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. This is especially the case of his first album, Upsilon Plus, where he allows himself to use a dissonant chord from time to time. The second album, The Ten Commandments, is more classic in its composition, although it also sometimes approaches a certain desired atonality. A radical change is made to the album Star Heaven, for which Yan has created his own system of harmonization. We remain in the context of atonal music.

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 sometimes minimalist and repetitive, somewhat obsessive sometimes. 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.

The albums of Yan Lohendra each correspond to a theme, developed as the music that compose it. These have their own meaning relative to the guiding idea. Thus, Star Heaven evokes in a prophetic way the transhumanism, the conquest of space, the exploitation of humans and nature until exhaustion, a hybris of caste to which nature and the class struggle will end . The Ten Commandents expresses a Marxist-inspired critique of Capitalism, broken down into ten alienating injunctions and two calls, one for awakening and the other for revolt. Upsilon Plus is more esoteric, both in music and in its theme. It tells an allegorical form of a difficult journey of awakening, fraught with pitfalls and which sometimes approaches the limits of madness. This awakening is understood as spiritual or political, even philosophical.