Recent commissions for two choral works allowed David to return to theinnocent, choir-based origin of his musical world; at the same time hisexperience as a parent prompted a lot of outward reflection. What kind ofworld are we leaving to our children?

Inspired by his score to the forthcoming silent black and white film‘Carousel’ (2026), Norland found other music emerging that refused to beignored. The film’s director opened the door to an entirely free scoringprocess – no temp music, no expectation, no guidelines, just pure intuitiveexpression. ‘La Source’ draws on this experience, alongside his childhoodas a touring chorister, the honkytonk upright piano in the north-eastLondon bedroom of his early 20s, his early recording experiments with aTASCAM 4-track cassette recorder, and his intense preoccupation withbells, flutes, stone architecture, and mysticism.

“I love making patterns in things and finding patterns. That’s whyminimalism was so enticing to me, the patterns are so explicit. I love wordplay and anagrams. The big sadness coming through as I was making therecord is this clarity over the future of my kids. Everything else is acomplete distraction. This incredible nurturing planet and its ecosystemare being rapidly destroyed, and the forces destroying it are relentlessand punitive. Perhaps eventually it will be the fact that people love theirkids that will stir wider fear and action. It’s hard to think of anything moreconnected to the idea of spirit.”

“An emotional ride...... (a) real sense of majesty” - The Letter

“Urgent, insistent,.... both human and alien at once” - Clot

Magazine“Magical....”Elizabeth Alker, BBC Radio 3 “ - Unclassifiable”