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Sandro Perri
Soft Landing
"[Perri] makes meticulously layered, experimental music that feels as breezy and inviting as the smoothest yacht rock. It is, in a word, timeless." – Pitchfork
CST148 180gLP • CD • DL
Release date: 06 September 2019
Duration: 41:51
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"Where many artists initiating conversations between pop music and the avant-garde deploy strategies from the latter to corrupt the former, Perri works the other way — he makes meticulously layered, experimental music that feels as breezy and inviting as the smoothest yacht rock. It is, in a word, timeless." – Pitchfork (8.0)
"Sandro Perri is not a musician in a hurry. The title track from last year’s In Another Life, with its strong echoes of Arthur Russell, unspooled over the course of 25 gorgeous minutes. Here, “Time (You Got Me)” is similarly languorous, gently tickling the ears for at least 10 minutes after Perri stops singing. The rest of Soft Landing’s songs are more conventional, with “Back On Love” even tracing a suave Brill Building melody, although all are set adrift on ripples of eddying guitar and lazy tropical percussion. In an angry, impatient world it takes real dedication to carve out space for music this blissful." – UNCUT ★★★★
"Arguably more concise than its predecessor, the album feels like a culmination of Perri’s work from the past decade, and beyond, extending to some of the more lo-fi hushed folk of his earlier work… Perri reaches near pop perfection on the lounge-funk number “Wrong About the Rain,” which grooves and ruminates in harmony." – Aquarium Drunkard
"Toronto producer forgoes avant-electronics for guitar on gently cosmic balladry à la Astral Weeks/Mickey Newbury/Peter Green. Meditative "Time (You Got Me)" sets the pace: a gently rambling rumination twinkling with congas, shakers and bird-like flute." – MOJO ★★★★
"[Soft Landing] is soothing, resolved and heavily evocative of laidback '70s pop-funk and soft rock… Its blurry nostalgia is what you might imagine it sounds like inside the head of Bob Ross as he paints, an aural pulling-of-the-chutes that allows us to float down like a peaceful feather on the summer breeze. If Soft Landing doesn't make you feel good inside, all the drugs in the world won't help you." – Exclaim!
It took seven years for Sandro Perri to return with an album under his own name, releasing In Another Life (“his outsider pop masterpiece” — Exclaim) in the fall of 2018, as the much-anticipated follow-up to his acclaimed full-length Impossible Spaces (#38 album of 2011 at Pitchfork, among other accolades). But the Perri floodgates have now well and truly opened: the flow of sparkling, eddying music he’s been meticulously doling out of late (including two recent volumes of collaborative avant-electronic work with his Off World project) charts another vital, rejuvenating tributary with Soft Landing.
Soft Landing features songs Perri has been playing around with for the better part of the last decade, taking many forms along the way, and recorded sporadically over a long period. It’s also his most guitar-based collection since 2007’s Tiny Mirrors. While Perri is rightly celebrated as “one of the most singular producers in contemporary music” (Boomkat) for his widely varied electronic work, his foundations as a guitarist have always anchored his ‘solo’ albums in one form or another. On Soft Landing, Perri’s guitar playing is at the smoothly, expressively rambling heart of these tunes — while his recording and mixing acumen as a (self-) producer is also on brilliant display.
As with last year’s In Another Life (which comprised two album-length sides of ‘infinite song’), Soft Landing opens with the 16-minute “Time (You Got Me)”, an enchanted mid-tempo excursion anchored by Perri’s gently sliding guitar riff and a serene vocal delivering lyrics that can be read as a wistfully acquiescent love letter to the fourth dimension. Paced by congas, shakers, claves, impressionistic piano and even the occasional wind chime, Perri wraps up his final vocal refrain by the song’s fifth minute and then steers the instrumental theme down a long and winding road in his inimitable style – like a stroll along a country lane where every glint of dappled sunlight catches another rustling, animate micro-detail. The album then shifts to what might be called more ‘finite’ songs (each clocking in at 4-6 minutes), with Side One’s closer “Floriana” representing one of two instrumentals, where an arpeggiated guitar riff makes the bed for a series of lovely and languorous melodic lines traded between electric lead guitar, trumpet and flute, that evoke sunrise in ways equally suited to waking up from a long restorative slumber or wrapping up an all-nighter.
“God Blessed The Fool” opens Side Two, a splendid stroke of sultry slow-burn soul that finds Sandro singing a literal chorus of “deedly deedly dum dum” in sweet falsetto. “Back On Love” is perhaps the album’s most familiar-sounding Perri tune and arguably the most explicit love song in his catalogue: a song about love itself, needless to say (it’s doubtful we’ll ever hear a “baby I want you back” jam from Perri). “Wrong About The Rain” channels only the choicest tropes of syncopated 70s-era soft-rock; Perri weaves ornate guitar licks around a succulent interplay between clavinet and trap kit, resulting in one of the most immediately satisfying tunes he’s ever put to tape – high praise for someone with Perri’s stellar catalogue to date, but we’re confident fans will agree. Thanks for listening.
Soft Landing features songs Perri has been playing around with for the better part of the last decade, taking many forms along the way, and recorded sporadically over a long period. It’s also his most guitar-based collection since 2007’s Tiny Mirrors. While Perri is rightly celebrated as “one of the most singular producers in contemporary music” (Boomkat) for his widely varied electronic work, his foundations as a guitarist have always anchored his ‘solo’ albums in one form or another. On Soft Landing, Perri’s guitar playing is at the smoothly, expressively rambling heart of these tunes — while his recording and mixing acumen as a (self-) producer is also on brilliant display.
As with last year’s In Another Life (which comprised two album-length sides of ‘infinite song’), Soft Landing opens with the 16-minute “Time (You Got Me)”, an enchanted mid-tempo excursion anchored by Perri’s gently sliding guitar riff and a serene vocal delivering lyrics that can be read as a wistfully acquiescent love letter to the fourth dimension. Paced by congas, shakers, claves, impressionistic piano and even the occasional wind chime, Perri wraps up his final vocal refrain by the song’s fifth minute and then steers the instrumental theme down a long and winding road in his inimitable style – like a stroll along a country lane where every glint of dappled sunlight catches another rustling, animate micro-detail. The album then shifts to what might be called more ‘finite’ songs (each clocking in at 4-6 minutes), with Side One’s closer “Floriana” representing one of two instrumentals, where an arpeggiated guitar riff makes the bed for a series of lovely and languorous melodic lines traded between electric lead guitar, trumpet and flute, that evoke sunrise in ways equally suited to waking up from a long restorative slumber or wrapping up an all-nighter.
“God Blessed The Fool” opens Side Two, a splendid stroke of sultry slow-burn soul that finds Sandro singing a literal chorus of “deedly deedly dum dum” in sweet falsetto. “Back On Love” is perhaps the album’s most familiar-sounding Perri tune and arguably the most explicit love song in his catalogue: a song about love itself, needless to say (it’s doubtful we’ll ever hear a “baby I want you back” jam from Perri). “Wrong About The Rain” channels only the choicest tropes of syncopated 70s-era soft-rock; Perri weaves ornate guitar licks around a succulent interplay between clavinet and trap kit, resulting in one of the most immediately satisfying tunes he’s ever put to tape – high praise for someone with Perri’s stellar catalogue to date, but we’re confident fans will agree. Thanks for listening.
PACKAGING NOTES
Deluxe 180gram vinyl pressed at Optimal (Germany) comes in a 20pt/400gsm uncoated jacket with audiophile polylined black paper inner dust sleeve and 12”x24” poster + 12”x12” insert both printed in full colour on uncoated archival 140M paper. Includes digital download. Artwork by Sandro Perri.
CD comes in a custom mini-gatefold jacket printed on uncoated paperboard with an inner dust sleeve for the disc. Includes digital download. Artwork by Sandro Perri.
CREDITS
Music and lyrics by Sandro Perri
Ryan Driver – flute (tracks 1, 2, 4)
Blake Howard – clave, congas, moose call (tracks 1, 2, 4, 5, 6)
John Jowett – euphonium (track 2)
Nicole Rampersaud – trumpet (track 2)
Mike Smith – bass, clavinet, Rhodes (tracks 2, 5, 6)
Matt McLaren – Linn Drum (track 3)
Josh Cole – fretless bass (tracks 4, 5)
Thomas Hammerton – Rhodes (track 4)
Nick Fraser – drums (track 5)
Recorded at 6 Nassau and Sonology, Toronto 2015-2019.
Mixed West of Vinny’s.
Mastered at Grey Market by Harris Newman.
Layout by Ian Ilavsky and Davin Risk.
Published by Ribbon Music 2019.
Ryan Driver – flute (tracks 1, 2, 4)
Blake Howard – clave, congas, moose call (tracks 1, 2, 4, 5, 6)
John Jowett – euphonium (track 2)
Nicole Rampersaud – trumpet (track 2)
Mike Smith – bass, clavinet, Rhodes (tracks 2, 5, 6)
Matt McLaren – Linn Drum (track 3)
Josh Cole – fretless bass (tracks 4, 5)
Thomas Hammerton – Rhodes (track 4)
Nick Fraser – drums (track 5)
Recorded at 6 Nassau and Sonology, Toronto 2015-2019.
Mixed West of Vinny’s.
Mastered at Grey Market by Harris Newman.
Layout by Ian Ilavsky and Davin Risk.
Published by Ribbon Music 2019.