Hanne Hukkelberg-'Blood From A Stone'.
Did you know that Norway has an average temperature in January of minus 13 centigrade? Or that for two months in winter the sun never rises above the north horizon? So what you might ask? Well, it suddenly makes the mood of Hanne Hukkelberg’s ‘Blood From A Stone’ a little easier to understand.
The release of the Norwegian natives’ third album to date marks a change in direction for the thirty-year-old singer/songwriter. While ‘Little Things’(2005) and its follow up ,‘Rykestrasse 68’(2007) were noted for their clash of jazzy, electronic sounds, ‘Blood From A Stone’ feels more reserved and muted, taking on an almost dreamlike quality. It is at times bright and gentle, but later delves into the darker realms of human existence. Produced by long-term collaborator Kare Vestrheim, the ten tracks are filled with strange field recordings of seagulls, train doors and old school desks. Hukkelberg creates her own soundscape, a kind of organic background where her miraculous voice can be brought to the fore.
First track, ‘Midnight Sun Dream’ is a slow build of synths with a simple drumbeat that works well with the song. The song then progresses with the building and overlaying of vocal harmonies and instruments, including a warm, steady bass line. The climax is an elated burst of vocal gymnastics from Hukkelberg as she reaches for some of the highest notes in the album with perfect ease.
‘Bandy Riddles’ continues the theme of audio elation with an interesting structure of discordant guitar chords and rich, deep cello which sometimes seem slightly off key. Notes sound as if they are being bent before snapping back into pitch, and this only serves to make the song more enjoyable and more unique. This could be down to Hukkelberg’s insistence that all instruments be tuned by ear. It may also contribute to a more organic feel which is noticeable in the album as a whole. The bridge creates a genuinely heavenly moment as Hukkelberg’s voice ebbs and flows through a progression which is reminiscent of Radiohead’s ‘Kid A’.
From this point on the mood of the album takes a very noticeable change in direction. While previous tracks contained a feeling of warmth and comfort, songs such as, 'No One But Yourself’ and more prevalently, 'Salt Of The Earth’ seem darker, even oblique. The former is a nihilistic lullaby of discordant guitar and the strange, eerie whistle of recorders which sound out of place amid the howling of her voice. The latter begins with the mournful chords of a church organ, complimented by the quiet hush of a male choir. The theme is unmistakable. The listener is present at a funeral procession, with Hukkelberg leading the troupe. Her voice this time is low, powerful and controlled directing each word to the listener.
This is an album which concentrates on the voice and the emotional power it has over the listener. At times it takes us to the heights of elation and at others, wraps us in claustrophobic nihilism. In general ‘Blood From A Stone’ is a strong, unique and interesting album but at times the mood can feel overbearing, almost depressing. Hukkelberg’s voice is so pure and perfect that emotion bleeds out effortlessly. Perhaps bundling all of the more uplifting tracks together at the start was not so wise. Spreading them out throughout the track list would have added some breathing space and made the experience even more enjoyable. However, this is a wonderful album despite its small drawbacks, with an affecting quality that will last in memory long after the final song has been played.