At first glance, jazz guitarist Stian Westerhus and vocalist-cum-electronic instrumentalist Maja S.K. Ratkje are an unlikely pairing. Westerhus has created his own niche as an experimental jazz musician working with the likes of Nils Petter Molvær and Arve Henriksen, while Ratkje leans more into performance - the classical, dance and operatic worlds, alongside some avant-garde noise experimentation. But five years ago, the Norwegian compatriots joined forces and have finally released their first album together, All Losses are Restored.

Neither Westerhus nor Ratkje are strangers to collaboration, and this particular one allows them to combine their unique talents as they dispense with the usual go-to instruments in favour of something more rudimentary - 19th-century pump organ, fiddle, acoustic guitar, metal scrap and voice. This joint venture first came about when the duo performed an acoustic set at the Oslo Jazz Festival in 2019, which they then decided to take it on the road. Their performances were described as “an overwhelming experience of beauty. The two musicians are known for their electronics and music that might be cool in an unpleasant way,” said S. Iversen in Jazz i Norge. “This was the complete opposite, so profoundly beautiful I could feel it in my chest.” It was only a matter of time before this new music made it onto wax.

All Losses are Restored looks to Shakespeare as its muse as Westerhus and Ratkje merge their new traditional approach to music with the wordage of the bard and truly there could be no more perfect material. The album comprises six songs, with the lyrical content being drawn from  Shakespeare’s bleaker side - Sonnets 30, 73 and 137 not to mention some of his most revered tragedies including Hamlet and Macbeth.

‘The Gravedigger’ opens proceedings with simple acoustic plucking and background organ as Ratkje’s Kate Bush-esque vocal (obvious but true) enters soon followed by Westerhus’ intoning of Hamlet’s gravediggers. Brechtian in ambiance, the music here provides the perfect accompaniment to the denouement of the Danish king. Following on, the title track based on Sonnet 30, is heavily reminiscent of Nico’s European modern classical avant-gardism, while ‘Verona’, originally a Westerhus number is an ode to one of the most Shakespearean cities of all. Here, vocals tiptoe in before some exquisite violin and acoustic guitar. The combination of the two instruments and voice creates something quite beautiful – melody and heartbreaking harmony.

‘Walking Shadow’ gives us more of Westerhus’ alluring guitar as once again the pair’s voices meld with ease and polyphony; background organ elevating the atmosphere until midway through when the Brechtian breaks through once again. Westerhus does his best Scott Walker-in-Brel-mode before deviating into thrash metal screams - and then back again. It is the interplay and manipulation of voice that really make this album so fascinating. ‘That Time of Year’ is equally compelling, strings and organ propelling the lyrical spirit as Ratkje similarly stretches her voice. And so, to the finish - the wonderful ‘Thou Blind Fool’. Once again, echoing the spirit of Cale and Nico but with Walker-esque vocal. Ratkje gives way to Westerhus before they join together for the rousing climax. The perfect theatrical end. Listen/ buy here.