Today we feel more than excited to host the exclusive video premiere on Last Day Deaf of the 100% analogic, idm treasure ‘Subsequent‘ (from upcoming self-titled album out on 5th February via Irascible Music) by Geneva based artist Boodaman. An artist praised by Max Cooper and Rone, couldn’t deliver anything less dazzling than ‘Subsequent‘, a divergent bastard child of 80s era Jean-Michel Jarre with ‘Be Up A Hello”s Squarepusher; To simplify, Boodaman combines the heavenly warm, analogic sound of the first one, with the energy of the 2nd.

The video, which is directed by Artemis_Visuals, is an exceptional work of art, and a more than fitting audio companion.

Fasten your seatbelts and get ready to take off!

Press Notes:

Two years after Obédiences Electroniques, the Geneva based artist Boodaman returns with Subsequent, a modest title if at all, since this sequel has nothing to do with logic; it is rather the fruit of a real maturation, of a refinement which leads the electronic producer to his most efficient and complete work to date.

1997, two aesthetes wearing helmets deliver a Homework meant to last, Stéphane Cavi straps himself behind his modular synths under the alias Boodaman. 2020, the world has prosaically followed the trend, wears masks and does its homework at home. Stéphane Cavi has not moved an inch, still firmly bolted behind his Roland SH-101, NerdSeq and other Korg MS-20s, like an echo to this Covid-19 that has relayed the authors of a premonitory “Give Life Back To Music ” in a far beyond background.

Which conclusions can we draw ? That time, perhaps, is a very illusory constraint. At least that’s what Subsesquent suggests, which title suggests a logical follow-up that is not. It only takes a listen to be convinced; the subject is sharper, the phrasing more precise, pruned, Boodaman’s productions allow space to a firmly refined melodic facet. And if 10 years separated his first The Century Of from Obédiences Electroniques, it only took two short years and a lockdown for Stéphane Cavi to brilliantly complete what he had undertaken until then; Subsequent offers quiet strength, resilience and measure, only broken here and there by bursts of pride (“Complexity”, “Pulse54”, …). And if Homo Sapiens no longer has control over the living, we nod when it modestly takes it over machines: entirely analog, Subsequent is made up of a long apprenticeship of sequencers, patches, synthesizers wisely digested with which Boodaman shapes resonant, detaied silhouettes, almost tangible, in any case convincing. Here we drank on textures, there we hit a sound, a bit like taking the time to get to know complete strangers.

And if the album is the fruit of a solitary and passionate work, it is no less thought for a collective afterlife. Boodaman, true to his principles, indeed performs in a purely analogical arrangement and thus makes sure to keep the realism. Very hypothetical projection all the same that we would nevertheless like to see hammered out from the … subsequent jump.