{"id":15717,"date":"2026-09-23T07:45:23","date_gmt":"2026-09-23T06:45:23","guid":{"rendered":"https:\/\/strettoblaster.com\/?p=15717"},"modified":"2026-09-23T07:55:29","modified_gmt":"2026-09-23T06:55:29","slug":"morriarchi-pertrelli-purple-interview","status":"publish","type":"post","link":"https:\/\/strettoblaster.com\/it\/pieces\/morriarchi-pertrelli-purple-interview\/","title":{"rendered":"Inside Light on My Feet with Morriarchi & Pertrelli Purple"},"content":{"rendered":"

The Five-Year Journey Behind Morriarchi and Pertrelli Purple\u2019s Light on My Feet<\/em><\/h2>\n\n\n\n

Morriarchi<\/strong> and I have been keeping tabs on each other for years. I\u2019ve followed both his beatmaking and the slow, stubborn evolution of Group Bracil<\/strong>; he, in return, has always been punctual in sending over whatever he was working on next.<\/p>\n\n\n\n

The latest transmission was Light on My Feet<\/a><\/em>, his collaboration with Pertrelli Purple<\/strong>, a thoughtful, delicate wordsmith and the mind and pen behind an album that refuses to reveal itself all at once.<\/p>\n\n\n\n

Five years passed between the first track and the finished record. In an industry increasingly built around instant reaction, disposable momentum and music designed to survive a release-week scroll, that kind of gestation feels almost deviant. Yet when the groove is solid, time does not erode it. It settles deeper.<\/p>\n\n\n\n

That persistence runs through the entire album: the commitment to giving weight to a vision whose contours were not always clear, but remained alive, blurred like a body caught in motion.<\/p>\n\n\n\n

But watch out: movement here is never purely geographical.

It means trains, streets, long walks and repeated journeys to London, but also the courage required to keep moving internally when the ground beneath you feels unstable. Lightness is not weightlessness. It is the strength to carry what weighs on you without allowing it to stop you.<\/p>\n\n\n\n

The same instinct keeps Morriarchi and Pertrelli away from obvious trends. Their music may remain out of sight for most people, but that is partly the price of retaining its shape. Nobody can (or perhaps should) make work that belongs to everyone.<\/p>\n\n\n\n

Light on My Feet<\/em> therefore feels less like a collection of tracks than a place: half-lit streets, long train journeys, foxes crossing South London roads, and the uneasy sense that the ground might collapse if you stop moving.<\/p>\n\n\n\n

We spoke about unlearning grime, leaving space for emotion, making albums rather than playlists, the realities of independent music\u2014and why The Bourne Identity<\/em> might explain the whole thing.<\/p>\n\n\n\n

\"Producer
Producer Morriarchi (L) and emcee Pertrelli Purple (R) <\/figcaption><\/figure>\n\n\n\n

You both came up around UK rap and grime, but neither of you seems interested in staying inside one fixed tradition\u2014lyrically or production-wise. What did you have to unlearn to arrive at this record?<\/strong><\/p>\n\n\n\n

PERTRELLI PURPLE<\/strong>: That\u2019s a great question.<\/p>\n\n\n\n

Sometimes, when people hear unconventional music, they assume the artist was trying to do one thing, couldn\u2019t quite bridge two different worlds, got lost somewhere along the way, and the result ended up sounding weird as a by-product.<\/p>\n\n\n\n

But asking what somebody had to unlearn implies that forging your own thing is a constant battle\u2014which I believe it is.<\/p>\n\n\n\n

I grew up making grime and hip-hop, and those things were all around me, but I was always trying to find my own voice in both. It\u2019s good to take from the different things around you and allow them to become part of the answer.<\/p>\n\n\n\n

MORRIARCHI:<\/strong> We\u2019re rooted in different traditions and different ways of making music within particular environments. Like Trelli said, you\u2019re not necessarily trying to do something different intentionally, but you do end up unlearning certain practices.<\/p>\n\n\n\n

One thing I noticed during this project was the recording approach. Trelli started using more stripped-back, singular takes rather than layering everything up as he might have done on a grime-adjacent joint.<\/p>\n\n\n\n

PP<\/strong>: That\u2019s a big one I\u2019m still learning.<\/p>\n\n\n\n

Some of my earlier music probably wasn\u2019t as palatable as it could have been because of the way I recorded it. Coming from a grime background, legibility isn\u2019t necessarily the first consideration. It\u2019s more about pace, room and feel.<\/p>\n\n\n\n

I had to work out how to retain that feeling while becoming more minimal and stripped-back. I come from an environment where somebody\u2019s credibility as a rapper can be based purely on their words and how those words make you feel. Then I had to think about how to make that work across different formats and for people coming from different genres and understandings.<\/p>\n\n\n\n

For me, it became about being more minimal. Less is more.<\/p>\n\n\n\n

M<\/strong>: I\u2019d echo that from a producer\u2019s standpoint. It was about making space\u2014not only for the lyrics, but for the story and the emotion behind that story.<\/p>\n\n\n\n

The collaboration feels genuinely cohesive. It sounds like a complete album rather than a handful of tracks pushed together. When did you realise it could stand as an important piece of work?<\/strong><\/p>\n\n\n\n

PP<\/strong>: I can\u2019t even guess what Morri\u2019s going to say, but what made it important for me was the fact that I\u2019d known him for a good amount of time.<\/p>\n\n\n\n

We\u2019d been outside doing different things, making music and going to shows. I enjoy making music with people I can sit down with and have an in-depth conversation about culture and life. If I\u2019m happy to be around that person, I\u2019m much happier focusing on making something with a shared vision.<\/p>\n\n\n\n

Let\u2019s expand on the title. Light on My Feet<\/em> can suggest freedom, balance and otherness. Listening to the record, I also hear the not-so-subtle need to keep moving. What does the title mean to each of you?<\/strong><\/p>\n\n\n\n

PP:<\/strong> We were already well into making the record\u2014most of it might have been finished\u2014before it had its final name.<\/p>\n\n\n\n

At some point I\u2019d written something called Light on My Feet<\/em>. I wasn\u2019t sure about keeping the title, but when I listened back, I heard all the different ways I\u2019d mentioned light and all its implications. In the intro, light plays with me. In the second song, I see the light flicker. There were loads of allusions to it before I\u2019d even settled on the name.<\/p>\n\n\n\n

For me, it means having to keep moving to stay light. Needing to stay agile.<\/p>\n\n\n\n

There\u2019s a line buried in the mix where I say it feels as though the ground is crumbling beneath me. That creates this need to keep moving for very specific reasons.<\/p>\n\n\n\n

The whole project came from me travelling down to London when I wasn\u2019t really supposed to. I didn\u2019t have the time. I should have been focusing on other things, but I kept coming down to write about how I felt with Morri\u2014even though my life was crumbling at the time.<\/p>\n\n\n\n

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