Celestropolis actually evolved from a previous project I called FIN. I was dissatisfied with certain aspects of FIN — notably the mixing and the way instruments interacted — and I wanted to try out improved arranging techniques. After analyzing its shortcomings, I began a new musical experiment to validate the theories and ideas I had gleaned, and thus Celestropolis was born. In other words, its original purpose was more technical experimentation than conceptual expression. I explored how to refine mix control, improve instrument coordination, and handle transitions more smoothly.

As the creative process progressed, a larger musical vision gradually emerged in my mind — that of the sky. I began to conceive the project around this aerial theme. But because the piece originated from technical experimentation, its interpretation of “sky” is not simply the serene blue expanse; rather, it embodies a complex, fantastical quality. Over time, a city in the sky materialized in my imagination — like a meticulously woven blueprint of architecture floating among the clouds.

Celestropolis is, to me, the fusion of technology and imagination. This concept — a sky city symbolic of wonder and the unimaginable — became the core around which I shaped the music. Through my composition, I aimed to render and express this idea, painting with sound a vision of an otherworldly metropolis in the heavens.