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.

Lien vers l'article original

 

 

 

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

            

www.sequentia-legenda.com

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

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)"

 

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)"

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 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.

Link to the original review

 

 

 

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 3 March 2019

            

www.sequentia-legenda.com

RENAISSANCE is coming THREE questions to Sequentia Legenda

I want to share a great news with you

💿 CD version for my fifth album 💿

RENAISSANCE - Sequentia Legenda's fifth album.

Now it's official, my next album will be available in digital
and also in CD Digipack version.
The CD pressing will be done in a French company, I am pleased with this news. 
This album will include three tracks for a total duration of 64 minutes in the purest tradition of the Berlin School.

RENAISSANCE : THREE TITLES, THREE LANGUAGES,
THREE SOUND UNIVERSES TO EXPLORE.

And now THREE QUESTION to Sequentia Legenda. 

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

 Michel Rebelraiser: 
„Hello Laurent! Soon, you will publish, at the beginning of May, a new album entitled RENAISSANCE ! I'd like to ask you three questions about this album.“

„The title RENAISSANCE would be for you that of the Berlin School!
Don't you think that this music born in Germany more than fifty years ago has already reached its letters of nobility. And that today, in this field, everything has been said, that it would be a bit of a thing of the past?“

 Sequentia Legenda:
„I don't have the pretension to say that this is a renaissance of the Berlin School, other current musicians, Kurtz Mindfields for example, are making this movement last. Nevertheless, I have my own vision: a extended and ethereal vision and it is my great passion that I live to the full. I have a deep respect for founding members such as Klaus Schulze or the late Edgar Froese, who in their time and in their ways were able to give birth to the Berliner Schule. In spite of his fifty years, I believe in this superb musical movement which did not really take wrinkles and I would do my best to pay him a beautiful homage. If I can make a contribution, I would be delighted and honoured to be able to contribute to the continuity of this musical movement. I am sure that the Berlin School still has beautiful days to live and that it will continue to make us travel and dream.“

 Michel Rebelraiser: 
„Among the three titles of RENAISSANCE are two whose title intrigues me a bit:
Ici et Maintenant and Valentins Traum.
If we refer to Klaus Schulze's impressive discography, we find a title entitled
"Nowhere, Now Here" (Body Love II), which we could translate as "Nulle part, içi et maintenant" ! And another "Sebastian in Traum" (Audentity).
A similarity, or a wink to the German Master, or just a coincidence?“

 Sequentia Legenda:
„It closed to my heart to me to make an album with three tracks in three languages.

For the anecdote, the title had undergone a reshuffle. At the base, this one had to be called IMMERSION. After a long discussion, my wife persuaded me and the album received its definitive title: RENAISSANCE.
To come back to your question, I hadn't thought about the titles of Klaus Schulze, so we can indeed speak of a coincidence and why not finally also of a wink ;-)

When I was starting the composition that would become Valentins Traum, I had been thinking for some time about a music dedicated to my youngest son Valentin with autism. He's a very courageous little boy, willing and extremely generous. His pathology no longer frightens me, I learned a lot through him!

Valentin accompanied me to the first meeting with Tommy Betzler in Darmstadt. Tommy had given him a set of chopsticks. We spend a lot of time together in Germany. I wanted to kill two birds with one stone: a dedication for my son and a tribute to the German public who trusted me. It was in Hamm in the Ruhr that I had the pleasure of performing for the first time on stage with Tommy on drums. It is a great privilege to be able to play in the fiefdom of the Berlin School in the country of Klaus Schulze and the late Edgar Froese.

This title is Valentin's dream - our journey through the stars - a message of hope and love.

Concerning the track "Ici et Maintenant" I wanted in all simplicity to pay homage to my family, to my friends, to the French musicians, to my homeland. It is important for me to share the present moment with my loved ones and with the listeners. It is also a transposition of music from the analog era to now with today's instruments.
Music is my language, my sharing, my emotions.“

 Michel Rebelraiser: 
„The Berlin School is a complex music, which plays a lot on emotions and which are expressed in duration, while taking care to preserve the constant attention of the listener.
Is that why your three new titles are three different musical landscapes? So as not to tire the listener and place this album in a privileged position compared to the others?“

 Sequentia Legenda:
„I don't know if the Berlin School is really complex music, it is for me "natural", I approach it with serenity and simplicity. It comes naturally if I may say. It is sometimes a real call, to which I respond present by dialing instinctively. Work does not frighten me, time has no hold on me when I am in my "creative bubble". I feel it, I live Berlin School and I share it through my music as best I can.

As for the length of my tracks, it takes me some time to be able to express myself freely, to place the sound beads along the conductor thread of my musical frame. I need this time to release all my emotions. For the moment, I didn't want to "impose" solos on the listeners so as not to freeze my pieces. On the contrary, I wanted to keep enough space to let my music breathe and live in order to offer a part of creativity when listening.
20 minutes is a good average to immerse the listener in my musical universe.

My music requires several listenings to discover and appreciate all of the sound subtleties  revealed during the exploration of my sound landscapes.

For me, there's not really a "privileged" album, it's always a new adventure, a new experience.
Each time you have to be able to sublimate yourself, to renew yourself while remaining to a certain extent in adequacy with the overall style of the Berlin School. Each album has its own story, its own experience.

So, I hope I was able to answer your questions, it was a real pleasure.
See you on May 17, my wife's birthday and official release of RENAISSANCE : -)
Good listening to all and long live the Berlin School !“

 Michel Rebelraiser: 
„Thank you Laurent!
I wish you a good continuation and a full success to your next album, and your future plans.
Because I assume you do!“

 Sequentia Legenda:
„For me, it is important to know how the listeners feel, it is finally a sharing of emotions and I take this opportunity to learn a little more about it.
In a few words, can you tell me when you discovered Berlin School music and more precisely tell me how you got to know my music?“

 Michel Rebelraiser: 
„It's a long story!

From a very young age, I have always been attracted to music. But in all its forms. I started young with Tchaikovsky's Concerto for Piano and Orchestra No. 1 at the age of 13. A real love at first sight! After that, growing up, I diversified and told myself that it wasn't ridiculous to love rock and classical music. Two different worlds, but not incompatible. And, driven by an insatiable musical curiosity, I was always looking for new sounds, new things.

It was through a magazine that I had heard about a movement, rather curious but terribly innovative, that the English Saxons had baptized with an unflattering nickname, krautrock, literally rock "sauerkraut". All the bands had strange names, Xhol, Limbus, Amon Duul ... And then Ash Ra Tempel, Tangerine Dream and Klaus Schulze, the Berlin School. I wanted to know more... Well, mostly listen. The only problem was that it was all very marginal and it was very difficult to find them in the shops. So, through my favourite record shop, I had them imported directly from Germany. Starting with the Berlin School! The very first one I listened to was Irrlicht de Schulze. What a punch and what a trip! I was flabbergasted and completely transported! From the little material he had at the time, he produced incredible sounds. Huge potential and extraordinary creativity! Then there was Cyborg from the same Klaus who confirmed all the good I could think of it, the first Tangerine Dream, ( Edgar Froese) Atem, Alpha Centauri, Zeit and Ash Ra Tempel( Manuel Gottsching), Schwingungen, Seven Up who definitely sealed this passion between me and this unclassifiable and terribly innovative music. And the krautrock of course! This attraction has never really ceased, just interrupted by other priorities, and not the least, my wife, my daughter!

Today, almost fifty years later, I say to myself that it is quite simply incredible to see to what extent this music has left its mark on people's minds. Especially in what way, it will have greatly influenced a whole generation of artists. Finally, it remains a timeless genre.

For your music, it was by chance that I discovered it! A faithful friend who knows my tastes perfectly as I know his, Michel C, had posted me your first album in link on my newspaper Facebook ! And he said, "You should like this!" He wasn't wrong! It was a delight to hear that the Berlin School was not dead. That she was reborn and in the most beautiful way... And that's how it all started…“

 Sequentia Legenda:
„If we had to compare cosmic music from the 70s to the 80s with the music I propose today, which would it be?“

 Michel Rebelraiser: 
„The Berlin School of the 70s was analogue and quite contemplative. The artists discovered the Moog Synthesizer, this very mysterious instrument. And that fascinated everyone a little. We all remember the success of the global hit "Pop Corn". In 75, with the arrival of the sequencers, Tangerine Dream in particular, it takes another dimension. She's getting more punchy. Confirming in the 80s, with the appearance of digital and MIDI format where it established its popularity... A "dialogue" is established between the artist and his machine. And the Berlin School becomes more "accessible", less cold, more friendly and dynamic.

If I had to qualify your work, I would say Neo Berlin School years 2000, a new generation on the march. A fusion, a very successful synthesis of these different periods. But I keep saying it. Sharing emotions on a song that can last more than 30 minutes is complex. Many young musicians try this style, with more or less success. And it's undeniable that you are bringing this style up to date. Breathing new blood into him!“

 Sequentia Legenda:

„If you had to put words, images on my compositions,
which would spontaneously come to mind?“

 Michel Rebelraiser: 

„My own feeling, difficult to describe!

First of all, what you need to know is that, in order to appreciate this music, I isolate myself, in the figurative sense of the term of course, but this is in order to immerse myself in the artist's universe... Immerse myself in his musical world! After, depending on the song, notes, sequences, melody, emotions take over. And of all kinds! I remember that Schulze's Ballet 1, and its very strong evocative power, had stung my eyes. But it is essential because, as cold as ice, the Berlin School cannot, could not hang me. And then there are also varied images. Often serene and calm landscapes, rarely threatening or frightening. Lakes, seas, clouds, heavenly forests! Imaginary countries I don't know where they are. But it's very beautiful. After that, I can stay two, three minutes before coming down. And, as you rightly point out, several listening sessions are sometimes necessary to appreciate its richness.

We often call it Cosmic Music or "space music" but I find these two names a bit overused. Music is for dreaming, for escaping! The Berlin School is a perfect example. And there's nothing cosmic or high about it, just dream and escape.“

 Sequentia Legenda:

„It was very informative and enriching.
Thank you for giving your global feeling on this type of music.“

For information:

Michel Rebelraiser is in charge of a Blog dedicated to German rock of the 70's - 80's,
what has been called krautrock. And its derivatives, psychedelic, space rock,
stoner or post rock.

RENAISSANCE will be my fifth album, a new opus, three new sound landscapes to explore. Three tracks compose this album, I have the pleasure to present you an excerpt of "Out of the Silence". This track will be the opening of RENAISSANCE and the introduction in this new sound universe.

Originally, it was at the request of Jean-Luc Briançon (Kurtz Mindfields) for a collaboration that I composed this title. The composition has been rearranged and reorganized from an initial duration of 9:09 to 21:53. The Modular Moog sequences are at the rendezvous, delivering a structure that will be followed by percussion. The finale is totally new, the sequential lines bathed in an airy and immersive atmosphere.

I wish you a lot of fun listening to "Out of the Silence".

            

www.sequentia-legenda.com