Just saw finished 'Oceania' album art. The end draws near to the end of waiting...

Billy veut un mode de commercialisation trés limité et porté par les fans:
-trés peu voir pas de promo commerciale
-pas de single car l'album doit s'ecouter comme un tout
-l'album sera en ecoute integrale quelques jours ou semaines avant la sortie: a priori en streaming (pas précisé) et tt le monde pourra l'entendre "en mm temps"
-a priori aucune copie ne sera envoyée aux radios ou journalistes
-d'apres lui l'album fera changer les fans d'avis sur les pumpkins 2012 et ce serait son meileur album depuis Mellon Collie
-la tournée sera organisée en fonction de comment est reçu l'album, en cas de gros succés l'album pourrait être joué en intégralité avec un show trés travaillé ou il pourrait s'agir de qqchose de plus modeste

The full track listing for Oceania is as follows:
"Quasar"
"Panopticon"
"The Celestials"
"Violet Rays"
"My Love Is Winter"
"One Diamond, One Heart"
"Pinwheels"
"Oceania"
"Pale Horse"
"The Chimera"
"Glissandra"
"Inkless"
"Wildflower"

Machina II is a brilliant album, have you ever thought about releasing it properly, maybe when you re-issue the others?
Yes. Our sell-out move, for Machina, is we’re going to remix the whole record and put it in its official sequence the way I’d hoped for in the beginning. I wrote it as a rock opera double album type of thing, so we’re going to remix the whole thing. I’ve already talked to Flood, and he’s been indicating he wants to be involved with that part of the process, and then we’ll finally finish the album, the way it was meant to be.

Can you talk about how the recording of ‘Oceania’ may have differed in any way from previous Smashing Pumpkins albums?
“We worked for a time in an empty movie theatre in Sedona during the winter months of early 2011, sketching out some primary versions of the songs while trying to dial in the emotional terrain we were seeking. In that kind of process it wasn’t that unusual from past records where I’d worked with a band as a unit to help me define a set of templates to work towards. We’d just come off the road, and had a good sense of what was no longer working in our eyes from a dynamic point of view. We worked hard to create space in the music, but not lose any of the emotive power that I like to have behind my songs.”
You finished ‘Oceania’ before deciding to team up with EMI Label Services/Caroline Distribution, so that would mean you were completely artistically free to create the album you wanted to make.  Want to tell us about your creative mind-set during the recording?
“From a production standpoint I was dead set on making an album where every song was just as valuable as any other, ignoring the typical claptrap you hear about needing a single.  The only way to make the case that every song on Oceania is worth hearing is to put your heart into the sequence as a cohesive whole. Once we felt we’d achieved that balance, only then did we let anyone outside our world hear the record we’d made. The chance to work within the EMI system again felt right to me. But unlike years in the past where I was under a set contract and beholden to a set of external forces which didn’t always fall in our favor, in this set-up they are now our partners in putting Oceania out to a wider marketplace than we could reach on our own.”
What you feel your bandmates have added to the album?
“I’ve been adamant in stressing that as a group, first and foremost, we are here to make new music together. I’m proud to say that on Oceania I feel we’ve cut our own path forward. Jeff, Mike, and Nicole have all made significant contributions to the tone and texture of Oceania, which is an album that is unlike any I’ve ever made. Yet at the same time I believe it upholds the same musical values I’ve always pushed for with The Pumpkins, be they progressive, emotional, epic, or restless.
Do you feel the recording of the album benefitted by the band having played some of these songs on the road first?
If we’ve learned anything from playing as an intact unit now for over two years, it’s that unless we create our own sound and our own legacy, it’s a given that people will default to what they know; whether it’s my past or someone else’s. We know we have much more in us to share than being an alluring, virtual jukebox. Being in The Pumpkins will always be defined by what we can create from our hands and hearts right now, and I wouldn’t have it any other way.”