“ This shift in tone in the opening minutes is part of a larger mode of expression that’s one of the most striking and effective aspects of Lendh. Vaka explores and maintains a beautiful balance of tensions, gently – almost gingerly – arranging and pulling at her material to make it taut, even uncomfortable, yet almost before we’ve even noticed it’s happening, everything has begun to relax. This is one of the reasons the music comes to resemble the kind of muscular flexing I spoke of before; it undulates and ripples, inhales and exhales, slowly pulsating not simply in dynamic outline but also in terms of density, mass and clarity, the main factors at the heart of the work’s shifting stresses and pressures.”
-
Simon Cummings, 5:4 


“Before I learned anything about this piece, I knew that I loved it. It grabbed me because it reminds me of so much of pieces of other music that I love: It’s got the warm embrace of early Sigur Ros, the hint of tragedy of some of Angelo Badalamenti’s music for Twin Peaks, a little bit of the watery mystery of Missy Mazzoli’s “Song from the Uproar,” and a shimmering depth that I can only assume is Vaka’s…”
– Second Inversion


“Erlendis is a soothing, string-drenched excursion, thick in mystery and melancholy.  As the violin and the twin cellos cast their nets into a sonic sea, the piano, clarinet, french horn and bass flute keep them afloat.  Boat hulls creak, waves crash, cod dart…”
- A Closer Listen


“…Vaka proves to be an imaginative composer and capable multi-instrumentalist supported by a variety of ensemble performers… “

“…It sounds as if it might be emulating the blooming of its namesake flower as a somber, heavily textured drone slowly gives way to shimmering, tender piano lines.  At this point the album is itself in full bloom and reaches skyward with the celestial choral voices featured in ‘Gætni’…”
- Stationary Travels