Introspective, engaging, electronic music exploring the concept of “unfinished” in relation to oneself, art, architecture and surroundings, ‘No One Really Listens To Oscillators’ is the gloriously titled new album by Indian Wells, the project of producer Pietro Iannuzzi from southern Italy. The nine track album is set for release on 15th July 2022 on Max Cooper’s Mesh imprint.

“Before I started to create this album, I cleared my mind,” says Pietro. “I  went back to when I fell in love with electronic music and listened to Radiohead’s Kid A and Amnesiac, Warp artists like Boards of Canada and Aphex Twin, Border Community, William Basinski, Massive Attack. I felt my last album was unfinished, and realised something had to change in my music.” 

The album’s first conceptual input came from an article in The New York Times talking about a new conceptual architectonical style. The term “Incompiuto” (Unfinished) was theorized by Alterazioni Video & Fosbury Architecture and concerned unfinished works that reveal the inability of projects to make infrastructures useful and sustainable for the community. 

“The head of this article was a photo of an escalator in the middle of nowhere in Calabria, where I live,” explains Pietro. “I knew this escalator very well and I immediately realized that my perception of this "reality" could be really different from people who have never lived in this area. It can be said that I grew up in the unfinished - between unfinished houses and other half-built works that are now an integral part of the landscape, without really noticing. In reality, our experience is influenced by everything that surrounds us and this context shapes us to make us live a distorted reality, which we very quickly get used to.”

‘No One Really Listens To Oscillators’ was the first track completed and gives the album its title. “I was spending a lot of time working on micro-changes on the oscillator frequency on the lead synth of the track,'' says Pietro. “After a couple of hours I asked myself “Who cares? Will people even notice this?” It’s a way to say that we have lost our ability to notice little things, to go deeper. To develop sensitivity.”

During the recording of the album, Pietro’s daughter was born in April 2020. “My daughter was born with Down Syndrome, which we didn't know anything about, so I started to study and understand how her life could be.” During Pietro’s research he discovered works by the American artist Judith Scott, who was born deaf and with Down Syndrome and read how her condition made her, in the eyes of society, an "unfinished" person. “I was struck by her beautiful and illegible works that are nothing more than pure and simple expression, an end to itself, with no other purpose.” The track ‘Life Of JS' is dedicated to her. 

The album’s beautiful closing track ‘Before Life’ was created soon after discovering his wife was pregnant and starts with a recording of his daughter’s fetal heartbeat. “For me it is a hymn to creation, in a very broad sense. It’s written for my daughter. It’s hope.”

‘No One Really Listens To Oscillators’ is set for release on 15th July 2022 on LP and digital formats.

Contact:
Press/radio Agent (UK)
benjamin.smith@echoempire.net // 077 6492 6719
Press/Radio agent (EU/ROW) 
Alexa Gansera 
ag@centerpoint-agency.com // +49(0)163 4099099
Mesh Label 
Anthony Faulkner - anthony@thewildseeds.com
Management 
Yur Toccacelli - yt@3d-agency.it

Indian Wells - Four Walls

Taken from the album 'Remember', released 03 March 2023 on Technicolour: https://weval.lnk.to/rememberSo

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#Weval #Technicolour

Don’t Lose Time

'Fold', out now on OUTLIER: https://bonobo.lnk.to/foldSo

Follow Bonobo -
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Apple Music: https://found.ee/bonobo-am
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#Bonobo #JacquesGreene #OUTLIER

Fold

Heartbeat

Midnight Pulse

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 VI (Causality)

Mind

Translations

Moderat - Out of Sight (Grey Code Translation)

One of the Girls

Buy on Bandcamp

One Of the Girls

Odyssey / Sonne

Recovery

Four Tet - Lush

Mesh - the platform for exploring the intersection between music, art, and
science. 

For label enquiries please contact rosy@thewildseeds.com

Founded by London-based artist and electronic producer Max Cooper, 
Mesh isn’t a typical record label, more an avenue to pursue ideas and 
collaborations with creative people who are pushing the boundaries of their
disciplines.