I grow accustomed to the dark (Outside Time, 2026)

“Otherworldy… These are compositions that rely on nuances of the performing body, an assembly of sonic gestures that beckon your ear to lean in closer.” 
James Gui, The Wire

“More than the sum of its parts… these pieces carry the weight of stories accumulated across time… Each piece has its own gravity while still feeling interconnected, like separate moons orbiting a larger sonic mass. Her refined technique emerges from a practice steeped in reverence, in understanding and inhabiting the sacred.”
Brad Rose, Foxy Digitalis

“An inquiry into what it means for a body to become an instrument and for an instrument to remember the body. The Hardanger d’amore does not sit across from her as an object. It leans inward, absorbs breath, and answers pulse with vibration… Folk memory dissolves into texture, improvisation into ritual.”
Tyran Grillo, Between Sound and Space

“Her evolving practice is more rooted in place, context, and spontaneity than folklore... Ultimately it feels as much like a recording of a kinetic sound installation than a piece of music.”
Peter Margasak, Nowhere Street

“…Simultaneously centred on intimacy and deeply imaginative sound building, delivering a kind of improvisation that, in spite of its experimental edge, feels decidedly human.”
Peter Margasak, The Wire

“Warpeha and Terán’s music suggests the partition between human and non-human soundings is porous. Instruments with folk origins are played in ways which acknowledge their histories while also stretching beyond their boundaries. It’s all propelled by an instinctive interaction between the two players, a shared new vocabulary crystallising before your ears…”
Daryl Worthington, The Quietus

“…Perpetually on the verge of vanishing, like a trick of the light… Hissing, scraping, lowing—Warpeha and Terán’s album is an eerie, evanescent beauty, a passage to unknown worlds.”
Philip Sherburne, Futurism Restated

“Hollowed winds brush against resonant strings, opening angular intersections where sound feels both tactile and spectral. Orbweaver builds a distinct aural world that feels sacred, exploratory, and unlike anything else. It’s a remarkable piece of work.”
Brad Rose, Foxy Digitalis

“I’ve yet to hear anyone else dig into such abstract realms [on Hardanger fiddle], straddling a line between pure improvisation and contemporary music… subverting tradition not as a political act, but as a point of departure… Few recordings I’ve heard this year have proven so beautiful, varied, and emotionally potent.”
Peter Margasak, Nowhere Street

“A breathtaking series of dialogues between Warpeha and her instrument; tradition and experimentation; community and place.”
Jacob Kopcienski, I Care If You Listen

“…Cutting across folk and modernism, those tapestries of bodily expression, and suggesting something akin to a fractal: it sounds like a music you’ve heard before, but close attention results in perceiving its apparent slight changes as profoundly significant.” 
David Murrieta Flores, A Closer Listen

“silver dawn is grounded in loose earth, each aural portrait living from the cracked facades that pull steel tendrils taut. We hang in the warm resonance, stuck in the air, our breath slowing as time becomes quiet. An absolutely beautiful record.”
Brad Rose, Foxy Digitalis

“A beautiful, searching album … It sounds like they are chasing the wind.”
Matthew Schnipper, Deep Voices

“Warpeha doesn’t need to stop and breathe to play her instrument, and yet she does: brush held above the canvas, allowing a radiant intentionality to seep into that gap between one gesture concluding and the next gesture commencing.” 
Jack Chuter, ATTN:Magazine

“In utilising the cellular building blocks of the older Hardanger fiddle styles Warpeha has exposed the common ground that form shares with a much more modern aesthetic, minimalism. But to say she has taken a historic rural style and made it urban would be misleading, the music here being subtle, tender and frail, human and never systematic.”
Mike Adcock, RootsWorld

“Spatial expression and spectral resonance from the outline of tradition.”
Andrew Khedoori, First Impressions