Vision Eternel’s Alexander Julien opens up about the heartbreak that shaped his band’s sound, tracing its evolution from personal sorrow to a deeply conceptual post-rock journey. In this interview with Post-Rock Nation, Julien discusses his creative process, the challenges of working solo, and how memories, emotions, and even scents influence his music.
Tell us a bit about yourself and Vision Eternel—what’s the story behind it? Are there any life moments or influences that you think really pushed your sound in a specific direction?
I began composing music for what would eventually become Vision Eternel during the first half of January 2007. I was not planning to start a new band at the time. I was only playing guitar one night in my newly built studio space in my parents’ house in Edison, New Jersey. Only a few days before, I had discovered and started using reverb while playing guitar, so I was enjoying the new creative possibilities of that sound.
What differed at that moment from the other times that I played guitar was that a heartbreak influenced the music that I created. Not that I had never written a heartbreak song in the past; the second song that I ever composed, in 2003, was titled “When You’re Not Meant For Love.” But I was extremely depressed that night in 2007, because I had been unable to fully recover from a past relationship, one which dated back to 2004–2005. I have lived with chronic depression most of my life and was then experiencing what some refer to as a “double depression.” I was very emotional, but also a little lethargic, so instead of being deliberate about my playing, I let my fingers move around uninhibitedly across the fretboard, allowing whatever to come out naturally. I had no genre or style in mind, I was just playing whatever melodic notes came from my fingers. I came up with a song that I felt was very moving and immediately recorded it. That song was later given the title “Love Within Beauty;” that was the first Vision Eternel song.
At the time, I had two black metal bands, Throne Of Mortality and Vision Lunar, and a black ambient band, Soufferance, so “Love Within Beauty” (which was still untitled at the time) did not have a venue for release. It was too different from those bands’ music. I was not sure how I would be able to utilize it, so I saved it in another folder on my computer. A couple of nights later, I found myself in the same depressed and lethargic state, but this time playing another guitar while sitting in bed. Out of this came the song “Love Within Isolation,” and I was so moved by it that I ran downstairs to my studio to immediately record it, switching to the same guitar that I had used for “Love Within Beauty.”
The idea of releasing an extended play with this music came about once I had these two songs, as they were both influenced by the pain that still lingered from my failed relationship with Brandi Rayne Hoke; I mention her name because it became an important element in the conceptualization of the release and the new band. I decided that I would compose and dedicate an extended play to her, and that it would have six songs, each titled with a letter that would spell out her first name. That is when the first song was titled “Love Within Beauty,” and the second was positioned as the last song on the extended play as “Love Within Isolation.” I then composed and recorded the remaining four songs that were sequenced in between, and were titled “Love Within Restriction,” “Love Within Autumn,” “Love Within Narcosis,” and “Love Within Delirium.”
Not only were the titles spelling her name, but they also detailed, in chronological order, the story of our relationship, from meeting her, being with her, breaking up, and the pain that I endured in the aftermath up until that moment when I was alone. It was very conceptual. Within the time that I was preparing the extended play, I also decided that this music would be released under a new band name. I named it Vision Éternel (that was the original spelling, with the accent) because I felt that I was eternally hooked on this girl. It took me so long to recover. The spelling was deliberate because it was a cross between the proper English spelling, vision eternal, and the French spelling, vision éternelle; I wanted the two languages mixed. This was also reflected with the titles of the songs, which were in English, but the extended play’s title was in French, Seul Dans L’obsession (Alone In Obsession). The title was a clear reflection of how I felt when composing and recording these songs. I took the concept of lost love further by releasing the extended play on Valentine’s Day, February 14, 2007. That was very important to me because when does one feel more lonely and hopelessly single, but on Valentine’s Day?
After Seul Dans L’obsession was released, I was not sure there was a future for Vision Eternel. It made little sense to me since it was so conceptually bundled with that one relationship. But that changed around April-May 2007, when I found myself mourning another major past relationship, one that had come after Hoke. It suddenly made sense that I should compose and record more songs and document that story with another extended play. And so, the music for Un Automne En Solitude was composed and recorded between May and July 2007, but I kept it unreleased because I also wanted that one to be released on Valentine’s Day, February 14, 2008 (but it ended up delayed).
Each Vision Eternel extended play has since been used to document another major relationship and heartbreak from my life, in a continuous story-line. Each extended play’s time-line starts where the previous one ended. From one relationship to the next.
Why did you decide to carve your own path in a solo post-rock project instead of forming or joining a band?
I have always seen Vision Eternel as a band, even if I am currently its sole member. Other people have been involved with the band, though I am the founder and have been its primary creative force.
While I was composing and recording songs for Seul Dans L’obsession in January 2007, a good friend of mine at the time, Aurélien Esnault, was very interested in joining as a member. That is to say, he was interested in joining, but I was not interested in having another member because the subject matter was so incredibly personal. How could I expect someone to be an equal partner in a band with which I am expressing the deepest and most personal kind of sorrow and heartbreak? It would not have worked. I still had not decided on a band name during that early period, and Esnault proposed the name Vision Funeral Doom, which did not impress me. I thought that it was a terrible name. He and I instead worked on another black ambient band together, Gallia Fornax (in which he was the main composer).
After Seul Dans L’obsession was released, and while I was composing and recording songs for Un Automne En Solitude in the spring of 2007, I asked a very close and important friend of mine, Philip Altobelli, to join both Vision Eternel and Vision Lunar as second guitarist. Altobelli was a great guitarist, but more importantly, he really understood where my pain came from because he was there, with me in person, when I first met Hoke. So he knew where this music was coming from and why I felt that way. He had the idea of playing beautiful, melodic solo leads over my more rhythm-based guitar parts. I wish that Altobelli could have continued playing in Vision Eternel, but he was transitioning from electric guitar to classical guitar, and the latter was his priority. Eventually, he became a classical guitar teacher.
In July 2007, I moved from Edison, New Jersey, United States, to Montreal, Quebec, Canada, to study sound engineering at Recording Arts Canada. Un Automne En Solitude was completed by then, but I was still waiting to release it. At school, I met and became good friends with Nidal Mourad and Adam Kennedy, and eventually, we started practicing together in my apartment. I wanted to re-create and improve on what Altobelli and I had started, so I remained on rhythm electric guitar, Kennedy played lead electric guitar solos, and Mourad played rhythm acoustic guitar. I still remember our first rehearsal when Kennedy, a versatile multi-instrumentalist, asked, “What kind of solo do you want me to play?” and without hesitation, I answered, “Like ‘Comfortably Numb’.” And he did! He really honed in on David Gilmour’s style in Pink Floyd.
Mourad, Kennedy, and I improved two songs from the then-unreleased Un Automne En Solitude with new arrangements, and the sound of the band was evolving. It was no longer minimalist guitar ambient, but rather, it was heading towards indie rock and proper post-rock territory. I felt so proud and excited when we would rehearse because the songs were so good.
Unfortunately, Mourad left for several reasons, which I will finally divulge in this interview. To his credit, he came to us and expressed that he felt bored and restrained in the configuration of the band because he was trying to break out as a folk singer-songwriter. He wrote a lot of songs on acoustic guitar, but he would not have been able to perform them with us since I was the principal songwriter and we were focusing on arranging my songs. It is likely that had this line-up remained together longer, his compositions could have been incorporated, but he did not want to wait around. The reason why he was in such a hurry to leave was because he had had a one-night stand with one of my roommates, and her room was immediately next to my room, where we rehearsed. There was no way for him to come to rehearsal without bumping into her, or her not knowing he was there. And that was the deeper motive that led him to quit Vision Eternel.
Kennedy and I practiced a few more times, but the energy was not the same. We were no longer at school together by that time, and each had busy lives finding our place in Montreal. Ultimately, Vision Eternel reverted to a solo project because it has always been my favorite band, my most personal and intimate project, and rightly so, because of the subject matter that influenced its creation. From that point on, whenever I wanted someone to collaborate with Vision Eternel, it was strictly as a guest, such as the ones who contributed to the extended play The Last Great Torch Song.
Post-rock often speaks without words—how do you make your instrumentals emotionally resonant? What techniques do you use to create the signature textures and mood in your music?
I think that Vision Eternel’s signature sound is a result of my taste preference in music; namely, the fact that I come from a black metal background and do not listen to other post-rock, ambient, or shoegaze artists. I ended up making this type of music through a different path, not because I wanted to make post-rock, but rather because of similar-sounding elements found in other non-post-rock (and even non-black metal) bands, like Faith No More, The Smashing Pumpkins, Limp Bizkit, Eliminator, Pink Floyd, Harmonium, King Diamond, and Ozzy Osbourne, to name a few.
I did not have other ambient or post-rock artists to whom I looked up, nor did I try to obtain the same gear and re-create an identical setup. Most ambient and post-rock fans are surprised at how minimalist my guitar setup is, and that is because I come from this metal background. Distortion was the only effect with which I was concerned in my bands before starting Vision Eternel. Discovering reverb on Cakewalk Sonar was the turning point in January 2007, and that led the way to me making this different type of music that became Vision Eternel.
I have always been secretive about my exact setup because I did not want others to copy Vision Eternel’s sound. I worked very hard over the years to accomplish this distinct sound and style; not that I believe that I invented anything new or revolutionary, but I am a recluse and appreciate my privacy, so I tend to think in that manner by default. I have also been a victim of plagiarism with my other band, Soufferance, so I am tight-lipped with intimate details about Vision Eternel, especially when it comes to unfinished releases. What I do frequently share with folks is that Vision Eternel’s music is made solely using stringed instruments; only guitars and bass guitars. There are no digital instruments like keyboards, synthesizers, samplers, or sequencers on the band’s recordings (with the exception of a guest keyboard part by Garry Brents on “Sometimes In Longing Narcosis”). I do not utilize any of those digital instruments.
But I have been asked numerous times about the gear and setup that I use for Vision Eternel, so I will take this opportunity to finally share that information, as well as how it evolved over the years. When Vision Eternel started in January 2007, I was using my Jackson Kelly KE3 (Crimson Swirl finish) electric guitar, upgraded with a DiMarzio X2N bridge pickup, a Floyd Rose SpeedLoader bridge and its accompanied Dean Markley-manufactured strings, and it was tuned in Drop D. My Jackson Kelly KE3 was my only instrument not setup with GHS Boomers strings, as that was my preferred brand of strings at the time.
I was plugged into a Boss Metal Zone MT-2 pedal (which was left off when playing Vision Eternel songs), then into a rather small 35 watt Ibanez SW35 SoundWave bass amplifier (I have always used bass guitar amplifiers for my guitars), then routed directly into my computer using a one-quarter inch to one-eighth inch Monster cable, without an external sound card. The pre-amplifier on the SoundWave acted as a sort of external sound card through which I could control the gain intake. It was basic, but it had proved perfect for my black metal bands. That is why those early songs have a thinner production, heavy on the treble, because that was the sound for which I aimed and to which I was accustomed in my black metal bands. The combination of using a bass guitar amplifier and the DiMarzio X2N pickup gave me a good balance between the bass and treble. I used Cakewalk Sonar to record my music and turned on its stock reverb effect. I recorded both Seul Dans L’obsession and Un Automne En Solitude with that setup. I did record some demos of the songs for Un Automne En Solitude using Philip Altobelli’s Agile PS-970 TE Gold HW (Black Cherry finish) guitar, and I really loved that instrument because it had such a warm sound. I very much wanted to purchase it from him, but someone else now owns it.
I continued playing with that setup for a couple of years, but the Floyd Rose SpeedLoader was problematic (it was a piece of junk – a good idea in theory but the consequence of poor engineering and planning ahead) and the company could not hold on to a steady string manufacturer, so they were often out of stock and difficult to find. They had no distribution in Canada, so I was forced to purchase replacement string sets online, with the added expensive shipping cost. Furthermore, changing tunings on a Floyd Rose SpeedLoader-equipped guitar was challenging.
By 2009, the Floyd Rose SpeedLoader strings had been discontinued, and since there was no alternative, it rendered my Jackson Kelly KE3 almost useless. I still had a few string sets in stock, but I composed most of my music using my Renegade Supertrat guitar (made to order by Grote Guitars in China for Keif Music in Canada; it was my first guitar and still one of my best). However, when it came time to record the music for Vision Eternel, I wanted to preserve that signature sound of the first two releases. So I recorded Abondance De Périls with my Jackson Kelly KE3, but it was tuned down to Drop C for those songs; I did that because I wanted a slightly warmer sound. I also used an eBow for the first time on that release, on the song “Thoughts As Affection.” The eBow was used more and more on the following releases and has become part of Vision Eternel’s signature sound. The combination of an eBow with a DiMarzio X2N pickup is quite powerful!
Most of the songs for The Last Great Torch Song were recorded using the same Drop C setup on my Jackson Kelly KE3, but I also recorded two songs with a B.C. Rich Mockingbird N.J. Series (Transparent Red finish). This was not for the tonal qualities of that guitar but solely because it was tuned in a very melodic open tuning. I never documented the exact tuning, unfortunately, but it was somewhere between standard tuning and open D/A. The Last Great Torch Song was also the first Vision Eternel release to include bass guitar, and I used my Ibanez Gio Soundgear GSR100BK (this was before I bought a much better Ibanez BTB-775PB with Charcoal Brown finish – it looks more red than brown). About half of the songs on that release were recorded using Adobe Audition instead of Cakewalk Sonar, because the material was compiled from various sessions and abandoned releases. I was able to experiment with different types of reverb once I started using Adobe Audition.
The quality of sound greatly improved with Echoes From Forgotten Hearts because I had then purchased a proper external soundcard, a Focusrite Scarlett 2i2. With that setup, I switched to using Ableton Live to record my music and had access to many more options of digital reverb. By this time, my Jackson Kelly KE3 was unusable because every part of the Floyd Rose SpeedLoader had been discontinued for years, and I did not have the financial freedom to purchase a new Floyd Rose bridge. So I installed a DiMarzio X2N bridge pickup on my Renegade Superstrat and used that guitar (along with my Ibanez Gio Soundgear) to record Echoes From Forgotten Hearts. But I used a custom tuning, G#G#C#F#A#D#, with a capo on the second fret. By this time, GHS strings had reduced in quality, and I no longer used them, so Echoes From Forgotten Hearts was the only time that I ever used D’Addario XL strings. However, I have never been a fan of that brand.
For Farewell Of Nostalgia was recorded twice, the first time in 2018 using most of the same setup as with Echoes From Forgotten Hearts. But I had a lot of issues with my studio equipment and instruments. Some of my gear was getting old and needed to be replaced, and that took about a year to accomplish. I was also struggling to find a new string brand with which I was happy. I tested out many different ones, like D’Addario NYXL, Elixir Nanoweb, and Elixir Polyweb, but I was using custom tunings on my guitars, so it made finding the right gauges complicated. I needed to buy a packaged set and then one or two individual strings of non-standard sizes, sometimes of a different brand. Strings And Beyond made a lot of money off of me that year!
By the time that I was ready to re-record For Farewell Of Nostalgia in 2019, I had settled on Ernie Ball Slinky Nickel Wound strings (I had previously used those strings for most of my bands in the early-mid 2000s, before switching to GHS Boomers). I also purchased a new guitar, a Schecter Diamond Series Banshee Elite-7 (Cat’s Eye Pearl finish; can you tell that I like red-colored guitars?). But I also had my Jackson Kelly KE3 fixed with a standard Floyd Rose Pro bridge so I could use that guitar again, along with my Renegade Superstrat, for that recording session.
I used those three electric guitars, along with my Ibanez bass guitar, and I also rented two acoustic guitars for a week’s worth of acoustic tracking. The first was a twelve-string Simon & Patrick Woodland 12 Spruce acoustic guitar, the second was a six-string Breedlove Pursuit Dreadnought CE acoustic guitar (because my six-string Kamouraska Étude acoustic guitar had a cracked headstock and an unglued heel, and I did not yet own a twelve-string acoustic guitar; I was later given an Epiphone DR-212/N).
Finally, I changed my studio setup to track For Farewell Of Nostalgia, by adopting a somewhat unorthodox channeling path. To begin with, I replaced all of my old patch cables with new Ernie Ball patch cables, and purchased a rather expensive Analysis Plus Yellow Oval Cable to go from my guitar into my Boss Digital Reverb RV-5 pedal (which I used during rehearsals but always left off during recording because I did not like the tiny amount of distortion it imparted on my sound). From that pedal, each stereo output was channelled to different places. One went straight into my Focusrite Scarlett 2i2’s left input channel, the other went to my Peavey Combo 115 Amplifier, then to my Focusrite Scarlett 2i2’s right input channel. That allowed me to have a clean signal going in (which was centered) and then another using my bass pre-amplifier’s board to get a different sound, which was double-tracked and split onto left and right channels in Ableton Live.
So I would always have three tracks of every guitar part, a clean one, and then split left and right tracks with different effects and levels of reverb. But I am not someone who enjoys the gimmicky left/right stereo effect of drastically different sounds, so I tend to mix my music in a way that both ears receive an equal amount of sound. I do not like to disorient people. To end this rather lengthy description, I think that I should say that my mixing and producing style is influenced by black metal music and Matt Wallace, since he produced the majority of Faith No More’s music. Perhaps those influences should be noted as to why Vision Eternel sounds the way it does.
Do you draw inspiration from non-musical sources when you compose?
Absolutely, yes. In point of fact, Vision Eternel’s music is not influenced by other music at all. That is not to say that other artists have not influenced me, personally, in a subconscious way, as I am sure that those elements seep into my playing. My music sounds this way because that is how I play guitar, those are the effects and sounds that resonate well with my ears, and it is inherent to my style. But the real influence for Vision Eternel’s music comes from years, actually decades now, of broken hearts, disappointments, nostalgia, loneliness, desperation, and that terrible hopefulness. To put it another way, Vision Eternel is emotion-based, not music genre or style-based.
I am much more influenced by motion pictures. Watching them is a form of escapism from the insufferable pain that I experience every single day from the moment I awake. Most days, I cannot find a reason to get up or a way to get beyond the unbearable and constant pain and sadness. So watching motion pictures is therapeutic for me. In this case, too, I am not referring to the music (the film scores) as influential, but rather to the emotions that I feel during and after the viewing of a movie. Film scores and composers have been influential to me on a personal level, as I listen to many soundtracks, but this falls into the category of subconscious influences because I do not try to recreate this style or genre of music when I compose and record music for Vision Eternel. It always comes down to emotions. To things which evoke memories of past events from my life and mix with the everlasting sadness that I feel.
I will divulge something else which I have never before shared. I sometimes use scents to bring back emotions and memories from past relationships when I am trying to document one with my music. I know that this is not something all that unusual, as people often associate smells with memories. But I am unsure if other composers or songwriters have done this. It could be a bottle of shampoo that I kept and which has a distinct smell that brings me back to when I was with a girl, or old letters that continue to hold a girlfriend’s perfume. Even the smell of a compact disc (they do not all smell alike, I suppose it depends on where it was manufactured). Anything to bring me back to where I was emotionally at that time. It is about being in that other place, in my mind and heart, and not being emotionally confined to my recording studio when I compose and record these songs.
How would you describe the support system for solo artists in the post-rock community?
Let me finally, after fifteen years of dealing with this issue, address it honestly: the post-rock community has never accepted Vision Eternel.
I know that this sounds harsh, but it is time that I speak out about it, and I am happy that this opportunity finally presented itself on a post-rock platform. Especially since this is a topic that you, Mahdi, recently addressed in your article “Defining the Unclassifiable: What Truly Makes a Band ‘Post-Rock’?”
There is a lot of pain attached to this topic because I have been subject to years of condescending backlash from post-rock fans and executives who have snubbed and rejected my music. I have received hatred from post-rock fans more than from any other genre with which Vision Eternel has been affiliated. These post-rock fans are evidently angry that Vision Eternel “dared” to be categorized as a post-rock band by critics and other fans within the genre.
I need to make something clear: I personally do not consider Vision Eternel “a post-rock band.” Yes, it does have elements of post-rock, but when one thinks of post-rock music, Vision Eternel would never be a band used to define that sound. Furthermore, I do not listen to post-rock music, so my influences and sound come from elsewhere. Nevertheless, I do think that Vision Eternel has a place in the post-rock community, so it hurt me deeply when I received adverse reactions and ridicule from fans of the genre. Granted, not everyone has to like my music, but to try to “expel” Vision Eternel from the scene was harsh.
What I would like understood is that I was not the one who first decided that Vision Eternel was a post-rock band. I believe that the term was first associated with Vision Eternel by fans who tagged the band with that genre on Last.fm in the late 2000s. Some Blogger accounts that shared free music (something quite popular at the time) were also using post-rock to tag and describe Vision Eternel’s music.
By 2010, several journalists and music critics were using the term in their reviews of my releases. And to this day, post-rock is the third most commonly used genre by critics, following ambient and shoegaze, when they describe my music. However, most post-rock online magazines refused to give my band coverage and told me that Vision Eternel did not belong on their websites. My band receives coverage on non-post-rock publications, either larger websites without genre restrictions or ones that focus on other genres. For example, The Obelisk focuses on stoner, sludge, and doom rock/metal, but JJ Koczan has written favorably about my band since 2017. Other genres seem more open to welcoming Vision Eternel.
But there have been post-rock fans who insisted that my music did rightly fit within the scene and pushed through to get Vision Eternel an audience in that genre by sharing my music on their websites, YouTube channels, or streaming platform playlists (including Post Rock Is A Genre, Where Post Rock Dwells, World Has Post Rock, Post Rock Community, Post-Pedia, and of course, Post-Rock Nation). I am grateful for that, not only because they supported my music and helped it reach a broader audience, but also because they went against the trend and opposition, and followed their hearts. Because not every post-rock band has to have the same formula and sound.
The biggest rejection that I have received, however, comes from post-rock record labels and press relations firms. Those company executives have been rude and condescending over the years, more so than people from any other genre. There is intolerance and discrimination in the post-rock industry. In the nearly twenty years of Vision Eternel being a band, I have received countless condescending electronic mail rejections from post-rock record companies, advertising agents, and managers who ordered me to “stick to my genre” and imposed suggestions and opinions on how to “make better music that is real post-rock.”
I was told that Vision Eternel does not “belong” in their scene because it is not a full band, there are not enough instruments, it must have drums, the songs are not long enough, the music is too dark, there are not enough effects used on my guitars, the album artworks are not representative of the genre, and so on. I was even told that I do not “look like” a post-rock musician. It is clear to me that post-rock record labels and promoters are hindering the genre from evolving and sounding different by keeping all the bands on their rosters sounding and looking the same, and presenting them identically. And I can admit, in all humility, that I am bitter that none of them took a chance with Vision Eternel. It really hurt me.
So the question remains, is Vision Eternel a post-rock band or not? Or does it even belong in this category of music? The answer is not mine to give, but up to the listeners and fans. Perhaps some day a post-rock record label will step forward and take a chance with my music.
What role do online platforms play in helping you reach your audience or connect with other artists?
Vision Eternel has always been more of a studio project, so online platforms, be it for downloading or streaming/broadcasting audio and video (including online radio stations), have been the main way that people discover and interact with my music.
The majority of the band’s releases were distributed digitally and only had a very limited number of physical copies made. These physical releases, as well as other merchandise by the band, never sold as well as the amount of downloads and streams Vision Eternel receives. Some of my other bands, notably Soufferance, had more success with physical merchandise than with digital goods. But Vision Eternel has always been more popular on digital platforms.
Early on, online music platforms like Myspace and Last.fm were very important in gaining new fans and allowing them to hear my music. This was a time when most larger bands and major record labels were against the idea of allowing people to hear full songs for free. Many were only allowing 30-second previews. They saw free listening as a loss of profit. Furthermore, record labels that released music digitally were perceived as unprofessional by the music industry. The term “netlabel” was used in a derogatory manner to categorize them. But some record labels used the term to their advantage and embraced it by adding it to their company name. And the general public was apprehensive about giving online music/bands an honest chance. So there was that challenge and prejudice to overcome early on. Yes, fans wanted free digital music in the mid-2000s, but if a physical version of that music did not also exist, that band was seen as hopelessly amateurish or as a “bedroom project.”
A few years later, Bandcamp came around and proved to be another great help to underground and studio bands. Bandcamp helped to change the perception of bands releasing music digitally. But it was still seen as something that only independent bands used, because none of the major bands and labels wanted to be part of it (not yet). That was because Bandcamp offered free streaming, and the major acts and companies had better deals on the major music streaming platforms like Spotify, iTunes (now Apple Music), and Deezer. It took a little longer for independent bands to gain traction on those streaming platforms, though. It was not easy to get on them at first, and it was very expensive. That has since changed, and Vision Eternel now has a good following on Spotify.
I was also using YouTube to share Vision Eternel’s music videos since 2007, but it was not the powerhouse it is today. It was strictly a video platform, so it was fine if a band added their music videos, but it was seen as a cheap “click-bait” tactic to upload non-video material to YouTube. Those audio videos with a simple album artwork did not get many views in the early 2010s. But since YouTube Music came about, audio material has been widely accepted on that platform. Surprisingly, some of those static image videos of my music, uploaded by other channels, are the most popular Vision Eternel videos.
What’s next for your band?
Vision Eternel’s future is precarious, but I expect that will be settled presently. Vision Eternel was always fueled by hopefulness, but that hope is gone. The band’s seventh concept extended play, which was in development since 2019, has been abandoned, as have plans for a re-mix album that was hinted at during the last couple of years.
I do wish that a phonograph record edition of Vision Eternel’s For Farewell Of Nostalgia had been released, as I spent the last seven years working desperately towards that. Perhaps some day… There may be a future for Vision Eternel, but it would not be coming from me.
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