Abnormal Landscapes follows the narrative of a complete life cycle, embracing both earthly and ethereal elements. In some ways, the project touches on the idea of reincarnation from an agnostic perspective, exploring the concept of the soul as a universal energy that transforms through each cycle. Each piece in the project explores different moments and phases of this cycle, offering an abstract perspective that aims to evoke a range of emotions in the listener. Through sonic landscapes, it conveys feelings of uncertainty, nostalgia, sadness, euphoria, calm, and hope, intertwining and re-emerging throughout the project’s development.

Since my teens, I’ve been immersed in music production, starting out with instruments like electric guitar, bass, and drums, as well as rhythm machines, which marked my first steps into electronic music. Over time, I focused more on synthesizers, both analog and digital, as well as studio tools for production, mixing, and mastering. I’ve worked on projects across a variety of styles, but Shine and MöD3, the Depeche Mode tribute, were essential for deepening my understanding of sound synthesis and advancing my composition and production techniques. These experiences provided invaluable knowledge, allowing me to approach Abnormal Landscapes in a way that felt natural, comfortable, and purposeful.

My creative process is pretty playful, and inspiration can come from a lot of different sources. In each creative phase, I go through periods of higher and lower productivity, and understanding these cycles is key to getting the most out of moments of peak inspiration. During these times, I gather emerging ideas, then organize and develop them further. This second phase is more technical and directly connected to production, where technology and synthesizers, both analog and digital, are essential. These tools allow me to sculpt the initial sonic idea, adding textures and expanding the palette. This way, I can transform an initial idea into something more complex and nuanced, taking it to the next level effectively.

As a creator, I’ve always believed that the work itself should transcend the artist. Authentic creations use the artist as a medium to exist. With this in mind, I like to feel that once I establish a concept, the work starts to take shape on its own as I develop it. It’s as if this creative process takes control and leads me into uncharted territory, allowing me to explore new horizons. Along the way, I let my inner child keep playing, staying curious and inspired. This is what keeps the process fresh and full of life.

From a young age, my father, a passionate cinephile, introduced me to the world of cinema, sparking an intense interest in visual arts. So, the fusion of sound and vision has always been a part of my creative DNA; in fact, I find it difficult to conceive one without the other. In the case of Abnormal Landscapes, I’d say it’s more of a multimedia project than solely musical, as sound and video constantly complement each other, generating ideas that flow back and forth. Both elements interact and influence each other, and this synergy is what shapes the essence of the project, where sound and visual production are core pillars.

At home, there was always music playing that blended conceptual elements with electronic instrumentation, like Jean-Michel Jarre, Pink Floyd, and The Alan Parsons Project – all artists I admire deeply. From a young age, I was drawn to these musical formats, and discovering Depeche Mode, especially during the era with Alan Wilder, solidified my fascination with experimental and conceptual electronic music. These artists didn’t just shape contemporary electronic music; they also directly influenced my creative approach.

Performing as an opening act for Alan Wilder and the German band Camouflage were unique, deeply inspiring experiences that reaffirmed my path in this style of music. Meeting Alan Wilder in person and sharing experiences with him was incredibly inspiring, marking my career in a very special and indescribable way.

Abnormal landscapes is mostly an instrumental project, leaving the sonic message open to each listener’s interpretation. Without lyrics to explicitly guide the experience, the music and sonic landscapes invite a more abstract and personal appreciation. Although I sometimes use visual elements and additional material to complement the experience and provide context, these are never fully explicit. I prefer each person to find their own meaning and emotions in the compositions, as I want the music to be a space where listeners can project their own sensations and experiences.

After working on more traditional projects like Shine and MöD3, I felt the need to go beyond the conventional structures of electronic music. I wanted to break away from expectations and explore more personal and unrestricted sonic territories, where the rules were less defined. With Abnormal Landscapes, the focus is on creating atmospheres that evoke abstract sensations, almost like a soundtrack for spaces and emotions that don’t belong to everyday reality. This project was a natural step for me, as I’ve always been fascinated by using sound as a form of expression that transcends the obvious. My aim is to offer listeners an immersive experience, transporting them to an undefined place where they can lose themselves and freely explore.

Although Abnormal Landscapes is designed to be presented in multiple formats – including live experiences, audiovisual content, and vinyl editions – at this stage, streaming platforms are essential. They provide a quick, accessible distribution channel, allowing me to reach a global audience. The digital format effectively complements the project’s promotion, especially when combined with social media, which enables a direct, smooth, and constant connection with the audience. While streaming might not capture the full depth of a complete conceptual experience, it’s an excellent starting point for people to discover the project, after which they can explore it in more immersive formats.

Absolutely! I’m currently working on three exciting new singles that will form part of the second trilogy, continuing the story behind the concept after the first trilogy (Trauma, Naked, and Dive). But this is only the beginning. There’s much more material on the way, as the project is designed to unfold over several more years. I’m thrilled about what’s coming, and each new phase of the project promises to explore even deeper, more immersive territories. This journey is far from over, and there are many surprises yet to be discovered.