Reviews published in press
"Mari Kalkun has released one of the most spectacular debutalbums of this decade's Estonian music scenery. Sterile and impersonal studio sound is usually the biggest lapse of many folk artists. Mari’s album is recorded mainly at home and maybe this is the reason why her sounding, mellow voice and meditative melodies create a very intimate atmosphere."
// Margus Haav, Postimees, 6th October 2007 //
"Mari Kalkun’s prime record confirms the inital impression that her music is very personal and genuine, she is a musician who’s songs represent her own, not songwriters’ soul. Young lady who accompanies her singing with guitar, kannel (traditional Estonian harp), piano and accordion is the author of all melodies, at times also the author of the lyrics. Her songs are unsophisticated ja crystal, their simplicity and transparency is especially sensible because of her voice which stands close to the listener and musical instruments which accompany it sparingly. Different trends, including old and modern Estonian folk and also some flavour of American and British folk music of 1960ies and1970ies might be heard in her music.
Even though the album lasts only meagre 40 minutes, it contains a number of beautiful songs like intimate "Loe kümneni" (Count To Ten), sorrowful "Uni tulõ" (The Sleep Is Coming) and "Kevadaimus 1951" (Spring 1951) which atmosphere reminds me of young Joni Mitchell and a piece for accordion "Coup de chance" which comparable with the famous waltz from Yann Tiersen film "Amèlie""
// Joosep Sang, magazine Muusika, November 2007 //
"Already a week before the young Võru-Kihnu girl’s debute in Tallinn a good friend of mine keeps bombing me with e-mails à la "music doesn’t get any better than this" and tries to attract me to Kalkun’s concert. [-]
Certainly, in the beginning I have trouble turning down the self-confident and cynical filters of "I-have-seen-everything-from-Ron-Sexsmith-to-damn-Bob-Dylan-himself". But these first sentences from Mari’s lips and the atmosphere in the room filled with it’s own spirituality and men with glasses and sweaters collides in it’s naivism against the harsh "metropolitan" cocoon."
// Mihkel Raud, Eesti Päevaleht, 6th October 2007 //