That Jan Garbarek was an early influence should come as no surprise, for the same mystical undercurrents that inform his own music are undeniably present in hers (refer especially to Mari Boine’s appearances with the saxophonist’s eponymous Group).
And in “Langt innpå skoga” (Deep in the Woods), a scrim of frost clings to Langeland’s raw voice, reflecting jazzier denouements from Seim and Ounaskari that speak of urban climes far in the distance.
(A solo version of “Langt innpå skoga”) “Stjernestund” (A Moment of Stars) and “Treet som vekser opp-ned” (The Tree That Grows Upside Down) take on a decidedly mystical air.
The album’s outer circle is inscribed by way of “Erbarme Dich” from Bach’s , which seeds the opening and closing tracks by way of profound lament.
In the absence of words, “Le Sacrifice” (Bach’s aria appears in the Tarkovsky film of the same name) holds on to the text of the moment.
The latter, as fed through her five-octave concert kantele (different from the one pictured above) is striking enough to preclude the need for voice.