To be honest, not many people can instantly name all the gods of Asgard without mixing up Freyr and Freyja, can they? Exactly! Mythology – especially Norse mythology – is, you know, territory for the chosen few. And one of those chosen ones turned out to be Neil Potter: musician, teacher, and Liverpool resident. Neil has long been fascinated by mythology and is an avid reader of “The Poetic Edda“. While leafing through these ancient verses, he stumbled upon a phrase that, it seems, was sent to him by Odin himself (in Norse mythology, Odin is the chief god – the god of wisdom, poetry, inspiration, war, and death): “Out of the Fjords and New Found Lands.” That became the title of his debut album, which had been in the making for thirteen years. Ten years went into honing his craft, two into writing and searching for songs, and one more into recording – including legendary sessions at London’s Abbey Road Studios. Not a myth, but rather a modern saga with a British accent.
Potter isn’t fond of loud genre labels, yet pop rock feels as natural in his songs as tea with milk at noon. The musical foundation of “Out of the Fjords and New Found Lands” could be described as “intellectual pop rock” – bright melodies, emotional lyrics, everything in its right place. But Neil, as far as one can tell, is a man of broad soul (and equally broad musical tastes). That’s why his debut record has room for progressive textures and jazzy touches. He also showcases his vocal abilities, expanding his range like an experienced cartographer charting new terrain.
In August and September, Neil “cast his lines” with three singles – “Over The Hills,” “Música El Idioma Del Amor “(My Sweet Señorita), and “Shipwrecked“. Each release, of course, came with a professional video, allowing listeners to experience this Liverpool–Norwegian musical epic visually. In short, dear friends, Neil Potter is “a mythological quest with a guitar.” Odin would have approved! The first track – the first step beyond the fjords – is “What Could Have Been”(it could’ve been called If I Hadn’t Forgotten My Helmet, but Neil went with a more lyrical choice). From the very first notes, it’s clear: this voice and delivery are Neil Potter’s signature. Catchy hooks (the kind that won’t leave your head) are blended with refined arrangements that make you want to don a tuxedo and listen while sipping something very expensive. Acoustic textures and rhythmic bursts – all mixed, not shaken, like a James Bond cocktail.
The second track, “Shipwrecked”, might suggest melancholy and waves by its title, but in reality, it’s a full-on electric storm. Neil turns up the guitars so hard that even from a rocking chair you’d want to headbang. The epic dialogue between instrumental sections is stirring: guitars argue, reconcile, and clash again under the power of a vocal that could easily be heard across Liverpool. After the fjords, Neil Potter decided it was time to head south – on a Mediterranean holiday. The track “Música El Idioma Del Amor”(My Sweet Señorita) is a passionate song dedicated to his Spanish partner. Here, Potter throws a real feria (Spanish for “festival”): acoustic rhythms merge with folk punk and alt-rock. Part of the lyrics he boldly performs in Spanish, adding a touch of lyrical vulnerability. The result is a musical road trip somewhere between Seville and Valencia – a hymn to new experiences and living proof that love and music are truly universal languages. ¡Olé!
Another strong melody comes with “Da Funk Outta Here”, where the music and vocals glide from warm tones to ecstatic solos and jazzy inflections. Around the middle of the album come my personal favorites: the melancholic “One Last Stand” (7:06), the nostalgic “Over The Hills”, and the heartfelt “Come Back Home”. These tracks feature more dynamic contrast – after calm verses, the choruses feel even more powerful. A surprising shift of tone comes with the orchestral piece “Nightmares, Pt. 1”(7:10) – arguably the emotional peak of the record. Here, the drama grows to cinematic proportions: subtle, weightless moments give way to sweeping orchestral surges, creating a soundtrack-like magnitude. Meanwhile,“Nightmares, Pt. 2” sounds much more intimate than the first part – the scene moves from a concert hall to a small room where only voice and acoustic guitar remain.
The album ends on the highest possible note with “New Found Lands”– a song of grand scale. Everything about it feels monumental: its length (9:47), its grand instrumental sections, and its powerful vocals. Drama, triumph, and quiet philosophical reflection – all combine to make the finale truly epic.
Neil Potter is one of those artists who doesn’t try to reinvent the wheel but instead dives headfirst into the genres he loves – and stays true to them. His debut album “Out of the Fjords and into New Found Lands” turns out to be multifaceted and richly layered: orchestral pomp sits alongside acoustic intimacy and expressive vocals. The result is a kind of indie rock Viking with a guitar, confidently charting his own musical course.
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