We spoke with Pablo Embon about “Plateaus & Other Enchanted Lands” and more!

Q: Hi! This album feels very visual. When you were writing it, were there specific places or scenes in your mind, or did those images show up after the music was already there?

A: Mind can do an amazing job in painting landscapes. My attempt here was to be less technical writing music and let the flow take me wherever it is best. Many times I haven’t got a real picture of what the expected outcome could be in a piece of music but soon enough I will know that I have arrived at the right place.

Q: You’ve released a lot of albums over the years. When you start a new one, how do you personally know it’s time to move into a different space instead of continuing what you just did?

A: My life has been evolving along with my music for the last 22 years. People who listened to my music throughout the experience can sense that a new album is different from the previous ones. This is because I like to explore different concepts and ideas and I probably will not lock myself in in a certain/expected framework or genre. In my mind everything is open and I like to take chances in my compositions. At the end of the day each album has provided me with a great deal of take-aways and learning how to write music better so the listener can be transported offering a choice of how they listen to music. 

Q: There’s a calm, unhurried feeling throughout this record. Did you consciously slow things down, or did the music itself set that pace?

A: In my mind music is to take a moment to yourself. Looks like this world has been hurrying things up lately.

Q: You’ve never really treated jazz like a set of rules. At this point, do you still think in terms of genre, or do you just follow what feels right in the moment?

A: Jazz is everything but a set of rules. That’s why this genre of music has filled my music career for so many years. The Jazz element I use in my writing is to take the music to a whole different level, harmonically, rhythmically and emotionally. It is my source of inspiration because when I apply these elements is like switching a TV set from Black and White to Full color. Jazz is one of the tools or paint brushes I use. It serves the purpose I am after without locking myself in the genre.

Q: Since you handle everything yourself, from playing to mixing, which part of the process feels most natural to you now, and which part still makes you stop and rethink things?

A: Throughout the years I’ve learned that music production is hardly a step by step process. In Music production everything is connected to everything every step of the way: Composing, arranging, performing, recording designing, Mixing, Mastering. All these steps are linked in my workflow. As an example when I am composing music I am already looking at production elements in the arrangement such as tonal quality of the music, dynamics, forms, etc. So in my workflow it is an iterative process, I could go back to re-compose or re-arrange a piece of music section if I have identified something that needs modifications in the post Engineering stage. Since I do everything on my own I have the flexibility to do that without impacting the work of others down the road in the process flow.

Q: Some of the arrangements feel very cinematic. Has working with orchestration and film-style composition changed how you approach writing music in general?

A: Cinematic music is a composition style that I have recently incorporated in my music career. I find it fascinating the way you can connect to people with music to transmit an image idea. Several of my albums in the past have been concept albums, they are not just a collection of songs, they have been integrated in a given musical idea of the whole album. Orchestration is an incredible way to push creativity through in a way there are no limits on how you can arrange a piece of music. In my mind it is the most rewarding step of writing music.

Q: You’ve played in big orchestral settings and also very intimate chamber-style concerts. What do you enjoy most about those smaller, quieter performances compared to the larger ones?

A: Intimacy is what I enjoy when fewer instruments are being performed. The emotional impact of small or solo instrument performance is that the listener is more keen to connect with the emotional aspect of the music and the performer. This is why you will probably identify some solo or duet performances in my repertoire. This mood of music is also a part of the musician I am.

Q: When someone listens to this album for the first time, what do you hope they simply enjoy without trying to analyze too much?

A: I get lots of feedback from listeners who feel transported to images, ideas, situations in life, etc. These people hardly understand the intricate world of music composition and they do not care much about the details either. I see my role as composer to generate emotions and states of mind. This is the proof that the message went through and this is all I envision when I share my music.

Q: Looking back at your earlier releases, is there something you were searching for musically back then that you feel you’ve finally settled into now?

A: One of the things I want to learn is to have a consistent way to look back at things I composed. When I hear a piece of music I composed from several years ago (which at this stage it is already blurred in my mind) I find it interesting and satisfying and enjoy the moment retrospectively very much. I am sometimes amazed by some piece of music I didn’t even remember the name of (!). I need to do that more often as this makes up for some of my identity as a musician.

Q: You’ve had some major recognition recently for your orchestral work. Does that affect how you think about your next moves, or do you try to keep your process the same?

A: I am always trying to learn new things. I am so thrilled about being able to take my music to a totally different turn. It is so refreshing and satisfying. My Music production process has evolved significantly during the last two decades. Today music is being produced differently than 20 years ago. So I like the opportunity to be part of this evolution, which enables me to reach most of the benefits from those changes.

Q: It’s a new year, what’s on your creative radar right now? Are you already writing new music or thinking about new ways to present it?

A: I am always writing music, it is just the way I’m built. I’m working on a new concept album to be released this year. This new music features new compositional techniques, world and ethnic music.  

Q: What do you hope people will see or hear next from you, whether that’s new recordings, live shows, or something different altogether?

A: I’m looking at a live presentation of some of my orchestral pieces soon. This will be a big project I would like to bring to the table. We will be working on this effort throughout 2026 in Argentina as a starting location.