A Chat with OUTER (17.12.25)
OUTER, composer and producer of the alter ego of Belgian musician Tom Soetaert, returns with ‘Svartsengi’, the second single from the forthcoming album Glowing Mountains in the Sky. The new track continues OUTER’s signature blend of cinematic contemporary classical, ambient post-rock, and intimate chamber pop, drawing subtle parallels to artists such as Sigur Rós, Ólafur Arnalds, Patrick Watson, Nils Frahm and Bon Iver. We chat with OUTER about all things music below.
OSR: OUTER has developed a distinctive sonic identity over the years. How would you describe the evolution of the project since your debut in 2018?
OUTER: The debut album felt like an exploration — a way of discovering what OUTER’s universe could be. Since then, we’ve been approaching that same universe from different angles. The sound of this second album is rougher and darker, acting as a counterbalance to the more organic and ‘pretty’ elements. There’s still light and hope in it — at least, I hope so — but the first album was definitely brighter overall. We also added Laurens Van Bouwelen on drums to the line-up, which allows us to create more dynamic energy. Another important shift is that the debut was written very much with live performance in mind. This time, I didn’t want to focus on that too much. Studio recordings and live shows are fundamentally different experiences. Take ‘Svartsengi’, for example: it’s built around layered piano parts and features Arve Henriksen, who doesn’t perform with us live. We had to reinterpret it for the stage, which I actually love. I think it’s more interesting to offer something new in a live setting rather than simply recreating the album. Wanthanee, our violinist, acts like a one-woman orchestra, shaping a live arrangement that’s beautiful to hear and captivating to watch — even though it wouldn’t have the same impact on the record.
OSR: ‘Svartsengi’ carries a strong emotional narrative rooted in real events. What initially compelled you to translate this story into music?
OUTER: I’ve always felt a strong connection to Nordic countries and music, Iceland in particular. The first album was written there, and I have friends living in different parts of the island. What makes Iceland so special to me is the combination of pure beauty and rawness — a contrast that’s deeply reflected in OUTER’s music. It’s one of the most beautiful places on earth, yet it’s also one gigantic volcanic area where safety is never guaranteed. That tension became painfully real in Grindavík. In 2021, we witnessed volcanic eruptions near the town, but at a safe distance. A year later, that safe distance was gone, with lava reaching the village. The whole situation felt surreal.
OSR: The track features a delicate lo-fi piano loop at its core. How did this motif come to shape the rest of the composition?
OUTER: It’s an element borrowed from classical music—an ostinato, a continuously repeating motif. It’s the heart and pulse of the composition. I tried removing it in certain sections, but the piece fell apart without it. Everything is built around that loop: the chords, harmonies and melodies shift subtly, placing it in a new context each time. It repeats throughout the song, but you never hear it quite the same way twice.
OSR: Arve Henriksen’s trumpet adds an unmistakable atmosphere to the piece. What led to this collaboration, and how did you approach integrating his voice into your sound?
OUTER: I’ve been a fan of Arve’s sound for many years, and while writing the song, I immediately heard his tone in my head. So as soon as I had a solid demo, I reached out to him. The recordings he sent back were incredible—better than anything I could have imagined. He understood exactly what the song needed. The moment his lines were added, the track felt complete; adding more would have only distracted from its essence.
OSR: The song is closely tied to the evacuation of Grindavík. How did working with such a personal and real-world context influence your creative process?
OUTER: Every time I visited Iceland, Grindavík was my first stop. I have beautiful memories there, and I can’t imagine what it must be like for the people who lived through the evacuation. Hans, who took the photo, built his house almost entirely by himself—he’s a carpenter. In a strange way, it might have been easier if the lava had destroyed it. But it didn’t. It’s still standing, yet completely impossible to live in. This contradiction influenced my state of mind and the broader themes of the album.
OSR: The single artwork features a photograph from a former Grindavík resident. Why was it important to include that visual element in the release?
OUTER: Hans takes photographs of the area almost daily, so his work feels like a visual diary of everything that’s happening in and around Grindavík. His images shaped the context and perception of the events — and of the song itself. The artwork isn’t a random image of a lava field; it’s part of an ongoing photo series that’s deeply connected to the sound and emotional weight of the music.
OSR: Glowing Mountains in the Sky will be your first full-length album in years. What themes or concepts anchor the project as a whole?
OUTER: The whole album hovers around themes like dreams and memories, both the comforting and the unsettling ones. Light and darkness. Those contrasts were essential throughout the writing process. Warm, organic, classical sounds collide with harsher, more industrial beats and electronics. Minimal, intimate passages grow into energetic climaxes. That tension and duality run through the entire record.
OSR: How do you balance electronic textures, classical influences, and acoustic instrumentation without losing the emotional clarity of each piece?
OUTER: Finding balance and not over-producing is always a challenge—especially when you’re both writing and producing the music. I tend to create enough distance between those two phases; some tracks on the album were written back in 2020, only to be finished this year. This way, I can be my own second pair of ears, if that makes sense. Nicolas, our guitarist and a producer himself, played an important role in maintaining that balance. For the final batch of songs, we didn’t have the luxury of such a long process, so I brought in my producer friend Sander Stuer. He has an exceptional ear. Together, we removed as much as we added, which helped us keep everything as focused and intentional as possible.
OSR: What do you hope listeners will take away from hearing the album for the first time front-to-back?
OUTER: OUTER has always leaned toward escapism. I hope listeners can step away from their thoughts for a moment and fully immerse themselves in the journey the music offers.
The album moves through many emotional and sonic landscapes — there’s melancholy and darkness, but also brightness and hope. Half of the album is instrumental, and the lyrics are intentionally minimal, leaving space for personal interpretation. I hope listeners can connect the music with their own experiences.
OSR: With new live shows planned for 2026, how are you approaching the challenge of translating such intimate, atmospheric music to the stage?
OUTER: We’re working with stage director Aïda Gabriëls, known for her minimalist approach to scenography. Much like our music, the live setup is intentionally simple and meaningful. Together, we designed two transparent backdrops placed at an angle, visually reducing the stage space. This allows us to create intimacy when needed, while still giving us the flexibility to open up the stage as the music evolves. This way, we can enhance the contrasts and themes of the album even more.
Many thanks to OUTER for speaking with us. Find out more about OUTER on his Instagram, Facebook, TikTok, YouTube, and Spotify.
