The label directed by Eva Swan publishes the Belgian artist Yves Elegeert, who specializes in the composition of soundtracks for films and with this new single takes a turn towards an elegant and melodic techno.
A complete release loaded with avant-garde touches was a very solid form of electronic music.
How and when have you been interested in music? And electronic music?
I make music for 45 years now. It all started with classical cello training. With my parents I lived in Belgium, Antwerp a typical small town where music culture is experienced intensely. My father loved classical music, so I learned that from childhood. At the age of 16 I had enough of my cello and bought my first synthesizer Korg MS20. Immediately I was in love with this new way of making music. At that time there was no internet so I gained my inspiration from different by sequencer driven music, and this without internet of course.
Can you tell us a little about your experience? Where are you from / how did you get into music?
I have been actively involved in music for so many years and especially film music. For myself I always thought electronic dance music was pretty cool, but my academic environment topped it off as a strange idea. I thought it wouldn't be as simple and effective, it's harder than expected.
How is your sound evolving? What artists and genres do you enjoy mixing right now?
It is still unclear to me where my sound is going to. I like to mix different styles and usually I start with an idea and end up with a completely different result. I don't mix artists yet but I like to listen to the more experimental genres and ambient.
How do you feel your music influences or impacts your listeners?
I hope ‘Fake’ moves people and that a little bit of the message sticks. This is a simple message.
What projects are you working on right now? What can you tell us about "Fake"?
One day I posted a general request for info to all my friends on Facebook. Not unexpectedly, I only got a response from close friends. However, the question was sent to the approximately 600 so-called friends according to Facebook. Somehow the name "Friend" on Facebook felt fake. Today I am incorporating more sound design and cinematic elements into my music. I hope to combine this with beats in an interesting way.
Where are you and what have you been doing now?
Now I’m in Italy, Tuscany on a vacation with my family. Every day I start with a strong coffee and a shower. Only then I can start my day focussing on composing music. But today is different because we will visit Florence, the city of artists.
Has that sound changed a lot in recent years? What is your musical criteria?
So in the eighties I was mainly involved with sequencer driven cosmic music. Although I didn't go yet in the direction of electropop, I was convinced that Kraftwerk was making musical history. Also musicians like David Sylvian and Ryuichi Sakamoto have always caught my attention. They dared to leave the path of commercial success and embark on more daring experiments. They definitely affected my music. I was touched by the film music of Blade Runner – Vangelis, Alien – Jerry Goldsmith, The Beast of War – Marc Isham, Furyo – Ryuichi Sakamoto, … So I threw myself into the film music and had the opportunity to compose several film scores. I then, together with some friends, made the tune for the Belgian film platform of the nineties.
Do you feel safe now to play a more experimental sound?
I can really enjoy a commercial sound. Still, I always want rough and angular sides to a sound. There is something mysterious about using a more abstract sound.
We all know that the digital revolution has affected sales, but has it affected creativity?
It has benefited creativity. Today everyone can achieve a quit good result with simple means. In the end, the quality will prevail. but to make an income out of it, it is quite a challenge in these digital times. Luckily, there are interest groups trying to change this.
Can you tell us what your present and future projects are?
‘Fake’ was a very successful start in which I used several styles together and brought them together. Since I mainly work for film music, a typical sound is not so important to me. All combinations that work and remain intact are possible for me. Now I’m experimenting more with sound design and abstract sounds.