Pereybær - A deep diver, fueled by sceneries that inevitably drive the creative process. He's a crook and a raconteur in his own right and fetches nothing but the beauty of classical elements accompanied by quirky soundscapes. By those one gets lost somewhere between pounding cities and graceful virgin landscapes.

At the cusp of forty, Pereybær thrives out of what had always lingered at his very core. "Albeit I claim to have only a vague conjecture of where I'm musically rooted, a blank canvas, fortunately, leads to something that ultimately moves me. At least from time to time. It's satisfying to be led by something you didn't know was in you." he says. Unadulterated and unprejudiced, Pereybær, of Mauritian and Swiss descent, makes no secret of what triggered his emotional upheaval to start the project. "It's quite easy to find yourself lost in ubiquity when you're younger. Eventually, you realize that there's no magic door that grants access to fulfilment. It most certainly ends with a disheartening disappointment.", Pereybær adds disarmingly. Since life isn't a skywards trajectory towards everlasting joy, he says, he had realized that contentment or even happiness is not a goal, but something that ebbs and flows daily. So why not turn that daily emerging, bewildering overload into something pleasurable.

THE WHITE SHORE // Within the context of the Paul Gaugin exhibition at the world-renowned Arts Galerie Fondation Beyeler in Switzerland in 2015, The White Shore was initially written to set the French artist's painting Madeleine Bernard, verso: The White River (1888) to music. Although composed for that occasion, Pereybær felt it be more eligible to refine the music and reveal his admiration for Paris since the city was vital to write the music in the first place. It also stands in context with the project title "Coin De Vue", which he interprets as one's perspective on life, and of that The White Shore is only the first wink.