-
Anna Malmström
Clarinet/Bass clarinet
Clarinetist Anna Malmström is a folk musician deeply rooted in the urban folk and world music scene of Sweden. With a strong connection to Nordic folk music, she seamlessly blends Eastern European melodies, jazzy solos, and poetic taksim improvisations inspired by Ottoman traditions. Known for her rich timbres and curiosity, Anna constantly explores new ways of musical expression. Since 2014, she has toured extensively with groups such as Sallyswag, GKN5, World Band, Ale Möller’s Xenomania, and the Erik Dahl Ensemble.
-
Thomas Eriksson
Guitar/composer
Guitarist and composer Thomas Eriksson specializes in Nordic folk music. A graduate of the University of Music and Drama in Gothenburg (2016), he has built a diverse career as a theater musician with Västanå Musik & Teater among others and as a freelancer in projects like MOJNA and GKN5. Thomas has also composed music for various theater and dance performances.
-
Tuva Færden
Hardanger Fiddle
Hardanger fiddler and vocalist Tuva Færden is among Norway’s leading folk musicians. While rooted in traditional Norwegian music, she often explores other musical worlds, including South Indian music, which she studied during multiple trips to India. Tuva integrates these influences into her voice and Hardanger fiddle performances. Recently, she has gained recognition for her innovative projects, including her commissioned work for Førdefestivalen 2024.
Quotes
“The album (Väntenätter) as a whole evokes a calm in me as a listener. The production is impeccably good. The individual voices come through clearly, at the same time as they complement each other and produce a rich soundscape. Almost no tones seem redundant on the album, and the three musicians stand out as incredibly united in the way they develop the songs.”
“The guitar playing is so active, densely packed with details, nice musical lines, and clever, almost invisible tones, that the music constantly draws me in and makes me listen focused. I experience it almost as poetic in the way he strikes the strings. On one and the same stroke, he brushes out a whole series of tones which are then tied together into tender phrases.”
— NRK (Norwegian Broadcasting Corporation)
“The band has grown during their three years together, creating an inviting, mellow sound as the instruments weave knowingly around each other in rich tapestries and delicate, chamber-like shimmering textures”
“…it’s an album of beauty and imagination”
— Songlines Magazine
“This album (Väntenätter) is the best antidote for the over produced glam pop pantomime we often associate with that competition (Eurovision)”
“MOJNA’s music has credence and credibility within the cognoscenti.”
— Irish Music Magazine
“With this unique lineup - something my senses have never experienced before, and I believe not many others have either - MOJNA once again invites us into its highly special and fascinating universe. It is extraordinarily easy to feel at home there.”
— Nettavisen.no
“There is a palpable sense of closeness and security in the music. It is atmospheric with strong power and energy. The trio breaks new ground in folk music, due to the great freedom in their creation and their ability to move with great and improvisational ease through diverse musical landscapes.”
— Opulens
“Eriksson/Myhr/Malmström’s (MOJNA) first but hardly last album, För sola skin' på tak, is chosen as the album of the year in this category, where guitarist Thomas Eriksson's exquisite compositions are formed in close, listening interaction with Helga Myhr on Hardanger fiddle and Anna Malmström on bass clarinet. A record that we returned to throughout the year. Continuously evocative music to both rest to and be revived by.”
— Lira Musikmagasin
"Creative clarinet/bass clarinet, Hardanger fiddle and guitar lines (plus Myhr's stunning vocal parts) dovetail in an exquisite highly original mix of inventive counterpoint and sparkling melodies. This is a beautiful musical conversation, worthy of recognition on an international level as one of the best recordings of 2022."
— Barry Livingston, Wholenote Magazine