Sebastian Wemmerløv has reviewed Graatarslagjet på scenekunst.no:
«On one hand, it was possible to interpret the piece as descriptive and programmatic, with sounds of the inhospitable wind over the frozen water, the cries of a human or an animal, and the coughing and wheezing of drowning people or ghostly spirits. On the other hand, it could just as easily be perceived as a disinterested nature, completely detached from a descriptive or empathetic human perspective. The sound of the Hardanger fiddle subtly wove itself into the vocal textures with delicate and gentle overtones and harmonics, sensitively played by Britt Pernille Frøholm. Long, delicate, and aching tonal landscapes were occasionally interrupted by subtle yet sometimes forceful vocal gestures.
It was also striking how the relationship between time and timelessness almost dissolved. Densifications and intensifications of textures and gestures, as if something wanted to break through, gave a sense of linear, dramaturgical development over time. At the same time, it also felt as if the piece unfolded outside of time, where the physical and the ethereal, presence and absence, event and non-event coexisted simultaneously in a long, frozen moment.»
