I’ll admit that Rupert Lally freaked me out a little with this one. And I don’t just mean about the music – I’ll get to that in due course. He messaged me to say he had a new album coming out and asked if I might be able to write some words about it. ‘Sure,’ I said. I’m a fan of his work, I’ve written about it easily more than any other artist, and I generally know what to expect (more on that later also).

What freaked me out was his next message, the preview of which flashed up on my phone screen as the words ‘Your Flesh Is Mine’. I felt like I was being stalked, like Drew Barrymore at the start of Scream, maybe. It was somewhat disconcerting, but it set the mood neatly for listening to the album.

This is a soundtrack. Lally is no stranger to these. He composes music for dance and theatre in Switzerland and knows intuitively how to convey mood and texture. This isn’t accompaniment for a particularly grim theatre production, though. It’s a score for a book. This also isn’t new territory for Lally. His soundtracks to Frank Herbert’s Dune, J.G. Ballard’s High Rise, William Golding’s Lord of the Flies (released as Notes From the Island), John Wyndham’s Day of the Triffids, Ray Bradbury’s Fahrenheit 451 and The Martian Chronicles, and Alan Garner’s The Owl Service were evocative and imaginative and distilled in such a way that perfectly brought to life the words on a page.

What’s different here is that this book hasn’t actually been published yet, and won’t be until 2027. It is the soundtrack to a noir book of the same name by Portuguese film-maker Victor Santos. Consequently, unlike Dune or High Rise, we don’t have the familiarity of the story with which to understand the cues.

However, based on pieces like the standout ‘Face To Face’, with its brooding piano and sudden gear-shift into spiralling synth tones, clouds of noxious drones and grim oscillator sweeps, I think you can get the gist. ‘Don’t Tell Anyone About This’ is dark, in a mysterious way, like we are becoming privy to a terrifying secret. ‘Something Deeply Wrong’ is a discordant, cloying affair that screeches to a despairing conclusion. ‘Manhunt’ uses string sounds to evoke a sense of panic and urgency. ‘Vera In The Park’ relies on a circling piano sequence very much in the style of Philip Glass or Michael Nyman, conveying a feeling of uncertainty and growing distress.

I mentioned that I generally know what to expect from Lally’s music. This one caught me off guard. I’ve become accustomed to his Eurorack modular synth work, but this one feels totally different – more textured, more detailed, more, well, soundtrack-y. It sounds like Lally has taken all the film music he’s written endlessly about and used those studies as inputs to create a rich, deep, emotionally resonant score that suggests he should ditch rural Switzerland for the studios of Hollywood.

Your Flesh Is Mine is released November 6 2026.

Words: Mat Smith

(c) 2026 Further.

I’ll admit that Rupert Lally freaked me out a little with this one. And I don’t just mean about the music – I’ll get to that in due course. He messaged me to say he had a new album coming out and asked if I might be able to write some words about it. ‘Sure,’ I said. I’m a fan of his work, I’ve written about it easily more than any other artist, and I generally know what to expect (more on that later also).

What freaked me out was his next message, the preview of which flashed up on my phone screen as the words ‘Your Flesh Is Mine’. I felt like I was being stalked, like Drew Barrymore at the start of Scream, maybe. It was somewhat disconcerting, but it set the mood neatly for listening to the album.

This is a soundtrack. Lally is no stranger to these. He composes music for dance and theatre in Switzerland and knows intuitively how to convey mood and texture. This isn’t accompaniment for a particularly grim theatre production, though. It’s a score for a book. This also isn’t new territory for Lally. His soundtracks to Frank Herbert’s Dune, J.G. Ballard’s High Rise, William Golding’s Lord of the Flies (released as Notes From the Island), John Wyndham’s Day of the Triffids, Ray Bradbury’s Fahrenheit 451 and The Martian Chronicles, and Alan Garner’s The Owl Service were evocative and imaginative and distilled in such a way that perfectly brought to life the words on a page.

What’s different here is that this book hasn’t actually been published yet, and won’t be until 2027. It is the soundtrack to a noir book of the same name by Portuguese film-maker Victor Santos. Consequently, unlike Dune or High Rise, we don’t have the familiarity of the story with which to understand the cues.

However, based on pieces like the standout ‘Face To Face’, with its brooding piano and sudden gear-shift into spiralling synth tones, clouds of noxious drones and grim oscillator sweeps, I think you can get the gist. ‘Don’t Tell Anyone About This’ is dark, in a mysterious way, like we are becoming privy to a terrifying secret. ‘Something Deeply Wrong’ is a discordant, cloying affair that screeches to a despairing conclusion. ‘Manhunt’ uses string sounds to evoke a sense of panic and urgency. ‘Vera In The Park’ relies on a circling piano sequence very much in the style of Philip Glass or Michael Nyman, conveying a feeling of uncertainty and growing distress.

I mentioned that I generally know what to expect from Lally’s music. This one caught me off guard. I’ve become accustomed to his Eurorack modular synth work, but this one feels totally different – more textured, more detailed, more, well, soundtrack-y. It sounds like Lally has taken all the film music he’s written endlessly about and used those studies as inputs to create a rich, deep, emotionally resonant score that suggests he should ditch rural Switzerland for the studios of Hollywood.

Your Flesh Is Mine is released November 6 2026.

Words: Mat Smith

(c) 2026 Further.