Fernando Perdomo continues with a dazzling selection of releases for 2026. He recently released his ‘Canyon Trilogy from the forthcoming Perdomo/Kravitz album. This highly anticipated project features songs written by Perdomo with drums, percussion, and soundscapes by Andy Kravitz. Also, Perdomo released a brilliant and unanticipated cover of “Days We Left Behind”. The song was just released by Paul McCartney, and Perdomo’s take on the song is worth your attention. 

Of course, these projects don’t distract from Perdomo’s current twelve-album series, ‘Clouds’. This March installment returns to the format of his 2025 ‘Waves’ series, featuring 10 original songs all produced, played, and engineered by Perdomo, with mastering by Zack Ziskin. Perhaps more pensive than its predecessor, ‘Clouds 3’ starts with the elegantly striking “Midwestern Emo Sky”. The songs are built around Perdomo’s emotive electric-guitar textures, with touches of reverb. Proving that sometimes less is indeed more, the song is one of my favorites of this album series thus far. 

“Dusk Storm” swirls with a plethora of secrets. Perdomo employs his electric guitar, echo, and reverb, building a track that is elegant yet not revealing, leaving the listener to wonder what the song’s thematic thread is; however, by the time this gem reaches its conclusion, you realize it doesn’t really matter.

Piano, synth textures, and ethereal soundscapes help  “Glow” float above this mist. Light touches of guitar complement the musical themes, creating a satisfying, cinematic motif. “Day Dream” is a perfect song to follow “Glow”. Slide/tap steel guitar and touches of synth remind me of lazy days on the beach, staring up at clouds, deciding how to move forward with the day. 

The album’s closer, “Icicles,” brings these themes full circle with subtle synth textures, tasteful electric guitar, and a touch of foreboding mystery. 

‘Clouds 3’ is another satisfying trip and one which leaves a few musical questions unanswered, which will be further explored in ‘Clouds 4’, which was recorded during the 2026 Cruise To The Edge.