Yan Lohendra does not compose his works on score but directly on the sound matter that he works on a computer and which he progressively shapes, in the manner of a sculptor. He first realizes something rather coarse, then gives it a more precise form and refines it, enriches it, reworks it until he is sufficiently satisfied. Yan has no specific project when he starts a music, just impressions, ideas or emotions to express. He is sometimes surprised when he listens to a work he has done the day before.
Yan Lohendra can be defined above all as a sculptor of sounds, to which he gives shape outside any conscious harmonization. He may just occasionally use a sixth or ninth chord. He likes to produce dissonances that he conceals or attenuates, for example by the gap between a very low part and high notes. His music is characterized by a desired atonality. His compositions are governed by harmonizing systems of his own and he never tries to compose a melody. Almost all of today’s music obeys harmonic rules that have existed for centuries and many traditional principles, sometimes more recent. Basically, there is no difference between pop music and classical music, or just purely formal.
By recording all sorts of sounds, which are usually regarded as noises, Yan Lohendra enriches his sound palette and plays in his pieces with a virtual sampler. He likes to work these sounds to the point sometimes of making them unrecognizable. Yan does not use samples in the sense of mixed measurements, parts of prefabricated musics that are assembled. On the other hand, he works with samples that consist of basic sounds played as instruments to produce notes, exactly as with a piano or a guitar. It also uses virtual synthesizers that produce sounds from nothing, by mathematical calculation, that it is enough to program to make a sound, then played as on an instrument.
His compositions are often minimalist and repetitive, as in hip hop, sometimes obsessive. Meditation helps him to free himself from all that conditions the mind and from all the music he has listened to. Yan Lohendra affirms a closeness to the spirit of Zeuhl, musical current initiated by the Magma band and does not try to produce music that pleases everyone.
To develop a music, Yan Lohendra replaces one track by another, adds, suppresses over the piece, in the manner of techno music. This makes it possible to accustom the ear to what are called dissonances, but which are in fact only other forms of articulation of notes and other sounds, before finally gathering the tracks and playing the different parts together.
Zeuhl, atonal music, hip hop, techno, electro, trip hop, and concrete music are all part of Yan Lohendra’s influences. He hauls himself as much as possible of these influences to create a music of his own. There is an experimental dimension in it which Yan wishes to reinforce later on.