tracklist 
chickemilk.com - ocean front walk angels
globalglob - i call you
princess - in the morning 
embaci, elysia crampton - flight and destruction
ashanti - foolish (acapella)
vilovelduveta - paradise hotel
roisin berekley - the rock on the clyde
merely - vad ska jag göra nu
cotton mouth - dipstep wabi sabi
basic channel - radiance
pat_16120 - seven
second other - blue 22(europe)
Dominic Coppola & Angelo Harmsworth - Appollonia
Sinead O Connor - I do not want what I haven't got
Enya - dark sky island
torus - chroniko VIP
east of oceans - symbol 6.1
florian t m zeisig - you look so serious iii
Legacy - Arrival

lovers in arms ep6

Live Session #1 SOM / Eugene Nx (test mix

Alternative

Ensemble Intercontemporain

Martin Adámek – bass clarinet
Julia Sinoimeri – XAMP microtonal accordion
Aurélien Gignoux – percussion
Vincent Desille – e-guitar
Nicolò Umberto Foron – cond.

01/12/2023, Conservatoire de Paris CNSMDP
rec & mix: Lucas Bergeret

photo: B.Champeaux

Poem Code (2023) | Ensemble Intercontemporain

SenSen - Smack Em' InsideOut

Dararat Chemnasiri  -  Alto Sax
King Imagine -  Electronics

King Imagine & Dararat Chemnasiri  -  Roadside Picnic

Smxs

SenSen - Room 850

SecretLoop9 is about daydreaming in an airplane chair and on a volcanic plateau near the Mediterranean Sea

SecretLoop9

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  

Intermission II

Slip De Røde Fugle Fri

Home of sweet experimental slow music, sound and art practice by Nukumori Eugene / Nx -街音の収集 (always welcome demo & collabo for release from Living Room Tapes)　　 

Nukumori Eugene / Nx ﾇｸﾓﾘ ﾕｰｼﾞﾝ / ぬくもりゆーじん is a Hong Kong - Japan Base Sound Artist, Researcher and  Architect. He is joining the sound & art projects around the world beside run his own label  "Living Room Tapes" - the sound & art collective. 

The project often highlights the sounds and arts placed between the nature and city's folklore - deconstructive city street culture and urban suburbia - related to the urban observation research project ~ Research and Practice of Alternative Art Space / Micro-Art Space  

featured projects :  Strange Ordinary Necessities不思議な日用品 / Urban Observational Studies 都市観察学会 / Skmtt /  / HONG KONG SUBURBIA / 3am / Soundscape Saitama 100 / 100音夜行 / Edition 1/f / A TALE OF OUR CITIES / MEIV

Live Session #1 SOM / Eugene Nx (test mix

Nukumori Eugene/ Nx -FRCS

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