I don't see musical composition as the realization of a need for personal expression, nor as an outlet, catharsis or self-therapy.
On the contrary, the creative acts that I pose through the composition are entirely directed towards those who will listen to it, with the hypothesis they could be sensitive to it.
The music that I let descend into me comes essentially from two sources: one empathetic, linked to the feeling of the living and the emotional, the other spiritual, linked to the awareness of the Mystery dispenser of an infinite splendor.
The first leads to meeting the being in the spirit of sharing, with the hypothesis, if communication is established, that this sharing could be beneficial to him / her.
The second leads to encounter the Being in the dimension of the spiritual, with the hypothesis, if communication is established, of a transport, an elevation, a trance, an ecstasy, a state of grace.
It goes without saying that the first source of inspiration leads to the goal more frequently than the second.
It goes without saying also that in both cases only an expression of high intensity is able to provoke powerful reactions and transports of a transcendent nature.
Music for pure entertainment (songs with choruses sounding like jingles and ballroom music) certainly cannot fit into this framework even if there is a gradation between pure entertainment (the "zique") and elaborate entertainment music, capable to intensities, expressive effects of higher level. That is why entertainment occupies little place in my musical production, and the albums which relate to it date mainly from the first part of my existence (although even in this context I have tried to never give in the ditties and basic expressions).
The search for high expressive intensities is what determines the creative acts that I pose through musical composition.
This research is not carried out as it would be with a work of exploration carried out from the start of the blank page until "finding something". On the contrary, it is a question, at the start of this blank page, of "letting down what it will be given to receive". Aligning notes because it will have an effect melodically, harmonically, rhythmically, makes no sense. We must be essentially attentive to let come what must come, to let ourselves be guided and invaded, in order to develop an expression of high intensity, capable of reaching the state of grace, even though it can only be approached.
Claude Evence Janssens