"Liminalia" bridges a gap between supposedly distinct states of consciousness. During the process of recording the album, Thomas Bey William Bailey leafed through some dream journals and noted an unusually large number of dream scenarios involving the performance of music at strange "hybrid" spaces, i.e. ones in which the experiences of waking life were supplemented by encounters with people / places / things of a totally alien nature.

Sonically, this draws upon a host of different influences from controlled feedback and metallic churn reminiscent of Organum, or strange glistening ephemera a la Asmus Tietchens, to skittering analogue soundscapes. Although light on more violent elements, this may be the most potent item in Thomas' ouevre in terms of overall cohesion and in its ability to develop a simultaneously frightening and seductive atmosphere.

Many of the sonic flourishes here are as close as we can possibly get to the composer's dreamed auditory experience: particularly the fragmented human voice, rendered as a purely aesthetic / ornamental micro-sound. This is complemented by an a-musical agglomeration of static, ultrasonic pinpricks and percussive flutters that act as synesthetic triggers while in the dreaming state. Ethereal, washed-out melodies also appear at unexpected intervals, and dissolve with an equal level of unpredictability.

Ltd x 100 copies (CD proper) presented in a luxurious soft-feel hardcover dream / nightmare journal with CD mounted on inside, with fluid cover designs from artist Paul Takahashi. Listeners are encouraged to play the album before sleeping and to record any dreamed impressions in the blank pages provided. The book features: 160 pages of Swedish Munken Kristall lined paper, 16-page centre seam of blank G .F. Smith paper in 'cool grey', heavyweight, textured top sheet with information, grey heat-sealed wayfinding ribbon, and a lay-flat design with Swiss binding. A real thing of beauty, hand-signed and numbered by TBWB.