The Norwegian artist grew up amidst the contrasts between nature and urbanity, on the outskirts of downtown Oslo. While studying music, dance and drama in high school, she performed several times at the Kampen Church. This 19th century relic is where SYLVAINE recorded most of “Eg Er Framand.” The special sound of this room underline the EP’s music, which includes interpretations of traditional Norwegian folk songs, along with three of Kathrine’s own original songs to the cannon. The album has six songs.

 “Dagsens Auga Sloknar Ut” is first. The song is hypnotic, with clean vocals and smooth keyboard notes. It will lift you up, and whisk you away to a place that only exists in your dreams. “Arvestykker” is a delicate song that has so much subdued presence, and the vocal harmonies are gorgeous. When you strip most music down to its basics, you are often left wanting more. In this case, Kathrine’s vocals are calming, and welcoming. I feel like she just invited me inside her home. “Eg Veit I Himmelrik Ei Borg” has some guitar, and some electronic notes sound heavy and ominous. The warning grows as the song moves along, and you don’t feel as welcome anymore.

 “Livets Dans” has enchanting vocal harmonies. The level of sonority stays pretty steady but you can feel subtle swells at times, and their development hits you as sudden as a sucker punch. Those harmonies dive high into the heavens. “Tussmørke” is a short three minutes. Cold winds whip in the background under a warm bed of gentle vocals and guitar, and the vocals rise and fall. The title track closes the album, and this time, it’s only a singular vocal line, but you can feel the emotions in the way she delivers them.

The fact that the vocals are sung in her native language only adds to the mystery of the album. I honestly don’t want the lyrical translation into English. Kathrine’s vocals are elegant, sublime, and pure artistry, and for an album with so little sonority, its impact can be felt from miles away.