"Signal to Noise" is much more different that the previous album and in first sight much plainer. The first statement is true, the second one false. "Signal to Noise" is a very difficult album and very demanding. It requests strongly your whole attention and reveals each and every time you listen to it new things that initially went unnoticed. Trude Eidtang, the new vocalist, has brought new air in the room where the band rehearses and we should investigate whether this modernity found in their sound is totally based solely on her voice or not. "Signal to Noise" sounds more modern than "Storm Season" or any other of the previous releases. The folk parts are diminished, as well as the flute parts that gave a romantic touch. Trude Eidtang surely added to this modernization, as her multi-dimensional voice is a mixture of Tori Amos, Kate Bush and Annie Lennox, while the former Sylvia Erichsen, was closer to Ann-Marie Edvarsen of The 3rd and the Mortal. But I think that it was a conscious decision for this direction. There are some up-tempo and joyful moments, like "Joyride", and moments of mellow clarity and affective like "The Lingering" and "The Dark Road". The two multi-layered instrumentals, "Ghosts" (the title reflects exactly the atmosphere of the song) and "Chrome Dawn", are the healing potion for all prog-rock patients. The powerful and melodic "Night Surf" and "Dusk City" (just listen to the enormous bass-lines by Marthe Berger Walthinsen) complete the collage of this fifth release, which has been under the art auspices of Killustrations and the sound directions and production of Tommy Hansen.

To be honest this isn't what I expected, but then again White Willow always changes faces and forms. The significant point is that the very essence of the band is here, signaling and waiting for you respond.