Simão Costa's "Beat With Out Byte" presents itself as a mesmerizing journey into the untamed territories of contemporary piano music. Released by Cipsela Records in 2021 (limited edition of 300 copies, but I guess some copy is still available) and buried by a huge pile of other musical stuff, as usual, this solo piano concert is a study in contrasts, where traditional acoustic sounds are interwoven with inventive, almost otherworldly explorations.

Let’s start with the packaging. Ah, the packaging! It's an exercise in meticulous design, a tantalizing prelude to the auditory experience within. The CD arrives ensconced in a white cardboard shell adorned with stark, simple lettering and monochromatic images that evoke either wood grains or possibly cut stones — a choice as enigmatic as the music itself. Wrapped in a folded plastic envelope that demands a delicate touch, this packaging sets the tone: you're about to embark on an encounter with the unfamiliar. Kudos to Marta Cerqueira and Kátia Sá for an exemplary design that already whispers the promise of something special before you even hit play.

From the moment "Beat" begins, Costa's unique approach becomes apparent. Using the (Un)Learning Machine — a contraption involving piano strings, magnets, and a dash of what I can only describe as wizardry — he coaxes out sounds that are both familiar and alien. The opening track features gentle, sinuous waves of sound, magnetically induced vibrations that slowly build into more kinetic patterns. This is acoustic piano music, yes, but not as you know it.

Track two, "With", continues this exploration with an almost meditative quality. Ignited as a very rarefied minimal (close to tuning) workout, the tones gradually resonate, overlap, and fade in a manner that suggests a living, breathing organism rather than an inanimate object. It's a slow burn, creating a serene yet unsettling atmosphere that draws you in deeper with each note.

By the time you reach "Out", the album's third track, Costa shifts gears. The magnetically induced hums give way to a more traditional approach — keys are struck, rhythms develop. This transition is not abrupt, but rather a natural evolution, showcasing Costa's ability to blend the experimental with the familiar seamlessly. There's a percussive punch behind the tones now, a rhythmic drive that propels the piece forward while still retaining the ethereal and somehow estranging quality established earlier.

The final track, "Byte", begins with a minimalist attack. Strident, repetitive notes build a tension that is almost palpable, during which Costa's instrument begins a cycle of continuous transfiguration (sometimes it sounds like a banjo or a ukulele!). Yet, as the track progresses, it morphs into something more complex — loops of notes drop beats here and there, creating an agitated crescendo that feels both chaotic and meticulously controlled.

In comparison to other avant-garde pianists, Costa's work here stands out for its sheer audacity and inventiveness. If many famous contemporary pianist's research is akin to a delicate dance, Costa's is more of a daring tightrope walk over an abyss. There’s a rawness, a sense of unpredictability, that places Costa closer to the likes of John Cage or even the more experimental outputs of Hauschka, yet he remains distinctly his own! Definitely, have a check!