Belgian artist Yves Elegeert joins Eva Swan Records to present his new single «Fake».
With talented new music producers, Eva Swan announces the second artist on her own Eva Swan Records label. She established herself as a key player with thunderous techno tracks and a strong series of heavy-duty self-released singles, earning support from DJs like Slam, False Witness, Luke Slater, and Machine Woman. This sixth installment is another exceptional release.
Yves Elegeert, best known for his work as a composer of films and other audiovisual installations, is exploring new directions in electronic music and is especially proud of one of his early tracks, «Fake.» Groovy and melodic, this hot piece runs like a train thanks to its relentless synth progression and deep yet energetic groove, which conveys a great sense of movement to the listener. «Fake» is the perfect track to enjoy in a radio session or on a playlist, but it will be a flawless song to add a deeper moment to your next DJ session. And despite the title, you can trust us, there is real talent here.
We have had the pleasure of interviewing him, and this has been the result. Enjoy!
Hey Yves, can you tell us a bit about your experience? Where are you from / how did you get into music? Was it all internet based?
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. A that time there was no internet so I gained my inspiration from different by sequencer driven music, and this without the internet of course.
Who have been your main inspirations (both musical and in «life»)? And how have they affected your sound?
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, 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.
How would you define your sound?
My sounds are a potpourri of different styles. By mainly composing for film, I don’t have a specific style. I was 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. And that’s how the idea for ‘Fake’ was born.
The nice thing about ‘Fake’ was that I had to redefine my sound palette. The music had to make people dance and not necessarily move them emotionally as with film.
What can you tell us about your latest work: «Fake»? What inspired you? What do you want to convey?
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.
What can you tell us about each song that makes up «Fake»? What is hidden behind?
So nice you’ve noticed, it’s a very valid question. Fake is more or less a succession of different moods. I was so busy with all the new ideas in my mind to make this music that a whole range of angles presented themselves. I wanted to bundle all of these and putted them in 1 track. That was more difficult than expected.
How are you living the current situation because of COVID? Has your work affected you a lot?
Covid has given me a period of inspiration and especially time. The mandatory lockdown has certainly driven many musicians into the studio. Of course there is hope. Good music will find its way to the public even without live performances.
What projects are you working on right now?
Lately I have dived into neoclassical music, ambient and experimental work like Murcof, Aphex Twin, Si Begg etc. I feel that the sound will be more spacier and dreamy. But I never know where I’ll end up when I start something new.
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