ALCYONE under Paul Rijken’s spotlight

"ALCYONE is an album of absolute excellent
Berlin School electronic music
with great sequencing and wonderful soundsculptures.
This music is deep, uplifting and utterly beautiful."
Paul Rijkens (Reviewer for the Dutch magazine iO Pages)

Thanks to Paul Rijkens for this photo

ALCYONE under Paul Rijken’s spotlight
Topic: The album

Paul Rijkens: Alcyone comes out of the Greek mythology. She was the daughter of Aeolus and the wife of Ceyx. She drowned herself in grief when Ceyx died and was transformed into a kingfisher. She was also called Halcyone.

Where did your idea or inspiration come from to use Alcyone as concept for this album?

Sequentia Legenda: In fact, ALCYONE represents the Great Central Sun, which is the theme of my album. A year ago, ALCYONE came to me like a bolt from the blue, and I felt it was essential to express this energy, this elevation emanating from the Great Central Sun, musically. Everyone is free to choose whether or not to embrace it, everyone is free to do their own research and to be discerning, especially in these current times.

For me, it was natural and important to decode and transcribe what I perceived so that I could share and offer the best of myself, both humanly and musically. It was obvious to follow my heart, to share this fabulous energy, this luminous force, this vibrant joy, this infinite hope.

ALCYONE is all that 🙏☀️🙏


Track 1: Around The Great Central Sun
Paul: The sun is all. The sun is everything. Without the sun, earth and the humans cannot survive. It is one of your most joyful compositions, you state in the booklet.

How did you come with the idea of the sun for a track ?

Sequentia Legenda: It was the logical continuation of ALCYONE, I had to highlight this radiant and loving alignment, this incredible creative power literally breathed into me by the Great Central Sun. The more I progressed with this composition, the more the atmosphere of joy grew, much to my delight - it was quite indescribable, in fact. In the end, all I know is that, in my opinion, it's the 'happiest' track in my discography.

Around The Great Central Sun is a message of Peace, Hope and Love, an invitation to gravitate freely in an atmosphere bathed in a divine light and in a creative benevolence. It's a cosmic dance around this fabulous Great Central Sun for a spiritual elevation.


Track 2: The Ring Of Golden Light
Paul: Gold is one of the most precious and valuable materials in the world. Light of gold must also be very precious.

Did you feel surrounded by it when you composed this track?

Sequentia Legenda: I felt surrounded, guided and transcended by a gentle, benevolent emanation that exhaled my creativity – Gratitude🙏

The idea of this composition is to take the listener towards the ring of golden light of an ascending spiral to reach high and beneficial vibrations. The soundscape is a bit like a nebula bathed in a soft, regenerative light. Everyone is free to make up their own mind, to find their own path to exaltation.


Track 3: Bon Voyage
Paul: It means have a good journey or vacation.

Do you consider yourself being on a voyage yourself when you create
your music?

Sequentia Legenda: In a way, yes, there are similarities. When I'm composing, I'm living in my own world, disconnected from our reality so to speak, travelling in my own reality. Time no longer has a hold on me, it's a notion that disappears completely, giving way to a delightful timelessness conducive to creativity. With Bon Voyage, I hope listeners will be able to travel freely and serenely in their own reality.


Track 4: Love Feeds Love
Paul: A for Sequentia Legenda short track. The sequence is fantasic.

What means love to you? How do you make this?

Sequentia Legenda: Thank you Paul for that compliment. It's not really my habit to do short tracks and this is the shortest in my discography. I have to say that this composition literally "invited" itself! In fact, it was planned from the outset that ALCYONE would consist of three tracks, as almost all my albums do. Then, spontaneously, a pressing need arose to rework an initial part. It was a bit like an initiation experience, something that upset the schedule. This composition developed with disconcerting fluidity, as if to persuade me to incorporate this unexpected title. I was really excited by the result, so I decided to add a fourth track, "Love Feeds Love".

In the end, that's how I see Love, in sharing.

 

ALCYONE under Paul Rijken’s spotlight
Topic: Equipment

Paul Rijkens: I am very interested in synthesizers and everything around them. You use mostly software synths. Arturia has created brilliant software emulations of classic synths.

Why have you chosen for this and not for hardware?

Sequentia Legenda: I have to say that when I was between 16 and 21, in my parents' basement, I had a room full of analogue synthesizers, such as the Korg PS 3200, the ARP Odyssey and the Oberheim Two Voices, to name but a few.

Later, with the advent of the MIDI standard, I parted company with these for a large number of digital synths accompanied by Cubase software. Then, like many of us, there were changes in my life and for a while I only kept the Korg DSS1 and the Roland JD800.

Then, a little over ten years ago, I discovered virtual synths and really enjoyed composing with them. Finally, looking back, I've realised that before hardware and everything else: it's the heart that's most important in sharing with listeners. It's my experience, my feelings, of course. I think that my basic knowledge of subtractive synthesis, for example, allows me to approach VST technology with a certain ease and a very precise vision of what I want to highlight. I have to say that overall I'm satisfied.

ALCYONE under Paul Rijken’s spotlight
Topic: Live

Paul Rijkens: I would love to see you play live.

Is there a chance you will perform here in The Netherlands on the E-live of E-day festival?

Sequentia Legenda: Thank you, that's very kind of you. Performing live is something very special, it's a new adventure every time, both technically and on a human level. There's the meeting with the audience, that special contact that makes it a unique moment in itself.

I was lucky enough to be able to play live during 2019, accompanied by German drummer Tommy Betzler (who himself accompanied Klaus Schulze in the mid-80s) in France, Switzerland and Germany.
I have fond memories of that.

As far as future concerts are concerned, it's possible that I'll be able to perform in the Netherlands, and I'd be delighted to do so. Ron Boots and I have been in touch and we'll see what happens. Tommy would also be up for this new adventure on stage. I've got a few imperatives in my life at the moment which mean I can't give you any precise dates. In any case, if it's not possible this year, I hope it'll be next year.

Presentation: My name is Paul Rijkens.

I come from The Netherlands and live in the beautiful ancient inner city of Alkmaar, the city of cheese.

In daily life I work for the Ministry Of Justice. My hobby is music. I love The Beatles and am a volunteer in the Beatles Museum in Alkmaar. My biggest musical love is progressive rock, especially that with (lots of) keyboards in it. I also love electronic music and even tried to make it myself a long time ago. Sine many years I have a weakness for the so-called “Berlin School of electronic music” and that is one of the reasons that I feel so drawn to the music of Sequentia Legenda. Ever since the early eighties, I write about progressive rock and electronic music: I do interviews and write reviews of albums and concerts. In the old days I did that for magazines like Sonic Report, KLEM magazine, E-dition and SI Music Magazine, nowadays I write for the Dutch magazine iO Pages in which I am called the electronic music specialist. 

MY VISION FOR THE BERLIN SCHOOL IN 2023
A heart to heart sharing

I had the great pleasure to share with you my last opus, I will try here to reveal you some aspects from behind the scenes.

ALCYONE represents for me a beautiful adventure, rich in human, spiritual and musical experiences of course. It is a setting in light, the term is appropriate, on the continuum of my musical vision.

As you may know, my music is now tuned to the frequency of 432 Hz in order to offer the purest sound worlds possible. My goal with this new creation is to continue my heart-to-heart sharing, to infuse more and more serenity in order to help you better radiate your own wholeness.

I have to say that the composition phases have unfolded overall with a pleasant fluidity. Gratitude. I wanted through the various universes composing this album, in the structural form, in the color of the harmonies, in the choice of the timbres, to deliver a connection which is the most in adequacy with my feeling. I wished a sound matter the most favourable to dreams, which is at the same time rich and ethereal and comfortable to the listening. To lay down notes tinged with light that could evoke the freedom between the dimensions of a journey that could be relived each time and in a totally personal way.  

I hope that ALCYONE and its four sound universes will accompany you during your astral and immersive peregrinations, arousing in you for a long time beautiful and sweet emotions.

I wish you lots of listening pleasure.

ALCYONE

 

 

            

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

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

🎼 The sequencer my favorite tool 📶

My vision of sequencing: loops in perpetual evolution

My first sequencer was the Korg SQ-10

I had made its acquisition during a trip to Paris may be some time after I bought the
Korg MS-20. The two "brothers" lived together for my greatest happiness in my home studio in my parents' basement. Together with the tape echo chamber RE201 Roland, I made my debut by developing my sequences. The setting up of the loops with the SQ-10 was really complete and intuitive. For example, it was interesting to modulate filters and envelopes by generating three different voltages at the same time. The 3 channels, the 12 steps and the 6 modes were for the time a beautiful technical prowess that I could enjoy.

Oberheim's mini sequencer

Another instrument, the Oberheim Two Voice had a mini sequencer. Despite its eight programming steps available, the mini sequencer was convenient and pleasant for a fast search of small sequential lines.

TVS1, the official model name of the 1974/75 Oberheim 2 voice or OB2 / ob-2 (obie two)

Here too, the association of the Oberheim with the echo chamber RE201 Roland made the result convincing and interesting.

Today, I work with virtual instruments

VST's allow me to express myself completely and freely. Sometimes I use various sources to create my loops, such for example as the Moog Modular sequencer from Arturia.

The sequences come to life

In addition to the search for tones, I attach great importance to the symbiosis of the different sequential loops. I particularly like to make them live and grow all along a track to make them sometimes even "organic". The complementarity of the sequences is also an element that is particularly close to my heart.

The sequences can be used as a structure and/or as the main and/or secondary
melodic line.

As far as the creation itself is concerned, it can do this by working on the parameters and potentiometers of a sequencer, or after having plated some pads chords that evoke my creativity and thus favour the realization of a loop, the reverse is also possible. I have also created note by note a sequence.

👦 I remember an anecdote when I was 16-17 years old and a sequence came to mind. I had phoned home, my youngest sister took the handset and asked her to take our tape recorder to record me. I then sang the loop of notes to save it on the cassette so that I could in the evening work on my analogue instruments of the time. 📼

  

The sequences can be fast or slow, shiny or deep, come and go, random, pizzicato or legato. They can also metamorphose, literally play the role of drums and be percussive. They are the fundamentals of my music. Whether it is with the instruments of yesteryear or today, I still have so much pleasure in sculpting and modelling loops. For me, the synthesizer and sequencer are inseparable.

  My vision of sequencing: loops in perpetual evolution

Berlin School pioneers Klaus Schulze and Tangerine Dream

In terms of reference, I would like to quote the Berlin School pioneers Klaus Schulze and the mythical band Tangerine Dream. I keep in mind my first listenings of the Mirage album with absolutely remarkable and timeless sequences. Crystal Lake obviously will remain for me a key moment in my musical approach, however I would like to point out that in the title Velvet Voyage, which is in my eyes more aerial, more cosmic, hides one of the most sumptuous sequences, so simple and so strong in terms of emotion. Congratulations!

For Tangerine Dream are the Rubycon and Ricochet albums that had marked me with their sequences with their characteristic timbre.

Testimonial Yves Blanc (La Planète Bleue)

«Most of the spacey music is made of three components : synth pads, sequencer loops and (sometimes annoying) solos. Sequentia Legenda is intelligent and sensitive enough to create his - strictly instrumental - music with the first two components only:
the pads and the loops.»
 

Laurent Schieber (Sequentia Legenda) and Yves Blanc (La Planète Bleue)

«In his spacey compositions, where light meets minimalism, and fitted to dream and meditation, there is no room for flashy solo, no room for protruding showing-off,
instead the space is filled with highly sophisticated pads, perpetually changing and loops, themselves shaped in ever-changing patterns, sometimes highly complex,
even if they often seem obvious.»

Yves Blanc (La Planète Bleue)

👍ETHEREAL in the Top Ten at the Schallwelle Awards

It is an honour for me to be able to appear alongside Tangerine Dream,
Johannes Schmoelling and Mike Oldfield in this ranking.
I am delighted to know that my music is appreciated and recognized in Germany,
the country of the Berliner Schule.
[...]

More info here

            

www.sequentia-legenda.com