Ignaz Schick(electronics),
Jorg Maria Zeger (guitars),
Burkhard Beins (percussion).

Beginning with (very) softly fingerpicked electric guitar, Perlon slowly build up a dense, detail-packed drone. Unequal parts ECM spaceyness, 1980's tape-trader loop madness, free jazz and electroacoustic mayhem, these three gentlemen mix seemingly disparate elements into a breathing whole. They take their time, letting the sounds hang around and become dissociated, as when a word is repeated until it loses it's meaning. String a bunch of these unknowns together and they'll eventually cohere by the sheer weight of their mystery.

They also suggest the union of the atomistic and laminate ways of structuring sound., which is also happening here. Slow down the atoms till they laminate with the layers, the loops break up under distortion to reveal their particulate core, and the two, again, mesh.

The quietness of a lot of this disc suprised me. Things seem to disappear even though some vestige of their passing hangs in the air. Expectation. (Yes, the disc is still playing). Now far off metal sounds, close-up shufflings of backwards cards,...a hint of melody. Rather than suggest timidity, these long quiet interludes show careful attention to the sounds, allowing them their own voices before rubbing the edges of them together to see if they'll stick.

We're into the second track , low bass thumps...cackles of metal, squeaks...unamplified guitar notes (is it a loop?...waiting for it to comeŒround again)... thumps...(yes it's a loop)...squeaks descending in pitch...quiet cracklings...The loops are filling in the spaces between the other sounds. Density. Detail...