I am admittedly only a recent convert to the cult of Pøbel – the Danish boy band (in the apt words of Malte Zeberg) stealing hearts across the medieval music scene. I was introduced to them by Mia Guldhammer in our interview last month, and considering how fervent her recommendation was, I had to see what all the fuss was about. However, considering I seem to adore anything Mads Kjøller-Henningsen has a hand in, notably Spöket i Köket and the Floating Sofa Quartet, I has had a feeling this would be par for the course in that regard.

And, as predicted, only a few tracks in to their first album, I was hooked. The dedication to the trove of melodies found in manuscripts across Europe along with their incredible musicianship, combined with that aforementioned charismatic boy band energy, brings an entirely fresh and new experience to this medieval style that has long been missing, reminding me of early Krauka and Virelai records. And, further, as my wife Alyssa pointed out, they somehow remind us of a medieval counterpart to Gangar in the way they are jumping into a rich – yet sometimes admittedly stuffy – music scene and injecting it with humor, spirit, and youthful audacity.

So, as if by cosmic circumstance, this lovable band of rascals released their sophomore record In Amicis just as I was coming off the high from recently being introduced to their debut Lux Luminum. With how central the question of medieval “folk” music has been to the channel recently, not only with the noted Mia Guldhammer interview, but also with Björn Kaidel, Anders Norudde, and others, I feel it’s the perfect time to bring readers of the Nordic Sound deeper into this beautiful, eclectic medieval folk music scene through Pøbel’s latest endeavor.

Pøbel is a band that plays captivating and danceable medieval music performed on a multitude of instruments such as the hurdy-gurdy, vielle, bagpipes, lute, shawm and various medieval drums. Bringing authentic instruments, tunes and costumes on to the stage Pøbel is not only a qualified guess on how a renowned “dance band” might have looked like in the late 1400s – it is also one of most busy and ambitious medieval bands in Denmark today! … ”Pøbel” is an old Scandinavian word for ”mob” or ”crowd” and as the name suggests, the approach to the music is that of the common man i.e. the music that ordinary people could have experienced at the faire or at other festive occasions around medieval Europe.

Each of the tunes present on In Amicis are sourced from medieval manuscripts around Europe, echoing the pre-national allure of medieval repertoire (discussed on Nordic Sound #55 with Björn Kaidel), but brough to life in a way that is meaningful to us today. To borrow from Pøbel’s tagline: medieval music for modern ears. And the diversity of sources is truly one of the strengths of this record. We have Nobillis Humilis from the Orkneys (13th c.), Ecco la Primavera from Florence (14th c.), the Galician-Portugues Rósa das Rósas (13th c.), and seemingly a little bit of everything along the way. While all of the arrangements do of course show their own unique local character, what’s striking about this variety is how they all blend together quite nicely as you make your way through the record.

This has much to do with the experience and skill the musicians of Pøbel bring to the table. I’ve already mentioned Mads Kjøller-Henningsen on winds and hurdy-gurdy, but also leading the band on winds is Thor Ahlgren. Together, their playing on various pipes, whistles, and recorders defines much of the album’s sound. On various bowed strings we also have Lasse Væver Jacobsen whose fiddling on Como Déus fez finno d’agua is superb. The tune Douce Dame Debonaire then shows just how well these different melody instruments play off of each other, bringing so much life to these melodies which otherwise lay dormant on pages of medieval manuscripts. Then, of course, holding it all down in infectious rhythm is Magnus Heebøll on percussion and jawharp, whose playing really shines in Cantica Laudis, though of course the percussion is what lends the whole album an irresistible energy and vigor. And, in typical medieval fashion, all of these musicians join in chorus and vocals throughout the record in tracks such as Det gode øl, reminding me very much of the same energy Barokksolistene brings to their Alehouse and Playhouse sessions, interspersing acoustic dance band music with catchy and rambunctious drinking songs.

In honor of the concept of this record as an ode to friendship, there are quite a few guest musicians whose appearances on this record elevate In Amicis to a whole other level. The inimitable Mia Guldhammer (Virelai, Guldganger, etc.) brings a diverse set of songs to the album, from the tear-jerking Ulver & Vænelil to the cheeky Konernes arbejde, wherein the latter you can also hear Frida Höffling sound off the tune with the cowhorn. Cittern player Søren Vinther Røgen (Trolska Polska, Trio Svin) appears on several tracks throughout the record, bringing another layer of plucked strings to even out the fiddles and pipes, while bassist (that’s right, bass gets some love here!) Malte Zeberg (Floating Sofa Quartet, Hialøsa, etc.) joins for several tracks as well. Lastly, Morten Fredberg was brought on to add his charming voice acting as a grumpy innkeeper to Post Taberna. (I do also want to give a shoutout to tattoo artist of Hærvaerk Tattoo for the really incredible album art).

What makes Pøbel and their music a breath of fresh air is that they are a band of fully fledged, world class traditional folk musicians performing medieval music – something we do not see nearly as often as we should. This comes from a tendency in the Scandinavian folk scene (as Mia Guldhammer observed in Nordic Sound #54) to look down on medieval music as something of lesser value or importance than the traditional folk music styles and repertoire. But things do appear to be shifting, as folk musicians look for ways to not only reach new audiences but also to express themselves outside of the more narrow confines of what is acceptable in traditional folk convention. What Pøbel shows us in this regard, especially with In Amicis, is what kind of magic awaits when the medieval repertoire is treated with the same care and respect as the traditional, while also performed by serious, experienced, and highly skilled folk musicians of undeniable pedigree. The result is an album that is, without a doubt, one of the most fresh and exciting medieval folk albums that I’ve ever had the pleasure of getting lost in (repeatedly).

Above all, this album is threaded through with such an infectious lighthearted and spirited energy that is sure to leave a smile on your face throughout most of its runtime, especially by the closing track, “Resonet i Laudibus”, which ends with a slow fading out as if the band’s time has come to be on its merry way to the next town over, leaving you with the quiet lingerings of the whistle line which could bring even the coldest of hearts to raise a glass with an arm around a friend. That is the magic of Pøbel, and the beauty of In Amicis.

Pøbel, “In Amicis”

Vanvidd, “Avlivsritualer”