In stark contrast to the solo-oriented, densely constructed and detail-focused ‘Wild and Bitter Fruits’, ‘All Black Horses Came Thundering’ is recorded live and consists solely of first takes: In an attempt to capture the living breath of musicians interacting together in the moment, giving space to musical fragility, interpretative freedom and all the so-called ‘mistakes’ that follows. The compositions are written by Nikolaj Bruus on acoustic guitar, and then re-worked, re-arranged and accompanied with the help of the ‘chamber-version’ of Quiet Sonia, consisting of violin, double bass, grand piano, organ and vocals. In many ways, ABHCT is an exercise in minimalism: To allow each tone a certain weight and meaning, to leave room for thought and interpretation, to open up a less interruptive musical space for existence. An attempt to capture something warm and organic while giving space to the unfinished, the fleeting, the fragile. Among QS’ inspirations for this project is Talk Talk’s late albums, ECM jazz albums, different kinds of ambient and American Primitivism figures such as Robbie Basho and James Blackshaw.