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With Fables, we wanted to create something both intimate and expansive – music that feels like a story unfolding, full of mood, texture, and a sense of mystery. This album, our fourth, marked a special moment for us as we joined Edition Records and took our sound in a deeper, more narrative direction. The compositions on Fables are woven together like chapters in a larger tale. Tracks like Randall’s Island and Mammatus balance between meditative lyricism and driving rhythms, where melodies rise and fall like waves, only to give way to moments of hypnotic groove. The interplay between the delicate metallic percussion, dreamlike keys, and the saxophones carries a sense of ebb and flow throughout the album. There’s also an edge to Fables – an emotional rawness and shamanistic energy that comes through in pieces like Aleki, with its industrial rhythms and sci-fi soundscapes, or the title track, where serene melodies shift into howling intensity. This is perhaps our most cohesive record yet, with a suite-like continuity threading through all nine tracks. At just under 40 minutes, it’s a case of less being more, where every note has purpose and space. Fables is a sonic journey, one that reflects the emotional landscapes we sought to capture and share. It’s music to lose yourself in, to reflect, and to imagine. We hope it resonates with you as much as it does with us.

With Kaikoura, we wanted to craft an album that felt like a journey, not just through sound, but through texture, atmosphere, and imagination. Named after a remote island in New Zealand, this record is less about geography and more about a sense of place – a musical landscape where melodies, rhythms, and influences flow together seamlessly. From the start, Girls in Airports has been about creating music as a collective, where each member adds their voice to a shared vision. On Kaikoura, this vision is more unified than ever. The compositions are rich and melodic, but what stands out most is the way one track flows naturally into the next, creating a cohesive and immersive listening experience. The saxophones of Martin Stender and Lars Greve explore everything from deep, resonant tones to intricate, dancing melodies. On tracks like The Grass By The Roses, their interplay builds into joyous crescendos, carrying an emotional depth we love to dive into. Meanwhile, Mathias Holm’s analogue keyboard washes, inspired by the cinematic grooves of post-rock pioneers like Tortoise, bring a hypnotic, ethereal quality to pieces like Broken Stones. Victor Dybbroe and Mads Forsby anchor it all with their delicate rhythms, weaving textures that balance between quiet introspection and vibrant energy. The result is music that feels alive, organic, and timeless – like the wild forest of life itself. Kaikoura reflects our love of discovery and the beauty of finding coherence in diversity. It’s a journey we hope you’ll step into and find your own meaning within.

With Migration, we wanted to explore what it means to travel through sound. This album was a turning point for us, where we deepened the ideas from our debut and ventured further into uncharted territory. Drawing inspiration from the vibrant sounds of Africa, we blended them with our Nordic roots to create something unique and personal. This album also marked a shift in our lineup, with percussionist Victor Dybbroe joining us. His array of exotic instruments – wood, metal, glass, and skin – added new textures and brought an organic depth to our compositions. Paired with Mads Forsby’s rhythms, the result was a mix of deep grooves and ethereal soundscapes. At its heart, Migration is about interplay. The saxophones weave melodies that range from breezy and lyrical (Need a Light) to raw and funky (Pirates and Tankers), where Ethiopian grooves meet spiritual intensity. Tracks like Children’s Temple take this a step further, building from quiet lullabies into ritualistic dances before dissolving into ambient seas of sound. Migration represents a moment of growth for us – not just in sound, but in ambition. It’s a journey through cultures, emotions, and ideas, all while staying true to our original voice. Looking back, it feels like a blueprint for the directions we’ve explored ever since.

Girls in Airports x Aarhus Jazz Orchestra Leap Leap was quite an experience for us to create. For this album, we had the chance to record with the incredible Aarhus Jazz Orchestra, and it brought a whole new dimension to our music. The collaboration challenged us, enriched our sound, and pushed us in directions we hadn’t explored before. We revisited some of our earlier tracks, like Myanmar from our debut album, and reimagined them in a completely new light. The result feels more grounded and reflective, showing how we’ve grown as musicians over the years. At the same time, new compositions like Memory Wagon and Violet emerged as powerful pieces, blending our signature style with the orchestra’s bold and intricate arrangements. Throughout the album, the interplay between our band and AJO felt natural and inspired, as if the two worlds were always meant to meet. The suite-like flow, the hypnotic rhythms, and the many stunning solos from both groups make this project one we’re deeply proud of. Martin Stender, saxophones Mathias Holm, keys Victor Dybbroe, percussion Anders Vestergaard, drums Nils Gröndahl, violin Aarhus Jazz Orchestra All music and arrangements by Girls in Airports Recorded and produced by John Fomsgaard Mixed by August Wanngren Mastered by Noel Summerville Recored at Lundgaard Studio in January 2021 Cover photo by Nicholé Velasquez

Dear Sleevers This is the duo album NOD by MS and Herb Robertson. In remembrance of Herb who passed away december 10th 2024. We worked together for almost a decade. Recording, playing and travelling all over Europe and even Syria.. Playing with Herb always blew my mind. .....from the first time i heard him play I knew that the world would be so much better with more Herb in it. At an important point he was extremely generous and made a huge impact. I learned so much from him. He became my mentor and friend. Listen to his playing and his rare beautiful spirit.... I am sure he will continue to inspire and make a wonderful noise where he is going... Safe travels Herb. I'll miss you. ---- Solborg: “ I really like the way you slowly bend an idea into something new. ..all of a sudden it’s something else and you never noticed when it started changing..” Robertson: “oh - you mean mutation.....” In 2008 the guitarist Mark Solborg invited the American trumpeter Herb Robertson to Denmark to join his quartet. During those days they also recorded the duo-album “NOD”. Melodic, fabulating and epic landscapes unfold in a beautiful, intimate and - now and again - minimalistic universe with ample room for detail and Robertsons unique sound. The music is born in an intuitive space that might have more to do with an approach to life than a specific musical genre. NOD is mutual understanding and respect, NOD is a device for nocturnal observation, NOD is the wasteland to which Cain was banished, NOD is the Land of Dreams and mutating imagination.. During the working process with NOD we stumbled upon these verses that struck resonance with both of us. The Land of Nod From breakfast on through all the day At home among my friends I stay, But every night I go abroad Afar into the land of Nod. All by myself I have to go, With none to tell me what to do - All alone beside the streams And up the mountain-sides of dreams. The strangest things are there for me, Both things to eat and things to see, And many frightening sights abroad Till morning in the land of Nod. Try as I like to find the way, I never can get back by day, Nor can remember plain and clear The curious music that I hear. Stevenson, Robert Louis (1850–1894). A Child’s Garden of Verses and Underwoods. 1913.