In an interview with Signal to Noise, Burkhard Beins mentions, "Bowing a cymbal and turning a knob are activities which require two kinds of attention, too different from each other not to get in each other's way." He is discussing the difference of his early approach to separate his work with "electronics" and percussion. Here on Future Perfect he has four extra hands in Serge Baghdassarians (mixing desk, delays, electric guitar) and Boris Baltschun (computer, sampler) to craft a fusion of enduring sound sculpture.

Out the gate with "Futur 1," a trembling, amorphous blob of low-end rolls along with slight feedback on the opposite end of the spectrum, while Beins offers the occasional muted gong strike. As the bass fades away near the three-minute mark, Beins turns the musical chapter with the single strike of a higher pitched gong. New elements of hiss, purring hard drives, diffused cymbal rolls are introduced as gradually and carefully as possible until becoming reasonably unhinged with a sonic rain bird sprinkler panning across the stereo field. Baghdassarians adds sporadic single-string guitar plucks to "N-Eck," a similar mix of cliffs and valleys rooted for the majority of the piece on a single C. Other sounds casually drift in and out to produce marginally dizzying overtone sets until the work disappears into a wisp. "Futur 2" incorporates muffled bass drum thumps and a feint polyrhythmic tick with an even sparser selection of whirs and stunted power-ons and rustles.

Though clocking in at a short 31 minutes, Future Perfect makes a lasting impression of the balance between "electro" and "acoustic" and "less is more" aesthetic. It is a patient, meditative, psychoacoustic (walk around your room while listening to "N-Eck" to experience all kinds of aural magic) and deceptively complex collection of works.