It’s always hard to finish an album. I’ve been there when the first concepts took shape and I’ve been there when I decided that what you’re listening to is the best I can do at this moment in time. There’s always that thought in my head that with more time the album could be better. However, when I decided that I wanted the album to contain vocals, back in 2019, I knew I’d finish the album as soon as the story I wanted to tell stood strong. That day has come just a few days before I’m writing this, early in May.

I love making albums as much as I hate them because they’re the result of choosing a path and sticking to it. When I start a new album I always start with 50 random concepts. It’s a habit I’ve learned from Joni Schoonjans when we worked on Two.Zero, back in 2009 and 2010. Some of these concepts last just seconds, other are songs that are quite complete. When finishing the concepts it’s my task to go through the concepts and create a story that’s worth listening to. This happened late 2017, when “One Night Only” was out for a year and a half. At this point you finalize the story. The tracklist at that moment was:
01. Cambria
02. Damn (feat. No Jack)
03. Baysplosion
04. When You’re Not Around
05. When You’re Not Around (Emfox Edit)
06. Santa Monica Pier
07. Identity (Emfox VIP)
08. Griffith Park
09. Hurricane
10. One Last Shot
11. Feelings
12. Comeback (feat. No Jack)

Even though only 6 of these tracks made it into the final 19-track album you can clearly tell that the structure of the story is the same. The first 3 tracks represent “The Break-Up”, ending with Baysplosion. Chapter 2, “The Fall-Out”, lasts quite long in this album, ending with Hurricane. In the final version of the album I made clear a lot of time passed by placing Earth In Harmony at the beginning of chapter 2, instead of lots of songs. “The Feelings” span over One Last Shot and Feelings, and “The Velvet Skies” span just one song, Comeback. Back in 2017 I decided that this was the story and the chapters I wanted to tell, which isn’t related to the songs that eventually end up on the final release. New songs that find their way into the album have to fit the story, not the other way around. 

Why do I hate this process? Well, it forces me to stick to a plan made by a much younger version of myself. This means that it’s impossible not to grow tired of some tracks that were key in the first version of the album and need to be in the album to tell the complete story. These are songs that are made with much less experience, and therefore contain flaws which are hard to fix. Two songs in particular are “Baysplosion” and “Comeback”. Both songs go way back, but portray the actual break-up and the moment the couple gives their relationship another go. This makes them impossible to leave out, and also quite hard to change completely. Of course Baysplosion has a new hardstyle-part, and Comeback has a really cool EDM-bridge, but to me they no longer ignite a fire like other songs on the album. This doesn’t mean that I consider them to be “just a filler” on the album. It means that I can’t do anything to enhance these songs in the future. Their current version should be their last

Why do I like this process? Well, it forces me to stick to a plan made by a much younger version of myself. It’s weird to experience this, but I’m really proud when I finish an album and look back at where it all started, with a story chosen out of 50 concepts. Staying true to this version of myself is, even though not always as much fun as mentioned above, really rewarding. This album goes far beyond my expectations back in 2017, and I wish I could go back in time just to let my younger self hear what he would put out into the world, 3 and a half years later. I think I’d be super proud.

In this whole process I have to thank a lot of people. First of all my girlfriend Fran, my boy Finn, and the boy that’ll join my family this summer. There’s no music without you.

Second of all I need to thank my co-producers. Yvan, Jeroen & Quentin. You went above and beyond. This album is yours as much as it is mine.

Next up are some of the vocalists on this album who did more than just sing the song I wrote for them. In particular I’d like to thank Anneleen, who wrote the first draft for Damage Done, helped when I got stuck on You & I’s lyrics and sang demo’s for You & I and Change Of Plans. I’m beyond proud of how her input lives on throughout the most meaningful songs on the album to me. I also need to mention Leen from Allegria and Claudia. Both decided that they wanted to dive into the songs I made and come up with an honest version of the lyrics. Leen wrote the lyrics to What I Feel and everything except the chorus on Feelings. Claudia and I talked about the way Chase The Wind made her feel, which made me change elements of the song to fit her vision. I’m really happy to have worked with both of them, as the end result is amazing in any way, shape and form.

Last but not least, and it’s a cliché mentioned by all the big stars, I want to thank you for listening to the album and other tracks. I want to thank you for wanting to dive beneath the surface and landing on this page which provides a small portal into my mind. As a small artists who’s happy having 5 listens a week it means the world to me that you like what I created. It doesn’t matter if you’ve been with me from the start back in ’07, or if you’ve just discovered what I do. Thank you.

Yvan has known about YC since the early days. I think his interest in my project really took off after the release of Two.Zero. Yvan is someone who instantly connected to my musical taste, and was able to introduce me to new artists, new genres and interesting opportunities (like the creation of the 2011 anthem “A Moment In Time” and the “Penya Fanatiek Anthem”). When I was thinking about who to contact as co-producer for Velvet Skies I immediately knew I had to have him on board. My 2016-album One Night Only turned out great, but I always felt like a lot of songs didn’t reach their full potential. I knew I needed someone who doesn’t filter his feedback and is only interested in hearing the most complete version of a hook, song or album. Yvan is that guy. Thank you so much for all your effort in this process.

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Although I have a very diverse taste in music (from Folk to Einaudi to Trance to Hardcore) Your Countdown’s music has something to offer that I can’t seem to find in any other music genre. The way Michiel composes and designs music stays fascinating. His music is very hard to put in one box and through his diversity he keeps surprising you. Throughout his albums I’ve seen him grow until this new album, which is by far the best I’ve heard from him, YET!

I have various musical, visual projects that I work on whenever the time is right. So we’ll see what the future or past will bring. I have no special talent, I am only passionately curious.

If you need me you’ll know where to find me. Either through a door that’s shaped like a pumpkin or a through a rabbit hole. I’ll be the one wearing a hat or none at all. What is this? A tea party or a snow fight? To laugh at yourself is to love yourself. Mr. Bean is the best example for being yourself. Dullness is a disease. Logic will get you from A to B. Imagination will take you everywhere. Be yourself, everyone else is already taken. I am under no obligation to make sense to you! 

Only if you decide to stop fighting, it ends. Wear Sunscreen.

Where Yvan holds a lot of knowledge about a huge amount of genres and Quentin holds a lot of creativity, it’s Jeroen who holds the best musical match to my personal taste. When Jeroen and I meet we always exchange new tunes and most of those are always in line with each other. In the production of this album he represented the voice of the audience I want to reach. If both Jeroen and I like a YC-song I’m sure it holds the right personality and drive. It’s what makes working together with him such a pleasure, both while we were working on Velvet Skies or when we’re joining up to create new tracks for No Jack, our side-project.