New hum old hum 
Tune queen 
Due dove 
Newnison 
Not new to 
Nonen 
Sonett souvenir 
Au bar de la gare 

All compositions by Christian Wallumrød  
Arrangements by Wallumrød and the ensemble 
 

With Non Sonett, the Christian Wallumrød Ensemble opens a new chapter that grows directly out  of recent years of work in more solitary and cross-disciplinary contexts. In this period, Wallumrød  has developed material for solo performance as well as for dance, allowing ideas to take shape in  more fluid and exploratory formats. Some of this material now finds its way into the ensemble,  where it is met by the possibilities offered by instrumentation, collective playing, and the distinct  voices of the musicians. At the same time, older pieces—originating in entirely different settings— re-emerge here in new forms, reshaped by the ensemble context. 
A defining aspect of Non Sonett is the way many of the pieces function less as fully determined  compositions and more as open frameworks: starting points, suggestions, or “springboards” for music.  These structures invite response rather than prescribe outcome, relying on the ensemble’s inherent  sensitivity and capacity to realize and transform the material in performance. The result is music that feels both precise and fluid, shaped in equal measure by composition and by the interpretative  presence of the players. 
Central to this album is a continued deepening of Wallumrød’s long-standing interest in ambiguity  and in dissolving boundaries between different musical elements and expressive worlds. By placing  contrasting materials and associations side by side—sometimes subtly, sometimes more overtly—the  music opens up spaces where meanings remain fluid and interconnected. On Non Sonett, this  approach is taken a step further, allowing these juxtapositions to play an even more active role in  shaping the music’s character and flow. 
This approach connects closely with the ensemble’s broader artistic trajectory. Over time, the  Christian Wallumrød Ensemble has developed a language that is immediately recognizable—marked  by reduction, clarity and a deep attention to sonic detail. While each release has its own character,  the underlying aesthetic remains consistent: a focus on the inner life of sound itself. Rather than  foregrounding gesture or virtuosity, the music draws the listener toward the smallest elements,  where meaning emerges gradually through texture, spacing and timbre. 
The listening experience becomes one of concentration and proximity, where each sound carries  weight, and the accumulation of detail forms a larger whole. References may be sensed—to early  polyphonic music, Norwegian folk traditions, or more recent experimental practices—but these are  absorbed into a singular musical language that resists categorization. 
As with the ensemble’s recent work, Non Sonett also continues the integration of electronics as a  fundamental part of the sound world. Each musician engages with electronic elements alongside  their acoustic instruments, creating a layered and dynamic sonic environment. At times, this leads  into extended, exploratory passages reminiscent of analogue musique concrète; at others,  electronics operate almost imperceptibly, subtly altering and extending the acoustic textures in real time.