For their third album, Maridalen changed their recording space from the wooden church in the scenic valley of Maridalen, just north of Oslo, and from which they take their name, to the island of Gressholmen, 10 minutes from the Oslo harbor. "Gressholmen" the album once again exploits, enriches, and enlarges their unique trio sound, derived from three monophonic instruments - double bass, saxophone and trumpet - creating music possessed of clarity and intimacy, a unique minimalism that never feels sparse or threadbare or overstretched. With the addition of percussion, voice, some skilful musical sleight of hand, and the occasional addition of pedal steel guitar from Emil Brattested they can produce luscious soundscapes like "Smeigedag", or whimsical upbeat chamber pieces like "Fuglefangeren" and "Folket pa berget" which sees the instrumentation shift to bass and flutes. The music frequently possesses a nostalgic mood, as on the singles "Landkjenning" and "Pa havets bunn", but it is never melancholy. The music throughout, whatever the mood, is always evocative, telling stories like soundtracks in miniature (yet never feeling small). Strong eloquent melodies, poignant and expressive, are a key element of Maridalen's compositions, providing a strong foundation for their measured and resonant musicianship. "Gressholmen" consolidates their output to date and demonstrates that it is infinitely more than their novel approach that makes Maridalen one of the most acclaimed groups in recent years: it is their superb artistry as both composers and musicians that provides the magical ingredient that makes their music so compelling.