Yves De Mey
Sueda
Boomkat Product Review:
Belgian synth boffin Yves De Mey (Sendai) loops back to Richard Chartier’s label with ’Sueda’, a beguiling suite that short-circuits perceptions of analog/digital tones, neatly mirroring the results of ‘Lichtung’, his 2009 debut LP for Line
Another sterling example of the endless variety and unique, viscous coherence of De Mey’s output, the filigree digital craft of ’Sueda’ uncannily emulates the nature of analog material and “real” space in a way that resonates with respectively exceptional electronic musics from Rashad Becker and Cam Deas, and the exploratory, avant-jazz-wise tactility of Oren Ambarchi. Basically; stuff to properly get your ear-teeth into!
“On 'Sueda', De Mey explores the fundamentals of FM and Modal synthesis, and combines them in a confined and sparse space. Although the majority of the material is generated digitally, 'Sueda' sounds, at times, surprisingly acoustic. Because of this, the album bears more resemblance to De Mey’s 'Lichtung' for LINE than his more recent work released through other labels.
'Sueda' sounds as if it were composed and played on one singular instrument, and every track on the album figuratively represents a new alloy of resonating pulses in a tight feedback network.”
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Boomkat Product Review:
Belgian synth boffin Yves De Mey (Sendai) loops back to Richard Chartier’s label with ’Sueda’, a beguiling suite that short-circuits perceptions of analog/digital tones, neatly mirroring the results of ‘Lichtung’, his 2009 debut LP for Line
Another sterling example of the endless variety and unique, viscous coherence of De Mey’s output, the filigree digital craft of ’Sueda’ uncannily emulates the nature of analog material and “real” space in a way that resonates with respectively exceptional electronic musics from Rashad Becker and Cam Deas, and the exploratory, avant-jazz-wise tactility of Oren Ambarchi. Basically; stuff to properly get your ear-teeth into!
“On 'Sueda', De Mey explores the fundamentals of FM and Modal synthesis, and combines them in a confined and sparse space. Although the majority of the material is generated digitally, 'Sueda' sounds, at times, surprisingly acoustic. Because of this, the album bears more resemblance to De Mey’s 'Lichtung' for LINE than his more recent work released through other labels.
'Sueda' sounds as if it were composed and played on one singular instrument, and every track on the album figuratively represents a new alloy of resonating pulses in a tight feedback network.”
Boomkat Product Review:
Belgian synth boffin Yves De Mey (Sendai) loops back to Richard Chartier’s label with ’Sueda’, a beguiling suite that short-circuits perceptions of analog/digital tones, neatly mirroring the results of ‘Lichtung’, his 2009 debut LP for Line
Another sterling example of the endless variety and unique, viscous coherence of De Mey’s output, the filigree digital craft of ’Sueda’ uncannily emulates the nature of analog material and “real” space in a way that resonates with respectively exceptional electronic musics from Rashad Becker and Cam Deas, and the exploratory, avant-jazz-wise tactility of Oren Ambarchi. Basically; stuff to properly get your ear-teeth into!
“On 'Sueda', De Mey explores the fundamentals of FM and Modal synthesis, and combines them in a confined and sparse space. Although the majority of the material is generated digitally, 'Sueda' sounds, at times, surprisingly acoustic. Because of this, the album bears more resemblance to De Mey’s 'Lichtung' for LINE than his more recent work released through other labels.
'Sueda' sounds as if it were composed and played on one singular instrument, and every track on the album figuratively represents a new alloy of resonating pulses in a tight feedback network.”
Boomkat Product Review:
Belgian synth boffin Yves De Mey (Sendai) loops back to Richard Chartier’s label with ’Sueda’, a beguiling suite that short-circuits perceptions of analog/digital tones, neatly mirroring the results of ‘Lichtung’, his 2009 debut LP for Line
Another sterling example of the endless variety and unique, viscous coherence of De Mey’s output, the filigree digital craft of ’Sueda’ uncannily emulates the nature of analog material and “real” space in a way that resonates with respectively exceptional electronic musics from Rashad Becker and Cam Deas, and the exploratory, avant-jazz-wise tactility of Oren Ambarchi. Basically; stuff to properly get your ear-teeth into!
“On 'Sueda', De Mey explores the fundamentals of FM and Modal synthesis, and combines them in a confined and sparse space. Although the majority of the material is generated digitally, 'Sueda' sounds, at times, surprisingly acoustic. Because of this, the album bears more resemblance to De Mey’s 'Lichtung' for LINE than his more recent work released through other labels.
'Sueda' sounds as if it were composed and played on one singular instrument, and every track on the album figuratively represents a new alloy of resonating pulses in a tight feedback network.”
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