The Ciderhouse Rebellion (with Murray Grainger on accordion) – Landscape of the Spirits

The trio will release all four parts as one physical CD in Spring 2025

Landscape of the Spirits Part Four: Jábmieájmmuo – Shadows Between Worlds

By Sara Ajnnak & The Ciderhouse Rebellion

Release Date: October 31st 2025 under Sara Ajnnak’s label 

SE496 #004 ISRC SE496250012 

Jábmieájmmuo is a powerful collaboration between Sámi artist Sara Ajnnak and The Ciderhouse Rebellion (Adam Summerhayes & Murray Grainger), journeying into Jábmie Aimo – the Sámi realm of the dead. Blending voice, violin and accordion, the trio channel something raw, spiritual and elemental, dissolving boundaries between improvisation and invocation to reveal music that feels ancient, urgent and alive.

Landscape of the Spirits is an evolving four-part musical journey that invites listeners into a deeply human dialogue between land, spirit, ancestry, and sound. With each chapter, Sámi artist Sara Ajnnak and the originators of folk impro – UK duo The Ciderhouse Rebellion (Adam Summerhayes – violin, Murray Grainger – accordion) travel further into the shared terrain of intuition, improvisation, and myth. 

Across this ongoing series, each part has unfolded a theme:

• Part One: Geärkakame – Cradle (Feb 14 2025) – The beginning of life, music, and relationship to land.
• Part Two: Gárránis – Raven (June 21 2025) – The shadow, the messenger, the link between the seen and unseen.
• Part Three: Hálluo – Desire (August 29 2025) Longing, loss, and the fragile space between despair and hope.
• Part Four: Jábmieájmmuo – Shadows Between Worlds (October 31 2025) A visceral reckoning with mortality, spirit, and respect.

And now the trio unveils the final part – one single track: Jábmieájmmuo – Shadows Between Worlds

Adam says: “We talked with Sara about hunting, about the importance to properly respect the spirit of an animal as it left. We talked about recording a track reflecting those moments. Murray and I expected something far gentler than this cataclysmic outburst – but what do we know of hunting in the wilderness? Of a life attuned to, and part of, the natural world? What do we really know of the respect that confers? Can words really convey these understandings? Apparently not. There is a visceral truth to what Sara wrenched from her soul, and from ours, with this music that defies any other method of transmission.”

Sara says: “We live in a time between death and awakening. Between the pulse of life and the stillness of death lies only a breath, and from the realm of the dead voices rise, calling us back to lessons still unlearned. The world repeats its wounds, shadows return again and again until humanity understands their message, dares to face the light, and follow the voice of the heart. From the shadows, hidden truths are lifted into the light – guiding us toward clarity and life. There is a human insight beyond the fear and anxiety that the world is now experiencing. The longer it takes before we dare to step into the light, the harder the awakening will become. The knowledge and teachings of the realm of the dead must be embraced before it is too late – before the light fades.”

In Jábmieájmmuo, Sara Ajnnak and The Ciderhouse Rebellion take us on a journey into Jábmie Aimo – the Sámi realm of the dead. Through her voice, Sara channels both the restlessness of the spirits and the underlying, ever-present dread of a world in turmoil. Murray Grainger’s accompaniment rumbles like a deep, aching pulse of unease, while Adam Summerhayes’ tones reflect an indescribable pain – a soundscape that both captivates and reveals.

At the same time, the piece opens a space for the art of free interpretation. Here, the boundaries between fantasy and reality dissolve, and the music emerges without the need to be explained or controlled. Sara, Murray, and Adam have chosen to be inside the tones rather than shaping them from outside – allowing the music to speak, to breathe, and to carry its own life.

Here, the power of the joik breathes through Sara’s voice and expands into Adam’s and Murray’s instruments and tones. Something greater takes form through improvisation – or rather by breaking free from the notion of what music can be, surrendering to the present and opening to the unknown, as through the tones they are carried into the realm of the dead itself.

Here is a glimpse of the nåejtie*’s journey through time and space – here are the spirits’ unrest, but also the presence of the gods.

*The nåejtie was the central figure in Sámi society. As a healer, a seer, and the one who carried out major sacrificial rituals, the nåejtie was chosen by the spirits. Their most important task was to maintain contact with the spiritual worlds, especially the realm of the deceased. People turned to the nåejtie in times of crisis, such as famine or illness