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.
Hi Yves! Where can we find you right now? How did you start your day?
I live in Belgium. But 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.
When did the idea of launching «Fake» start to take shape?
I have been actively involved in music for 45 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 would you define the sound of «Fake»? What is the concept behind?
My sounds are a potpourri of different styles. By mainly composing for film, I don’t have a specific style. I was mainly focused on sounds supporting an image. But dance music has always triggered me too. It seems simple but of course it’s not. I wanted to prove to myself, and to my environment, that I can also do this style..
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. And that’s how the idea for ‘Fake’ was born.
What artists are you interested in these days?
I usually listen to Sakamoto, Max Richter, Murcof and David Sylvian. Also a lot of ambient and medieval music and specific sound design.
How do you manage to combine such disparate genres? How do you manage to give them unity and harmony? What do they have in common for you?
As a composer for film music, it was easy for me to switch styles and atmospheres or to use different styles together. For Fake it was important that the whole thing sounds as very spontaneous. The only difficulty was to find a timbre in all the different pieces that would still sound like a harmonious whole.
Can you tell us something about your current or future projects?
I’m looking for a more spacey, dreamy sound. Although usually the starting idea never becomes the end result. If all elements are correct in the development process, it is of no importance from which sounds the music is composed. As long as the result is correct.