Gustaf Ljunggren with Skúli Sverrisson: Along the Low Road
April Records
In being credited with (deep breath) baritone ukulele, mandola, guitars, charango, pedal steel, langspil, tenor sax, flute, bass clarinet, piano, organ, celeste, and synthesizer, Swedish composer Gustaf Ljunggren definitely earns the title of multi-instrumentalist for this splendid sequel to 2022's solo release Floreana. With so many of his instrument sounds composing the arrangements, it comes as something of a surprise that the bass of his Icelandic guest Skúli Sverrisson would be so audible; it not only is, it also provides a warm counterpoint to Ljunggren's textures and a ground for the nine (of ten) tracks on which it appears.
Of course any musician can construct a piece using an abundance of instruments; it's what Ljunggren does with them that makes Along The Low Road special. Always placing composition first, he assembles elements to maximize the intended effect of each piece and delineate its essence. While the settings are concise (only two push past the four-minute mark), they nevertheless unfold with patience, clarity, and intent. Each is a satisfyingly conceived entity that upon completion never feels wanting. The material exemplifies an intimate character, yet it's also expansive, which makes the listener feel invited to share. Hints of jazz, classical, and other genres might emerge, but Along The Low Road is best described as sensitively wrought and meticulously crafted Nordic folk.
Nature often served as an inspiration during the writing of the material, the opening “Lille Skotland” a case in point. A painterly evocation of the rocky coast of Bornholm, the acoustic-driven tapestry captivates instantly with its lilting, open-air flow and swoon-inducing sparkle. Sverrisson's bass weaves smoothly into the arrangement to lend counterpoint to Ljunggren's latticework of guitars. Slightly more animated is “Stevelen,” which again conjures panoramic visions of mountains and skies. Seamlessly merging with Ljunggren's almost bossa nova-like acoustic chords are the twang of pedal steel and woodwinds textures, the blending of elements artfully administered.
A number of different styles are explored. The peaceful title track gravitates in the direction of ambient soundscaping in the state of contemplative stillness it cultivates through the layering of repeating patterns and shimmering textures. Here and elsewhere we witness Ljunggren adopting a painterly approach in the way sounds are woven carefully together. A different, almost Metheny-esque character is achieved in “Letters Melting” when acoustic piano and guitar effect a fluid melding of classical and folk. One might, on the other hand, be a little bit reminded of Keith Jarrett or Vince Guaraldi when the graceful pianisms of “Summer Passing Letting Go” deliver a tender goodbye to the season. With intertwining flute patterns laying the groundwork, “Nine Again,” arguably the album's most elaborate production, could pass for Ljunggren's nod to Glass-styled minimalism, though the overlaying of acoustic guitars imbues the piece with a carefree youthful spirit in keeping with its title. It's certainly also possible to hear Steve Reich in the music when guitars are stacked in a manner reminiscent of Electric Counterpoint.
It's a miniature, duration-wise, but “Tillfrisknandet” nevertheless lasts long enough to clearly articulate its hymn-like dignity. In contrast to many of the other pieces, “Quercian Motto” catches the ear for its dramatically stripped-down design, though its relaxed folk expression is no less endearing for doing so. The only track on which Sverrisson doesn't appear, “Here and Not Here” guides the listener out on an entrancing wave of acoustic picking and pedal steel textures, the uplifting music a gentle yet potent intoxicant. Authentic and fully alive, Ljunggren's Along The Low Road breathes humanity in the truest sense. By album-length standards, its thirty-two-minute duration is modest; its immersive, absorbing music stays with you, however, and invites repeat visits.May 2026