This month marks the early stages of producing my next album for the Texas-based record label Black Artifact.

Over the last three years, I’ve spent most summers in my partner’s country of Sardinia. These experiences have been deeply grounding, allowing me to think freely and creatively—far from the noise of London. Time spent in the hills of Olbia, deep in rural Sardinia, has provided a kind of isolation that acts as a catalyst for ideas to flow.

One of the most powerful inspirations came from witnessing the pagan festival of the Mamuthones, a pre-Christian ritual of the Mamoiada people of Sardinia. This street carnival involves participants dressed in wooden masks and dark animal furs, with heavy cowbells strapped to their backs. The ritual’s slow procession, accompanied by fire and the precise rhythm of the bells, is performed to invoke protection, fertility, and well-being—a farewell to winter.

Experiencing this ceremony was deeply spiritual. The act of dance and music through community reflects the importance of history, ceremony, and forgotten archaic values. It became the foundation for a new creative direction: to represent the romance of Sardinia’s countryside and the spirit of the Mamuthones through sound.

The album, Olbia, will be created through a process of deliberate limitation—using only two synthesizers and two effects pedals, including the Sonicware Liven Ambient and the Synamodec Black Distortion Synthesizer. The goal is to craft a sound palette of drone and noise, juxtaposing abrasion with vast, expansive soundscapes that evoke the emotional states often found in dream and trance: frenzy, elation, panic, and peace.

In the coming months, I will document this process in great detail.