Sequentia Legenda Celebrates 10 Years
with the Album DECEM
CELEBRATING 10 YEARS OF SEQUENTIA LEGENDA
with the Album DECEM
As an artist of the Berlin School for a decade now, I have had the privilege of sharing musical and spiritual journeys with many passionate fans. Today, I am excited to announce the release of my new album, DECEM, scheduled for December 27, 2015, marking my ten-year presence on the music scene.
Discover the insights of Paul Rijkens, an avid listener from the early days and a contributor for iO Pages magazine. His unique perspective and in-depth analysis offer enriching views on the musical evolution of Sequentia Legenda over the years.
| DECEM Trailer |
THE MUSICAL EVOLUTION OF SEQUENTIA LEGENDA
As Seen by Paul Rijkens
Laurent: Which Sequentia Legenda track or album has had the most impact on you and why?Paul: For me, it is Float Among The Stars from the album Beyond The Stars. This song embodies everything I love about Sequentia Legenda's music. It has a magnificent sequence, excellent choir sounds, and a melancholic atmosphere that brings me back to the late 70s when the Berlin School style was flourishing.
Laurent: What aspect of Sequentia Legenda's music touches you the most and why? Paul: In Sequentia Legenda's music, you can clearly hear the love and devotion for the Berlin School. All the albums breathe the Berlin School. It is the music Laurent grew up with. The same goes for me, so I think we have something in common here. I am a bit of a gear freak. Laurent uses software to make his music. But I don't hear any difference with hardware instruments. Using software in such a way that I don't notice it is also a quality of Laurent, in my opinion.
Laurent: How would you describe Sequentia Legenda's musical evolution from the album BLUE DREAM to today? Paul: It is certain that Laurent is a big fan of Klaus Schulze's music, especially that from the late 70s. This can be clearly heard in BLUE DREAM. This is also true for the other albums, but I hear more and more that he brings in sometimes very subtle changes that can be called his own style. The sequences, the sounds, the drums, but overall the great atmosphere make the music.
THE TOTAL FREEDOM TO TRAVEL, TO IMAGINE, TO DREAM
For me, the Berlin School is all of that
Paul: What has drawn you to the Berlin School style of electronic music?Laurent: Freedom. The total freedom to travel, to imagine, to dream. It is precisely this spirit of freedom that I still hold dear today to share with listeners. What is more beautiful than freedom, especially after what humanity has experienced? Music has no boundaries; vibrations are everywhere around us, they are energy, they are an integral part of life here and elsewhere. For me, the Berlin School is all of that.
It is precisely this freedom that has allowed me to explore new sounds and create compositions that escape conventional structures. For example, in my tracks, I enjoy playing with long and hypnotic sequences, sophisticated layers, and sequences in perpetual change, immersive sound textures that invite the listener to travel beyond our constraints, beyond our limits. It is a way to liberate the imagination and allow everyone to escape, to find their own space of dream and contemplation. The Berlin School is more than a musical genre; it is a philosophy, a way of perceiving and feeling music as a universal and timeless language, free from any constraints.
Paul: I have seen earlier pictures of you where you set behind hardware synthesizers. On your Sequentia Legenda albums you use software synthesizers. What made you decide to use software? I must honestly say, I don't hear a difference.
Laurent: It's a great compliment to hear that you don't notice the difference between software and physical instruments. I place great importance on the sound texture, particularly the analog grain that is typical of the mid-70s. I had the chance to acquire some prestigious analog machines such as the Korg modular, the famous PS3200, the MS20 and its companion, the SQ10 sequencer, the Oberheim DuoVoices, and the iconic ARP Odyssey, to name a few. Later, with the arrival of the MIDI standard, I traded my machines for digital synthesizers like the Roland JD800 or the Waldorf Microwave. I was able to experiment with different types of synthesis, which allowed me to quickly become comfortable with virtual synthesizers. I feel at ease with them; I've learned to get the best out of them to closely approach the sound grain that I love. The possibilities are vast, and I follow my heart in choosing these options.
In conclusion:
I am deeply touched by Paul's words and his perspective on my work. His feedback, both on the technical and emotional aspects of my music, shows me that my quest to create and share positive vibrations and an immersive atmosphere is achieving its goal. Knowing that Paul does not notice any differences between the physical synthesizers and the VSTs in my work is a great recognition for me. The fact that I was able to work on subtractive synthesis in my youth has served me well. The feelings of the listeners are always important to me, and knowing that my compositions can resemble the best years of the Berlin School is an immense reward. Knowing that my love and dedication to this beautiful movement are apparent in my soundscapes makes me extremely happy.
For those who missed it, don't forget to check out my interview with Renaud Joly, where we discussed the significant moments of my last ten years in music. Read here.
While waiting for the release of DECEM, I also invite you to discover the DVD LIVE in EINDHOVEN, which captures the essence of our performance, Tommy Betzler and myself.
Thank you again for your continuous support.
Musicales Greetings,
Laurent Schieber (Sequentia Legenda)
Laurent: It's a great compliment to hear that you don't notice the difference between software and physical instruments. I place great importance on the sound texture, particularly the analog grain that is typical of the mid-70s. I had the chance to acquire some prestigious analog machines such as the Korg modular, the famous PS3200, the MS20 and its companion, the SQ10 sequencer, the Oberheim DuoVoices, and the iconic ARP Odyssey, to name a few. Later, with the arrival of the MIDI standard, I traded my machines for digital synthesizers like the Roland JD800 or the Waldorf Microwave. I was able to experiment with different types of synthesis, which allowed me to quickly become comfortable with virtual synthesizers. I feel at ease with them; I've learned to get the best out of them to closely approach the sound grain that I love. The possibilities are vast, and I follow my heart in choosing these options.
In conclusion:
I am deeply touched by Paul's words and his perspective on my work. His feedback, both on the technical and emotional aspects of my music, shows me that my quest to create and share positive vibrations and an immersive atmosphere is achieving its goal. Knowing that Paul does not notice any differences between the physical synthesizers and the VSTs in my work is a great recognition for me. The fact that I was able to work on subtractive synthesis in my youth has served me well. The feelings of the listeners are always important to me, and knowing that my compositions can resemble the best years of the Berlin School is an immense reward. Knowing that my love and dedication to this beautiful movement are apparent in my soundscapes makes me extremely happy.
For those who missed it, don't forget to check out my interview with Renaud Joly, where we discussed the significant moments of my last ten years in music. Read here.
While waiting for the release of DECEM, I also invite you to discover the DVD LIVE in EINDHOVEN, which captures the essence of our performance, Tommy Betzler and myself.
Thank you again for your continuous support.
Musicales Greetings,
Laurent Schieber (Sequentia Legenda)
