Reviews Zarek 07
PERLONEX – PERIPHERIQUE
Berlin based trio Perlonex understand perfectly how to create improvised music which incorporates the controlled violence of industry.
Dan Warburton, The Wire, UK
Everything seems to be carefully thought out and placed in the audio spectrum. I’d could hardly call this improvised music, since it’s seems very much composed. Whatever, it is a great thing to listen to.
Frans De Waard, Vital Weekly, NL
It’s the really quiet segments that really do it for me. When a slightly bowed cymbal radically alters the direction the music is going, you can tell that you’re dealing with players with a deep sensitivity towards sound.
Nirav Soni, Ink 19, USA
The music is in a state of constant movement and advance, and though the rate and speed at which it shape-shifts varies greatly, it is never static. Comparison has been made to AMM, and there are surface similarities in the use of layers of sound in the construction of the improvisations, but Perlonex’s electronic source material is significantly more dynamic, and the range of sounds it generates broader.
Nick Cain, Opprobrium, NZ
This trio of hatters seeks to engage the skull in unhindered three-hundred-sixty-degree chafe by inverting listeners in fluctuating hemp helmets a size to small, spinning them like unconscious break-dancers, and placing bets on the revolutions per minute.
Bananafish, USA
Perlonex brings together three innovative sound artists in the world of new improv, and Peripherique is a true testament to their skill and spirit. Richard Di Santo, Incursio, Canada Another nerve-shredding Ignaz Schick production – this one is sullen, brooding horror. Keep a bottle of Graviscon handy.
Ed Pinsent, Sound Projector UK
There is a commanding unity in the movement: things expand, reduce, re-expand, and reduce again with stunning synergy. All in all, this disc is recommended.
Francois Couture, All Music Guide, USA
All very delicate and focused. Suffice to say that this combines the drama of its narrative flow with intense and rewarding soundplay. A deft balance is struck between periods of delicate development, exploration and dramatic expostulations, again raising questions of how much improv is scored, making for great listening.
Ampersand Etcetera, Australia