This album is the synthesis of my musical journey so far. During the end of 2025 and the beginning of 2026, I produced this debut solo LP entirely independently. As a classically trained yet self-taught jazz pianist, I wanted to create a record that honours the rich tradition of solo piano—from Brad Mehldau and Michael Wollny to Cecil Taylor—while searching for a way beyond its familiar textures and conventions. Making this album forced me to question both myself and the instrument. Why record solo piano in a world overflowing with limitless production possibilities and remarkable musical collaborations? Who needs another solo piano album when the world seems increasingly determined to rush towards self-destruction? I found no definitive answer, only the conviction that I need to continue to express myself, resisting the temptation to become cynical or powerless within a music industry that too often reduces art to “content”. Musically, I explored the physical limits of the piano through extended sound production and various piano preparations, bringing together the strangeness of avant-garde experimentation, the gravity of counterpoint and the vitality of rhythm. At the same time, I sought to blur the boundaries between composition and improvisation, allowing freely improvised passages to coexist with melodies inspired by folk and popular traditions, where the tune remains the backbone of the music. This record is built upon the four pillars of my musical identity: the Western classical tradition, from early music to avant-garde; the jazz tradition, including ragtime; the folk traditions of Spain and the Celtic world; and the experimental popular music of the late twentieth century, such as Aphex Twin or Radiohead. While this combination is a very personal reflection of my own place in time and space, I also see it as a celebration of the cultural hybridity that defines our era. Musicians today grow up surrounded by an extraordinary diversity of sounds, traditions and artistic perspectives, and I consider that richness to be a gift. At a time when the very forces of globalisation that have enabled such cultural exchange also seem to provoke renewed nationalism, fascism and other destructive movements promising a false simplicity and cultural uniformity, I feel profoundly grateful to have grown up as a young Spaniard from Southern Europe living in Northern Europe: shaped by African American music, by a millennium of European composition, by the traditional music of Castile and the Celtic world, and by the bold, unsettling beauty of the experimental avant-garde. I hope you enjoy listening.