Author’s note "What Can Be Seen Behind Close Doors began in October 2024, not as a clearly defined album but as a feeling that I needed to create something that would ask more of me than anything I had made before. I wanted to produce a work that was deeper, more thoughtful and more cohesive—a project that would force me to develop alongside it. I did not want to write a collection of tracks. I wanted to build a world for the music to inhabit. For several months, I returned to old ambient demos, wrote new compositions and searched for the idea that could connect them. The emotional atmosphere was already there, even before I understood its meaning. It felt like moving calmly through a cold dream: nothing disturbs you, but nothing reaches you either. Nothing hurts, nothing inspires and nothing touches the soul. The calmness gradually becomes a form of emptiness. At the centre of the project was a question about isolation. Is it an intentional escape from the obligations created by our connections to other people, or is it sometimes necessary when pursuing something larger than ourselves? I often thought about alpinists, astronauts, warriors and deep-sea explorers—people who accept isolation not simply as loneliness, but as a condition of the environment they have chosen to enter. From this question, the story began to take shape. Its central character is an AI developer attempting to make a machine fully conscious. To understand consciousness, he turns towards his own subconscious, following his dreams into increasingly unfamiliar places. As the experiment develops, the boundary between the imagined and the real begins to disappear. He can no longer be certain where his dreams are taking him, whether he is still dreaming, or whether the worlds he encounters exist independently of him. Once this fictional world had become clear, I returned to the music with a stronger sense of direction. I wrote new compositions and experimented with hardware, analogue synthesisers and different methods of sound design. It took approximately half a year to complete the tracks and shape them into an album. The music then led me towards film. Although I had no previous experience in screenwriting or directing, I began translating the story into an art-house movie. What followed was another year of gradual filming, experimentation and collecting enough material to construct the visual world of the project. I put everything I could into this work—my time, energy, concentration and material resources. There were periods when I had to place it on hold while dealing with everyday responsibilities and the inevitable side quests of life. Eventually, Sheaf Records expressed an interest in the project and offered to help me bring it towards release. The live dimension of the work developed with the encouragement of George Pinnegar, also known as FreshLov3_Strobe, who invited me to perform ambient music at his gallery in Hackney Wick, London. His support helped me imagine the project not only as an album and film, but as something that could be reconstructed in front of an audience. On 6 November from 7 to 10 pm at Not For Sale Gallery, I will present the album, screen the film and perform elements of the music live. These are not intended as three separate works, but as three different ways of entering the same world: through sound, image and performance. To my friends, to those who have followed my work, and to those who may know of me without knowing me personally: if you live in London or happen to be visiting on 6 November, I would be deeply grateful to share this evening with you. Thank you for your attention." Fabient.