With every album, Donder looks for a new approach, a new sound and especially new ways to enrich their repertoire. This is no different for their fourth full-length album. The idea for the new album stems from encounters with the Norwegian music scene, a scene that has spawned a lot of unique and groundbreaking music in recent years. Norway has a deep-rooted folk music tradition, a tradition characterized by improvisational freedom, a sense of melody and complex rhythms. This folklore tradition goes hand in hand with the philosophy behind jazz, a combination that results in a considerable amount of creative and genre-crossing music.

Despite a thriving scene, a similar heritage appears to be missing or overlooked in the Belgian and Flemish jazz scene. With this project, Donder wants to fill the gaps in their musical identity and investigate what role this musical heritage can play in their music.

For this fourth record, Donder is joined by Sigbjorn Apeland, a Norwegian harmonium player and organist, who is also a lecturer in ethnomusicology at the University of Bergen. Despite his background in church music and West Norwegian folk music, Apeland is best known internationally as an improviser with projects such as 1982 and Nils Okland Band. Someone with experience in interweaving different musical worlds in a contemporary context. The unusual combination of a piano trio with harmonium translates into a surprising sound image with an almost sacred character.