Even if maybe this collaborative project by two talented sound experimenters such as the Swedish Peter Stenberg and the Belgian Jonas Ruchenhever is not properly the typical record which a listener can consider as a record for summertime as, according to the sleeve notes by Artur Olejarczyk from Freequency Institute highlighting the 'seasonal' appeal of Traumphantasie/Plateau, it could stand as an 'extraordinary soundtrack for the end of the year and lonely winter' ' it was issued on December 2009 by Industrial Culture, but has recently landed on my stereo system! -, I'd like to bring the attention on it for the crafting skills of their signers. There're just two deeper ruts on the cdr surface, but each of the two over-20-minutes-lasting tracks encloses various sketches, so that each track looks split up in different chapters or, it's better to say, in different moments which could even have a sort of narrative coherence indeed! A propos of narrative coherence, it could just be a personal fancy, but the subdivision in different acts, some references and even the name of the composition of Traumphantasie reminded to me the narrative sequence of Traumnovelle, a book by Arthur Schnitzel related to double identities and including many references to psychoanalytical matters such as amnesia, the loss of time perception and some matters related to the sensation of mysterious lightheadedness described by the main character, which at a certain point of the story asks himself if what he lived was a real experience or just a dream. The intriguing web of unrecognizable sounds ' being my favorite the disquieting central episode entitled The Bedroom (A Mess), ending with a sort of duck squawking inserted into a storm of unrecognizable high-frequency sounds and sliding into some sad stirred guitar blunts of A Cabin, Reconstructed ' together with some blurry sound effects on field recordings could be fitted to an imaginary soundtrack of that story in my opinion.

The second part of this release, Plateau, divided into three parts (In The Distance, In The Far reaches and A Cabin), sounds less cacophonous: it starts with some prepared piano notes, echoing in a foggy sound space where the most careful listener could hear bizarre environmental sounds including the thumbing of a foot, a relatively peaceful before some chiming and some guitar notes, which have been gradually distorted in volume and strike, begins the gradual cramming of sound space by drawing a sort of drone, wrapping the other sounds grabbed by microphones and mixer without towering above them. Really interesting sound experience!