Sandro Perri has never shied away from expressing his admiration
for Arthur Russell; among the highlights of the Toronto
musician/producer's decade-plus-long career was a distended,
21-minute reinterpretation of Russell's already lengthy Dinosaur
disco classic "Kiss Me Again". But as Perri's discography has
pluralized and diversified in unexpected ways, Russell has
become less of a direct musical influence than an inspirational
model of following one's muse across dance, avant-garde, and
roots-rock boundaries, and marking those stylistic shifts with
different, highly evocative aliases. Since first establishing
himself in the early 2000s as a producer of aquatic, cerebral
techno under the Polmo Polpo moniker, Perri has variously
indulged his interest in Nigerian juju and shantytown funk with
one-album wonders Glissandro 70 and dubby disco as Dot Wiggin.
But since 2007, he's been releasing albums under his own name,
signaling a singer-songwriterly shift that foregrounds Perri's
considerable talents as a pedal-s