LONDON — Peter Gabriel has announced a new studio album titled o\i, the follow-up to his 2023 release i/o. Following his previous release strategy, Gabriel will debut one new track every full moon, with the complete LP scheduled for release by the end of 2025.
The lead single, “Been Undone,” debuted today as a “Dark-Side Mix” by Tchad Blake. Written and produced by Gabriel, the track was recorded at Real World Studios in Bath and The Beehive in London. In line with the artist’s multi-disciplinary approach, each song on the album will be paired with a specific artwork; “Been Undone” features Ciclotrama 156 (Palindrome) by Brazilian artist Janaina Mello Landini.
Gabriel describes the album as a meditation on human connection and a “period of transition” driven by emerging technologies. While i/o focused on the internal moving outward, Gabriel characterizes o\i as “the outside having a new way in”. Several tracks on the record will integrate into a long-term “brain project” Gabriel has been developing for several years.
Essay: Art in the Age of Technical Transition
Peter Gabriel’s latest project, o\i, arrives at a pivotal moment where the boundary between biological intelligence and synthetic systems is becoming increasingly blurred. Gabriel posits that humanity is entering a “period of transition like no other,” catalyzed by three distinct yet intersecting technological waves: Artificial Intelligence (AI), quantum computing, and the brain-computer interface (BCI).
In this context, the role of the artist shifts from mere creator to a cultural scout. Gabriel suggests that artists must “look into the mists” and “hold up a mirror” to these shifts. For example, the rise of AI in creative fields—seen in generative tools like Midjourney or ChatGPT—forces a re-evaluation of what constitutes “human” creativity. Gabriel’s upcoming “brain project” likely mirrors real-world advancements such as Elon Musk’s Neuralink or Synchron, which aim to link human cognition directly to digital infrastructure.
Furthermore, Gabriel challenges the Western ideal of the “self-determining, independent being,” arguing instead that humans are intrinsically part of a larger natural and technological web. By pairing his music with intricate, fractal-like visual art—such as Janaina Mello Landini’s rope sculptures—he emphasizes that our existence is a series of interconnected threads. As these technological waves break, Gabriel’s work serves as a reminder that finding a “connection” and maintaining our place within nature is essential to navigating a future where the “outside” world is constantly finding new ways “in”.
