••• I seized that opportunity to present demos of my next work, both as a test and a challenge. Quite risky, since any real success would have made it more difficult to complete it (how do you bring a finished version of a piece people took for granted it was actually finished when they've heard it, without risking being perceived as playing the 'director's cut' marketting trick ?).

... silence made visible, if not listenable ...

••• I went for it, nonetheless, and I'm glad I did it, even though it was all but nearly as succesful as "Echoes" or even "Words". Total lack of promotion made it an 'intimate' release, which was exactly what I was looking for: just a buzz-maker and time-buyer that would allow me to concentrate on the real thing as soon as I'd have time, which could also turn into a rare collecting item later, once the final versions made their way to success. You never know.

••• Let me make it very clear: "Colors Of Silence" was NOT my third instrumental album. Its limited edition already spoke against the idea. As suggested by the subtitle ("Musical Poetry For Yoga"), it was to be viewed as a soundtrack album first, and a conceptual 'demo' compilation album second. As minimalistic as it may sound (to some of my fans delight), it was not 'written' to be the type of album I've been known for, in any way. As always with of my demos, I'd be the only one to tell what will be retained for the final versions, out of the melody line, the chord changes, the atmosphere, the rhythmn, etc. Guess what 'Amber Whispers' could sound like at the end ... .

••• To finish with the issue, never again will I mix dance-oriented tunes (i.e. 'Where Were We ?' , 'The Lights Of Kinshasa' , 'Smiles By The Millions' ) with listen-only classical (i.e. 'Higher Still' , 'Dawn Of Europa' ) on my forthcomming work. This should be matter for two distinct and genuine albums, which "Colors" only pretend to be an approximative exposé of. Not to pretend dance should be rid of classic overtones, nor conversely classical should not be an invitation to dance. I am by no means opposing african music and classical, to the contrary. But if you can turn a listener into a dancer, to revert back to a listener is virtually impossible. It is all about perception and goal.