Taking a side-step from the relatively accessible English language material that filled their 2023 album ‘Discordia’, ‘Lille Flamme’ showcases Perpacity’s multi-national heritage by presenting songs in Danish. The release also feels markedly different in its choice to share a couple of spikier arrangements, which sometimes gives the English-Danish duo’s work a darker and more intense quality. These factors mean the material is possibly geared a little more towards those who are already familiar with Perpacity, but you certainly couldn’t accuse them of merely repeating themselves and adopting a safe and formulaic approach to their art.

The title cut opens with synth sounds that capture a genuine elasticity, set against brighter piano notes and, eventually, something that falls a little more in line with an 80s sound. You couldn’t ever say this feels deliberately retro, though; at least not until the arrival of a semi-crooned vocal, which evokes Depeche Mode circa 1989. Even then, there’s an ominous feel to the melody that feels a little more as if it comes from an underground source, whilst a Danish lyric helps to give the piece a slightly more detached feel when heard from the perspective of someone who doesn’t speak the language. It’s to Perpacity’s credit that this isn’t actually a barrier, however: it actually gives this number more of a unique character when parts of the music begin to feel a little more familiar. Overall, it creates a great first impression, but spending extra time with the track, its warbling bass notes lurking beneath the more strident melodies and the use of hushed backing vocals to lend the melody a little more of a gothic quality begin to feel even more impressive.

At first, ‘Sjælekamp’ shares more of a cinematic quality with a slightly echoing vocal soaring above a blanket of synths, before Vince Clarke-esque, pulsing keys gives the main melody a base. Unashamedly 80s in tone, this is even bleaker than ‘Lille Flamme’, but the use of harmony vocals and cold melodies offer something strangely beautiful, and even though this number comes with a rather abrupt ending, it leaves the listener feeling as if they’ve just experienced something vaguely otherworldly, before ‘Bedrager’ cuts in and jolts everything with a light industrial edge and off-kilter rhythm. It’s much busier, at least during the verses, but Martin Nyrup’s broad sounding voice provides a strong link to Perpacity’s other work, even when the music takes a sharper turn. Once things settle, this number shares some great melodies, not least of all when a ghostly female voice arrives mid way to flesh out a very strong middle eight. Those keeping a closer ear should also find a great pleasure in some of Ian Harling’s more subtle embellishments here, too, particularly a higher toned synth that’s used as effective colourant during the track’s second half, and a few notes that sound as if a crisp sounding guitar has crept in to flesh out the Perpacity sound. Despite being a lot busier, this actually has the potential for being this release’s standout track, and possibly even the tune most likely to attract new ears.

This release totters rather gleefully between sharing huge melodies and teasing with a few spikier edges, showing how Perpacity really aren’t phoning it in by relying on their tried and tested sounds and melodies. Perhaps, more impressive, is the fact that this short release manages to share three tracks that feel vastly different from each other. It may not always be the easiest or happiest of listens, but approached either as a stop-gap between long-form works or as a primer for how varied Perpacity’s synth based sounds can be, this three tracker is hugely effective.

May 2025