BEYOND THE STARS retrospective

How High?
So high that i can touch the sky!

BEYOND THE STARS: LITTLE BIT OF DREAM,
A MUSICAL ESCAPE, A SHARING OF EMOTIONS

I'm pleased to do a retrospective on my album BEYOND THE STARS.

Released in 2020, this three-track opus aims to shine a spotlight on the purest tradition of the Berlin School. It's an invitation to travel into a musical and cosmic space. Come and touch the stars and let yourself be gently rocked to the rhythm of the sequence.

The album is of course available on my Bandcamp page as a digital version and also as a Digipack CD pressing including a poster. Distribution is also via the Patch Work Music website.

BEYOND THE STARS: A little dream, a musical escape, a sharing of emotions.

Three titles in the purest tradition of the Berlin school.

I wish you a pleasant sound immersion,
Laurent Schieber (Sequentia Legenda)

1. EXPERIMENTAL:
THE WAY OF PERSEVERANCE AND HOPE

This long composition demanded a great deal of energy and patience from me. Additional rhythmic elements by Tommy Betzler have been added to the basic percussion. The work was worth it, this title sounds today as it resonated deep inside me at the very beginning, a little more than a year ago.

EXPERIMENTAL

 
2. FLOAT AMONG THE STARS:
A MUSICAL AND MENTAL ELEVATION

The emanations of sequences from the modular Moog open this composition accompanied by the faraway strings of the Solina. The upward journey continues towards a musical and mental elevation. The vaporous atmosphere of the second part is an invitation to float among the stars.

FLOAT AMONG THE STARS

3. BEYOND FROM THE BEYOND:
A MUSICAL AND CONTEMPLATIVE CIRCUMNAVIGATION

The experimentation of a new musical approach for this revisited version of Circumnavigation. A musical and contemplative journey, a navigation around life and eternity – a journey to the beyond.

BEYOND FROM THE BEYOND

A RETROSPECTIVE OF SOME TESTIMONIALS
ABOUT THE MUSIC OF SEQUENTIA LEGENDA

It's still just as important for me to get feedback from my listeners, it's essential.

I'd like to thank all those who follow me and support me on this musical path, I really appreciate it.

TESTIMONIALS

Thanks to Beata Pardela for this photo

YOUR MUSIC IMMEDIATELY CAUGHT MY ATTENTION

I discovered your music at the end of 2018 on Bandcamp, and the first shot I heard was "MIND LAKE". As I am a great lover of electronic music, as well as the editor of the only Polish internet radio EL-Stacja promoting exclusively electronic music, your music immediately caught my attention. I am fascinated by the genre of the Berlin School and this style of music is the most important for me.
The music created has a gentle sequential structure that allows you to immerse yourself in your dreams, to think and above all to relax with it. For me, the moments spent with this music act as a balm for the soul, carry everyday problems somewhere far away and give great relaxation and the strength to struggle with reality. This music has a great calming and relaxing power and I am happy to listen to it.

Beata Pardela
(Radio Moderator - EL-Stacja - Poland)

🎙️ Beata Pardela asked a question to Sequentia Legenda: "I would like to know how your music has influenced you, how it has evolved over the last five years, when you have created so many really great and precious pieces, and how you evaluate your work in five years. What are your ideas and plans for the coming years?"

🎙️ Sequentia Legenda: "My influence goes back to my teenage years when I discovered Mirage Klaus Schulze's album by chance. That was my musical trigger. So it was much later, in 2014 with BLUE DREAM, that I took the plunge and brought my musical work into the open. Those first five years were pure joy as I was able to share my passion with success and recognition. I am proud and honoured. These first five years have been a pure joy in that I have been able to share my passion with success and recognition. My dream has come true and my next projects will be in this line with a constant evolution."

FIVE YEARS WHERE EVERY TIME I'M SURPRISED

For me it's five years where every time I'm surprised that you manage to surprise me The challenges in your personal life perspire on the sweetness of your music. Even in its most intense moments. And this sensitivity that you lay down in music responds freshly to mine.

Sylvain Lupari
(Reviewer - Synth&Sequences)

🎙️ Sylvain Lupari asked a question to Sequentia Legenda: "Five years Laurent since BLUE DREAM! Are you satisfied with your evolution? How did you see yourself five years ago? Are you where you wanted to be?"

🎙️ Sequentia Legenda: "Time goes by quickly indeed, too quickly! I am a sensitive and demanding person with myself and I must admit without pretension that I am happy and satisfied with the journey I have made in five years. I have always favoured work, quality, rigour and sincerity. In the end, I am satisfied to find myself five years later in total adequacy with my musical vision of the start! I have made no concessions, I have kept the course I set myself and this is the one that will guide me for the next five years: sharing my sensitivity through my sound universes."

Thanks to Anton Uraletz for this photo

VAST SEAS OF HARMONIC SEQUENCES

My way to Berlin-school electronics was easy but long and took almost 20+ years since I heard it for the first time… there is so much interesting music around, and I explored it step by step, style by style. In the end of December 2015, a friend of mine gave me a tip to «BLUE DREAM» and «AMIRA» – «Man, you’ll like it… I swear». And yeah, I did. That was a sort of enlightenment – vast seas of harmonic sequences that set up a whole Universe of sound… the seas to immerse in, delving neither into psychedelic nor abstruse soundscapes. Straight-forward, simple and even sequencing is the remarkable and one of the most precious advantages of Sequentia Legenda… it forms these breezing soundscapes that carry you upwards and away on its wings of soaring dreams and reveries to the azure faraway distance where the Highmost Welkin meets the Sound of the Sequence. And that’s the way it is.

Anton Uraletz (Russia)

🎙️ Anton Uraletz asked a question to Sequentia Legenda: "My question about your last 5 years is simple – how have you fell in love with sequencing? What does it mean to you?"

🎙️ Sequentia Legenda: "I fell in love with the sequences from the very beginning of my discovery of Klaus Schulze's discography with the two sound universes of Mirage. The sequencer is my favourite tool, it is very often by the setting up of the loops that my creative work begins. The sequencer is my machine for weaving the soundtrack. It is important for me to make several loops of notes cohabit and to bring this harmonic and rhythmic ensemble to life.  My vision of sequencing: Loops in perpetual evolution."

Thanks to Oleg Parfentev for this photo

THE ART OF SEQUENTIA LEGENDA

I will start from a distance and tell you how I discovered electronic music and the Berlin school in particular.

...it was somewhere in the 90's, I don't remember exactly. I couldn't sleep at night, so I turned on the radio. There was beautiful, unusual music on the air, not like the music on other radio stations. I stayed on that show and listened to it until morning. Later I found out that it was a program about electronic music called Back to the Universe. Programmed at certain hours of the night, and its permanent host was (and still is) DJ, musician and journalist Martin Landers. Here is his website and information.

This man (his programs) took me into the world of electronic music, which I had never known before, and it was from him that I got to know the Berlin School and other areas of electronic music, Klaus Schulze and many other musicians and bands.

I heard the music of Sequentia Legenda for the first time 3 years ago on https://vk.com/ (it's our Russian analogue Facebook).

Only there you can put music in addition to texts, photos and videos. As a rule, it is pirated, which means that nobody pays for it. I really liked the songs (AU REVOIR, SOLITUDES LUNAIRES, THE APPROACH), and I kept them.

Much later, I decided to search the facebook page of Sequentia Legenda. And I had by chance the release of the new album OVER THERE, which of course I also liked a lot.

And then, Laurent, I recognized your blog, your page on bandcamp.com and all your music. And I also met you and made friends on facebook.

Each of your albums, I discovered it gradually : listen, listen, listen... They are different, but there is definitely a recognizable style, the style of Sequentia Legenda. Each album has a favourite track or even several. I also really like the way your CDs are made: the photo, the design and of course the sound. Thank you very much for your autographs and wishes. It's very expensive! In the age of digital sound, it's very nice to hold a CD (or a vinyl record) in your hands! (At least for me).

What does your music mean to me?
Laurent, for me, what you do on stage is magic. It's magical. I have no idea how it works! Yes, there's an idea, there are means and tools to implement it (synthesizers, computers, instruments). But how it all ends up in this fascinating music - I don't understand! And I don't have to understand it. Magic must contain mystery. But I MUCH like what you get in the end!

At the moment, for various reasons, I am not as actively following news and innovations in the field of music. But when I hear a melody on a radio station, I immediately recognize Sequentia Legenda. How do I feel? If something you like sounds like SOLITUDES LUNAIRES (one of the diamonds in your collection!), I'm delighted. The heart starts beating more often, breathtaking, you fly away... It's not in words!

In conclusion, I would like to thank you, Laurent, for the joy and happiness you bring to us, the listeners, with your magical music. You have always had and will always have a constant and faithful listener who needs you. Keep on creating. I know this is a difficult moment in your life, but let your two suns (Dylan and Valentin), as you once said, light your way and give you strength and confidence. You are a wonderful father, a wonderful musician and, in general, a kind and good person.

I am very happy to have met you and the art of Sequentia Legenda.

I wish you much, much luck and all the best!

Oleg Parfentev (Russia)

🎙️ Oleg Parfentev asked a question to Sequentia Legenda: "I'm interested in how the composition is born? Where does it begin? The very beginning. How do you put in your head this melody, this rhythm that will later be a success in your album? How does it happen? (I suspect that creating a melody is a long and tedious process (I might be wrong). But it always has a beginning, a starting point (a starting impulse). What does this mean to you? Share it, please, if you can share it :)"

🎙️ Sequentia Legenda: "The creative phase, begins in a subtle and unpredictable way, it's a call, a magnet that will attract me to my keyboards. Inspiration can come from an image, a story, a sound, a walk, a chance too. Then, in front of my machines, the experimental phase begins, often by setting up the first loops, then the first layers. Then begins the real work of composition, which can sometimes be time-consuming, because I am a demanding person - demanding on myself as well. For example, for my first track FLY OVER ME (BLUE DREAM), it took me no less than sixteen months to be satisfied with the result! Music is an achievement and I always want to put quality before quantity, I want to offer the best of myself for my listeners and for the beautiful musical movement that the Berlin School represents."

            

From DNA to the Berlin School

"From DNA to the Berlin School, life is made of sequences"
Christophe Bargeault

Christophe Bargeault's testimony
To immerse myself in the universe of Sequentia Legenda

SL: "How did you discover my music?"

Christophe Bargeault: "My name is Christophe and I am passionate about music, mainly electronic. Although this music does not constitute my DNA, it is nevertheless part of my daily life and I consider it as vital, as air and water can be. This passion has led me on a perpetual quest, from my first memories forty years ago, to the present day where musical networks lead me from surprise to discovery.

It is this quest that led me to meet the Patch Work Music association three years ago, and to immerse myself in the universe of Sequentia Legenda.

I discovered the Berlin School late in life, twenty-five years ago, at a flea market, when a record dealer, looking at my T-shirt with a certain JMJ on it, handed me a vinyl and said: "Here, this is for you". I was holding Klaus Schulze's Picture Music in my hands. That was the start of a new musical life."

 

THE UNIVERSE OF SEQUENTIA LEGENDA
Back to my first electronic emotions

SL: "How do you feel when listening to my sound worlds?"

Christophe Bargeault: " The music and the universe of Sequentia Legenda are fantastic in that they instantly take me back to my first electronic emotions. Like Proust's madeleine, the sounds, sequences and rhythms take me back in time, with this incomparable flavour, while keeping this very current signature."

THE RETURN (LONG VERSION)
A return to the roots, a return to the essential

Christophe Bargeault: "Laurent, you offered us at the beginning of this month of July a long version of your track "The Return". This particular track finds its genesis in 1984 when the idea of your project "Over There" was born in your mind. In 2017, an experimental version of The Return was released and in 2019, your 1984 project was realised. Finally, comes this long version from 2021.

Is this song one of the most important of your career? Listening to this new version, we feel that you still had things to express."

SL: "Indeed, you are right, I still had things to say, emotions to share. This title says a lot about my state of mind and my musical vision: a return to the roots, a return to the essential, in every respect. I reworked this track not only in its duration, but also in its depth, in its "soul" if I may say so. There isn't necessarily an excess of artifice as one might expect when a longer version is released. The challenge was, on the contrary, to make this title "grow" a little more, with subtlety, with sensitivity and creativity. I can't say if it's the most outstanding track in my discography, but in any case, it's the one that Tommy and I played in concert with great complicity and aptness. At the end of the concert in Tübingen, Till Kooper, a musician friend of mine, said something beautiful to me that really touched me: "It's as if I'd just heard the third track of Klaus Schulze's Trancefer exclusively!", and Tommy added: "It made me think back to the nightly rehearsals with Klaus, and tonight I felt in a trance again!"

Christophe Bargeault: "You mention in the notes of this new version the use of a new emulated instrument: the Korg modular PS-3300. At a time when physical reissues of mythical synthesizers are commonplace, you use almost exclusively virtual instruments. What led you to make this choice? Doesn't this "distance" between the composer and his instrument, because of this difference in interaction, slow down your creativity?"

SL: "When I was 18 years old, I had a lot of analog instruments: the ARP Odyssey, the Korg PS-3200, MS20 and SQ10, the Oberheim Two Voices and so on. When the MIDI standard came along, I gradually got rid of my analogue synths and bought digital instruments. Then life took me away from music for a while. Just ten years ago, I started making music again and discovered virtual instruments. Their possibilities seduced me immediately, and I was able to work happily with these emulations while combining my knowledge of analog and digital synthesis.

I don't really perceive any distance between my instruments, virtual as they are, and myself. I have taken my marks, my routines and I always discover with pleasure the vast field of action which is offered to me. With the large and beautiful palette of possibilities to express myself, I have the freedom to sculpt my sequences at will and program certain things that I feel cannot be easily done with a hardware synth. But this is subjective, of course, it's my feeling, the fruit of my experience.

Creativity for me is a matter of sensitivity and it is the language of the heart and soul that takes precedence over everything else."

 

THE RETURN (Long Version)

MY VISION FOR THE BERLIN SCHOOL IN 2021
Self-expression, passion to share and authenticity

Christophe Bargeault: "Compared to what it was when it was born, how do you see the Berlin School of 2021?"

SL: "I believe in this beautiful musical movement and I am still convinced that it has great days ahead. The technology may have changed, but the purely musical approach remains much the same. Once again, as far as I am concerned, it is not the instruments that come first, but the self-expression, the passion to share, the authenticity. CELESTIAL will be my vision for the Berlin School in 2021.

I am already looking ahead to 2022 with RESONANCE, where I invite the audience to resonate with my music, with the Berlin School."

ENTER IN RESONANCE

 

Extract of the first track "Three Astral Arches" from Sequentia Legenda's next musical opus "CELESTIAL".

I am very happy to announce that the work on my next opus "CELESTIAL" is progressing in a positive way. The result corresponds to the idea that had germinated a few months earlier in my mind, it is the reflection of what I wish to communicate emotionally and artistically. A new experience, a new sharing, that I will have the pleasure of presenting and highlighting on 21 September 2021, the date of the album's release.

 

 

            

Music remains a vector of hope!

Music remains for me,
a language that comes from the heart, a sign of hope!

A LANGUAGE THAT COMES FROM THE HEART,
A SIGN OF HOPE

Dear Fellow listeners, Dear Fellow listeners,

Painting sound and cosmic landscapes remains one of my priorities in the face of this global health crisis. My way to move forward in this event remains essentially the sharing of my musical passion and to offer you a little escape, a little dream.

I also wanted to thank you for your support during the Schallwelle with the 12th place for my album OVER THERE.

In this period of confinement I invite you to enjoy a free version of "Valentins Traum" available here.

Music remains for me, a language that comes from the heart, a sign of hope!

Take care of yourself and those around you, long live music, long live Love,
Laurent Schieber (Sequentia Legenda)
🎹😘🎹

VALENTINS TRAUM EXCLUSIVE AND FREE VERSION

A free composition in homage to my son Valentin, who has autism.

I am happy to see my son every week, and I would like to share with you all the happiness I have experienced with my two sons, despite the adversity and trials of life. This is my message of Love and Hope that I am distilling musically with sincerity.

Enjoy this musical and emotional sharing. This title is free, I specify it, nevertheless if one or the other wishes to pay money then I commit myself to give the whole amount to a foundation for autism. Thank you in advance for him, for all those affected by autism.

From a technical point of view, this track from the album RENAISSANCE, has been revisited for this occasion. The duration is significantly longer than the original, with the addition of choirs from the Mellotron and with a new finale. Some frequencies of the sequencer from the legendary modular Moog have been reworked.  A subtle reverb has been added to the percussion.  The whole composition has been remixed and remastered.

I wish you a beautiful sound immersion while sharing Valentin's dream.

Valentins Traum Exclusive Version

A SUCCESS SHARED WITH YOU

I am proud and honored to be in the Top20 Best Albums at the Schallwelle Awards 2019 with my album OVER THERE. This success is also yours dear listener friends and I thank you for your support. For my part, I will continue on this path by presenting and sharing with the same sensitivity and sincerity my own vision of the Berlin School.

OVER THERE

SO LET'S KEEP IN TOUCH WITH EACH OTHER

I can invite you to follow one of the pages of my site "NEWS" presenting the latest news about my music and let's keep in touch.
For example the progress of my next album "BEYOND THE STARS", or the imminent collaboration with the talented Hélène Vogelsinger.

NEWS

            

www.sequentia-legenda.com

OVER THERE my sixth album

My sixth album was released on March 3, 2019.
I am delighted to share some information with you here.

 

"When it comes to electronic music, Laurent Schieber alias Sequentia Legenda
is one of the regulars on these pages. And for good reason, because he revives
the Berlin school in a way that convinces genre fans."

Juergen Meurer on 20 May 2019

OVER THERE : A THIRTY-FIVE-YEAR-OLD PROJECT

OVER THERE - 1984
The origin of this project goes back to 1984, when I was 19 years old. Back then, we were at the end of the analog era and the MIDI standard had been introduced. My parents enabled me to set up a home studio and I dreamed of making an album.
I drew inspiration from my collection of analog instruments: modular Korg PS-3200, ARP Odyssey, Korg MS-20 and its SQ10 sequencer, duophonic Oberheim Two Voice, Crumar Multiman S, Roland RE 201 echo chamber and TEAC A3340S 4-track tape recorder.

THE TIME HAS PASSED
Meanwhile, music technology was ever evolving. I therefore eventually separated
from my analog synthesizers for digital instruments, driven by Steinberg’s
Pro-24 recording software.

OVER THERE - 2019
And finally, thirty-five years later, I was lucky enough to be able to realize my dream.
To do this, I used today’s instruments. The software synthesizers were carefully chosen
to create an extended atmosphere of the classic Berlin School period from the
mid-1970s to the mid-1980s.

I hope you will enjoy listening to this album as much as I enjoyed composing it.
And now it's time to let my new album fly on its own.

To my site for more information

 

1. THE RETURN: TO THE ESSENCE OF BERLIN SCHOOL MUSIC

1984: I was 19 years old, surrounded by my analog instruments. All was perfect.
On my own, I composed for long hours, sometimes whole nights. I had a dream then
to create an album, a disc, called OVER THERE. I even created a fabric banner
with an album cover concept. 2019: My youth project has become a reality.

2. FLOATING TIME: A MEDITATIVE BERLIN SCHOOL MUSIC

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 gradually embarks on a
progressive flight towards the heavens. In this mystical atmosphere, rumblings from the 

sky andthe depths of the sea mix with floating sequences and
whirling sounds.

3. MIND LAKE: AN INTROSPECTIVE BERLIN SCHOOL MUSIC

„I was immersed in the convolutions of my mind when, suddenly,
I saw a lake of an intrinsic beauty! Eager to go further in my quest, I closed my eyes!
A great serenity seized my whole being. I would have liked, at that very moment,
that this journey would have been endless.“
Michel RebelRaiser

Michel Francart:

"A meditation music ! Thanks !

Une atmosphère très mystique ! Avec le sentiment que le temps ralentit ! Merci !"

Sylvain Lupari (Synth&Sequences):

"This is a stunning album forges with a splendid sequencing work from Sequentia Legenda"

Alain Massard (profilprog):

"C’est une musique qui réveille son intérieur et qui vous transporte" 

Bert Strolenberg (Sonic Immersion):

"Since his fine debut Blue Dream in 2014, French synthesist Laurent Schieber
made his own personal journey through electronic music" 

VolgaRock:

"Like always when I stop by, amazing music, relaxing and inspiring!
ALBUM SOUNDS VERY PROMISING!"

FLOATING TIME IN THE GRENZWELLEN - BERLINER SCHULE

Ecki Eckert Stieg:

"OVER THERE is the title of the new album of the Frenchman Laurent Schieber
alias Sequentia Legenda. The work on this album goes back to 1984 when Laurent started
it at the tender age of 19. But the technical possibilities for him are only now mature
enough to complete it. By OVER THERE : Floating Time."

 

            

www.sequentia-legenda.com

RENAISSANCE trois titres chroniqués par Drew Fisher

Meilleurs albums de l'année 2018 :
RENAISSANCE est dans la sélection de Drew Fisher !

 

"Dans l'esprit magique de la Berlin School de Klaus Schulze, Laurent Schieber (Sequentia Legenda) le Maestro de Mulhouse semble faire un album par an (ou, plus exactement, tous les neuf mois) tout en augmentant en confiance, en qualité et en séduction. Alors qu'ETHEREAL, datant de 2017, était un véritable chef-d'œuvre et reste sur ma playlist de rotation fréquente - j'ai été si occupé en 2018 (depuis mai) et je n'ai pas eu assez de temps pour écouter de la nouvelle musique et encore moins des épopées de plus de 20 minutes comme celles-ci. Mais je peux dire aujourd'hui, qu'ils sont tout à fait à la hauteur des normes fixées par le travail précédent de Laurent - et par le maître lui-même, Monsieur Schulze."

Drew Fisher septembre 2018

UN TITRE SOLIDE AVEC UN MERVEILLEUX TIERS FINAL

Drew Fischer:
"1. "Out of the Silence" (21:54) commence étonnamment familièrement et prends un peu de temps à grandir et à se développer (un peu trop, à mon humble avis). Le jeu de cymbales d'un batteur entre et rejoint la séquence au cours de la cinquième minute. Il sonne comme en direct (pas en boucle) !

Les percussions intégrales entrent en jeu à la septième minute, le changement de tonalité total à 7:35, puis revient à sa formation initiale à 8:25. Deux autres changements de tonalité différents dans les dixièmes et onzièmes minutes avec quelques sons de percussions supplémentaires ajoutés au mixage, mais la pièce ne va pas vraiment vers quelque chose de nouveau, différent ou excitant, il y à certes un passage à un spectre de tonalité plus mineur à 11:00. Il est agréable qu'il y eut quatre changements de tonalité au lieu des deux habituels.

À 14:00, toutes les pistes rythmiques sont lâchées et de multiples couches d'accords et de bruits de synthés s'imposent dans un nouvel univers d'espace. J'aime cette section. Surtout l'arpège hypnotique de piano électrique à quatre notes répété comme base centrale. La brillance du travail de Rainer Brüninghaus avec Eberhard Weber me vient à l'esprit.

Une pièce solide avec un merveilleux tiers final, encore une fois, une pièce qui montre la croissance et le développement de la confiance et de la maîtrise de Laurent. (8.5/10)"

 

C'EST DÉFINITIVEMENT UN MORCEAU REPRÉSENTATIF DES MAÎTRES DE L'ÉCOLE DE BERLIN.

Drew Fischer:
"2. "Ici et Maintenant" (25:39) s'ouvrant sur un paysage sonore beaucoup plus sombre et inquiétant que d'habitude pour Sequentia Legenda. Le lent fondu enchaîné de rythmes, de percussions et les multiples boucles et des effets de synthés apportent un adoucissement de la tension, un léger regain d'espoir. À la cinquième minute, tous les niveaux semblent fixés. À la neuvième minute, la répétition commence à s'user et puis boum ! À la neuvième minute, juste au bon moment, il y a un grand changement de tonalité, un changement qui détend les nerfs. Génial !

Laurent devient si doué pour lire ses auditeurs (ou du moins, moi). Quelque chose dans cette tonalité rend la musique beaucoup plus décontractée, plus relaxante, puis, à la minute 11, la tonalité revient à son original, mais grâce à ce sursis de deux minutes, elle est beaucoup plus tolérable, agréable. Un autre quart de travail à 13:00 et avec lui un nouveau synthétiseur, un nouveau clavier "harpe" aux accords et c'est alors l'épanouissement. Joli ! À 15:00, nous rentrons dans une autre clé. Les objets séquencés semblent si amicaux et si proches maintenant. De nouvelles percussions sont ajoutées - une grosse caisse dans le registre grave et une cymbale charleston dans le registre aigu. Après 17:00, quelques autres bruits de synthétiseurs : bourdonnements d'insectes, accords pleins de synthés et une piste de caisse claire de type orchestre. Joli. L'environnement sonore est parfaitement équilibré et pas trop surchargé. L'introduction subtile de tant d'éléments m'aide, moi, l'auditeur, à rester envoûté et retranché... dans " l'Ici et le Maintenant ". Des passages de Tam-tam sont ajoutés au mixage à la vingtième minute et puis, tout à coup, à 20:00, tout s'effondre ; toutes les pistes sauf celles du synthé et quelques éléments rythmiques à deux notes disparaissent progressivement. C'est incroyable !

Je suis tellement stupéfait par la note simple, panoramique et avec effet flanger(1), qui se déploie lentement, que je revis mon lien profond avec "Dream Within a Dream" de Propaganda, l'une de mes chansons préférées de tous les temps. J'adore la sortie prolongée avec les percussions et les arpèges de piano électrique d'octave supérieure.

Une piste géniale ! Certainement un morceau emblématique des maîtres de l'école de Berlin !  (10/10)"

(1) Le flanger est un effet sonore obtenu en additionnant au signal d'origine ce même signal mais légèrement retardé, ce retard fixe est modulé par un LFO variant périodiquement à une fréquence de quelques hertz (communément entre 0,1 et 20 Hz). D'un point de vue spectral, le traitement est similaire à un effet de filtrage en peigne balayant. (source Wikipédia)

ENGAGEANT, HYPNOTISANT ET CONVAINCANT

Drew Fischer:

"3. "Valentins Traum" (17:24) une longue ouverture avec des choix d'accords mineurs ou discordants sur lesquels des sons étranges, voire dérangeants, entrent et sortent du paysage sonore. La piste rythmique séquencée reste loin en arrière-plan, s'estompant dans et hors du spectre auditif. Ce n'est qu'à la cinquième minute qu'il commence à émerger et à rester, voire à s'élever jusqu'à une place dans l'épaisseur de la palette sonore. À la fin de la sixième minute, un riff de clavecin électronique, un zip!-buzz d'insectes, un tambourin électronique et la rotation des cordes de synthé se sont imposés comme les piliers. La sélection d'accords n'est plus aussi sombre et effrayante maintenant, bien que des sons étranges et contre nature continuent d'entrer et de sortir de l'environnement sonore. Ce riff "harpe/harpsichord" est tellement hypnotisant !

À la onzième minute, plusieurs composants de la batterie sont introduits et entremêlés. Les sons étranges deviennent plus fréquents, constants, et se superposent en multiplicité à mesure que la batterie et les pistes rythmiques s'estompent à la fin de la quatorzième minute. Le dénouement est lent, progressif et régulier, donc je suppose que le rêve de Valentin a été un peu dérangeant, mais pas un événement qui a causé une peur soudaine ou des terreurs nocturnes, mais la persistance des sons effrayants continue à l'avant malgré le lent fondu de la musique dans le fond, alors peut-être que j'ai tort.

Beau travail. Définitivement engageant, hypnotisant et convaincant
en tant que représentation de son sujet. (9/10)"

 

Drew Fisher vit aux États-Unis d'Amérique, dans le Wisconsin.

Il a étudié l'histoire de l'art et l'architecture à l'Université de Strasbourg en France. C'est un homme proche de la nature, aimant tout ce qui touche à l'art. Il adore la peinture et il peint dans ses temps libres, il aime particulièrement la littérature et il est l'auteur de "The Osiris Plan Trilogy", une fiction visionnaire de l'histoire humaine. C'est aussi un grand amateur de musique, Drew a chroniqué un grand nombre d'albums.

Il est l'auteur de plusieurs blogs dont "Prog Is Alive and Well" consacré à la musique progressive. Drew anime une émission de radio "Prog is Alive !" diffusée sur WDRT.

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UN APERÇU DE MON PROCHAIN PROJET " OVER THERE "

 

 

Les six premières minutes de 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 délivrent des sons au grain analogique.

Dans le brouillard lointain et les vagues déferlantes, on entend le tintement d'une cloche. Une embarcation flottante sur une mer inconnue avance lentement, puis c'est un vol progressif vers le firmament. Dans cette atmosphère mystique, c'est le grondement du ciel et des profondeurs de la mer qui se mêle aux séquences flottantes et aux sons tourbillonnants...

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 Modular Moog, le Minimoog ou autre Jupiter 8.

OVER THERE

Sortie officielle prévue pour le 3 mars 2019

            

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