What we wrote at the time…

Along with a manifest capability for saturnine post-AMM quiet [Beins has a real mastery of the bowed cymbal], it is perhaps Perlonex’s embracing of the sulphuric properties of volume that offers the most refreshing blast to the senses of those familiar with current minimal trends in improvisation. Capable of torpid builds from quiet concentrated beginnings of brooding intent, their sound [generated from Beins drums, percussion and objects, Zeger’s electronics, devices and turntables and Schick’s processed guitars] can slowly transform into laminal sheets of sound full of sinister feedback, clanging chains and indeterminate, scoured rasps, soaked in gauzy timbral detail and multi-valenced, buzzing overtones. Ulrike Flaig’s video work with the group fires off real-time video feedback loops in a spatial dance, to create dynamic and immersive video projections focused on transition, flaring movement and a celebration of analogue interference patters. This is Perlonex’s first ever UK appearance.