Alexandre Perotto’s Eternitarian was one of the most striking and memorable tracks that I had the pleasure of reviewing during the past year. It’s one that reappears at the top of the playlist again and again, and one that is always an absolute joy to listen to. Perotto has now released an album-length collection of compositions to add to the experience, and this playlist is a truly beautiful way to spend an hour.
Merci! follows Eternitarian and feels like a short burst of something like joy – simple and spacious. Then you get the breathtakingly thoughtful Latibule, another piece that stands at just past the two-minute mark and subsequently seems to end before you’re really done embracing it. An easy track to listen to on repeat for a fair while.
Souleidoscope sees the piano joined by some delicate strings – the quickness of the piano notes contrasts hypnotically with the smooth, elongated string notes; and similarly, the higher sound contrasts with the cello sound that comes in later on. There’s a subtle sense of urgency to this piece, a multi-coloured, energetic ambiance pours down. However he does it, Perotto creates a world of emotion and detail around you – often with a single instrument and a stunning use of melodic development.
Occhiolism marked the moment within this collection at which writing became a little difficult. Your mind wanders so intensely as these compositions play out – almost to the point of leaving you in a trance-like, meditative state of stillness. There seems to be such a simplicity to all of the tracks, yet the feelings they give you are often overwhelmingly complex, and they run deep.
Bringing a waltz vibe into the mix, Valzer al mattino introduces a few new subtleties that transport you to some small, distant village. There’s a mild sense of hustle and bustle but it’s not without a hint of sadness or something like isolation within the crowd. Afterwards, Kairos hits like a tonne of bricks. There’s an intense weight to this piece, it arrives soaked in drama and emotion and soul. Depending on your state of mind, the track can either break or make a listener when played at volume. Perotto has done superbly well in arranging this collection in an eclectic and ever-evolving manner – a further testament to his unquestionable creativity and self-awareness.
Anna’s Lullaby is a piece that stands out for its sense of cinema – there’s an overwhelming aura of story-telling to this, as if it’s some crucial scene towards the end of an epic film. Perotto’s use of space and abstract sound alongside of sporadic piano notes is mesmerising and creates a feeling of anticipation during the first half. The music resolves a little during the latter half, the notes feel more peaceful, more sure of themselves – hopeful, and with a clearer direction at hand. It’s comforting to hear things turn out seemingly OK.
A.M. Interlude makes sense afterwards, those cinematic qualities return – distant ambiance precedes the music, something like a train passing or taking you away. I was reminded a little of the Peal Harbor film and its musical score. A seemingly slow-motion, atmospheric aura overtakes – as if something huge has happened, but there wasn’t room in real-time to truly witness the power of it.
The journey comes to an end with the quietly heart-breaking Lacuna. You almost feel the need to hold your breath as this plays, as if you’re caught in the moment with the artist; feeling emotionally fragile and uncertain where things will go.
I cannot encourage you enough to experience Alexandre Perotto’s music at the earliest convenience. It’s a blessing to have such an artist among us, and this collection in full is consistently outstanding.
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