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From Obsküre People meet, share tastes and desires, and ultimately come together to create. An alchemy, an osmosis, a communion of minds and talents is born. Sometimes it hinges on almost nothing, and yet, it works… Imaginary Rooms, released by Projekt on February 27, 2026, is a vibrant testament to a successful alliance between two generous musicians. Indeed, guitarist Jake Soffer and bassist Brent Carmer, both from Portland, Oregon, combined their talents for this album. They produced six elegant, lengthy tracks, some born from improvisations, on which their instruments are treated with care. Thus, this record is akin to a dreamlike journey to the borders of ambient and electroacoustic music, with a touch of classical influence. Imaginary Rooms unfolds over fifty-seven minutes, slowly and calmly. Each track follows a repetitive structure, offering atmospheric moods with a certain economy of means. At times, an acoustic revelation emerges, the friction of the double bass asserts itself, then recedes (“Room with a View,” “The Room with no Windows”). Similarly, Soffer’s baritone guitar stands out at certain moments, when its sound becomes purer (“The Room where we met”) or escapes through slide playing (“Room with a View”). Nevertheless, we note the extraordinary work of the two men on sonic textures. From then on, the initial sources become less perceptible and merge into a soaring entity, giving a singular relief to their compositions. And it is at this moment that the magic happens… We then enjoy disconnecting from reality, from precise patterns, from any academic codification. Soffer and Carmer lead us toward a chiaroscuro horizon. We let ourselves drift away, lulled by minimal, looped notes, and hypnosis takes hold. This feeling is particularly pronounced on tracks like “Lost and Found” and “Room with a View.” But while the bright aspect predominates, a kind of gentle darkness also emerges. Thus, “The Room with No Windows” and “Imaginary Rooms” are darker. They lean towards a form of drone, embellished with subtle noise and manipulated field recordings. We sense that the Americans are trying different things, experimenting with various possibilities offered by electronics. The result may be less polished, but it’s remarkable nonetheless. At the end of this journey, we can only applaud Jake and Brent’s audacity. Indeed, they have managed to get the very best out of both their instruments and the processing techniques at their disposal. Imaginary Rooms is a charming album of rare quality. Here, there are no stylistic flourishes, just the simple desire to deliver refined and harmonious music. The listener is captivated by both the tranquility and the melancholy that emanate from it. The evocations and inspirations give pride of place to the ambient scene of the 2000s, particularly in the last part of “The Room where we met,” which is very close to Fennesz from that era. Other names come to mind, such as Henrik Meierkord or Richard Skelton… This splendid work, although not without a few minor flaws, is truly a treat for the ears! These guys are definitely ones to watch. -Olivier Bernard Wirth
Vinyl
