"The three gentlemen formed a live performing electroacoustic work unit throughout the first decade of this century, exploring hybrid musical areas shaped by digitized samples, analogue circuits and acoustically produced sounds stemming from a diverse range of materials and objects. This first phase has been documented on the Labor compilation (Charhizma, 2003) and on their trio release Zur Stabilen Stützung Eines Körpers Ist Es Notwendig, Dass Er Mindestens Drei Auflagepunkte Hat, Die Nicht In Einer Gerade Liegen (Absinth Records, 2006).

Although the group ceased to perform live a while ago, they nevertheless continued their collaboration by relocating their work entirely into the studio. Single sound events - either derived from close-miked objects, instrumental or electronic sources - became starting points for elaborate collective multi-track pieces. Three of those, grouped as a triptych, are made available now on Future Perfect."-Mikroton

"Kurt Liedwart's Mikroton label keeps releasing music by broad-minded artists whose vision is served by electroacoustic palettes where stimulating sound waves and quasi-organic motility are regarded as a self-enhancing silence. In Future Perfect, the initial physical response originates an ascension across subsequent stages of intuitive comprehension that's finalized in half an hour. More and more frequently this appears to be the ideal length in such a sonic ambit, provided that the textural juxtapositions - and relative consequences - come from individuals who are ready. Not only technically. This "triple B" unit leaves no doubt in that sense. One immediately recognizes the directness of a message as proportional to its depth; this coincides with the amalgamation of the sources to a point of, so to speak, "nowhere mind". You don't care anymore about where the guitar is, or who created that hum, while merged with a joint resonance. The perceived phenomena are noted as remarkable for a split second, but there is no real need to study and file them; instinct works alone. As always, a (mostly useless) description might use pictorial distractions: elongated pitches, mild distortion, stretched partials, noises firstly greeted as gently intrusive that become piercingly nasty a little later. The pulses may be minimal, yet each gesture weighs an awful lot. Gossamer drones and gradual variations in color and dynamics appear at the same time intentional and entirely natural. Quiet concentration prevails, the performers definitely aware of their role of aural architects inside a short fragment of timelessness. These experiential transmissions are defined by accuracy and humbleness."-Massimo Ricci, Touching Extremes

"From the other new release I only recognized the name Burkhard Beins, a well-known percussion player from Germany's improvised music scene, who also plays zither here, who already recorded this 2008 and 2009 with two musicians who I don't know that well, Serge Baghdassarians (mixing desk, delays, electric guitar) and Boris Baltschun (computer, sampler) - and yes, I am aware I reviewed a CD by them before, in Vital Weekly 505, which I honestly don't recall. The latter two mixed this work in 2009 and 2015 and there are three pieces, which span just over thirty minutes. Just as with the Rowe/Küchen release there is something undeniably electronic about this music. Baghdassarians and Blatschun play long form sounds, sometimes a bit raw and uncontrolled, but also with a well-placed crackle here and there, and all along Beins adds his own sparse percussion bits. You may think this would lead to music that is all careful and/or even somewhat lower in volume, but that's not the case. This trio plays around with dynamics and throughout they are careful, not because they are shy to make a sound, but because they position everything with great thought somewhere in the mix."-Frans de Waard, Vital Weekly

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