Yan Lohendra asserts a closeness to the spirit of the Zeuhl, a musical current initiated by the band Magma, and does not seek to produce music that everyone likes. His compositions are sometimes minimalist and repetitive, somewhat obsessive sometimes. It is possible to define him as a sculptor of sounds with sometimes some desired atonality and a mode of composition reminiscent of that of techno.
The second album The Ten Commandments alludes to the cult scene of the film “They Live”, which reveals subliminal injunctions visible throughout the city. This one gives their titles to the music. The narrative of the film metaphorically expresses the fight against Capitalism. Each of the twelve pieces has a meaning given by the title and by the music itself. The album opens with an injunction to revolt, followed by the ten commandments of capitalism and ends with an incitement to.awakening.
The album Upsilon Plus tells the story of Sandra T. which gradually turns into a different being, called “Upsilon Plus” and will live an initiatory journey, in the form of a somewhat esoteric allegorical narrative, with nested meanings, and which ends in doubt, but also by awakening. The music also presents this esotericism and an experimental dimension that makes it little adapted to the general public.
Yan Lohendra does not like alienating technologies, such as smartphones or TV and therefore does not use them. A follower of Buddhism, meditation, veganism and crudivorism, he also enjoys hiking. Like the Dalai Lama, he calls himself semi-Buddhist and semi-Marxist.