In the minds of Marc Behrens and Paulo Raposo, Hades, the abode of the Dead, is a water-world, but only because they elected to focus their attention on the Styx, the river one must cross to get there. Hades (the album) is definitely water-centric. The two artists have recorded their sound material on ferry boats and quays in Lisboa (Portugal). The album also features additional material recorded by Patrick McGinley, aka Murmer, who also has a very strong water-based release to his credit (They Were Dreaming They Were Stones). Hades consists of four pieces with titles depicting a journey to and back from the Greek underworld. The two different Gate pieces are portals made of wood: the creaking wood of old boats, the sound of floating objects hitting piers. These portals are quickly behind us and lead to the two main tracks: Crossing Into and Crossing Out Of. Here we are treated to delicate and disquieting compositions made of splashing water, (not quite) silent sailing, mournful foghorn calls, wincing metal brackets, and various other sounds evoking a ghost ship sailing through a haunted area. These pieces are more eventful and image-filled than Behrens' usual output, but they are just as carefully paced and artistically shaped as ever, turning Hades into a vivid cinema for the ear and a must-have for sound art aficionados. The only irritating aspect of the album is its conclusion: just as the sounds of civilization begin to reappear on the sonic horizon, Crossing Out Of ends abruptly, without warning. The conceptual meaning of this is obvious (the protagonist is out and the story is over), but the effect on the listener is jarring to say the least. This minor flaw notwithstanding, this collaboration is a complete success. Note that the sleeve announces five tracks (Gate, Crossing Into, Hades, Gate, Crossing Out Of), but the third one is placed between brackets as it does not exist. There are no recordings from Hades per se on this album, only from the journey leading to and out of it. ~ François Couture, Rovi