For Farewell of Nostalgia

Early attempts (February 2015 – December 2016) Alexander Julien had hoped to begin work on Vision Eternel's sixth concept extended play (which later took shape as For Farewell of Nostalgia) shortly after the completion of the band's fifth release, Echoes from Forgotten Hearts, in early 2015, but was instead caught up with other musical and biographical projects. Between February and September 2015, Julien composed and recorded material for his other bands, Vision Lunar, Soufferance, Citadel Swamp, and Éphémère, and relocated to a new town. a condition that lasted seventeen months. Shift in focus (December 2016 – February 2017) In December 2016, Julien shifted his focus back toward Vision Eternel again. As a result, in December 2016, Julien ended Soufferance and Citadel Swamp, quit Éphémère (though he was only a sporadic session member), and put Vision Lunar on an indefinite hiatus. took priority, along with other merchandising and the production of a music video for "Piéce No. Trois." Immediately upon the boxed set's release, Julien returned to work on composing and recording For Farewell of Nostalgia. == Recording and production ==

First recording session (April – October 2018) , Quebec on April 10, 2017, during For Farewell of Nostalgia's demoing sessions. Julien was only satisfied with a portion of the songs he had composed and demoed in 2017 , Quebec on July 22, 2018, during For Farewell of Nostalgia's first recording sessions. Concurrently, Julien realized that many of his recordings had irreparable audio glitches, like crackling, distortion, humming, and pops, caused by faulty studio equipment. A full version of the song was later uploaded to YouTube on November 30, 2018, and it was also included as a hidden bonus track on Somewherecold Records' edition of the For Farewell of Nostalgia compact disc. Finally, Julien explained that "two or three guitar tracks" from the 2018 recording sessions ended up on one of the songs on the released extended play because he felt the emotions were stronger on the original recordings than on the re-recorded versions. Second recording session (October – November 2019) For Farewell of Nostalgia was re-recorded at Mortified Studios in five weeks, from October 4 to November 12, 2019. Julien wanted a way to control and maintain his mood and emotions during the entire recording session. He wanted to sustain a constant level of sadness and depression so that all of the songs would share the same mood, emotional atmosphere, and depth, and so that the release would sound like a concept extended play. Discussing the session with New Noise Magazine, he elaborated: "I wanted to remain in the same somewhat-depressed-yet-motivated state while I tracked the songs." To accomplish this, he isolated himself in his studio for the span of the tracking session. He also restricted his activities, limiting what he saw, heard, and felt. He deliberately did not listen to music, confessing to New Noise Magazine that he "did not want to be consciously influenced by anyone's style or genre." He further detailed his motivation with The Noise Beneath the Snow: "I wanted the sound and atmosphere of my songs to be organic to my instinct, to my subconscious." He also confined his reading to books about classic Hollywood films. Julien further controlled his mood by using visuals, carefully selecting and positioning two pieces of artwork he could gaze at while recording, along with a narrow selection of movies. One of these artworks was a painting of his maternal grandparents' cottage, where he had spent most of his summers as a child, and which invoked "positive nostalgic memories" from his past. The second visual was Frank Sinatra's In the Wee Small Hours cover artwork, which Julien singled out as one of his favorite albums. He revealed to New Noise Magazine that Sinatra's album had kept him company on many lonely nights while he was depressed and heartbroken, becoming "somewhat of a best friend; the only thing that I could rely on to help me get through the night." Julien noted that the album was helpful to him during the events upon which For Farewell of Nostalgia is based and was, therefore, filled with "saddened nostalgia" from his past. He connected with the cover artwork and took indirect inspiration from Sinatra's album during the recording and mixing sessions, which helped pull the concept extended play together. 's music and films played an important role in the sound and emotional atmosphere of For Farewell of Nostalgia. Sinatra further influenced For Farewell of Nostalgia when Julien resolved to only watch the singer-actor's films during the recording session's duration. Julien singled out movies like From Here to Eternity, Some Came Running, The Manchurian Candidate, The Man with the Golden Arm, Suddenly, Pal Joey, and The Detective as some of his favorite motion pictures, which he watched repeatedly during his isolation. On watching those features, Julien told The Noise Beneath the Snow that it helped to keep him on the edge of sadness and depression, "not enough to deprive me of motivation but just enough to keep me on a roll of creativity." He also told ''It's Psychedelic Baby! Magazine'' that the recordings' mood, tone, atmosphere, and sound are attributed to Sinatra's acting, based on how he felt after watching the films. All of the music on For Farewell of Nostalgia is performed by Julien using electric guitars, acoustic guitars, and electric bass guitars. When asked about electronic instruments' use, he told Metal Temple he saw Vision Eternel as a rock band, and there were no digital instruments like keyboards, synthesizers, samplers, or sequencers on the band's recordings. On previous Vision Eternel releases, Julien restricted himself to using a single guitar to record a whole extended play. However, he used multiple instruments for For Farewell of Nostalgia, including three electric guitars, two acoustic guitars, and one electric bass guitar. He told Idioteq that this provided him "a bigger sound" and that "different guitars resonated more aptly to various sounds and tones that I wanted." One of Julien's goals with For Farewell of Nostalgia was to use his EBow on all of the songs, which he told Terra Relicta had become a recognizable sound for the band. The first piece of music that opens the extended play in "Moments of Rain," is produced using an EBow. The 2019 re-recording session also allowed him to add textural guitar lead overdubs to the songs, which he had been unable to achieve in 2018 due to studio issues. Julien felt this made a drastic difference for the songs, rendering them "more accessible" and giving them greater depth, sentiments, and melody. One week (from November 5–11, 2019) was dedicated to recording acoustic guitar tracks for the extended play, notably for the slow rhythmic build-up in "Moments of Nostalgia." Julien used two different acoustic guitars: one six-string, and another twelve-string. During the session, acoustic versions of all songs were demoed for a planned companion extended play. However, the mixing of these was problematic, and all of the acoustic material was shelved. Instead, Julien wound up re-recording the backing track for "Moments of Nostalgia" with an electric guitar. The version of "Moments of Nostalgia" with acoustic guitar was made available on The Spill Magazine's website on February 14, 2021, as part of the band's yearly Valentine's Day Exclusive celebration. On November 19, 2019, The Obelisk reported that principal production had been completed on Vision Eternel's For Farewell of Nostalgia. Post-production (November 2019 – January 2020) The post-production of For Farewell of Nostalgia lasted a month and a half and included editing, mixing, sequencing, and mastering. Julien was meticulous about the editing and mixing process and approached the material differently than he had for the 2018 recordings. He described the 2018 mixing as having "far too many layers of effects and endless reverb." When asked how he achieved For Farewell of Nostalgia's "dreamy reverb, effects, and atmosphere," Julien told New Noise Magazine that he deliberately decreased the number of effects on the mixes until his guitar notes could be heard distinctly, rather than be "buried and blurred into a haze of reverb." , Quebec on July 22, 2018, during For Farewell of Nostalgia's first recording sessions. Julien also told New Noise Magazine that he disliked the mixing process and did not consider himself a producer despite studying audio engineering. He disclosed: "I simply took on the role by default because I was recording in my studio and needed to be self-sufficient." During the extended play's post-production, Julien began to ease off on his restrictions, allowing himself to listen to The Beatles to combat listener fatigue and anhedonia. He told Captured Howls: "I tend to get negative when I over-analyze my recordings and end up disliking the songs themselves." He noted that listening to The Beatles' later-era records with studio equipment enabled him to discern small playing mistakes and background noises. He added: "Hearing that such high-profile and established releases as theirs can have an acceptable amount of tiny mistakes was refreshing and motivating, and it helped me resume the mixing of my extended play." The songs' sequencing was an important element for the concept extended play and had already been determined during the 2018 recording sessions. Julien edited and mixed the songs in a way that each was complementary to the next, making sure that the release flowed as a whole. However, he felt restricted by the various physical mediums on which For Farewell of Nostalgia was to be released. This was not an issue for digital formats, such as compact disc, download, and streaming, but the compact cassette and vinyl record mediums required each side to have almost equal lengths. Julien was challenged by this as the extended play included only four songs, which had to remain in the decided order. He resolved this by preparing exclusive b-sides to be inserted as hidden songs at the end of the compact cassette and vinyl record's A-sides. Post-production wrapped up at Mortified Studios on December 24, 2019. Former Vision Eternel member Adam Kennedy was initially secured to master For Farewell of Nostalgia during the release's first recording session in 2018. Kennedy had mastered Vision Eternel's third extended play, , in 2010, and was also offered the same job for The Last Great Torch Song in 2012 and Echoes from Forgotten Hearts in 2015, but had been too busy to accept. Kennedy became unavailable during For Farewell of Nostalgia's one-year interim in early 2019, and Julien looked elsewhere. Once For Farewell of Nostalgia was re-recorded in 2019, Julien concluded that Carl Saff at Saff Mastering was the only mastering engineer he wanted. He told Terra Relicta that while listening to Castevet's album The Echo & The Light, he decided that the person who mastered that release should master his new extended play. Julien booked a telephone call with Saff in late November 2019 to discuss the release and what he wanted in the final sound. Saff first mastered the extended play on January 2, 2020. The band then asked for a few alterations, and although Saff provided a second mastering, Julien wound up selecting the first mastering for release. == Songs ==

Composition With For Farewell of Nostalgia, Julien approached the composition of Vision Eternel songs differently than he had for the band's previous releases. However, the recording was never completed and remained unreleased until the band made it available for free download for its yearly Valentine's Day Exclusive celebration in 2023. and a different take with an acoustic guitar backing track for its 2021 Valentine's Day Exclusive. A pre-production recording and a reprise version were also included in the Lost Misfortunes: A Selection of Demos and Rarities (Part Two) compact cassette compilation. "Moments of Nostalgia" is divided into five movements: "Moments of Melancholia," "Moments of Nostalgia (Overture)," "Moments of Nostalgia (Suite)," "Moments of Nostalgia (Closure)," and "Moments of Desideria." Julien stated that "Moments of Nostalgia" represents the heartbreak and remembrance within the concept of the extended play. He further broke down the context of each movement of the song to The Noise Beneath the Snow:-"Moments of Melancholia" is closely linked to the previous "Moments of Radiance"; the two songs fade into each other as night becomes dawn. This part recounts waking up the next morning, in a somewhat dream-like state, when the consciousness starts to overtake the subconscious. The girl is gone. -"Moments of Nostalgia (Overture, Suite and Closure)" documents the mourning in nostalgia, forever cherishing the memory of a night which was never established as real or dreamt up. -"Moments of Desideria" closes For Farewell of Nostalgia and is about hoping that the girl will someday return. == Concept ==

to Montreal with For Farewell of Nostalgia. When asked to describe For Farewell of Nostalgia's concept and plot in an interview with New Noise Magazine, Julien stated that it details "falling in love at first sight, the intimacy of a one-night-stand and its aftermath: a heartbreak once the realization hits that the feeling is not reciprocal." He further opened up to Idioteq, stating: "It is a documentation of how something so brief can hurt for so long and stay with you for the rest of your life." With ''It's Psychedelic Baby! Magazine'', he shared: "There was a lot of pain following that brief romance and I wanted to capture its beauty and sadness." He also described the release as an ode and Dear John letter to Montreal. Julien related that although he grew up and formed Vision Eternel in Edison, New Jersey, he was born in Montreal and returned to the city as a young adult. He felt that, even though he no longer lived in the city, the band continued to have a symbolic tie to Montreal. Reminiscing about his time in Montreal and the meaning behind the extended play's title, he explained to New Noise Magazine: "Those were years of infatuation; years of broken hearts. I wanted to say "Thanks for the memories, the wonderful and the miserable; now good-bye." I also wanted to state that I would not be forgetting these events, but rather, that I would be cherishing these memories, in nostalgia, for the rest of my life." ''. Julien had previously planned a series of concept releases that covered his return to, time in, and departure from Montreal for his other band, Soufferance. It included the album Memories of a City (recorded in 2011), but the series was never completed. Julien noted that with For Farewell of Nostalgia, he was able to close that cycle and concept. For Farewell of Nostalgia is a continuation of Vision Eternel's "greater story-line" concept extended play series, which Julien describes as "pieces of a puzzle" that connect and mirror his life and past relationships. For Farewell of Nostalgia picks up immediately where Vision Eternel's 2012 extended play, The Last Great Torch Song, left off (2015's Echoes from Forgotten Hearts was composed as a soundtrack and is omitted from the conceptual timeline). An audio bridge was incorporated between the two releases by re-recording a section of "Sometimes in Anticipating Moments" (which appeared on The Last Great Torch Song), re-titled "Moments of Anticipation," and sequencing it as the first piece of music one hears when playing For Farewell of Nostalgia (the first movement of "Moments of Rain"). Julien told The Noise Beneath the Snow that the storyline for For Farewell of Nostalgia starts in the autumn, following a late summer break-up at the end of The Last Great Torch Song. Titles Vision Eternel dedicates considerable time figuring out its release and song titles. Julien told Terra Relicta: "Everything Vision Eternel does is so conceptually connected that a lot of thought and planning goes into it; none of it is last-minute or an afterthought." He broke down his process as having to put himself into the state in which he was when the heartbreak occurred and taking notes of specific words during the composing and recording stages, which he feels are relevant to the sentiments and themes he experiences. Once several words are noted, he expands them into an original release title. He told The Moderns that Vision Eternel's release titles must always be original and that if any tentative titles are similar to other albums or works of art, they are discarded. The word nostalgia came up early during the making of the extended play while Julien was demoing material in 2017. Recounting the process with Terra Relicta, he admitted that he was both secretive and uneasy about using the word in a Vision Eternel title. He told the webzine that because of an experience when a Soufferance album's titles and concept were appropriated by another band, he makes it a point to be tight-lipped about his releases until they are completed. As such, the title For Farewell of Nostalgia was not revealed until the extended play was nearly completed in late 2018. Julien was also apprehensive about using the word nostalgia in a title, explaining: "There was a fear that it might not live up to its name." He affirmed to Terra Relicta that because nostalgia was so important and a meaningful state of emotion in his life, he needed to be able to represent it honestly and respectfully. He admitted to The Moderns: "I was unsure if my music deserved to use it." Julien noted this dilemma as one of the leading reasons why he was so motivated to re-record the release in 2019 and so meticulous with the extended play's concept, mastering, artwork, and packaging. Concerning the meaning of the title itself, Julien elucidated that he took a slight poetic liberty and that it is to be interpreted as for the well-being of nostalgia. It is intended as an ode to nostalgia. He affirmed: "I am in no way saying good-bye to these events and memories; I am instead stating that I will cherish them forever and look back on them fondly." , Quebec on July 22, 2018, during For Farewell of Nostalgia's first recording sessions. Vision Eternel's song titles have a similar selection process to the release titles. Julien broke down his method into two steps: deciding on the prefix of every song title and selecting the main words for the proper song titles. Julien told The Obelisk that "Moments of" was a prefix he had planned to use for The Last Great Torch Song's song titles, but it did not fit with the releases' complex "greater story-line." The song titles play an important part in Vision Eternel's extended play concepts in that they represent the sequential phases and chapters of the story. Julien points out the recurring theme "Boy meets girl, boy loses girl," explaining that the song titles detail the progression of the events, from the relationship to the heartbreak. The titles of the songs also need to match up with the band's "greater story-line." Julien revealed to The Obelisk that the titles of the songs contain a secondary, hidden concept: "Adding the first letter of each song title spells out the name of the girl to whom the extended play is dedicated." This concept was utilized in all Vision Eternel extended plays. As such, Julien detailed that he knew beforehand how many songs were to be on a Vision Eternel extended play based on how many letters were in the girl's first name. He also related that Vision Eternel songs are technically only given a single-word title ("Rain," "Absence," "Intimacy," and "Nostalgia") so that if ever re-recorded (as was the case for "Absence" and "Anticipation"), it could be adapted to the prefix of the new release. The four songs on For Farewell of Nostalgia were subdivided into seventeen movements, each with expanded titles, which Julien voiced was a concept he wanted to make use of for about fifteen years. He told The Obelisk that this was an element that impressed him from Harmonium's concept album ''L'Heptade'' and that he had used it to a lesser degree on Soufferance's album Travels Into Several Remote Nations of the Mind. The extended track listing was deliberately omitted from the digital edition of the release because Julien intended it to be paired with the short story, which is also exclusive to the physical editions. The principle and extended song titles are designed to act as chapters for the short story. Short story Julien wanted to include a short story with the extended play so that the emotions and essence of the instrumental music would come across faithfully. He likened the inclusion of the short story to other bands offering lyrics in the booklet of their albums. Julien had previously included a poem in An Anthology of Past Misfortunes' booklet, but this was his first time offering a whole story to tie into the concept. The short story, also titled For Farewell of Nostalgia, was written over eleven days during the post-production of the extended play in December 2019. Julien was usually reserved when asked about the context and influence behind the story. He told The Obelisk that it documented the events that inspired For Farewell of Nostalgia and was about falling in love too fast and the pain of heartbreak that followed. He also said: "It is about learning to befriend absence and loneliness and living with constant sentiments of nostalgia and melancholia." Opening up to Captured Howls, he revealed that the general theme throughout For Farewell of Nostalgia was "sad and lonesome but always hopeful." He broke down the story as going from being lonely to having someone to being lonely again. The band chose to only include the short story in the physical editions of the release as a way to thank fans for procuring tangible goods and give them exclusive content. Julien also explained that the short story is intended to be read while listening to the music and that the text is divided into chapters that tie in with the songs and movements within the songs. == Artwork ==

The band spent considerable time working on the artwork for the release, dealing with numerous illustrators in the process. The idea of basing the cover art on Frank Sinatra's album In the Wee Small Hours originated in March 2011 while Julien was working on The Last Great Torch Song. He and photographer Jeremy Roux planned a photo shoot during which Julien was to pose in matching clothes and with a similar background to Sinatra's album cover. However, by the time The Last Great Torch Song was completed in September 2011, Julien had forgotten about the Sinatra tribute and instead used a photograph by Marina Polak for the cover artwork. Julien and Roux later filmed a video to promote The Last Great Torch Song in March 2012, which prominently features the Montreal Harbor Bridge in the background and which Julien purposely incorporated on the cover art of For Farewell of Nostalgia as a symbolic bridge between the two releases. Julien again thought of In the Wee Small Hours in late 2019, as the album's cover art had been so helpful in setting the mood during the re-recording of For Farewell of Nostalgia. He told New Noise Magazine: "It seemed to make perfect sense that I should pay homage to Frank Sinatra." Because he did not want to offer a simple recreation of Sinatra's original artwork (which he said would have been cheap and disrespectful to his idol), Julien spent several months putting together a mockup of the exact artwork he wanted, from photographs taken by Roux and Rain Frances. He told Metal Temple that the new artwork had to be "an equal mix of Frank Sinatra and Vision Eternel." Since the release is partly a tribute to Montreal, Julien incorporated some of his favorite buildings and landmarks in the mockup, ones that are representative of the city, including Old Montreal, the Montreal Harbor Bridge, the St. Lawrence River, the Sailors' Memorial Clock Tower on Victoria Pier, and Windsor Station. Although he wanted his pose to be faithful to Sinatra's, Julien deliberately wore his own clothes to make the artwork more original and relevant to Vision Eternel. He wore one of his vintage fedora hats manufactured in Montreal in 1952, kept his horseshoe mustache, and held one of his tobacco pipes instead of a cigarette. Julien communicated with dozens of artists between November 2019 and April 2020, hoping to find one who could paint an authentic pulp-style artwork. Three illustrators (including Costin Chioreanu) attempted to create the cover artwork but were rejected before Michael Koelsch was hired in late March 2020. Julien told Metal Temple he had given up hope of finding someone until he discovered Koelsch's work from The Criterion Collection digital video discs and blu-rays. Koelsch, enthusiastic about the project because he was also a fan of Frank Sinatra and In the Wee Small Hours, painted a 16x9 artwork used as a gatefold cover art. Rain Frances was also commissioned for three paintings used throughout the layout of the physical editions of the release. One was used for the booklet of the short story, another for the stickers on the bonus tape, Lost Misfortunes: An Anthology of Demos and Rarities (Part Two), and a last for the disc cover of the advanced compact disc edition. In addition to the photographs for the release's mockup, Frances had previously provided paintings for Vision Eternel's boxed set An Anthology of Past Misfortunes. Some editions of For Farewell of Nostalgia also feature a Vision Eternel logo by calligraphist Christophe Szpajdel. == Release and promotion ==

Julien intended to release For Farewell of Nostalgia on February 14, 2020, to tie in with the band's yearly Valentine's Day commemoration, but the extended play was pushed back by seven months due to delays with artwork and complications with record labels and pressing plants during the early outbreak of the COVID-19 pandemic. Having to line up a date convenient to all three record labels and their distributors was a factor in the delay. Distribution and promotion Pre-orders started on July 23, 2020, when the band and record labels made the video A Preview of For Farewell of Nostalgia available to the public (previously reserved for the press). Invisible Oranges premiered the extended play on September 10, 2020, four days before the official release date on September 14, 2020. The release was distributed by The Business in North America, Juno Records in the United Kingdom, and Linus Records in Japan. == Critical reception ==

Vision Eternel and For Farewell of Nostalgia received overall positive critical reception upon release. Journalists found the release difficult to pigeonhole into a single genre, Reviewing the release for Captured Howls, Caleb R. Newton rated it a perfect 5-star score. He offered "Vision Eternel has crafted a strikingly poignant piece of guitar-centered ambiance. Instead of sticking to the more "traditional" format of songs, Julien's music features a dramatic flow with billowing, steadily unfolding melodies." He described the release as "beautiful, moody, pensive music" and "full of emotion," and felt that "He creates music that shifts easily from genre to genre and succeeds in creating a cohesive, concept work. This is a very dense, yet beautiful collection of songs telling of love found and lost. For Farewell of Nostalgia is a wonderfully appropriate title for this collection of music." For New Noise Magazine, Mick Reed offered: "Vision Eternel has composed many deep and complex releases over the years. The graciously soft and moving album is a mediation on the cycles of love and loss, a contemplative confluence of starward glancing shoegaze and ambient post-rock." He also detailed: "Despite there being no actual lyrics to the album it still managed to capture a literary quality. Music that says so much, with its mere mood and presence, without uttering a single word." He highlighted themes like "loneliness and isolation, resignation and depression, emptiness, passion and the sounds of the heart" as appearing in the music, and pointed out the influences of film noir. A review by company owner Osamu Matsumoto offered "It's a sound made by layering only guitars. It's a mix of early to mid-00s post-rock as well as shoegaze and dream pop, psychedelic space rock, dark ambient with a hint of shadow, and experimental sound." He further described the release as "Hazy guitar strokes with deep reverb. Melancholic and delicate ambient with melodic arpeggios and vague ephemeral phrases, gently looped within the reverberating and relaxing guitar sound." William Zimmerman from The Noise Beneath the Snow tagged the release as "ethereal/dark ambient" with "elements of post-metal, shoegaze and ambient," offering that it "bears the qualities of several genres and none at all in the same breath. It is truly defiant of the somewhat necessary evil called categorization." He also praised the visual presentation with "[it] is so beautifully depicted by the drawing in film noir style that adorns the cover of the album." He further complimented the release with "It's actually a most lovely, touching trembled and graceful encapsulation of the themes; beautifully put together. Nostalgia is certainly evoked on this almost timeless EP of abstracted emotionally pulled memories made tangible." Captured Howls' Caleb R. Newton picked "Moments of Intimacy" as the release's shining track, offering: "[It] builds through flowing pulses of melody into a conclusion with some emotionally searing dynamic drama. That song's conclusion feels like a film score, the tones feel big and bold but grounded in some sonically wavering emotional reality." He further added: "When the dynamic shifts in the consistent and repeating guitar melodies get particularly dramatic, the music feels like a film score. This element of the music shines at moments like the conclusion of the album's comparatively lengthy track "Moments of Intimacy." Ben Taffijn of Nieuwe Noten said that the song "gains more weight and a driving structure." While reviewing an early version of "Moments of Intimacy," JJ Koczan of The Obelisk wrote "Quick immersions, scenes from a film that the listener is then left to piece together. Always evocative, even here in this short piece of a short piece, Vision Eternel never quite covers the same ground twice, but constantly seems to move the story forward into some next act." Ben Taffijn of Nieuwe Noten also described "Moments of Rain" as "rock with ambient in a rather dark and hallucinatory piece," and "Moments of Nostalgia" as a "wall of sound continues briefly in the fourth and last piece." == Track listing ==

Credits are adapted from the extended play's liner notes. All music is composed and arranged by Alexander Julien. Lost Misfortunes The Geertruida compact cassette edition packaged a second tape titled Lost Misfortunes: A Selection of Demos and Rarities (Part Two), which contains twelve outtakes from the studio recording sessions. The band had previously released another compilation, Lost Misfortunes: A Selection of Demos and Rarities (Part One), as part of its 2018 boxed set An Anthology of Past Misfortunes. == Personnel ==

Credits are adapted from the extended play's liner notes. ; Vision Eternel • Alexander Julien – electric guitar, acoustic guitar, electric bass guitar, eBow ; Production • Alexander Julien – recording engineer, mixer, producer at Mortified Studios; design concept, layout, liner notes • Carl Saff – mastering engineer at Saff Mastering • Yannick Tinbergen – analog transfer, packaging at Geertruida • Michael Koelsch – cover artwork painting at Koelsch Studios • Rain Frances – additional artwork painting, photography at Rain Frances Art • Jeremy Roux – photography • Christophe Szpajdel – band logo calligraphy • JJ Koczan – liner notes • Jon Rosenthal – liner notes • Caleb R. Newton – liner notes == Release history ==