▪⤇ Bademjan – Seahorses (Swine Daily Dernière)
▪⤇ Artist: Bademjan
▪⤇ Song: [Swine Dernière] „Searhorses“ (White Garden)
▪⤇ Mix, Master: Bademjan
▪ ⤇ Cover: @mona_clv
We have teamed up with a wonderful French label White Garden to bring you a special, not [Swine Premiere] but a [Swine Dernière] (from french, meaning „the last one“) from Bademjan’s recent EP Between the Spectral Moons. This lightning and percussive 4-tracks EP was released one month ago and the track ”Seahorses” we are publishing now is a special addition to the artist’s project.
Four days ago the special release party took place in what used to be a school that is now an artist residency place run by Artagon. 18 speakers from the Bruit Bâton company were scattered all over the hall and the two floors of the space.
The bonus track „Seahorses“ is a soothing aquatic ballad perfect to recover from this hectic journey in between the spectral moons. This song was produced after the EP with a draft/drop of a song that didn’t find its place on the project because the mood was a bit different. Here the voice of Bademjan is adding to these bright synths a bit of a brighter emotion, like a celestial siren call.
After waking up from a dream, we’re usually left with just a few images and feelings in mind. Although these mental states can be emotionally very strong, they don’t immediately make sense and it takes some time throughout the day for our brain to process it, assemble puzzle pieces, and recreate a coherent story.
What artist himself thinks about the project: „Likewise, the composition of the EP started from curating melancholic content that I’ve recorded throughout the years – the oldest material dating back to 2017- with analog synths, modular racks, or my own heavily processed voice. These sonic bribes were like fleeting emotions crystallized on tape and SD cards. From these fragments, I started to arrange full compositions, building coherent structures while retaining some of the clutter and wavering peculiar to dream states. Following this process, I ended up with some catchy ethereal tracks (like „Liquide Chrysalide“) as well as some more abstract/deconstructed yet melodic ones, but always retaining this dreamlike atmosphere.“
„Soundwise, a lot of work was put into sound design. Almost everything was recorded with hardware, and I used various techniques to shape an organic and dusty sound, reminding distant dream memories: I recorded synths through old guitar pedals, revamped and mic’d drum sounds to have natural room reverbs, used granularized field recordings to create percs, printed sonic material on cassette before hitting the DAW, etc,“ concludes Bademjan.
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