Orto Parisi: Megamare (Alessandro Gualtieri, 2019)
It is difficult to define it as an "ozonic" perfume.
Ozonics are something else...
They take the salty/metallic smell of the sea and use it to suggest cleanliness, freshness, salt, holidays, and laughter.
Megamare instead captures the breath of the True, primordial, alive Sea that attracts and frightens you at the same time, what you perceive as a living creature with a will of its own.
In Megamare the superficial story is told by the ozonic breeze: that is the skin when the salt dries, the winter storms, the dry algae on the beach, and the smell of dead creatures rolling and swaying a few centimeters from the shoreline.
But this ozonic breeze only serves to allow you to slide slowly a thousand meters deep, where the Maelstrom is formed, a powerful and invincible vortex, which, arriving at the surface, hypnotizes and sucks you inside.
I like it when I perceive a similar ability to govern the raw material in the service of the idea, without wasting it in useless clichés just because "usually ozone is done like this".
As usual, Alessandro Gualtieri pushes the boundary of perception to unbearable limits. It is a way of working that I love and that requires uncommon courage and vision. The creativity is the same as in those hyper-realistic paintings in which the particular becomes so important and enlarged, and detailed, that it takes over the whole scene ...
Or like Radiohead, who take a small vocal loop and repeat it endlessly, turning it into an otherworldly sound experience (in fact, while I'm wearing it I'm just listening to "Everything is in the right place" and it seems to me that everything, here is exactly where it should be)
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