Ifran Frammande Land
Ditt Ditt Darium works with two sung and two bowed voices: singers Johanna Bölja Hertzberg and Ebba Jacobsson and fiddlers Emma Reid and Alicia Björnsdotter Abrams. The Swedish provinces of Hälsingland and Bohuslän, England's Northumberland and Welsh Gower are all represented in the backgrounds of the members and the repertoire of the group. The four voices make for a stark contrast between the raw lure of a unison melody and a complex weave of four intertwining parts. Melodies are stories, words are rhythm. Ditt Ditt Darium played together for the first time in 2003 and have since toured the US and Sweden and appeared on both American and Swedish radio and TV. In November 2007 they released their debut album, 'Ifrån främmande land'. The simple line-up has proved very versatile and the repertoire spans from elegant polskas to drinking songs, from groovy to lyrical. For a long time Ditt Ditt Darium has had a particular love of songs connected to coasts and seas: Music that travels. Music for travelling. REVIEWS: by Tom Bell-Richards FiddleOn magazine, Issue 25 Winter/Spring 2008 DITT DITT DARIUM Ifrån främmande land Svensk Musikproduktion SMP108 This CD has Emma Reid playing fiddle... What? You need more recommendation than that? Okay, there's also Alicia Björnsdotter Abrams so that's two superb fiddle players. Their excellent CD of Swedish twin fiddle music 'Grovt och grant - Rough and Shiny' was reviewed here in issue 22. When you add voices of Ebba Jacobson and Johanna Böjla Hertzberg you have the foursome 'Ditt Ditt Darium'. (It's roughly Swedish for 'Hocus Pocus', spoof church Latin and title of the opening track.) So, quite tricky to bring off, two fiddles and two female voices, all in a similar range, but the result is magical. The fiddles weave a complex tracery around the voices, beautiful and decorating, never intrusive, simultaneously strong and delicate. At times there's an intimacy to it all that makes listening feel almost like an intrusion. All but two of the songs are in Swedish, but given the sound of the language, that's fine by me. The playing and singing are immaculate even when they use 'microtones', utterly deliberate notes just off the normal scale. There's a lot of sheer charm to it too, as when 'The Gower Wassail' is sung in a delightful Swedish accent. And then there are those gently heart-warming harmonies... Yes, I liked it. Tom Bell-Richards FiddleOn magazine, Issue 25 Winter/Spring 2008.