly bits, and, after a few minutes, the addition of lead guitar and drums. Vocals do not appear until the final minute and a half and reprise the original melody, with Janne Hansen fulfilling a more supporting role, which, I must say, looks pretty good on SHINE DION.

Now, if they could cut back on a few of the type of tracks that become totally predictable after the first 10-20 seconds, like "MIst-Y-Ry", "The Well", "Ocean Rose" and "Mirror Lake", that would be a wyn-wyn, wouldn't it?