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Perpetual Void
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Perpetual Void in Bloomington, MN
Current price: $21.99
Perpetual Void in Bloomington, MN
Current price: $21.99
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Size: OS
A quick glance at the song titles confirms that
Perpetual Void
is dealing with existential questions: "I Don't Wanna Live the Wrong Life and Then Die," "Prelude to Grief," "The Absence of the People You Long For." But while the record deals with serious themes of life and death, it isn't as heavy or haunting as the subject matter implies -- instead, it captures a journey that's ultimately hopeful and cathartic.
is pianist
Marta Sánchez
's fifth record as a leader, and the compositions were prompted by the loss of her mother, her struggles to deal with the anxiety, and her frequent bouts of insomnia. Fittingly, she opts for a more intimate setting than on her previous quintet albums, recording the material with a trio instead, whose congenial communication perfectly embeds
Sánchez
's explorations. Accompanied on most tracks by in-demand bassist
Chris Tordini
and relative newcomer
Savannah Harris
on drums, the pianist even includes two solo pieces to tackle the complex emotions she's processing.
The album starts with the most dramatic material: the opening "I Don't Wanna Live the Wrong Life and Then Die" is an agitated piece that develops into a frenzy, followed by the insomnia-inspired "3:30 AM," where the choppy rhythm and staccato piano motif suggest the mind which is simply unable to rest -- up to the point where the nervous drum solo feels like the pianist is simply too exhausted to keep going. But the record then takes a left turn, becoming more introspective with the brief solo piano piece "Prelude to Grief" and the calmer "The Absence of the People You Long For." There's a searching quality to the pieces that follow, especially the probing "Perpetual Void," and
seems to reach a state of acceptance with "The End of That Period" and the surprisingly playful "The Love Unable to Give." Even while she's moving into brighter, steadier territory, the pieces never lose their underlying sense of anxiety -- but at the end, with the defiant "This Is the Last One About You" and the more delicate final track "29B," it seems that she's embraced the unrest instead of fighting it. ~ Christian Genzel
Perpetual Void
is dealing with existential questions: "I Don't Wanna Live the Wrong Life and Then Die," "Prelude to Grief," "The Absence of the People You Long For." But while the record deals with serious themes of life and death, it isn't as heavy or haunting as the subject matter implies -- instead, it captures a journey that's ultimately hopeful and cathartic.
is pianist
Marta Sánchez
's fifth record as a leader, and the compositions were prompted by the loss of her mother, her struggles to deal with the anxiety, and her frequent bouts of insomnia. Fittingly, she opts for a more intimate setting than on her previous quintet albums, recording the material with a trio instead, whose congenial communication perfectly embeds
Sánchez
's explorations. Accompanied on most tracks by in-demand bassist
Chris Tordini
and relative newcomer
Savannah Harris
on drums, the pianist even includes two solo pieces to tackle the complex emotions she's processing.
The album starts with the most dramatic material: the opening "I Don't Wanna Live the Wrong Life and Then Die" is an agitated piece that develops into a frenzy, followed by the insomnia-inspired "3:30 AM," where the choppy rhythm and staccato piano motif suggest the mind which is simply unable to rest -- up to the point where the nervous drum solo feels like the pianist is simply too exhausted to keep going. But the record then takes a left turn, becoming more introspective with the brief solo piano piece "Prelude to Grief" and the calmer "The Absence of the People You Long For." There's a searching quality to the pieces that follow, especially the probing "Perpetual Void," and
seems to reach a state of acceptance with "The End of That Period" and the surprisingly playful "The Love Unable to Give." Even while she's moving into brighter, steadier territory, the pieces never lose their underlying sense of anxiety -- but at the end, with the defiant "This Is the Last One About You" and the more delicate final track "29B," it seems that she's embraced the unrest instead of fighting it. ~ Christian Genzel
A quick glance at the song titles confirms that
Perpetual Void
is dealing with existential questions: "I Don't Wanna Live the Wrong Life and Then Die," "Prelude to Grief," "The Absence of the People You Long For." But while the record deals with serious themes of life and death, it isn't as heavy or haunting as the subject matter implies -- instead, it captures a journey that's ultimately hopeful and cathartic.
is pianist
Marta Sánchez
's fifth record as a leader, and the compositions were prompted by the loss of her mother, her struggles to deal with the anxiety, and her frequent bouts of insomnia. Fittingly, she opts for a more intimate setting than on her previous quintet albums, recording the material with a trio instead, whose congenial communication perfectly embeds
Sánchez
's explorations. Accompanied on most tracks by in-demand bassist
Chris Tordini
and relative newcomer
Savannah Harris
on drums, the pianist even includes two solo pieces to tackle the complex emotions she's processing.
The album starts with the most dramatic material: the opening "I Don't Wanna Live the Wrong Life and Then Die" is an agitated piece that develops into a frenzy, followed by the insomnia-inspired "3:30 AM," where the choppy rhythm and staccato piano motif suggest the mind which is simply unable to rest -- up to the point where the nervous drum solo feels like the pianist is simply too exhausted to keep going. But the record then takes a left turn, becoming more introspective with the brief solo piano piece "Prelude to Grief" and the calmer "The Absence of the People You Long For." There's a searching quality to the pieces that follow, especially the probing "Perpetual Void," and
seems to reach a state of acceptance with "The End of That Period" and the surprisingly playful "The Love Unable to Give." Even while she's moving into brighter, steadier territory, the pieces never lose their underlying sense of anxiety -- but at the end, with the defiant "This Is the Last One About You" and the more delicate final track "29B," it seems that she's embraced the unrest instead of fighting it. ~ Christian Genzel
Perpetual Void
is dealing with existential questions: "I Don't Wanna Live the Wrong Life and Then Die," "Prelude to Grief," "The Absence of the People You Long For." But while the record deals with serious themes of life and death, it isn't as heavy or haunting as the subject matter implies -- instead, it captures a journey that's ultimately hopeful and cathartic.
is pianist
Marta Sánchez
's fifth record as a leader, and the compositions were prompted by the loss of her mother, her struggles to deal with the anxiety, and her frequent bouts of insomnia. Fittingly, she opts for a more intimate setting than on her previous quintet albums, recording the material with a trio instead, whose congenial communication perfectly embeds
Sánchez
's explorations. Accompanied on most tracks by in-demand bassist
Chris Tordini
and relative newcomer
Savannah Harris
on drums, the pianist even includes two solo pieces to tackle the complex emotions she's processing.
The album starts with the most dramatic material: the opening "I Don't Wanna Live the Wrong Life and Then Die" is an agitated piece that develops into a frenzy, followed by the insomnia-inspired "3:30 AM," where the choppy rhythm and staccato piano motif suggest the mind which is simply unable to rest -- up to the point where the nervous drum solo feels like the pianist is simply too exhausted to keep going. But the record then takes a left turn, becoming more introspective with the brief solo piano piece "Prelude to Grief" and the calmer "The Absence of the People You Long For." There's a searching quality to the pieces that follow, especially the probing "Perpetual Void," and
seems to reach a state of acceptance with "The End of That Period" and the surprisingly playful "The Love Unable to Give." Even while she's moving into brighter, steadier territory, the pieces never lose their underlying sense of anxiety -- but at the end, with the defiant "This Is the Last One About You" and the more delicate final track "29B," it seems that she's embraced the unrest instead of fighting it. ~ Christian Genzel
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