jeudi 8 novembre 2018

13 Questions to Sequentia Legenda while waiting for "OVER THERE" (second part)

Sequentia Legenda interviewed by Bertrand Loreau
(second part)


Sequentia Legenda Berlin School music

PROVIDE A PART OF DREAM


Bertrand Loreau:
"You claim the influence of Klaus Schulze and obviously your works, especially through their structures, recall the constructions of his pieces. Do you think, however, that your personal sensitivity is strong enough that you are not seen as a mere imitator of the Berlin artist."

Sequentia Legenda:
  
"I am naturally flattered and proud to be able to read everything that is said about me and my music, all the comparisons with Klaus Schulze. And how can you not be? However, I have my own personality, my own vision of Berlin School and enough sensitivity to express my emotions through my titles. I believe that if you play the music that comes from your heart and soul, listeners will perceive this music as authentic and sincere. I am simply happy to be able to share my own musical vision, to provide a part of dream, a moment of relaxation and escape."



THE PERIOD WHEN KLAUS USED ANALOG SYNTHESIZERS


Bertrand Loreau:

"Do you enjoy all of Schulze's discography or do you avoid certain periods?"

Sequentia Legenda:
  
"It was on a summer afternoon in 1980, I was 15 years old and I was browsing through my parents' vinyl collection. Among all the albums, a cover with a stylized portrait in green and blue intrigued me. After a closer look at this original layout, I decided to put the LP on the record player. From the very first minutes, it was love at first sight. Klaus Schulze's album "Mirage" was a real trigger for me! "Mirage" is my favorite, I also like "Moondawn", "Timewind", both "Body Love", the double album "X" for the analog period. "Dune" is a special album for me with two very different tracks and a very particular atmosphere, sometimes at the limit of the oppressive, but with a totally unique sound research work. "Totem" is an early career work that I find interesting with the early sequences. For the digital period, it is "E=Trance" and especially "Trancefer" that caught my attention. Then I landed after the album "The Dresden Performance". The previous titles, "Angst", "Inter*Face" or "Miditerranean Pads" had not totally seduced me.

Even today, it is the period when Klaus used analog synthesizers that I like the most and that I find the most interesting in terms of creativity. That doesn't mean that I didn't like everything that followed. For example, I found "Are You Sequenced?" with an interesting use of sequencers. Klaus' latest album "Silhouettes" is also remarkable in some respects, with an atmosphere that reminds me of his early career.
"



THE REBIRTH OF A CERTAIN BERLIN SCHOOL


Bertrand Loreau:
"Have you ever met people who love your music and who are not fans of Klaus Schulze?"

Sequentia Legenda:
  
"
Good question. I don't know if all Klaus Schulze fans love my music and vice versa.
I have had a few feedback from people who discovered my music and who didn't really know the German master. I found it interesting, giving me good hope for the rebirth of a certain Berlin School.
"

OVER THERE Berlin School music

THIS BEAUTIFUL MUSICAL MOVEMENT


Bertrand Loreau:
"Do you think your work can help people discover the reference records of electronic music of the 70s?"

Sequentia Legenda:
  
"I would of course be delighted. If I can contribute my part to the building of this beautiful musical movement then I will have finally succeeded in my bet.
It is a pleasure to be able to share in my own way the richness of this period and to bring this special atmosphere to the fore.
"


MY HEART STILL HAS ENOUGH TO OFFER


Bertrand Loreau:
  
"How do you imagine the music you will make in 5 or 10 years?"

Sequentia Legenda:
"It is difficult to answer this question in a totally objective way. So much can happen and therefore influence my creativity to some extent. In 10 years who knows if I'd still be making music? One thing is certain, if I still had to compose, then my heart still has enough to offer, to share. I cannot conceive my music without passion, without soul and emotions. So I can imagine music that is in continuity with the music I am currently producing, certainly with greater maturity and perhaps more mastery."


Sequentia Legenda Berlin School music

I LIKE STRINGS, SYMPHONIES, CHOIRS


Bertrand Loreau: 
"Do you listen to other music that relies on repetition, loops. Do you listen to acoustic and orchestral music such as Glass' or traditional music?"

Sequentia Legenda: 
"To be totally transparent, I certainly don't listen enough to what others are doing, I don't find enough time to listen assiduously to the music of others. One of the few times I listen to music is on the road between work and home and it is often classical or jazz music. I have always had a great respect for the composers of the Great Music, Beethoven, Mozart, Bach, Wagner, Berlioz. I like strings, symphonies, choirs. Jazz relaxes me. I don't like opera."

MY SENSITIVITY COMES FROM DEEP WITHIN ME


Bertrand Loreau:
  
"About your sensitivity, can you explain where it comes from and why you feel the need to share it?"

Sequentia Legenda:
  
"That's a hell of a subject, a big theme. My sensitivity comes from deep within me, I perceive many things, I feel things with great amplification. It is sometimes even difficult for me and others to live with. I have a great sensitivity and I have trouble hiding my emotions so I literally have to expel what touches me through painting, writing or music and also through sport. It is a need: to share, to communicate, to free myself.


Most recently, it was the diagnosis of my youngest son's autism that touched me greatly and affected my emotions in a very difficult way. Besides his handicap, Valentin gives me a lot of love and I am proud of him, he has opened my eyes to many things. He too is endowed with a great sensitivity :-)
"

 

An extract of what will be the atmosphere of this project

 

 


MIND LAKE by Sequentia (work in progress).


This extract is still in its experimental version, it is a foretaste, a perspective of my musical vision for 2019. The work remains focused on the symbiosis of the sequences with the pads. It is a sound palette close to the analog era, with the touch of current instruments.
The sound landscape of this title is for me the closest to my musical ambition, to my vision of the Berlin School of today and tomorrow.


Sequentia Legenda Berlin School music

A RELATIONSHIP WITH THE PIONEER OF THE BERLIN SCHOOL


"Since the 1980s many artists have been attracted to electronic music, and synthesizers, after discovering the works of Klaus SchulzeTimewind, Moondawn, Mirage, Dune and to a lesser extent Trancefer and Audentity made the German composer a model that many wanted to imitate. Schulze produced his masterpieces in a period from the advent of analog to the beginning of digital. 

The composer Sequentia Legenda is part of this third or fourth generation of synthesizer masters who claim a relationship with the pioneer of the Berlin school. He produces music that blends reminiscences of the analogical and digital periods of Schulzian art, taking the risk of systematizing the principles of Mirage's composer. We find the sequences that curl up on the entire face of a huge vinyl, and the transpositions that resound like thunderclaps to provoke the expected thrill. But Sequentia sometimes goes beyond what Schulze did in the 70s as if he was trying to go beyond the limits imposed by the master in order not to create ruptures with his audience. Chords can be held for several minutes and sequences are built and deconstructed by separate elements during very slow and subtle mixing. 
Sequentia Legenda takes the risk of sometimes disturbing and being perceived as a mere interpreter of recipes already often used in cosmic music. But you have to see it differently. Sequentia Legenda explores the limits of musical concepts that may not have said everything. His work on sound and his desire to hypnotize, rather than seduce, make his works establish a bridge that may not have existed between real Berlin School music and ambient music. By avoiding solos and ruptures, his music can be perceived as an accompaniment to an imaginary place or space, in the same way as some 
of Brian Eno's works."

Bertrand Loreau

Bertrand Loreau
has been recording albums for the Musea and Spheric Music labels for almost 30 years, he has approached many styles ranging from melodic to electroacoustic music through the Berlin School.

Bertrand Loreau's discography at Patch Work Music

OVER THERE

Release scheduled for March 3, 2019




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dimanche 30 septembre 2018

RENAISSANCE Three tracks reviewed by Drew Fisher

Top Albums of the Year 2018 : The Masterpieces by Drew Fisher
RENAISSANCE is in the selection !

 

"More Berlin School magic from Klaus Schulze devoté Laurent Schieber, the Mulhouse Maestro seems to be pulling together an LP per year (or, more accurately, every nine months) all the while increasing in confidence, quality, and allure. While last year's Ethereal was a veritable prog masterpiece--and remains on my frequent rotation playlist--I've been so busy this year (since May) that I've had little time to listen to much new music much less 20+ minute long epics like these. But, I can now say, these are every bit as much up to the standards set by Laurent's previous work--and by the master himself, M. Schulze."

Drew Fisher September, 2018


Sequentia Legenda Berlin School music

A SOLID SONG WITH A WONDERFUL FINAL THIRD


Drew Fischer:
"1. "Out of the Silence" (21:54) starts surprisingly familiar and takes a little time growing and developing (a little too much time, in my humble opinion). A drummer's cymbol play enters and joins the sequence over the course of the fifth minute. It sounds live (not looped)!

Full drums enter in the seventh minute, total key shift at 7:35 and then back to original formation at 8:25. Two more different key shifts in the tenth and eleventh minutes with a few more percussion noises added to the mix, but the song doesn't really go anywhere new, different, or exciting--not even the shift to a more minor key spectrum at the
11:00 mark--though it is nice that there are four key shifts to choose from instead of the usual two.

     At 14:00 all rhythm tracks are dropped and multiple layers of synth chords and synth noises hold their own in a new universe of spacey-ness. I like this section. Especially the hypnotic four-note electric piano arpeggio repeated as the central foundation. The brilliance of Rainer Brüninghaus's work with Eberhard Weber comes to mind.

A solid song with a wonderful final third--again, a song that is displaying the growth
and development of Laurent's confidence and mastery. (8.5/10)"



RENAISSANCE Berlin School music

 

DEFINITELY A SHOWCASE PIECE OF A BERLIN SCHOOL MASTER


Drew Fischer:
"2. "Ici et Maintenant" (25:39) opening with a much darker, foreboding soundscape than is usual for Sequentia Legenda, the slow fade in of the rhythm and percussion tracks and multiple loops of synth washes brings with it a softening of the tension, a slight brightening of hope. By the fifth minute all levels seem set. By the ninth minute the repetition is starting to wear and then--boom!--at the 9:00 mark, just in perfect timing, there is a big shift--a key change which settles the nerves. Awesome!

Laurent is getting so good at reading his listeners (or, at least, me). Something about this key makes the music so much more settling, more relaxing, then, at 11:00, the key shifts again--back to its original, but thanks to that two minute reprieve, it is much more tolerable, enjoyable. Another shift at 13:00--and with it some new synth and keyboard "harp" chords and flourishes. Nice! At 15:00 we enter yet another key. The sequenced items are feeling so friendly and close now. New percussives are being added--prominent kick drum in the lower range and hi-hat cymbol in the high. After 17:00 a few more synth noises: insect buzzes, full synth wash chords, and an orchestra-like snare track. Nice. The soundscape is so perfectly balanced--and not overly full. The subtle introduction of so many elements helps me, the listener, to stay entranced and entrenched . . . in the Here and Now. Tom-tom runs are added to the mix in the twentieth minute and then, quite suddenly, at the 20:00 mark, everything collapses; all tracks but the synth washes and a few two-note rhythm tracks disappear. This is awesome!

I am so stupefied by the slowly panned and flanged single note "guitar pluck"--I'm reliving my deep connection to Propaganda's "Dream Within a Dream"--one of my all-time favorite songs. Love the prolonged exit with the percussives and upper octave electric piano arpeggi.

Awesome song! Definitely a showcase piece of a Berlin School master!  (10/10)"



RENAISSANCE Berlin School music

ENGAGING, MESMERIZING, AND CONVINCING


Drew Fischer:
"3. "Valentins Traum" (17:24) a long opening with minor or discordant chord choices over which odd and eerie, even disturbing, sounds flit in and out of the soundscape. The sequenced rhythm track stays far in the background, fading in and out of the aural spectrum. Only in the fifth minute does it begin to emerge and stay, even rise to a place within the thick of the sonic palette. By the end of the sixth minute an electronic harpsichord riff, insect zip!-buzz, electronic tambourine, and rotation of synth strings washes have established themselves as the mainstays. The chord selection is not quite as dark and scary now, though eerie, unnatural sounds continue to fly in and out of the soundscape. That "harp/harpsichord" riff is so hypnotizing!

In the eleventh minute multiple components of a drum kit are introduced and interwoven. The eerie sounds become more frequent, constant, and layered in multiplicity as the drums and rhythm tracks fade out by the end of the fourteenth minute. The dénouement is slow, gradual, and steady, so I'm guessing that Valentin's dream was a bit of a disturbing event, though not one that caused sudden fright or night terrors, but the persistence of the scary sounds continues in the fore despite the slow fade of the music into the background, so perhaps I a wrong.

Nice work. Definitely engaging, mesmerizing,
and convincing as a representation of its subject matter. (9/10)"

 


Drew Fisher
Drew Fisher lives in the United States of America, Wisconsin.
He studied History of Art and Architecture at the University of Strasbourg in France. He is a man close to nature, loving everything to do with art. He loves painting and painting in his spare time, he particularly enjoys literature and is the author of "The Osiris Plan Trilogy", a visionary fiction of human history. He is also a great music lover, Drew has reviewed a large number of albums.
He is the author of several Blogs including "Prog Is Alive and Well" dedicated to progressive music. Drew hosts a radio show "Prog is Alive!" broadcast on WDRT.


 

 

 

AN OVERVIEW OF MY NEXT PROJECT "OVER THERE"

 

 


The first six minutes of FLOATING TIME (work in progress).


Here is an extract of the second track of the future album OVER THERE. It is a composition in the purest tradition of the Berlin School of the mid-1970s. Today's synthesizers deliver analog grain tones.

In the distant fog and breaking waves, the ringing of a bell can be heard. A craft floating on an unknown sea advances slowly, then it is a progressive flight towards the heavens. In this mystical atmosphere, it is the rumbling from the sky and the depths of the sea that mixes with floating sequences and whirling sounds...

For this title and for this future album, the choirs of the Mellotron and the strings of the Solina come to be added to the other mythical instruments such as the Modular Moog, the Minimoog or other Jupiter 8.


OVER THERE

Official release planned for 21 March 2019



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www.sequentia-legenda.com






jeudi 20 septembre 2018

13 Questions à Sequentia Legenda en attendant "OVER THERE" (première partie)

Sequentia Legenda interviewé par Bertrand Loreau
(première partie)


Sequentia Legenda Berlin School music

UNE FILIATION AVEC LE PIONNIER DE LA BERLIN SCHOOL


« Depuis les années 80 de nombreux artistes ont été attirés par la musique électronique, et les synthétiseurs, après avoir découvert les œuvres de Klaus Schulze.

Timewind, Moondawn, Mirage, Dune et dans une moindre mesure Trancefer et Audentity ont fait du compositeur allemand un modèle que beaucoup ont voulu imiter.

Schulze a produit ses chef-d’œuvres dans une période qui va de l'avènement de l'analogique au début du digital.


Le compositeur Sequentia Legenda fait partie de cette troisième ou quatrième génération de maîtres des synthétiseurs qui revendiquent une filiation avec le pionnier de la Berlin School. Il produit une musique qui mêle des réminiscences des périodes analogiques et numériques de l'art schulzien, en prenant le risque de systématiser les principes du compositeur de Mirage . On retrouve les séquences qui se lovent sur la face entière d'un immense vinyle, et les transpositions qui retentissent comme des coups de tonnerre pour provoquer le frisson attendu. Mais Sequentia va parfois au-delà de ce que faisait Schulze dans les années 70 comme s'il tentait de dépasser les limites que s'imposait le maître pour ne pas créer de ruptures avec son public. Les accords peuvent être tenus plusieurs minutes et les séquences se construisent et se déconstruisent par éléments séparés au cours de très lents et subtils mixage.

Sequentia Legenda prend le risque de déranger parfois et le risque d'être perçu comme un simple interprète de recettes déjà souvent exploitées dans les musiques cosmiques. Mais il faut le voir autrement. Sequentia Legenda explore les limites de concepts musicaux qui n'avaient peut-être pas tout dit. Son travail sur le son et sa volonté d'hypnotiser, plus que de séduire, font que ses œuvres établissent une passerelle qui n'existait peut-être pas entre la véritable musique de Berlin et la musique ambient. En évitant les solos et les ruptures, sa musique peut être perçue comme l'accompagnement d'un lieu ou d'un espace imaginaire, à la manière de certains travaux de Brian Eno.
»

Bertrand Loreau

Bertrand Loreau
enregistre depuis bientôt 30 ans des albums pour les labels Musea et Spheric Music, il a abordé de nombreux styles allant de la musique mélodique à la musique électroacoustique en passant par la Berlin School.

La discographie de Bertrand Loreau chez Patch Work Music

OVER THERE Berlin School music

LIBÉRER MES PULSIONS CRÉATIVES


Bertrand Loreau:
« Lorsque tu démarres un projet, est-ce en pensant à un album particulier de Klaus ? »

Sequentia Legenda:
  «
Lorsque je débute un projet musical, j'ai une idée globale, un fil conducteur qui peut être issu d'une image, d'un titre, d'un souvenir, d'une émotion ou d'un son, mais ce n'est pas forcément lié à un titre en particulier de Klaus. Le commencement d'un nouvel opus est un moment important, il est à chaque fois unique et particulier. C'est une nouvelle histoire qui s'écrit, qui se développe avec sensibilité, minutie et passion. Je me laisse toujours un peu de temps entre deux albums, jusqu'à que, je ressente le moment venu une très forte attirance qui va me pousser à me remettre devant les claviers et me permettre alors de libérer mes pulsions créatives. »

MA CAVERNE D'ALI BABA


Bertrand Loreau:
  «
Tu utilises des synthétiseurs virtuels, mais n'es-tu pas tenté de travailler avec des analogiques en privilégiant la spontanéité et l'improvisation ? »

Sequentia Legenda:
«
S'il est vrai en effet que j'utilise actuellement uniquement des instruments virtuels, j'ajouterai que ceux-ci sont triés sur le volet afin de correspondre précisément à ma vision musicale. Je suis très attaché à cette belle ère analogique des années 70. Dans les années 80, j'avais installé mon studio musical dans la cave de mes parents, c'était ma caverne d'Ali Baba : PS3200 Korg, Polymoog, Crumar Multiman S, Korg Polyphonic Ensemble PE-1000, ARP Odyssey, Oberheim Two Voice, RE 201 Roland, Korg MS et SQ10. C'est donc à ce moment-là que je me suis initié en autodidacte à la synthèse soustractive avec une grande délectation.

Je prends aujourd'hui beaucoup de plaisir avec les VST's. Le rendu sonore est grandiose dès que l'on prend le temps et le soin d'optimiser certains paramètres. La place pour la spontanéité n'est pas bridée et l'improvisation peut être possible avec un peu d'ingéniosité. Il n'est pas exclus que je "marie" les instruments virtuels avec les synthétiseurs "réels" à moyen terme.
»

 

  J'AI MA PROPRE VISION DE LA BERLIN SCHOOL


Bertrand Loreau: 
« Tu laisses beaucoup de place aux séquences dans tes enregistrements et tu n'essaies pas de jouer des solos comme ceux que réalisait Klaus. Pourtant, c'est grâce aux solos que Klaus relançait ses morceaux et exprimait sa sensibilité particulière.
Tu assumes ce choix ?
»

Sequentia Legenda: 
« Oui, absolument, j'assume pleinement ce choix. J'ai ma propre vision de la Berlin School : une vision épurée. Je veux aller vers l'essentiel et proposer des univers sonores ou l'auditeur puissent librement découvrir les perles soniques qui s'y cachent. Le séquenceur reste mon outil favori. Je cherche en permanence à faire évoluer les boucles entre elles et littéralement à faire "chanter" les séquenceurs tout au long de mes compositions ! Ceux-ci sont accompagnés de nappes et de chœurs et parfois de percussions. Parmi ces éléments, viennent s'ajouter ponctuellement quelques lignes mélodiques.
 
Les solos ne sont toujours pas ma priorité. Je veux laisser "respirer" mes compositions et préserver suffisamment de place pour que l'auditeur puisse finalement imaginer ses propres univers et ses propres solos. C'est au travers de l'atmosphère globale et de toutes ses subtilités que l'on peut percevoir toute ma sensibilité.
»


Sequentia Legenda Berlin School music

CETTE BELLE MOUVANCE MUSICALE


Bertrand Loreau: 
« Est-ce que tu crois qu'il y a un avenir pour la Berlin School et ses morceaux très longs avec ses développements très lents ?
Ne crois-tu pas que ce sont seulement les gens qui ont connu l'âge d'or de la musique électronique qui continuent à écouter ce genre musical ?
»

Sequentia Legenda: 
« Oui, je crois que cette belle mouvance musicale à encore de beaux jours devant elle et qu'elle va continuer à faire rêver. La longueur des morceaux n'est pas un problème en soit dès l'instant ou l'auditeur est suffisamment intéressé et disposé à s'accorder ce temps pour s'évader et partir dans un voyage musical et introspectif. C'est une musique qui permet de sortir de ce tumultueux quotidien, où tout doit aller vite, trop vite ! J'ai parmi mes fans, quelques jeunes, dont certains ont une dizaine d'années, donc oui : je reste confiant tout en gardant la tête sur les épaules, car je sais bien que c'est une niche musicale. »

UN BEAU CHALLENGE


Bertrand Loreau:
  «
Est-ce que les morceaux que tu fais doivent-ils forcément être longs. Est-ce que la longueur est nécessaire pour installer un climat ou une émotion ? La longueur, n'est-elle pas aussi une facilité ? Tangerine Dream avait bien dit en faisant "Sorcerer", que faire des morceaux courts était un exercice nouveau et difficile qui leur avait appris beaucoup. »

Sequentia Legenda:
 
«
Il n'y a aucune obligation, c'est juste une évidence pour moi de composer ainsi.
Personnellement, je crois qu'il faut un certain laps de temps pour que l'auditeur puisse s'évader et s'immerger totalement dans les univers sonores que je propose et oublier tout ce qui l'entoure. Une vingtaine de minutes est une durée qui me semble approprié pour vivre de manière optimale ce genre de voyage musical. Il est essentiel pour moi que l'auditeur puisse s'immerger progressivement afin de pouvoir profiter au mieux de la découverte sonore qui lui est proposée. Je ne sais pas si c'est une facilité, je crois simplement que c'est normal pour moi de composer ainsi, je ne suis pas à calculer avec le temps, je laisse mes émotions et ma sensibilité s'exprimer et me guider au gré de la phase créative. Je peux retourner cette question en affirmant que tenir en haleine l'auditeur sur une certaine durée est finalement aussi un beau challenge.
»

 

JOUER LA MUSIQUE QUI VIENT DE MON CŒUR


Bertrand Loreau:
 
« Tes albums se vendent plutôt bien. Est-ce que cela t'encourage à continuer à produire le même genre de musique ? Es-tu influencé par cette réussite ou produis-tu ta musique seulement en fonction de tes envies du moment ? »

Sequentia Legenda:
 
« 
En mettant mon travail au grand jour il y a tout juste cinq ans, je cherchais dans une certaine mesure et en toute humilité à me faire connaître. Si aujourd'hui, certains me voient comme un musicien influant de la Berlin School alors c'est merveilleux. Mais jamais je n'ai spéculé sur une quelconque manne financière. Je suis naturellement ravi de pouvoir vendre mes albums, cependant là aussi, je garde la tête sur les épaules. J'ai une famille, un travail et je suis conscient qu'il est aujourd'hui parfaitement utopique de songer à vivre de sa musique, en sachant que mon style musical ne peut rivaliser face à cette musique commerciale diffusée en masse. Je suis en revanche fier de pouvoir me démarquer, de partager avec des auditeurs avertis ma passion et de me faire plaisir en jouant la musique qui vient de mon cœur. Ma créativité n'est pas réellement influencée par ce succès, elle reste libre. Une liberté créative qui reste en conformité avec ma vision musicale. Je ne pense pas être capable de jouer une autre musique. Je n'ai pas vraiment de grandes règles, mais une constante : celle de me faire plaisir avant tout et le plus longtemps possible. »

 

 

Un extrait de ce que sera l'atmosphère de ce projet

 

 


Les six premières minutes du FLOATING TIME (travail en cours).


Voici un extrait du deuxième morceau du futur album OVER THERE. C'est une composition dans la plus pure tradition de l'école de Berlin du milieu des années 70. Les synthétiseurs d'aujourd'hui produisant des sons de grains analogiques.

Dans le brouillard lointain et le déferlement des vagues, le tintement d'une cloche
se fait entendre.
Une embarcation flottant sur une mer inconnue avance doucement, puis c'est un envol progressif vers les cieux. Dans cette atmosphère mystique, c'est le grondement venant du ciel et des profondeurs de la mer qui se mêle aux séquences flottantes et aux
sonorités tourbillonnantes...

Pour ce titre et pour ce futur album, les chœurs du Mellotron et les cordes du Solina viennent s'ajouter aux autres instruments mythiques tels que le Moog Modulaire, le Minimoog ou autre Jupiter 8.

Sequentia Legenda Berlin School musicPour ce titre, le batteur allemand Tommy Betzler (qui a travaillé avec Klaus Schulze dans les années 80) me rejoint.


OVER THERE

Diffusion officielle prévue pour le 3 mars 2019



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www.sequentia-legenda.com






vendredi 7 septembre 2018

13 Questions to Sequentia Legenda while waiting for "OVER THERE" (first part)

Sequentia Legenda interviewed by Bertrand Loreau
(first part)


Sequentia Legenda Berlin School music

A RELATIONSHIP WITH THE PIONEER OF THE BERLIN SCHOOL


"Since the 1980s many artists have been attracted to electronic music, and synthesizers, after discovering the works of Klaus SchulzeTimewind, Moondawn, Mirage, Dune and to a lesser extent Trancefer and Audentity made the German composer a model that many wanted to imitate. Schulze produced his masterpieces in a period from the advent of analog to the beginning of digital. 

The composer Sequentia Legenda is part of this third or fourth generation of synthesizer masters who claim a relationship with the pioneer of the Berlin school. He produces music that blends reminiscences of the analogical and digital periods of Schulzian art, taking the risk of systematizing the principles of Mirage's composer. We find the sequences that curl up on the entire face of a huge vinyl, and the transpositions that resound like thunderclaps to provoke the expected thrill. But Sequentia sometimes goes beyond what Schulze did in the 70s as if he was trying to go beyond the limits imposed by the master in order not to create ruptures with his audience. Chords can be held for several minutes and sequences are built and deconstructed by separate elements during very slow and subtle mixing. 
Sequentia Legenda takes the risk of sometimes disturbing and being perceived as a mere interpreter of recipes already often used in cosmic music. But you have to see it differently. Sequentia Legenda explores the limits of musical concepts that may not have said everything. His work on sound and his desire to hypnotize, rather than seduce, make his works establish a bridge that may not have existed between real Berlin School music and ambient music. By avoiding solos and ruptures, his music can be perceived as an accompaniment to an imaginary place or space, in the same way as some 
of Brian Eno's works."

Bertrand Loreau

Bertrand Loreau
has been recording albums for the Musea and Spheric Music labels for almost 30 years, he has approached many styles ranging from melodic to electroacoustic music through the Berlin School.

Bertrand Loreau's discography at Patch Work Music

OVER THERE Berlin School music

RELEASE MY CREATIVE IMPULSES


Bertrand Loreau:
"When you start a project, is it thinking about a particular Klaus album?"

Sequentia Legenda:
  
"When I start a musical project, I have a global idea, a common thread that can come from an image, a title, a memory, an emotion or a sound, but it is not necessarily linked to a particular title of Klaus. The beginning of a new opus is an important moment, it is each time unique and particular. It is a new story that is written,
that develops with sensitivity, meticulousness and passion. I always give myself a little
time between two albums, until, when the time comes, I feel a very strong attraction
that will push me back in front of the keyboards and then allow me to release
my creative impulses.
"


MY ALI BABA'S CAVE


Bertrand Loreau:
  
"You use virtual synthesizers but aren't you tempted to work with analogics by privileging spontaneity and improvisation?"

Sequentia Legenda:
"While it is true that I currently only use virtual instruments, I would add that they are hand-picked to correspond precisely to my musical vision. I am very attached to this beautiful analog era of the 70s. In the 80s, I had set up my music studio in my parents' cellar, it was my Ali Baba's cave: PS3200 Korg, Polymoog, Crumar Multiman S, Korg Polyphonic Ensemble PE-1000, ARP Odyssey, Oberheim Two Voice, RE 201 Roland, Korg MS and SQ10. It was then that I initiated myself as an autodidact to subtractive synthesis with great delight.

Today I have a lot of fun with the VST's. The sound is great when you take the time and care to optimize certain parameters. The place for spontaneity is not limited and improvisation can be possible with a little ingenuity. It is not excluded that I may "marry" virtual instruments with "real" synthesizers in the medium term.
"

 

I HAVE MY OWN VISION OF BERLIN SCHOOL


Bertrand Loreau: 
"You leave a lot of space for sequences in your recordings and you don't try to play solos like the ones Klaus used to do. However, it was thanks to the solos that Klaus relaunched his songs and expressed his particular sensitivity.
You're assuming that choice?
"

Sequentia Legenda: 
"Yes, absolutely, I fully accept that choice. I have my own vision of Berlin School: a purified vision. I want to go to the essential and propose sound worlds where the listener can freely discover the sonic pearls that are hidden there. The sequencer remains my favorite tool. I am constantly trying to make the loops evolve between them and literally make the sequencers "sing" throughout my compositions! They are accompanied by tablecloths and choirs and sometimes percussion. Among these elements, there are occasionally a few melodic lines.

Solos are still not my priority. I want to let my compositions "breathe" and preserve enough space for the listener to finally imagine his own worlds and solos. It is through the global atmosphere and all its subtleties that one can perceive all my sensitivity.
"


Sequentia Legenda Berlin School music

THIS BEAUTIFUL MUSICAL MOVEMENT


Bertrand Loreau: 
"Do you think there is a future for the Berlin School and its very long tracks with its very slow developments? Don't you think that it's only the people who have known the golden age of electronic music who continue to listen to this musical genre?"

Sequentia Legenda: 
"Yes, I think that this beautiful musical movement still has a bright future ahead of it and that it will continue to make people dream. The length of the pieces is not a problem in itself as long as the listener is sufficiently interested and willing to take the time to escape and set off on a musical and introspective journey. It's a music that allows you to get out of this tumultuous daily life, where everything has to go fast, too fast! I have a few young people among my fans, some of whom are about ten years old, so yes: I remain confident while keeping my head on my shoulders, because I know that it is a musical niche."

A NICE CHALLENGE


Bertrand Loreau:
  
"Do the pieces you make have to be long. Is length necessary to install a climate or an emotion? Isn't length also a facility? Tangerine Dream had said well by making "Sorcerer", that to make short pieces was a new and difficult exercise which had taught them much."

Sequentia Legenda:
  
"There is no obligation, it's just a matter of course for me to compose like that. Personally, I believe that it takes a certain amount of time for the listener to escape and immerse himself totally in the sound worlds I propose and forget everything around him. About twenty minutes is a duration that seems appropriate to me to live this kind of musical journey in an optimal way. It is essential for me that the listener can gradually immerse himself in order to be able to take full advantage of the sound discovery that is offered to him. I don't know if it's a facility, I just think it's normal for me to compose in this way, I'm not to calculate with time, I let my emotions, my sensitivity express itself and let myself be guided according to the creative phase. I can turn this question around and say that keeping the listener to keep in suspense for a while is also a nice challenge."

 

PLAYING THE MUSIC THAT COMES FROM MY HEART


Bertrand Loreau:
  
"Your albums are selling pretty well. Does that encourage you to keep producing the same kind of music? Are you influenced by this success or do you produce your music only according to your current desires?"

Sequentia Legenda:
  
"By exposing my work just five years ago, I was looking to a certain extent and in all humility to make myself known. If today, some people see me as an influential musician from the Berlin School, then it's wonderful. But I have never speculated on any financial manna. I am naturally delighted to be able to sell my albums, but here too, I keep my head on my shoulders. I have a family, a job and I am aware that it is now perfectly utopian to think about living off his music, knowing that my musical style cannot compete with this mass commercial music. On the other hand, I am proud to be able to stand out, to share my passion with informed listeners and to please myself by playing the music that comes from my heart. My creativity is not really influenced by this success, it remains free. A creative freedom that remains in line with my musical vision. I don't think I can play any other music. I don't really have any big rules, but one constant: to please myself first and foremost and for as long as possible."

 

 

An extract of what will be the atmosphere of this project

 

 


The first six minutes of FLOATING TIME (work in progress).


Here is an extract of the second track of the future album OVER THERE. It is a composition in the purest tradition of the Berlin School of the mid-1970s. Today's synthesizers deliver analog grain tones.

In the distant fog and breaking waves, the ringing of a bell can be heard. A craft floating on an unknown sea advances slowly, then it is a progressive flight towards the heavens. In this mystical atmosphere, it is the rumbling from the sky and the depths of the sea that mixes with floating sequences and whirling sounds...

For this title and for this future album, the choirs of the Mellotron and the strings of the Solina come to be added to the other mythical instruments such as the Modular Moog, the Minimoog or other Jupiter 8.

Sequentia Legenda Berlin School musicFor this title, the German drummer Tommy Betzler (who worked with Klaus Schulze in the 80s) will join me. 


OVER THERE

Official release planned for March 3, 2019



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mardi 26 juin 2018

OVER THERE 1984 – 2019

A THIRTY-FIVE YEAR OLD PROJECT


Sequentia Legenda Berlin School music

OVER THERE – 1984


Finally, this project dates back to 1984.
I was nineteen then, three years earlier, I had discovered the music of Klaus Schulze.

I lived with my parents and it is in a room of the cellar that I had installed my home studio. Today I would like to thank them for all the attention they have given me and it is also thanks to them that I have been able to emancipate myself musically.

OVER THERE Berlin School music

THE ANALOG ERA AND THE ARRIVAL OF MIDI


We were at the end of the analog era and the MIDI standard was pointing its nose. I bought the PS3200 from Korg during a trip to Paris with my father.

I had my own collection of analog instruments, the modular Korg was surrounded by the ARP Odyssey, the MS20 Korg and its SQ10 sequencer, the duophonic Oberheim 2 Voice, the MultimanS Crumar all accompanied by a Roland RE 201 echo chamber and a TEAC A3340S 4-track tape recorder.

I had the idea to make an album called OVER THERE, imagined its cover and printed it on fabric. Looking back, I think I can remember that I had envisaged a mystical and cosmic soundscape. I can still feel a few loops above my future musical landscapes.

My encounter with the modular Korg PS3200



Sequentia Legenda Berlin School music

THE TIME HAS PASSED


I had written a letter to Klaus Schulze, unfortunately without an answer. However, I had the pleasure of hearing him and seeing him several times on stage in my region.
Meanwhile, music technology had evolved. I then separated from my analog synthesizers to the profit of digital instruments, an Atari STF 1024 with the software Pro-24 of Steinberg.

It was during my year of military service that I bought my first digital synthesizer. It was the Korg DSS1 which had totally convinced me notably by its chorus sounds.
The reproduction of human voices fascinated me and I always wanted to integrate this major element in my compositions. For this new project, I opted for the integration of voices from the illustrious Mellotron.

More recently, digital instruments have given way to virtual synthesizers.
Sequentia Legenda Berlin School music

OVER THERE – 2019


Thirty-five years later, I decided to carry out this project that is close to my heart.

This opus will be in the lineage of the Berlin School, with my own musical vision, a glance towards the essential, a return to the sources.

From now on, I work with the current instruments. The VST's were hand-picked to "stick" as close as possible to the atmosphere of the period from the mid-1970s to the mid-1980s.
I am attentive to the sound grain, to the particular timbre of the analog era in order to preserve the spirit of this beautiful musical movement. The Minimoog, the Jupiter8, the Modular Moog will be very present as in ETHEREAL and in my last album RENAISSANCE. From now on, the Solina and Mellotron (M-Tron) GForce's will join the orchestration, bringing an extra vintage touch.

Three tracks will compose this album. For the second track "FLOATING TIME",
Tommy Betzler (Klaus Schulze, Peacock, Picture Palace Music, P'Faun) will be present.
The German drummer has the Berliner Schule experience since he accompanied
Klaus Schulze on his tours and participated in two of his albums (DIG-IT and JUBILEE EDITION (1997)).



An extract of what will be the atmosphere of this project

 

This extract is still in its experimental version, it is a foretaste, a perspective of my musical vision for 2019. The work remains focused on the symbiosis of the sequences with the pads. It is a sound palette close to the analog era, with the touch of current instruments. The sound landscape of this title is for me the closest to my musical ambition, to my vision of the Berlin School of today and tomorrow.

 

OVER THERE

Official release planned for March 3, 2019



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samedi 2 juin 2018

Sequentia Legenda invited at Brainvoyager

Sequentia Legenda presenting RENAISSANCE

🎤 Brainvoyager "Electronic Fusion" #141


RENAISSANCE by Sequentia Legenda
Speech Balloon on Microsoft  Jos Verboven
Laurent, "Renaissance" is your fifth album. "Renaissance" means "rebirth". Do you wish your album "Renaissance" to be a rebirth of the Berlin School genre in particular? Do you think that the Berlin School genre of electronic music somehow had vanished? Speech Balloon on Microsoft

Speech Balloon on Microsoft  Sequentia Legenda:
I do not claim to say that my music is a rebirth of this musical movement, other musicians contribute to its perenniality, Kurtz Mindfields, Fryderyk Jona, Ron Boots to name but a few, not to mention the living legend Klaus Schulze. On the other hand, if I can make my contribution to the Berlin School with my music, then I would be proud and happy.

I believe that this beautiful musical movement still has beautiful days to live and that it will continue for a long time to make us dream and travel. I have my own vision: an extended vision of the Berlin School.“ Speech Balloon on Microsoft

RENAISSANCE by Sequentia Legenda
Speech Balloon on Microsoft  Jos Verboven
Do you think that the Berlin School genre still has enough variation to offer in this modern age? The genre was booming during the seventies of the last century. Maybe its time was just over? Speech Balloon on Microsoft

Speech Balloon on Microsoft  Sequentia Legenda:
„I remain convinced that this style is varied enough to entertain, relax and be conducive to introspection and meditation.

The 70's was a flourishing period, I was 5 years old and I still remember a more serene atmosphere. It was the emergence of an innovative musical style with the arrival of revolutionary instruments. My music is impregnated with this space-time and I wish to share, thanks to the instruments of today, this musical atmosphere with the analog grain so typical of this time. In this tumultuous world in whish we live, the Berlin School is likely to bring to the listeners a part of dream and escape“ Speech Balloon on Microsoft
Speech Balloon on Microsoft  Jos Verboven
What is it that attracts you so much in this genre? What's its secret? Speech Balloon on Microsoft

Speech Balloon on Microsoft  Sequentia Legenda:
I am attracted by the great creative freedom that this genre offers me.
It is sometimes like a call to which I answer present by dialing instinctively and without seeing time pass. I feel good when I'm in my creative "bubble", I'm in my world, the imagination helps me weave the sound canvas of my sonic landscape.

Its secret: an unlimited and timeless musicality.“ Speech Balloon on Microsoft


RENAISSANCE by Sequentia Legenda
Speech Balloon on Microsoft  Jos Verboven
I know that your biggest influence comes from Klaus Schulze, mainly from his work during the seventies of the last century. What do you think of his later work?“ Speech Balloon on Microsoft

Speech Balloon on Microsoft  Sequentia Legenda:
I have a deep respect for Klaus Schulze's musical career. His album Mirage was my real musical trigger. I really enjoyed listening to his early career compositions. For my part, I enjoyed the analog and digital break less and Dig It was a transition album that made me regret classics such as Timewind, Moondawn or Mirage. Nevertheless, I've hooked a lot with Trancefer or En=trance two 80's titles and Are You Sequenced? of the'90s in which I refound all the magic of Klaus.“ Speech Balloon on Microsoft
Speech Balloon on Microsoft  Jos Verboven
Are there other electronic musicians you appreciate and who influence you? Who are they? Speech Balloon on Microsoft

Speech Balloon on Microsoft  Sequentia Legenda:
My listening palette is quite wide, I like classical, jazz, pop. As for electronic music, I like Vangelis, Kraftwerk, Tangerine Dream and Jean-Michel Jarre. I know that other musicians are currently producing quality tracks, I don't always find the time to listen to what's going on around me, I concentrate on my family life, my work and my music.“ Speech Balloon on Microsoft





I thank Jos Verboven (Brainvoyager), Modul303 Germany, Electronic Music Radio Venezuela and West Star Radio UK for their attention to my music.

Brainvoyager is the artist name of Jos Verboven (born 17 July 1962) a Dutch electronic music composer and musician. As "Brainvoyager" he also hosts a weekly radio show Electronic Fusion on the British radio station West Star Radio Ltd.



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