17 / 11 / 2019 Sonntag // Konser
Perlonex20 w/ Toshi Nakamura & Ulrike Flaig

Perlonex20 - Twenty Years of Perlonex

Concert #6:
Perlonex with Toshi Nakamura & Ulrike Flaig

Ignaz Schick (turntables, sampler, live-electronics)
Jörg Maria Zeger (guitars, electronics)
Burkhard Beins (drums, percussion, objects)
Toshi Nakamura (no-input-mixer)
Ulrike Flaig (video feedback)
performing solo, duo quartet, quintet

Ignaz Schick (turntables, sine waves, live-electronics)
Joerg Maria Zeger (electric guitars, effects)
Burkhard Beins (drums, percussion, objects)


PERLONEX was formed in late 1998 and has since 1999 performed, recorded and toured extensively through numerous countries . Over the years PERLONEX have created a unique blend of different styles – settling somewhere in the no man’s land between electro-acoustic improv, industrial noise, ambient, minimal and often even incorporate elements of psychedelic music. On their extensive tours they have performed in an extreme range of different settings; from academic contemporary music festivals via improv and electronica venues to rough underground and punk/noise clubs. They are frequently invited to prominent festivals all over Europe and have also performed in Australia, Canada, Malaysia, New Zealand, Russia & the US.

In Autumn 2004 Perlonex invited two guests, Keith Rowe & Charlemagne Palestine, to join the trio for each one set at the Berlin Podewil. The event was labeled perlonex.tenions and the entire concert was released as a 2CD on the Ukrainian imprint Nexsound. Especially the meeting with Charlemagne Palestine turned into a very special and magic event, both as a musical and personal exchange. So since then every once in a while Perlonex teams up with Palestine and he has become a frequent guest to the group. Meanwhile there were more than a dozen of Perlonex & Palestine events in cities like Geneve, Paris, Bouronne, Vienna, Graz, Bologna, Berlin, Krems, Metz, Victoriaville, … Thus the resulting music has become increasingly intense. Another live double CD “It Aint Necessarily So” which is documenting the Vienna concert has been released in 2009 on Zarek.

Even though Perlonex normally don’t perform with guests they have made a few exceptions and besides Charlemagne Palestine also teamed up with R Keenan Lawler, Keith Rowe and with lapsteel guitarist Mike Cooper. In plus they collaborated with visual/video artists Ulrike Flaig (video feedback). After those fruitful collaborations Perlonex have recently focussed again on a series of “perlonex-only” concerts & recordings. They took a sabbatical in late 2012 to focus on the various projects of its individual members and restarted performing frequently in 2015.
Besides their 2017 release „Perlonoid“ they are planing to publish more material (both archival and new) soon.

IGNAZ SCHICK (born 1972)
[sound artist, composer, performer, turntablist]


Turntablist, sound artist, performer, composer and visual artist.
In his youth he studied the saxophone and performed in free jazz and avant rock bands. At the same time he was getting obsessed with multitrack tape machines, record players and effect boxes and he started experimenting with many different instruments and sound making devices. After college he briefly studied at the Academy of Fine Arts in Munich and worked for several years as an assistent for contemporary composer Josef Anton Riedl.
Since 1995 he lives & works in Berlin where he became an active and integral force of the so-called "Berlin Nouvelle Vague" and the blossoming "experimental" music scene. He has been also prolific as curator (Festival für Andere Musik, Erase & Reset, Time Shifts, TITO, Echtzeitmusiktage 2010, Circuit Training Festival, Flux Festival, ...) and runs the experimental music label Zarek.

Jörg-Maria Zeger (born in 1962)

received his first guitar lessons at the age of twelve years and collected his early musical experiences in diverse punk and rock bands, followed by a great interest and experiences in free improvised music. Since 1986 he lives and works in Berlin, during his studies in „Comparing Sciences of Music" prolonged travels throughout South East Asia and there field research on the southeast asian music culture, especially the music of the tribes „Batak", „Minanga-bau" and „Nias“ in Sumatra as well as collaboration with native musicians of that region.

Burkhard Beins
born 1964 in Lower Saxony, lives in Berlin since 1995. As a composer/performer working in the fields of experimental music and sound art he is known for his definitive use of percussion in combination with selected sound objects. Furthermore, he works with live-electronics/analog synthesizers and has conceived several sound installations.

Toshimaru Nakamura

Toshimaru Nakamura's instrument is the no-input mixing board, which describes a way of using a standard mixing board as an electronic music instrument, producing sound without any external audio input. The use of the mixing board in this manner is not only innovative in the the sounds it can create but, more importantly, in the approach this method of working with the mixer demands. The unpredictability of the instrument requires an attitude of obedience and resignation to the system and the sounds it produces, bringing a high level of indeterminacy and surprise to the music. Nakamura pioneered this approach to the use of the mixing board in the mid-1990's and has since then appeared on over one hundred audio publications, including nine solo CD's.

He has performed throughout Europe, North America, Argentina, New Zealand, Australia, Korea, China, Singapore and Malaysia, performing and recording both as a soloist and in collaboration with numerous other musicians.

As an active organizer of concerts in Tokyo, Nakamura has helped many musicians coming to Japan find places to perform, both with himself and with others. From 1998 to 2003 Nakamura and Tetuzi Akiyama ran the concert series Improvisation Series at Bar Aoyama and then later the Meeting at Off Site series of concerts. Both these concert series were crucially important in exposing a new manner to improvised music (referred to as Electro Acoustic Improvisation) to the Japanese public and to foreign musicians visiting Japan, making Tokyo one of the global hotspots for this new approach to music.

Ulrike Flaig

arbeitet in Berlin und Stuttgart, Kunststudium an der Staatlichen Akademie der Bildenden Künste Stuttgart, Aufbaustudium an der Hochschule für Musik und Darstellende Kunst Hamburg, Studium Kunstgeschichte und Literaturwissenschaft an der Sorbonne, Paris und an der Universität Regensburg, verschiedene Lehraufträge an der Hochschule für Gestaltung, Technik, Wirtschaft und Kunst, Pforzheim und an der Universität Stuttgart, Institut für Kunstgeschichte.

Ulrike Flaig ist mit ihren raumgreifenden Installationen, Objekten, Videos und Notationen in nationalen und internationalen Ausstellungen vertreten. Seit 1990 arbeitet sie mit Musikern und Komponisten in Video-Live-Performances bei verschiedenen Musikfestivals und anlässlich von Kunstausstellungen. Sie erhielt zahlreiche Preise und Stipendien, u.a. das Stipendium Cité Internationale des Arts Paris, ein Arbeitsstipendium der Stiftung Kunstfonds, Bonn und ein Arbeitsstipendium der Kunststiftung Baden-Württemberg.

Ihr Schaffen ist dokumentiert in vielen Katalogen und Publikationen u.a.: Ulrike Flaig – Von Zeitentzerrzonen und Nacht-U-Booten (Hrsg. Andreas Baur, Villa Merkel, Galerien der Stadt Esslingen, Ostfildern 2007).

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