While listening to this lovely release, the result of a collaboration between inventive improviser, performer and guitarist Kim Myhr and Trondheim Jazz Orchestra, where Kim himself invited Jenny Hval to borrow her eerie vocals, you could guess they used they made a wrong gender agreement in the use of possessive adjective due to the significant part played by a voice that enchanted many listeners all over the world in critically acclaimed albums such as "Apocalypse, girl" (2015, Sacred Bones) and "Innocence is Kinky" (2013, Rune Grammofon) as well as in many different collaborative projects (particularly the ones with Jessica Sligter and Håvard Volden - Nude on Sand -). In reality the title "In the End His Voice Will Be The Sound of Paper", which could have no real connection to what you're going to listen and has no reference to the way of speaking/singing by Jenny, got inspired by a conversation about the aging of Bob Dylan's voice. Jenny's voice got astonishingly colour-changing over the wisely crafted atmospheres of the album: the 12 chords of Kim's guitar and other instrumental elements - Christian Wallumrod's piano, Tor Haugerud's drums and Morten Olsen's percussions above all - sound like rendering the intricate web of tree's branches of a dense woodland in tracks like the opening "Seed" or the entrancing "The Beak", where Jenny's voice sound like flying as a blind bird; she could vaguely resemble the languid and somehow sorrowful intensity by Beth Gibbons over some moments of "Something New"; she sings like an invisible nymph on songs like the gently trembling "Soft As Tongues" or the lovely final elegy of "Silence a Beat". Premiered at the Ultima Oslo Contemporary Music Festival in 2012 - it was described as a musical combination of improvisation, contemporary Feldmanian music, pop and spoken words on that occasion -, recorded at Rainbow Studio in Oslo in August 2014 and finally mixed at Amper Tone Studio together with technician Johnny Skalleberg, Jenny described the compositional approach and the whole collaborative experience as well as her own part for this release as follows: "Kim gave me a lot of sketches and music, I wrote the melody and lyrics, and we improvised. This is a collaborative effort, even if it is mostly Kim’s music. It’s his artistic vision, and it was a great honour for me to be able to take part in it, because you can learn a lot by working with fantastic people. Sometimes I feel that improvised and abstract music is trying desperately to avoid the emotional elements that can be inherent in the music. This was something I thought a lot about when we were going to work with this recording. That’s why I wanted to write romantic lyrics. There is a sense of longing in these lyrics. I wanted to combine something charming, in both the lyrics and the melody, something that wants to be loved, with this more abstract and fragmentary music. I’m interested in vulnerability; the music must have a kind of vulnerability at some level.".