OVER THERE 1984 – 2019

A THIRTY-FIVE YEAR OLD PROJECT

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.

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

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.

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

            

www.sequentia-legenda.com

Sequentia Legenda invited at Brainvoyager

Sequentia Legenda presenting RENAISSANCE

🎤 Brainvoyager "Electronic Fusion" #141

 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?“ 

 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.“ 

 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?“ 

 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“ 

 Jos Verboven: 

„What is it that attracts you so much in this genre? What's its secret?“ 

 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.“ 

 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?“ 

 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.“ 

 Jos Verboven: 

„Are there other electronic musicians you appreciate and who influence you? Who are they?“ 

 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.“ 

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.

https://sequentia-legenda.bandcamp.com/album/renaissance

            

www.sequentia-legenda.com