Crafted over five years, Hanne Jøstensen’s sophomore EP, ‘The Lighthouse’, comes more than a decade after her first NZ recording. It carries a sense of stillness balanced with emotional depth, creating space for the listener without demanding attention.
Built largely around piano-led arrangements, the songs are supported by strings and guitar, giving the EP a soft and spacious sound.
The Norwegian-born singer-songwriter first came to Wellington for what was supposed to be three years, later finding love and a new home in Aotearoa. Her academic background in languages and organisation studies complements her direct style of storytelling. Carefully embellished with orchestral strings and guitar, the mostly piano-based songs are intimate but not necessarily autobiographical, a difference that becomes relevant in manoeuvring the options of self-production.
She opens her five-song EP with the title track, The Lighthouse, singing in Norwegian before changing to English. This doesn’t feel like a translation, rather a bridging of her roots in Norway and her life in Aotearoa. The track is led by piano, with strings and guitar gradually adding texture, creating a spacious and atmospheric sound. The lighthouse itself, located on the remote Norwegian island of Sula where Jøstensen grew up, and where her grandfather served as keeper, operates as both a literal setting and an emotional anchor for her background.
The cello by Jane Dalley and electric guitar played by Jim Walmsley sit subtly within the arrangement, adding depth and gentle movement. The sound remains restrained, allowing the vocal and piano to stay central.
Production bears the consistent touch of Lee Prebble at The Surgery in Pōneke, with each track given space to breathe. The second single, Polar Nights, illustrates this clearly. It relies largely on her voice and sparse piano, with the viola of Susan Fullerton-Smith sitting quietly in the background, and backing vocals performed by Steph Casey remaining soft and supportive. The song reflects the stillness of winter darkness in the far north, creating a calm and open sound.
Wildflower creates a different direction in the EP’s story. The slightly more uptempo composition introduces a more defined rhythm. The bass playing of Paul Mouncey (OdESSA) blends with the chamber-folk elements to create a balanced arrangement. As with her other songs based on personal or familiar ground, this track shows Jøstensen’s ability to incorporate the stories of others into a wider, relatable sound.
The harmonies are layered, while Martyn Galea’s synth additions move smoothly through the arrangement. Percussion by Andreas Lepper remains subtle, supporting a steady and unhurried rhythm. ‘The Lighthouse’ does not demand attention, but instead encourages listeners to slow down and engage with its detail.
In a world that often feels fast-paced, this EP offers a quieter listening experience. It’s a collection of songs inviting the listener to pause, reflect, settle into its calm, and drift in a dreamy sway.
