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SPECIAL VERSIONS LIVE AT ACCA, BRIGHTON: 6TH DECEMBER BANDCAMP FRIDAY FUNDRAISING FOR PALESTINE + THE HISTORY OF “MON COEUR”

Even though I didn’t technically make a “special version” of “Mon coeur”, I have decided to include it in this release, as I have played it live only for the past 8 shows or so, and the way it builds up until it reaches the actual album synthesis settings still feels magical to me, with the added PA and ambiant room sounds of ACCA taking it to another level soundwise (🙏🙏🙏 @kanearis )… the spring reverb kicking in every time I’m patching is an acquired taste I suppose!😅

The song feels extra special to me as it is a symbol of what synthesis has meant for me on a personal and musical level. I originally wrote it on the Yamaha Reface YC in 2020 and it was going to be the last song on my previous album The Tunnel and the Clearing (2021), until I made a last minute decision to ditch it in favor of making the album shorter and ending it with “Hidden in the Current”, so that both the record and its ending would be more impactful given its main theme (the end of a relationship and the necessary rebirth that has to come from it).

When I started work on Le jour et la nuit du réel, right after The Tunnel was released, I didn’t know yet I was going to end up focusing purely on synthesis, with only the Moog Grandmother and 2 delays as my tools, but in a very natural way, it was the melody of “Mon coeur” that I first recreated on the Grandmother, with some necessary changes due to the shorter keyboard, and it was this song that served as my main playground for synthesis experiments in the early stages of the album. I probably ended with about 12 different versions, and in the end settled on this gentle version which, weirdly enough, is also (in my opinion) the only song on the whole album that has a “classical Moog sound”, especially when the moodulation enterss in.

Can’t wait to share the whole project with you, in both audio and video, next week, fundraising for Palestine.

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