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“Solhorn’s Himmelbjerg radiates a crumpled unity that makes the whole world shimmer in wonderful colours, quietly turning things upside down. The trees grow into the sky where the outermost roots gently wave in the breeze. Organic human-forged sounds constitute the basic material in a hand-woven rug, composed of manual instruments and homemade codings. A chorus of acoustic instruments melts in the heat emanating from the power of the laptop’s microprocessor. The computer is employed as an instrument and as a compositional tool, coding digital accuracy and computer-generated randomization. Sound as material. The computer, then, is used to fantasize and not as a means of data regimentation. Digitally recovered expansions of acoustic spaces. Like the sound of a tiny big band consisting of itsy-bitsy musicians conducted from graphic scores written with soap bubble patterns in the wind. The music is irrevocably decisive and transient like a line drawn in the sand, but it is not dreamy and it is not the soundtrack for a dream. It is the fissure in the flagstone, the meticulously accurate flake in the plaster that maps another world which is at once completely different and almost exactly like the one we know. It is awfully complicated and dead simple, and it is to be explored just like you used to climb trees, before anybody had told you how dangerous it could be. On a sunny day, with a light to moderate breeze from the tropics, Solhorn plays us a promise.”