I was inspired to write Otherland (2026) by my passion for cinematic soundtrack and the role of music in conveying atmosphere, imagery and contrasting environments.
The album ranges from expansive, wide-screen orchestral score to more intimate, fragile textures. It explores how music vividly expresses distance and movement, memory and fantasy, drama and soul.
The album opens with Valiant, a strident and confident martial track which builds from its uncertain beginning to evoke power and grandeur, an aperture gradually opening and becoming triumphant. Beyond represents a place we travel to as we pass through the labyrinth of our dreams. As the track builds we soar over landscapes but in its arc we return to a feeling of reflection and melancholy; a paradox of dark and light, restraint and release.
Circadia is a flight of fancy, perhaps through secret enchanted forests or back through chapters of time. In Medina, the camera rises over the ramparts of a walled city to reveal tension in an exotic bazaar, feverish percussive energy accompanying an ensuring chase. A sensation of dislocation and unease follows in Lacuna, its unresolving string harmonies suspended under a ticking piano and woodwind pulse.
Orbis is a celebration of the natural world and call to arms. Ether complements this, an introspective and poignant piano improvisation, recorded in a single take. Lunar envisages a distant frontier beyond our comprehension, majestic, almost overpowering in its magnitude and sonority.
Finally, the title track, Otherland, is the album’s soul, a journey into our deepest imaginings and vulnerabilities. A dreamscape we yearn for, can almost touch but, as we wake, remains just out of reach.
Our road continues though towards our Otherland.