One of the best albums of 2017 at:
"Adem is as comforting as it is magnificent, and it goes straight for the proverbial jugular of human emotion."
“The simplest of arrangements can captivate when the material in play is as rich in imagination and melody as it is here.”
“A beautiful piece of work and an irresistible call to take the time to slow down and hear, breathe, and feel the passage of time.”
“Adem is an auditory painting of a life’s interaction with nature, others and itself. The notes hang in the air, not in a void but suspended in a warm tape hiss that blankets and embraces you.“
Hoor de Ruimte die de Zee Ademt,
alsof je Tijd Voelt
A breath (“adem” in Dutch) is life, air being spread in a body of flesh, blood, organs, sinews and tissue to ensure its continuous functioning. Like a pendulum, like time itself, like the sea and winds, it is endless motion. Take a breath and consider the inevitable advancement of days, weeks, months, and years, while your body is swept along.
“Adem” is yadayn's third album of composed material and fourth release overall since 2014. The music on this record was mostly composed and developed throughout the course of one quite eventful year, or was improvised during the recording sessions that wrapped up that year at a time of homecoming, when the dust of the year's turmoil was finally settling down. The album is conceptualized as two related suites (an A-side and a B-side if you will), a continuous journey rather than a set of individual songs as postcards. In that sense it is compositionally closer to yadayn's debut album “Vloed” (2014), though it is sonically very much related to the lo-fi explorations on “Pendel” (2015), while even a few of the drony, improvised sensibilities of “Naam” (2015) appear. As such, “Adem” is a logical continuation of yadayn’s musical trajectory, while at the same time being a moment of contemplation.
The main guitar and ukulele parts as well as a few overdubs for four of the six tracks (“Hoor”, “Ruimte”, “Tijd”, and “Voel”) were self-recorded in a decommissioned telephone exchange building, in a large hall blessed with very spacious reverb, in yadayn's native town of Halle. The building was legally squatted for a short while by artists. Thanks to the organisation of Kunst Kraakt Fabriek, and to Stijn Hanssens in particular, for providing mostly unbothered access to the building for a few days. The other two songs were recorded respectively in the house of yadayn's grandmother (“Zee”) and at his home (“Adem”).