- Denne innspillingen er en ren tilfeldighet, og ville ikke ha kommet i stand om det ikke hadde vært for én omfattende og meget uheldig omstendighet, og en mindre men desto heldigere en. Pandemien må bli en viss motvillig takk til del, all den tid disse verk hverken ville ha blitt skrevet eller langt mindre innspilt uten den. En heldigere omstendighet var en tilfeldig bemerkning som falt etter en konsert hvor jeg nettopp hadde fremført de fleste av disse miniatyrene: «...men dette er jo en plate!». Dagen etter ringte jeg Audun Strype og spurte når han var ledig. - Ole Martin Huser Olsen 

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The pieces in this album are characterized by deep musical contrasts, and have at first glance little in common other than the circumstances of their conception. Despite this, two, almost parallel musical directions gradually crystallize themselves. The first axis goes a return trip to Hamar. And the music on this journey embraces both the unfamiliar as well as the more recognizable. In other words, it gradually meets our expectations. Here Lauri Supponen’s musical icon is left outside and alone in the end. Naturally. It is a different art form than the rest. It is anyway an epilogue. And a foreshadowing of future recordings. The second axis starts with Charlotte Piene’s piece and ends with Lauri Supponen. The listening goes from the concrete and material to the gradually more abstract. Until we, in Supponen’s icon and every-day confession, lies on the verge of the transcendental. Hopefully above. If so, Rui-Rahman's trip to Hamar might seem like a misunderstanding. Which it is. For the simple reason that he did not write that piece. It is the return, track 10, which is Jan Tariq’s written piece. The prologue is Ole Martin´s own small trick, having transposed the whole piece a major third down to the open and resonant strings of the guitar. These two possible ways of giving earto the structure of this recording cancertainly be added to. The key has in any case been to show how the pieces converse with or contradict one another. As Joanna Rzadkowska’s essay implies, this is an expression of new communities within the music. And these deep-seated contrasts should be unproblematic. For they are deeply human.