As usual, Marc Behrens’ configurations give some food for thought. By listening to “Animistic” we’re projected into an almost intimidating no man’s land, as Behrens’ field recordings are integrated in a soundscape where apparent silences dominate the first part (there’s always something lurking underneath, even in the quietest sections) then most of the acoustic indications take the shape of a deeply resonant hum or some kind of rumble. Tibetan bells and a metal chair were also used to rupture this document’s quietness. What really strikes is the sense of solitude transmitted by the natural sources: the composer reports that his perception of an “animist” understanding of a landscape’s sound came out strongly during his customary walks through the hill forests near Frankfurt and the Italian/Slovenian border. The whispering wind and a flock of rooks seem to suggest a means of communication to that very nature in which Behrens tries to find possibilities of music that’s not made by humans. These doubts – and an even stronger feeling of extraneous presence – are reinforced by “Decaying study 3″, an engrossing juxtaposition of frequencies halfway through radio waves and nuclear winds, whose intensity level ranges from the barely audible to a pre-explosive dangerous feeling. Despite the many questions proposed, Behrens is one of those artists whose work can withstand a thousand tests and still refuse logical explanations. But, just like his countryman Asmus Tietchens, he manages to touch emotional spots that many of their peers can’t even detect.