Both these projects are released in a double 3-inch CD format with the same kind of graphic presentation, namely cards with striking images and photos from various cities and contexts, all of them expressing an almost heartbreaking desolation and/or experimenting with lights and colours. It all looks and sounds like a conceptual continuity but any technical disquisition is put on hold as soon as the sound comes out of the speakers. Behrens’ music is a set of measures of a listening space that’s scanned, painted and finally invaded by waves, transmissions, artificial environments and extreme frequencies definitely marking the membranes. There aren’t two compositions alike in the four discs; forms, angles, cold breezes and mercurial acoustic behaviors zero in on your head’s centre, retrofitting the brain with the necessary power to catch a glimpse of the upcoming silent apocalypses that your whole system will experience if you are in the right frame of mind. Better listen to this couple of double sets consecutively; then, everything will seem perfectly clear, no matter if no one knows what remains of that “everything” after your aural equilibrium is more or less gone.