A posthumous dispatch from the far edges of perception, "Liminal States" is Peter Rehberg’s final recorded work, and it arrives like a transmission from beyond, a ghost frequency humming through the cracks of consciousness. Known for his pioneering electronic work, Rehberg helped shape the landscape of experimental music - not just through his own output as Pita, but also as the mastermind behind Mego and later Editions Mego, a label that gave voice to some of the most forward-thinking sound artists of the past few decades.

Originally composed for Icelandic choreographer Margrét Sara Guðjónsdóttir’s "Pervasive Magnetic Stimuli" in 2018, "Liminal States" has since been revisited, expanded, and repurposed as a stand-alone piece. But ‘stand-alone’ hardly captures it - this is music that evaporates borders. A single, sprawling 45-minute composition, the piece unfolds like a slow hallucination, immersing the listener in a shifting field of ghostly textures, distant pulses, and psychological tremors. The first movement bathes the ears in shimmering electronic cascades, while the second mutates into something more unstable - fragments of distorted voices, ominous drones, and spatial disorientation evoke a sonic limbo where the mind both drifts and disintegrates.

Rehberg was no stranger to the idea that sound is not just heard but inhabited, and "Liminal States" embodies this philosophy. If comparisons must be made, there are echoes of Coil’s long-form hallucinatory works ("Time Machines", "Constant Shallowness Leads to Evil"), yet Rehberg’s idiosyncratic digital abrasions and subtle dynamic shifts make this distinctly his own. The music feels like it was sculpted from pure voltage - alien, hypnotic, and charged with a presence that lingers long after the final frequencies dissolve.

As the last entry in Guðjónsdóttir’s trilogy exploring altered states of perception, "Liminal States" is an apt conclusion, dissolving the boundaries between the physical and the intangible. But it’s more than just a soundtrack; it stands among the most striking works in Rehberg’s catalog, a fitting and profound farewell from an artist who always dared to stare into the future.