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

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

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