In late September, Stuttgart ambient/electronic artist Perrache (a.k.a. Joachim Henn (Frood Of The Loop, e jugend) released his solo album Barriere in movimento via Polytechnic Youth. This four track album contains one track under three minutes and three more tracks over ten minutes in length. All four, no matter the length, brings the listener on a cosmic ride. Layer upon layer of incredible sound (look out for the squishy ear candy at the end of ‘Dustflag’). 

We caught up with Perrache and asked him what three albums have influenced him and his music. His picks are great and he tells a wonderful story for each. Check them out below.

Barriere in movimento is available here:

Stars of the LidManoeuvering the nocturnal hum e.p.

I’ve known Dom/Polytechnic Youth for more than 20 years now and looking back, he has released a countless number of fantastic records on his various labels ever since, you can’t praise him enough for that. When being over in London playing gigs with Ma Cherie for Painting, he offered us which were among the last copies of this Stars of the Lid 12” he had just released on his Earworm imprint. We used to come home with loads of records in our bags every time but that one was really special, it knocked us off our feet, in super-slomo so to say. Images of snow falling come to my mind when I listen to it again now. From time to time I gave it a spin when DJing and used it as a basic layer adding other records, which sometimes lead to shimmering soundscapes.

10cc I’m not in love

Speaking of the song itself this is probably not the most obvious choice as the music has nothing really to do with that on Barriere in movimento. Yet when I was recording ‘Synthismus’ (ie the opening track on the Perrache-album) with all the limitations of a 4-track recording machine and solely using a monophonic synthesizer, I felt there was a crucial lack of depth to this almost 17-minute-long track. At some point I remembered how these guys had recorded the vocal “choir” parts for ‘I’m not in love’, so I kind of tried to adopt the idea and finish the whole thing in the studio. Luckily, I didn’t have to create tape-loops in a week-long process as a preparation (let alone the need to sing) but took six or seven randomly evolving single-note-tracks to the studio and assigned them so I could create chords with mere movements of faders and play the mixing desk like a keyboard – just as the Stockport band had done with hundreds of their vocal tracks. Strangely enough, the blending of these simple chords added a somewhat outerworldly feel to the second half of ’Synthismus’, at times it seems as if there’d be two pieces running together at the same time struggling…

It’s great that a composition like this 10cc-song (without drums, bass drum recorded with a synth, a psychedelic and utterly uncommercial middle part, vocal drones all over, and sounding loose/collaged as a whole and somehow rather sketchy than elaborated) could become such a huge hit. I remember feeling a bit scared due to the middle part as a child when I used to hear it on the radio.

UnrestVibe Out! (from the Cath Carroll EP)

While the music on Barriere in movimento has now often been compared to that of electronic pioneers like Cluster or Conrad Schnitzler – whose work I discover only now – I almost certainly drew some inspiration from minimalist guitar (pop-) tracks like those on this Unrest EP from their experimental phase. Although the B-side-track ‘Hydro’ is a 33-minute motoric monster and the title track a brilliant high-speed strummer, I’d go for ‘Vibe Out!’ which segues from a jangly guitar pop song into a linear power-drive track with nice stereophonic effects. Despite being a trio they managed to create a dense and captivating sound without the need of countless overdubs, I’d have loved to see them live. On top of their sound was their sense of humour, eg they stated this very record had been produced by Simon Le Bon – which is utter nonsense, most probably. I once asked Unrest’s Mark Robinson about it and he told me they had to invent all sorts of stories about the Duran Duran-singer being asked about it all the time as a consequence. They’d also pretended it in order to get a review in Spin Magazine and when the journalist rang Simon Le Bon’s manager to check, the latter had never heard about Unrest but didn’t want him to think it wasn’t true just in case it had been a side job he was unaware of – and so he confirmed that Simon had indeed produced that EP….

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