A very special set boasting amazing track selection. Not a set you can really dance to, it is a very eclectic mix of tracks with many peaks & troughs, super-slow parts and experimental episodes. Definitely a set for music geeks.The track listing order on discogs has many mistakes. One error is the song following Villalobos' "Guaguay" which is in fact "Kalumpung A Kalimku" by Morane. This transition is absolute genius, how the hell did s/he think of combining these two diametrically opposed tracks; the dark, minimal and slightly bland Guaguay, and Kalumpung A Kalimku which sounds like my imagination's version of the Fiji national anthem.

if you dont have nothing nice to say.... better dont say anything!

Bwaaaaaa ... relax ...

nr.600

I was a hater too before I got my copy. LOL. Then sold it the day after for twice the price and bought another one in the shop. funny world...... and its true - all the big names on the record sound rubbish - or at least not danceable for the Otto-Normal-dancer. But, gosh, some other tracks are worth it....

le.roi.du.soleilI was a hater too before I got my copy. LOL. Then sold it the day after for twice the price and bought another one in the shop. funny world...Don't you think it is stupid showing off your bargain while everybody from Perlon is reading?

nice work.

As a longtime fan of Perlon I must say that I am pretty sad that there was no digital release of all the unmixed tracks, because I'd have been the first to buy them, but the CD version with mixed tracks is no real alternative for me. I don't know what to think about the exclusive limited release on vinyl either, since I have no turntables anymore I only listen to the music I have digitally in mp3-format. Sometimes I use the turntables of friends to record brandnew vinyl to my harddisk, in order to be able to listen on my mp3-stick afterwards. Judging from the track samples you can hear on the net this is another fine Perlon release, with distinct sound, not following the house/trance/new world music explosion, which is ongoing at the moment; this remains Perlon through and through.

Absolutely. I would buy it on digital too. Fantastic release (for me, the best in series).

and what is the collector's item?

it was supposed to be a ltd. bag as i understand it (what one of the artists told me) but it got held up in customs from wherever they ordered them made.

I did not get one #817 or something like that.

i have a box with 0617 number and have no items inside, i think these mystery items were avalaible only with first 50 or 100 boxes

also would like to know, seems noboday get one!=?

Okay, maybe I'm a hater. I'll give you that. I just listened to some samples of these cuts on juno and I have to say, I'm absolutely amazed that y'all are cranking out the same-ass plink plonk minimal tracks you were 10 years ago. Perlon was so much fun when it got started with Good Morning Eyeball and all that shit. Now it just seems like a way to make money off a bunch of 24-hour club kids cracked out on speed. At least put some fucking swing and some fucking bass into that motherfucker! There's maybe a handful of tracks in this compilation that have any business on a dancefloor. The rest is just tired old shit: a couple light little drum kicks, a few weird noises, maybe some vocal belch or squeek or what the fuck ever! People...remember Detroit? And Chicago? Where's the soul? Where's the swing? Minimal burned itself out a while ago already. The Perlon packaging looks nice but I'm afraid its just a shell on a mostly empty product.

JDBA coexistence of styles in the name of party is not intended?Sure it is! This is what i'm talking about. In recent years, there is more variety of styles in the clubs and in some sets. That was not the case before 2010, because almost everyone played "Minimal". I never talked about "replacement" though.

This was wonderful to read, thank you.

Finally I can leave the soundproof bunker now. Glad, that somebody told me that the dictatorship of minimalism in Germany has "officially" been dispossessed, and replaced by deepness - according to the official organ of club dogma... A coexistence of styles in the name of party is not intended? Perlon isn't deep? Neither the label should be denoted "minimal".

I agree with Discozilla. Funny thing is that someone recognized the problem already in 2005. But there is hope: Since last year (2011), the "minimal years" are officially over in Germany, according to "Groove Magazin" and others. The German DJ's slowly begin to change their sound: Recently, I was at a club with Âme and some other DJ's spinning. They played a lot of Chicago and Deep House and only a few "minimal" tracks. They even played "Fired Up" by Funky Green Dogs! So things will be what they used to be until 2003: Perlon stands for the more minimal sound, all the others for more deepness or melody.

Discozilla?. we need more DiscoKilla

Well, Discozilla, you listened "to some (mp3) samples... on Juno", at the same time you are complaining about a lack of bass and quality. You seemed to have answered your questions to yourself, didn't you? Quality issues are the reason why Perlon won't ever sell any of their tracks in a file format. Besides, I am interested in how to make money off this box considering the big investment in such a special packaging in times of rapidly decreasing vinyl sales.Only because you mention it, Perlon never claimed to release under a genre banner, "Minimal" least of all. As always, there is absolutely no guideline for classification on this Perlon release. In fact, the term "minimal" is an invention of unimaginative music journalists and/or an excuse for unimaginative productions, of course we all know that. The story goes like this: walking the zero line, a horde of copycats celebrate mediocrity by replicating the common sound from the grid for blindfold credibility reasons. Which results in a glut of senseless, uniform releases exposing a lack of intuition, inspiration, emotion, passion, deepness, dynamics, energy, ingenuity, feel for progression and sound design. Given 98% demo waste, I suffered when working as an A&R for club labels.You are not a hater, but obviously just a misleaded listener because you did not have the opportunity, yet, to experience the entire "Superlongevity" release via loudspeakers that fulfill club quality (or at least home listening for you and your neighbours) standards. I was lucky listening to the comp in Ricardo's and Zip's studio vaults via a huge Martion audio system, and I swear, walls and minds were melting under the heavy influence of a pervasive bass (and swing shuffle) massage. I enjoyed the distinct, sophisticated approaches to a propulsive groove development by every single participant. A visitor to their imagination, I felt comfortably psychedelic.Believe me, though (or because) I am involved in the Perloverse even since the times before its big bang, I am its severe critic, and certainly find not only a few of the Perlon releases boring. But your review is doing the great potential of the unearthly binary dimensions of "Superlongevity 5" injustice.Best regardsJDB (Narcotic Syntax)

I like your energy, dude. You did get most my point twisted (amidst your personal attacks and straw man arguments) but clearly, I've hit a nerve, so its understandable. My point is not that Detroit and Chicago are fresh any more. Our techno scenes are dead. Way worse off than Berlin. My point is also not that we should all just listen to old music. The point is that to me, its clear that we've lost that essential part of the thread. Plink plonk (aka 99.9% of German minimal) dominates the record stores without having to change. I've continued to make my weekly trip to the record store to hear the millionth version of Mike Ink's Studio One releases. Brother, I wouldn't have such a problem with it if there weren't so much of this stuff. Its not that Perlon doesn't put out a few good cuts from time to time. The problem is what's in between these releases. And of course I can't hold them responsible for the rest of minimal techno, but Perlon too has been stumbling for most of the last 40 releases. And as leaders in this niche, I have to hold them partially responsible for what's going on.I spent four months in Berlin in 2005 which was enough time for me to be able to distinguish, up close and personal, between Richie Hawtin and Perlon (and I do get the difference, trust me, but that's a whole different conversation). I broke bread with many of those guys as a matter of fact. Problem is, at the 24 hour clubs in Berlin, many the crack heads don't distinguish. Its a scene and the artists don't get to pick and choose who likes their music. In fact, they actually get to PROFIT off of it. How else do you think they've been able to keep it going this long? 20-year-old crackheads are an essential part of the financial lifeblood of the plink plonk scene. They pay for shows, they buy records and they try to be DJs.I do like your little straw man argument, going after Horizontal Ground, A Made Up Sound, & Mike Dehnert. It was an ignorant attempt to get in a shot, but maybe you'll learn from this. Look, I'm not holding these guys up as the second coming of anything. I do like what they're doing, but I can guarantee that I'll have the same complaint if they start releasing 50 records each week for the next 12 years. Fortunately we're nowhere near that. Bottom line for me: all respect is due to the contributions of Berlin and Cologne and the rest of the German scene. I love this stuff too. All you would have to do is look at my real record collection (not the 15 releases in my "collection" on discogs) to know that I'm a fan. But they have BEAT THIS HORSE TO DEATH!!! Berlin minimal, for all of its cutting edge pretensions, is for the most part stiff as fuck and hasn't changed significantly in several years. No $90 mega-compilation in a slick package is going to change that.

True to form indeed. But, the_electrician my friend, I hate to break it to you: this IS the latest trend. Okay, maybe the second latest trend. I forgot dub-step. What a fucking snooz. Almost all of it. Don't get me wrong though. There's still a good Perlon track every once in a while. But most of it, along with the seemingly endless spew of minimal releases out of Germany, is just retread. And not in a "we're putting a novel spin on an old classic" way. It's just not fresh any more, and I'm not clear why people haven't gotten off this kick yet. I do know that the little techno bubble of Berlin has a hard time getting outside of itself sometimes. I stayed there for a few months in '05 and I'll never forget a young American minimal enthusiast telling me, "I don't really like Detroit techno." This, to me, really exemplified the whole problem. What is techno without Detroit? Without Chicago? Brighton? Birmingham? Without Tresor? And a whole mess of other foundational influences and innovations? I'm glad there's some inspired techno music still out there, but for the most part, the over-saturation of the market with stiff, bland, minimal techno ideas has really watered down a once-beautiful and forceful artistic movement.

This a great release that stays true to form. No selling out to the latest trends just purity of intent, what the people have come to know and love from this outfit. Well worth the outlay for such a large collection of classic sounds. If you like the Perlon sound of old then this is your cup of tea, if you like swing and rubbish like that look elsewhere.