Atmospheric, authentic and truly beautiful. They’re all words that have been used to describe the music of Belgium’s Naragonia Quartet. With good reason, too – the Quartet’s fourth album, Nehalennia, is a triumph.
Release Date: 7th November 2025
Label: Trad Records
Formats: CD / Digital
THE SOUND OF NARAGONIA
Our attention was drawn to Belgian collective Naragonia Quartet by their attention-grabbing appearance at this summer’s Shrewsbury Folk Festival; their sound is familiar, yet unique – it has been described as ‘the sound of Naragonia’ – with beauty and authenticity forming cornerstones of everything they do.
Naragonia formed in Flanders in 2003, originally as a duo – a form in which they continue to perform and record. Naragonia – the duo – and the Naragonia Quartet are, effectively, two separate entities with a common core.
The Naragonia Quartet are: Pascale Rubens (accordion, violin and vocals), Toon Van Mierlo (accordion, bagpipes, sax, clarinet, bombarde and whistles), Luc Pilartz (violin) and Maarten Decombel (mandolin and guitar). Nehalennia is the fourth album from the Quartet, and it follows the group’s 2018 offering, Mira.
GODDESS OF THE SEA
It’s Limosa, the most recent of the three singles to preview Nehalennia, that gets the album underway. It’s sharp and it’s punchy, with violins and mandolin providing a solid foundation for an aural assault of accordions. The music is disciplined and highly controlled, yet also fluid and joyful. Named after a Celtic goddess of the sea, Nehalennia, the album’s title track, is slower but no less melodic. Accordion, bombarde and plucked strings create a rich fusion of sound, as the tune assumes a rather stately air.
The Celtic references in Heppiestep come across clearly as Toon’s bombarde makes its presence felt. The tone is initially sad and reflective, before things take a turn for the free-and-easy after the violins and accordions step into the breach. Another of the early singles, The Mistle Thrush opens with a snatch of song from the titular bird, before gently-plucked strings take over to provide a tasteful backing to the smooth blend of accordion and bombarde. The feel is sorrowful and wintry at first, but the warmth increases as the tune progresses and Maarten’s guitar lines add the final sparkle.
ENLIVENING AND UPLIFTING
And it’s Maarten that sets the pace for the galloping Yowjef, the album’s lead single, with a driving, percussive, guitar rhythm. Violins soar above the chorus of accordions and the overall effect is enlivening and thoroughly uplifting.
If the ‘Andy’ referenced in the title to the excellent We All Steal From Andy and We Love It is fellow accordion afficionado Andy Cutting (a known admirer of the Naragonia Quartet) then I’m sure that he’ll be very flattered. The track is a happy, exquisitely-structured set of accordion tunes and, if it IS meant as a tribute, I’m sure that Andy will love it. As will everyone else who hears it.
A RANGE OF EMOTIONS
It’s Toon’s pipes that take centre-stage for the breathless Desman, a quickfire set of reels that are guaranteed to get any performance space dancing and swaying, before the pace is changed abruptly for the lovely Dr Sue. Accordion and violin combine delightfully for a tune that spurs a range of emotions, from sad reflection to unfettered joy.
Anyone expecting Paddy’s New Hair to be a wonderful, light, fast-paced set of jigs will be right on the money. Every member of the band gets a look-in here, with accordion, fiddles, pipes and guitar all taking a turn in the spotlight.
ROUSING FINALE
The title to closing track, Vanellus is a reference to the sound made by the wings of the lapwing and those sounds are reflected in the wild flurries of violin, bombarde and guitar as the band put all of their energies into a rousing finale. The tune is, perhaps, the most vibrant track on an album that is never lacking in energy or pace. It’s another breathless tune and the perfect way to round off an excellent album.
Listen to Yowjef – the album’s lead single – below:
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