'Savior Programs' (2017) analyses man's self-destructive nature and the recurrent figure of the Savior appearing throughout history trying to teach humanity how to break this self-destructive cycle. In doing so, most saviours felt victims of that violent nature and were killed or ostracised. Saviors mainly taught forgiveness as the way out of that vicious circle, forgiveness towards others but also forgiveness of one self.
The album uses female wordless vocalises throughout, reminiscent of a distant time prior to human language, reflecting on the ancestral origin of man’s self-destructive nature. The wordless melodies also reflect how we feel speechless and powerless in front of violence, both violence and harm we inflict to others and also to ourselves.
Recorded version of '2045: The Year Man Becomes Immortal' (2016).
'2045' (2017) is an exploration of deathusing the paradigm of Technological Singularity - this new era in which man and machine will finally merge allowing us to prolong life indefinitely -as evidence of man's obsession to overcome death. In writing the piece I researched dozens of accounts of Near Death Experiences (a particular account by Dr. Mary Neal is actually embedded into the piece) together the perspective on death of many Eastern Philosophicaland Shamanic Societaltraditions.
They all share the same idea that our soul is immortal and that we should therefore not fear death.
Famous Jack (2016)
In 'Famous Jack' (2016) I explore my own voice using a collection of intimate songs that use a musical language that could seem like a departure from my signature sound. Operatic voices and the Western Classical tradition are abandoned to give more protagonism to my own voice, through which I introspect on fame, failure and my place in the world.
The rich arrangements, the simplicity of the harmonic content and the electronic beats create connections with my previous practice. Whereas the sonic palette was different, the musical language was still the same. I struggled with the idea of departing from my 'signature sound' and I feared being a one trick pony. Picasso departed from painting to explore sculpture and pottery. I see this album as such departure, exploring my musical language using a different sonic palette.
Live from Kings Place (2016)
Recording of 'Life from Light' (2012) at Kings Place Hall One, London, over the 7th and 8th of August of 2014. The concerts were part of the Tete-a-Tete Opera Festival and featured sopranos Meeta Raval and Camilla Kerslake. Cuban jazz trumpet Yelfris Valdes joined the 14 strong ensemble. "Life from Life" wonders about the miracle of life, the nature of human beings and the question of their ultimate origin.
Slaves of Time (2015)
In 'Slaves of Time' (2015) I explore my growing obsession with destiny, time, and man's obsession (and my particular obsession too) to control both. The album is more fractured than my previous work, reflecting the fractures in my personal life and how the timeline of my life had been fractured so many times.
The album continues my relationship with American soprano Rebecca Nelsen, lead soprano at Volksoper in Vienna and labelled a 'star' by the Wall Street Journal. I was introduced to Rebecca by Michael Haas, multi Grammy Award winning producer for Georg Solti and Pavarotti amongst others who had become and admirer of my work.
The album also features rapper Olly Hodding performs in two of the tracks, Slaves of Time (REMIX) and Born Kings, being this my first exploration of combining rap vocals with operatic voices.
Life from Light (2013)
In 2012 I adapted 'Creation' (2011) for live presentation in the form of 'Life from Light' (2012), my second self-produced live show which I premiered at Union Chapel on the 15th of November 2012. A live recording of this concert forms this album which was released in 2013.
Taking the name from the eponymous BBC documentary series (BBC 2012) that described the origins of Life on planet Earth, here I envisaged to create a powerful and moving live experience to capture the depth and transcendence of the themes I explored in 'Creation' (2011), the nature of human beings and the question of their ultimate origin.
Nature sounds such as birdsong, wind swirls and water textures were used as a sonic backdrop to the entire length of the piece, as if the performance was taking place in nature itself. I also created bespoke video art created in collaboration with London based video artist and RCA graduate Thomas Yeomans to create a more immersive experience.
By 2009 I was intensely working on new material and I recall it was the first time I felt I had a glimpse at the artistic voice I had been searching for all those years. The two strands of Western Classical music and Popular Music that had always been running in parallel in my life were finally not just colliding but intertwining creating beautiful and distinct patterns that felt coherent and part of the same musical language.
Thematically I had become increasingly interested in the transcendental aspect of reality. I was moving through an existentialist phase, unavoidable rite of passage of any artist I imagine.
'Creation' (2011)was released in 2011 and compiled compositions that explored my new obsession with our origin and purpose as a species. I explored the birth of life as we know it, the role of sex in the creation of life and the fact that our genes will never naturally exist in the same combination again, making every human being completely unique.
Here I started my collaboration with American soprano Rebecca Nelsen, lead soprano at Volksoper in Vienna and labelled a 'star' by the Wall Street Journal. I was introduced to Rebecca by Michael Haas, multi Grammy Award winning producer for Georg Solti and Pavarotti amongst others who had become and admirer of my work.
Piano Works (2011)
In 2004 I purchased in auction an old Chappell piano which I still keep to this day, it's one of my favourite instruments. I feel inspired every time I hear its sound, a sound with echoes of honky tonk and deficient tuning.
I like improvising ideas on it, still to this day, searching for simple and basic musical ideas that have musical integrity, strong musical kernels. I record them on multiple portable dictaphones. ‘Piano Works’ (2011) is a compilation of some of these recordings.
The album is an exploration of simplicity, trying to find the essence of every theme/motif I find, try and remove as many notes as I can until I get to the bare core of that motif/theme. I find some of those recordings quite naive now, I can feel what I was looking for, something I'm starting to find now, but I value having some of those recordings documented from that period. I have hundreds more I still have to catalogue.
1.60.3600 OST (2011)
Original Soundtrack of Robert Cameron’s play '1.60.3600' (2007). Created through a long process of real life interviews and prolonged improvisations with actors, the director weaved four worlds into a new and unique theatrical event where conventional use of space and time were questioned. It was performed at the Regent's Park Studio and Young Vic.
Live from Bush Hall (2008)
Both the experiences with my band and my classical upbringing engraved in me the importance and sacredness of presenting music live to an audience. In 2007 I adapted 'Unharmed' (2006) for live presentation in collaboration with the Sacconi String Quartet and photographer Conor Masterson, who used his photographic archive to create an intriguing visual backdrop.
I self-produced and self-financed a show that was tested first at the Roxy Bar and Screen in London on the 12th of June of 2007 and finally premiered in Bush Hall also in London on the 23rd of July of 2007. 'Live from Bush Hall' (2008) is the life recording of that performance. Several more performances followed from 2007 to 2010 in the UK and Spain.
Specialised music reviewer Whisperin & Hollerin gave it 8 out of 10 stars and Julia Stuart from The Independent wrote a feature on it on the printed edition of the Independent on the 11th of September 2007 entitled 'Pop goes Mozart'.
It was during my time at the Royal College of Music when I finally found the stability to start writing again. In 2006 I managed to released by debut solo album 'Unharmed' (2006), an album in which I start my exploration of blending Western classical traditions with popular music, two strands that up to that point had run in parallel in my life, never intersecting.
Thematically 'Unharmed' (2006) dealt with my struggles with self-love and overcoming self-destructive patterns. It was initially released under the artistic name Momo.
In it I collaborated with marvellous Spanish singer Beth who happened to spend some time in London around those years. Beth had represented Spain in the Eurovision Song Contest 2003 where she finished 8th. No Spanish artist has done better on Eurovision since. She was referred by British commentator Terry Wogan as Kylie Minogue in dreadlocks, however her miraculous husky and broken voice is a world apart from the one of the Australian superstar. The album also featured X-Factor finalist Roberta Howett. It made it to the top 20 of the iTunes Electronica charts on its release.