The half-finished heaven

"It's a session replete with beautiful sounds: Seim's soft outbreaths pulsing through the tenor against Ounaskari's deep, sepulchral booms; Langeland's delicately lucid vocal tones against the precise but rough quality of Tomter's viola; mysterious, metallic abstractions displaced by a pulsating viola rapture on Caw of the Crane. There isn't a lot of jazz soloing, but it isn't all on tiptoe - The Magical Bird is a deep, breathy jig and then an urgent groove, The Blue Tit's Spring Song rocks, with Langeland playing a choppy strum instead of her usual lyrical figures. For music (...) so rooted in traditional folk forms, Langeland's themes are often invitingly modern-sounding, too.".

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"Vi er her i fusionsfeltet mellem traditionel folkemusik, jazz og indie - skønt særlig meget jazz er der måske ikke tale om. Det er ret udynamisk ... Instrumenteringen er interessant, der er dvælende, smukke lydbilleder, og Langeland synger med klar vokal. Nummeret "The Blue Tit's Spring Song" skiller sig ud ved at være mere luftigt, i retning af The Incredible String Band".

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