Rygg, commenting in Unrestrained magazine in 2007, said, "It's like I say, we only have three consistent albums. I think "Nattens madrigal" is one, I think "Perdition City" is one, and I think this new one ["Shadows of the Sun"]. They all sound pretty dead set. We were heavily into stuff like Amon Tobin, Warp Records, et cetera, and that certainly influenced the sound of that one." Continuing, “film soundtracks was more painstaking work than we thought. It's exciting work, but it's also more commercially orientated. You can apply your own tastes and your own vision, of course, but only to a certain extent. It always comes down to what the director and producers have in mind. And I respect that, as they are the ones with lots of money at stake. As a musician, it's an advantage if you get involved early in the process, before the editing is done because then you can cross edit sounds and images for better momentum or what have you. Whereas if the stuff is already edited, it can be difficult to get it to fit. Also, you have to learn to put your ego aside because the film itself is obviously the priority, so it's not like making an album. It's not music on its own terms. It's an underscore, aimed more at the subconscious experience. In a cinema context, you're not really supposed to listen to the music, but feel it."