The Birth of Infinity

Back in early 2019, I released a single called Distant Visions. After hearing it, a fan commented:
“Almost sounds like something from a second interstellar suite.”

They were referring to my 2006 album The Maestoso Interstellar Suite—a project I re-released with extended material in 2016 for its 10-year anniversary. That comment stuck with me. Did it feel like a sequel? Could it be?

I toyed with the idea. But having just expanded the suite into a double-disc format in 2016, I wasn’t sure a sequel was the right move—especially given how the original was structured as a continuous, uninterrupted journey. I had also briefly considered a vinyl edition, but the flow of the piece and the 22-minute-per-side vinyl limit made it a poor fit for that format. The experience would have been compromised.

Around that time, I released a “radio edit” version of the suite called Singularities to provide an accessible entry point. But if I returned to the suite with new material, I feared I’d be stuck doing the same thing again: a full continuous version and a separate edited version. Frankly, I didn’t want to go through that process again—and since then, I’ve moved away from long single-track formats entirely.

Even then, I was already thinking about vinyl-friendly runtimes, aiming to keep my future projects under 44 minutes so they could fit comfortably on a single LP. I’ve also significantly upgraded my gear and virtual instrument libraries since that time, giving me access to orchestral and hybrid textures I could only dream of back then. Now I have the tools—but what should I do with them?

I thought: Maybe I don’t need a sequel at all. Maybe it’s not about making The Maestoso Interstellar Suite Part II, or Return to Maestoso, or anything like that. Maybe I just need to reimagine the entire idea as something ongoing—something open.

Looking back, I always felt I had to make compromises when producing the 10-year edition. Some sounds weren’t what I was hearing in my head. Hardware limitations forced me to bounce tracks just to finish mixing. I wanted that big, lush, hybrid orchestral sound—and I couldn’t quite get there.

Now I can.

And I’ve got older projects—like La Famille Du Solénoïde (The Family of Sol)—waiting for a modern update. Thematically, they fit perfectly.

So I’ve made a decision:
I’m not making a sequel to The Maestoso Interstellar Suite.

Instead, I’m creating something bigger.

Introducing Infinity

Infinity is an evolving series. A collection of volumes. A universe of sound that has no end—only pauses between stars. It’s not a sequel. It’s not a remix. It’s a living archive of exploration—part ambient, part orchestral, part space music, and completely me.

And to start, I’ll revisit the music that inspired it all.

I’ll go back and refine The Maestoso Interstellar Suite one final time—polish the edges, rework the structure to be vinyl-compatible, and finally bring it closer to what I always heard in my head.

But I won’t just re-release it.

I’ll rebrand it.

The Journey Begins

The Infinity series begins with:

Infinity Volume I – The Maestoso Interstellar Suite

Infinity Volume II – Singularities

Each will stand on its own—but together, they form the beginning of something open-ended. Something I can return to any time inspiration calls.

Infinity has no final tracklist. No end. Only volumes.

And when I’m ready, I’ll add another.

Maybe it’s a crazy idea. But that’s okay—I’m doing this for me.
And I hope you’ll enjoy the journey too.

🎧 Listen on your favorite platform:
🔗 owtt.lnk.to/infinity1BC  

Movement IV (Redshift)

Violan for Padshop 2 continues the groundbreaking orchestral FX string expansion series, reimagining the viola as a powerful cinematic sound design tool. By transforming traditional articulations and percussive strikes on the instrument’s top plate, pegs, and bridge, Violan delivers an extraordinary palette of textures that go far beyond the concert stage.

Inside, you’ll find evolving pads, re-synthesized comps, chromatic percussion, and a wide range of orchestral FX including risers, glissandi, and clusters. These are paired with dark soundscapes and rhythmic suites of strings and percussive elements, offering endless inspiration for tension, atmosphere, and movement.

Perfectly suited for science fiction, epic thrillers, and horror, Violan empowers sound designers, film scorers, and trailer composers with apocalyptic intensity and ethereal beauty—unlocking new dimensions of creativity.

Violan - Garden of Spirits - Gary Gibbons

Inertia

Model Model ( Live)

Elsewhere....Mother Earth wakes up. 

Sax by Ben Dobay.

Mother Earth

Wheel of Arms

When I heard this gorgeous track by David I knew it would make a lovely song. His guitar playing is very lovely so it was a joy to sing this and add some piano here and there! We hope you enjoy our 5th collaboration. 
@david-dunhamuser589535203 for more wonderful music! Thanks for letting me sing and play again. 😊🎶🎸

Sunshine In The Rain (David Dunham and Annie Smart)

10 - Aurora

Green Memories

Serpents

Clip sur Youtube: https://www.youtube.com/watch?v=luVyBEMG43o

Les solos de guitares ( Clip Youtube )

15days

Hi,
I am an engineer that is in love with music and a fan of the 70th progressive rock and electronic music.
Thank you all for listening !

10 - Aurora

Adrian Iosof