Toronto, Canada native Sandro Perri began his winding journey into performance and production with the release of a 12" under the name Polmo Polpo in 1999. Equally inspired by the widely disparate styles of '60s surf-pop producer Joe Meek and minimal techno label Basic Channel, Perri's early releases were a patchwork of slow electronic pulses and gentle live instruments. Perri released four Polmo Polpo 12"s on his own label, Audi Sensa; the tracks were eventually compiled for 2002's The Science of Breath. The official Polmo Polpo debut album, Like Hearts Swelling, was released to international acclaim in 2003, earning Perri wider renown and a spot at that year's All Tomorrow's Parties festival in London. In 2006, Perri began performing under his own name, drastically reworking the sounds from Like Hearts Swelling with the EP Sandro Perri Plays Polmo Polpo. This recording surprised some fans with its move away from electronic sounds and toward a more live-sounding, electro-acoustic instrumentation. More surprising, however were Perri's plainspoken vocals, which graced these vivid re-envisionings of what were once instrumental tracks. Perri released Tiny Mirrors, his first full-length recording under his given name, in 2007. The album found him working in a delicate folk-tinged vein with definite roots in post-rock improvisation. This album also drew heavily on another of Perri's strongest influences, the '80s-era genre-bending, avant-disco producer of N.Y.C.'s downtown scene, Arthur Russell, whose song "Kiss Me Again" Perri had earlier covered in an epic 28-minute form. In addition to Perri's prolific output both under his given name and as Polmo Polpo, he frequently collaborated with other bands and artists, actively working for a time as a member of earthy acts like Barzin or Great Lake Swimmers, embarking on one-off collaborations like Dot Wiggin with the late Todd Fox, or Glissandro 70 with Craig Dunsmuir, and providing various levels of production assistance on studio work from Devon Sproule, Steven Malkmus, or Grizzly Bear's Owen Pallat. Amid constant touring, collaborations, and production work, Perri slowly pieced together his second proper full-length, 2011's gently beautiful Impossible Spaces. ~ Fred Thomas
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Folk/Americana - Released September 14, 2018 | Constellation
"On his first album in almost seven years, the Toronto artist uses ambient pop to craft a masterful, dreamlike world where songs luxuriate for 24 minutes and Dan Bejar shows up to sing about Paris."
Alternative & Indie - Released October 18, 2011 | Constellation
The second full album (not counting his transitional Plays Polmo Polpo release) by Sandro Perri under his own name finds the jack-of-all-trades producer/musician further exploring the more traditional singer/songwriter approach his work under his own name has tended toward, though always with a kind of unexpected lushness and direction that steer clear of simple revivalism. The whole of Impossible Spaces holds together as a strong listen, but in many ways it's the individual moments that stand out above all else. "Changes" flows as a kind of easy ramble with precise moments, bringing in orchestrated '70s funk, singer/songwriter bemusement with a bit of a sly nod to David Bowie's own song of the same name, and a hint of the lushness of the underrated U.K. act Butterfly Child, along with a lengthy coda that might as well be a whole song in its own distinct right. The fleck of glam descending on "How Will I?" brings out the melancholy of a song dedicated to a deceased collaborator, while "Love & Light" has a gentle touch of something that could have been from Brazil in the early '60s -- just enough to suggest some breathless (literally) grace kicking along. "Futureactive Kid, Pt. 1" signals a slight shift in the feeling of the album to something more focused and stripped down, with acoustic guitar, stiff beats, and moaning tones holding sway even as Perri still sings in his easy fashion, the whole shifting back into the flute-led jazz-inspired flow of "Futureactive Kid, Pt. 2." ~ Ned Raggett
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