Tjamtjala

Country of origin:

Denmark

Type of music generally:

Ethereal evocative/eclectic, experimental, strongly influenced by traditional medieval Nordic music

Status:

Sole known release to date, Futh (1997)

See also:

Tjamtjala sound files on YouTube

MySpace page for Marte Schau's current band, Megafon

Site for Marte Scahu's Bulgarian vocal ensemble, Vokalselskabet Glas

Comparisons:

Touches of Agnes Buen Garnas's collaboration with Jan Garbarek, as well as Meredith Monk and Anna Homler.

Covers/own material:

Own

General comments:

The sparse liner notes say: "Tjamtjala. Two voices. Pure, raw and spellbinding. Tjamtjala enchants the Nordic light, the deep, raw and tantalizing, the odd rhythms and harmonies." Somewhat akin to the mouth music of Meredith Monk and Anna Homler, this also has strong influences from medieval Nordic music, so it's a mix of unusual sounds, unusual harmonies, but is melodic, beautiful, and immediately catchy. (Neile)

Recommended first album:

Futh is their only release to date

Recordings:

Futh (1997)

Futh

Release info:

1997—self-released—sponsored by "Koda's Kollective Bandmidler"

Availability:

Hard to find

Ecto priority:

Highly recommended for fans of the unusual

Group members:

Line Tjørnjøj-Thomsen
Marte Schau

Guest artists:

E*** (impossible to read)

Produced by:

Henrik Carfitsen

Comments:

From the liner notes: Futh is a requiem for Balder in oldnorse for two voices—Tjamtjala—a personal ovation to—and inner reconcile between—inherited traditions from churcmusic [sic], folkmusic and nordic mythology." The first track is especially sparse, starting with deep mournful vocals then rising into a grogeous, spare sound. The following songs range this way. "The World's Oath" is a mouth-music-like weaving of light sounds, like Anna Homler or Meredith Monk. "The Game of the Gods" sounds like a medieval hymn. "Breidablikk" reminds me of northern laments—Scottish, Nordic—mixed with angelic harmonies. "Sa Balder" with its insistent beat sounds a little angry (despite the child-like chanting voice). "Nanna Nepsdottir" blends a evocative deep vocal refrain sound with a higher call. "Prayer Of Frigg" is high and beautiful. The urgent beat of "The God's Vengeance" contrasts with vocals lower, darker, but reminiscent of the previous track. The a cappella sparse and vocal weaving of the final track, "Gimle", feels like an abject prayer.
     This is such an unusual album! Dark and light and sparse and richly haunting. I'm really grateful that a reader of this site wrote in to let us know about it. (Neile)