ETHEREAL: expert's point of view 🔍

A selection of four reviews

💡My fourth album under the spotlight💡

ETHEREAL - Sequentia Legenda's fourth album.

In addition to the fact that it is pleasant to read the reviewers' papers,
it is important to know how my music is perceived, 
how it feels, what the listener feels when discovering my sound landscape. 

Some analyses are very interesting and I have sometimes even found myself rediscovering my music through reading.
On the other hand, others give me ideas, trails and sometimes also sources of inspiration and reflection.

Here are some excerpts of my choice that I wanted to comment on.

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

Richard Gürtler Dec 29, 2017, Bratislava, Slovakia

 Richard Gürtler: 
"Elevation, at 20:34 the third and closing opus, invites the listener into unmapped domains, where Sequentia Legenda with nebulously barren drone hums unlocks the gates to the void. Amalgamating a display of thrillingly oracular hues with lighter, artificially spellbinding pulsations and calmly ascending, but persistently magnified sequencer and drum sparkles. Ominous depths, never before reached by Sequentia Legenda are meticulously illuminated by perpetually shimmering and predictably sustained insignias. Wow, this final track was certainly beyond the ordinary Berlin-School endeavor!!!
[...]
70 minutes long "Ethereal" is another highly accomplished album by Sequentia Legenda and especially its third chapter showcases the more distinguishing approach in carving profoundly enigmatic, yet insistently sequencer-driven vintage-futuristic electronica.
[...]
Laurent, keep on excelling!!! And by the way, the next album "Renaissance" is scheduled for May 17th, 2018, so definitely stay connected!!!" 

Richard Gürtler Dec 29, 2017, Bratislava, Slovakia

 Sequentia Legenda:
"Elevation, is indeed an original sound universe that I propose to my listeners, a different way of composing my music, a different use of sequencers, it's a new musical journey.

The global atmosphere of this title is oriented towards the ambient, the long evolutionary pads contribute to an opening towards to a wide sound and cosmic panorama.

From a technical point of view, I used reverberation extensively, in order to obtain a great width and depth sound, to shape a soundtrack favourable to immersion and meditation, allowing the notes to disperse in space. The Formant filter has been used to give a special touch and grain to this floating raster.

The sound texture in perpetual evolution is an invitation for the listener to discover and visualize a fragment of the cosmos, it's an immersive and astral invitation, it's a take-off to space, it's touching the stars and going very far.

📡Elevation is a title to elevate itself high." 

Sequentia Legenda on 28 January 2018

Read the full review

Drew Fisher Jan 23, 2018, Avalanche, United States

 Drew Fisher: 
"Laurent Schieber has done it again! Just when you think the Berlin School sound has been played out, Laurent releases something new that just keeps upping the ante! 
The second of these three epics of progressive electronic music may be my favorite Berlin School song ever made!
[...]
"Around the Second Moon" (22:45) opens with some very interesting slowly sliding note "arpeggi" beneath which some sequential percussion/bass lines try to establish themselves. As the treble sounds thin and disappear, the "bubbling," "squirting" sequencer lines become more interesting, hypnotic, captivating, and then foundational, even melody holders. In the fourth minute, they are the only music placeholders before some synth washes sneak in from behind. The chord choices of the synths add so much to enhance the sequencing. It's not until the middle of the seventh minute that the first percussive sound arrives and begins to elbow its way into the mix. By now the bass and synth lines have wormed their way into your subconscious in a kind of Edgar Alan Poe way while syncopated, intermittent percussives make it sound like Madeline Usher trying to break out of her casket in the basement. This is SO COOOL!!!
[...]
Were I more familiar with Klaus Schulze's work of the second half of the 1970s I might find more to compare and critique, but, as is, I can only find praise. The clarity and fullness of modern sound is so pleasant and fulfilling to the ear and soul than the often thin and scratchy stuff of recordings from the 70s that, as with the Master's 2007 release, Kontinuum, I am filled with only praise and joy.

Five stars ⭐⭐⭐⭐⭐  a minor masterpiece of progressive rock music and one of the 
21st Century's shining examples of stellar Berlin School revitalization." 

Drew Fisher Jan 23, 2018, Avalanche, United States

 Sequentia Legenda:
"Personally, I think the Berlin School still has a bright future ahead of it. This musical movement allows me to express myself, to release my emotions, to share a part of me with the public, to live my passion.

I have my own vision, that of an extended version of the Berlin School, a vision of sequencing. It is an honour to be able to contribute my contribution to this musical edifice and thus to contribute to its continuity.

I had the privilege of collaborating with artists specialized in this movement such as Kurtz Mindfields (Jean-Luc Briançon) and the emblematic drummer Tommy Betzler who played with Klaus Schulze in the 80s. 

Regarding the track "Around the Second Moon" it's a track where Tommy Betzler agreed to participate, he put all his experience in the profile of this composition with a lot of brilliance. Hearing that it's one of the best tracks in the Berlin School fills me with pride and happiness, which I am happy to share this with Tommy. 

Finally, if I can "revitalize" the Berlin School, as Drew Fisher so aptly put it in his article, then I will be proud and delighted. I'd like to add: "Long live to Berlin School!" 

Sequentia Legenda on 31 January 2018

Read the full review

Thoralf Koß Oct 19, 2017, Riesa, Germany

 Thoralf Koß:
"Laurent Schieber bezeichnet seine Kompositionen als „‘ernst‘ mit einem Hauch von Nostalgie“ und bringt auf diese Weise die Stimmung hinter „Ethereal“ auf den Punkt. Elektronische Klassik der 70er-Jahre also – oder einfach nur Berliner Schule pur. Hinzu kommt die angenehm warme, sehr voluminöse Produktion des Albums, die bei einer entsprechenden Lautstärke und einer guten Anlage den ganzen Raum zu einer Art Universum werden lässt, durch das man bei „Stratums Of Seraphic Voices“ einerseits wie durch die Milchstraße schwebt, sich aber auch erste „Body Love“-Fantasien entfalten.
[...]
FAZIT: Ach ja, warum nur kommt einem immer wieder dieser KLAUS SCHULZE in den Sinn, wenn man SEQUENTIA LEGENDA hört? Die Antwort ist ganz einfach: Weil Laurent Schieber sich nicht nur Schulzes frühe Musik verinnerlicht hat, sondern auch dazu in der Lage ist, sie auf gänzlich gleichem Niveau und mit einem ähnlichen Instrumentarium, wie es auch Schulze verwendete, wiederzugeben. Das Schieber-Schulze-Gen funktioniert bestens. 
„Ethereal“ = Elektronische Musik für Berliner-Schule-Nostalgiker." 

in English:

"Laurent Schieber describes his compositions as "serious" with a touch of nostalgia"and in this way sums up the mood behind" Ethereal ". Electronic classics of the 70s - or simply pure Berlin school. Add to this the pleasantly warm, very voluminous production of the album, which, with the appropriate volume and a good system, turns the whole room into a kind of universe, which on the one hand makes you float through the Milky Way, but on the other hand allows you to unfold your first „Body Love“ fantasies with "Stratums Of Seraphic Voices".
[...]
CONCLUSION: Oh yes, why does this KLAUS SCHULZE keep coming to mind when you hear SEQUENTIA LEGENDA? The answer is quite simple: because Laurent Schieber has not only internalized Schulze's early music, but is also able to reproduce it at the same level and with a similar set of instruments as Schulze used. The Schieber-Schulze gene works perfectly. 

„Ethereal“ = Electronic music for Berlin school nostalgics." 

Thoralf Koß Oct 19, 2017, Riesa, Germany

 Sequentia Legenda:
"The German rigour is in me, it is most certainly due to my status as a cross-border man, to the fact that professionally I spent more time in Germany than in France. The adage "weniger ist mehr" which can be translated as "Less is more" reflects my personality, my musical vision. By the definition of "serious", musically speaking, 
I mean: no superfluous. 

I try to do as much as possible with the simplest possible configuration, I don't try to work with a record number of tracks, I don't try at all cost to "furnish" my compositions with solos or effects. 

My music is serious, yes, she is also nostalgic, but without falling into sadness in order to allow the listener to escape in the best possible conditions. 

Other than the fact that my music can be categorized as minimalist music, it is important for me to bring the sound elements to life, to make them grow throughout the title, to highlight harmonic subtleties in order to make musical exploration as captivating as possible. The search for symphonic balance, the balance of the sound spectrum, the coherence of spatiality are essential aspects in this vision of rigour and seriousness." 

Sequentia Legenda on 30 January 2018

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Sylvain Lupari Aug 10, 2017, Montréal, Canada

 Sylvain Lupari: 
"Véritable amoureux de la musique de Klaus Schulze, Sequentia Legenda va au-delà dans sa quête de reproduire l'essence de la rétro Berlin School avec cet exquis Ethereal. Un must!"
[...]
Près de 30 minutes sur une thématique minimaliste morphique 
qui s'épuisent sans sentiment de lassitude ! Il n'y avait que Klaus Schulze pour réussir pareil exploit. Laurent Schieber fait comme le maître et à la perfection." 

in English:

"A true lover of Klaus Schulze's music, Sequentia Legenda goes beyond his quest to reproduce the essence of Berlin School retro with this exquisite Ethereal. A must!"
[...]
Almost 30 minutes on a minimalist morphic theme 
that wears out without feeling tired! 
Only Klaus Schulze was capable of such a feat. 
Laurent Schieber makes like the master and to perfection." 

 Sequentia Legenda:
"It is a great honour to be compared in this way with the illustrious Klaus Schulze. I have a deep respect for his work. He was a forerunner. A true sound sculptor. 
Mirage was my musical trigger!

For me, the Berlin School is a real passion, I give my best.

I remain humble, I know where I come from and I will see what the future holds for me. 
I just hope to be able to continue on this path and live my dream as best I can. And who knows... maybe someday I could meet Klaus Schulze." 

Sequentia Legenda on 31 January 2018

Read the full review

            

www.sequentia-legenda.com

Fifteen Questions Interview with Sequentia Legenda

The Daydream Sequence

Interviewer: Tobias Fischer 16 October 2017

17 year old Sequentia Legenda (Laurent Schieber) with her analog equipment.

Part 1

Name: Laurent Schieber
Nationality: French
Occupation: Composer, Producer
Current Release: Ethereal
Recommendations:
In terms of musical art, without any hesitation, I would recommend the Mirage album by Klaus Schulze which was, for me, literally my musical trigger. It’s a work that deserves to be listened to several times in order to discover all its riches.
Tons of credit to Klaus Schulze for this album, as well as for his entire career.
In terms of literary art, I can suggest the French writer Jules Verne's "From the Earth to the Moon". It is a visionary narrative, a work that I particularly appreciate.
During my childhood, I read many of his books and escaped far into my imagination.

More photos

Sequentia Legenda (Laurent Schieber) and love at first sight for Mirage by Klaus Schulze.

Tobias Fischer: When did you start writing/producing music - and what or who were your early passions and influences? What what is about music and/or sound that drew you to it?

 Sequentia Legenda: My passion for Berlin School began by absolute chance.
I was only 16 years old at the time. On that momentous day, I discovered an album amongst my parents' vinyls - one that greatly grabbed my attention, especially due to the clean layout of its cover. A blue and green portrait, a title: Mirage, a name: Klaus Schulze. After examining both the graphic and editorial section, I decided to place the stylus on the record player in order to play the first side. From the first few seconds of listening, it was love at first sight - a true revelation.
This was my musical trigger!

What attracted and even intrigued me the most when listening to this masterpiece, was the singular length of the songs, the fact that there were only two titles, the new sounds. The instruments and effects seemed to me to come from a whole new world. I began to listen repeatedly to the side A and B of the album. I started searching for other Klaus Schulze records in the music shops throughout my city. I spoke about the album to those around me, yet very few people knew who the musician was, much less the instrument known as a synthesiser. Shortly afterwards, I was taking music lessons with a teacher who owned a Rhodes, a Solina and even a famous Minimoog.

The solfeggio courses repelled me and quickly, my teacher came to understand that what really interested me was discovering the instrument. It is therefore with him that I discovered how to properly manipulate the synthesizer, as well as began learning sound synthesis - in this case, subtractive.

My parents finally gave in to my insistent requests and they agreed to finance the purchase of my very first monophonic synthesizer. In no time, the room in my parents' cellar became a small Ali Baba cave and many analogue instruments took their place here:
ARP Odyssey, Oberheim Duo Voices, PS 3200 Korg, MS 20 and SQ 10 Korg - to only name the main ones. 

Tobias Fischer: For most artists, originality is first preceded by a phase of learning and, often, emulating others. What was this like for you? How would you describe your own development as an artist and the transition towards your own voice? What is the relationship between copying, learning and your own creativity?

 Sequentia Legenda: As a first step, following the discovery of the Mirage album, I had listened intensively and analyzed the compositions of Klaus Schulze, Tangerine Dream or Jean-Michel Jarre. As a second step, I used the various synthesizers to discover the multiple technical and musical approaches in order to be capable of mastering the different sound syntheses. These were long and exciting periods of experimentation - a genuine learning of sonorous alchemy, a relentless manipulation of the potentiometers, hours of discovery.

At first, I recorded my compositions on tapes using a simple hi-fi tape recorder. Later, I recorded and mixed my work with a TEAC A-3340S 4-track recorder. I was trying to find a sonorous universe that was comparable to that of my models, close to the Berlin School.

My first sequences were created with both the Oberheim Two Voices as well as the Korg SQ10. Often, I would allow myself to go off into long hours of improvisation - sometimes until late at night and always in my parents' basement. This is how my personal style began to develop and little by little, I put my musical structure into practice. At that time, the sequencer already had a predominant position within my compositions.
My own musical vision of the Berlin School began to take shape. 

Tobias Fischer: What were your main compositional- and production-challenges in the beginning and how have they changed over time?

 Sequentia Legenda: The main challenge at the outset was finding the "right" sequence, the one that would make me "daydream", the loop that could grow within my composition. Afterwards came the search between the different pads and loops, in order to find the perfect balance and harmony between both said essential elements.

Even today, this work of dosing between sequences and pads is still carried on. I now have a methodology in order to transcribe the sound structure that passes through my head and thus, obtain a usable frame. The work is much the same, however with increased precision and a greater rigor. The sequences continue to remain one of the pillars of my creations and I commit a lot of time to setting up, to the accuracy of the loops and to the notes. 

One of the big differences is that today, I create many co-existing loops that will complement one another, that will become more complex over the course of sound development and will grow together. I attempt to find harmony between the different elements of my music - in terms of volume, harmonics and stereophonic space. I am a demanding individual and at times, these steps can be time consuming. Ultimately, for me, everything is a question of dosage, sensitivity and emotions. When I isolate myself within my own world, I don’t see the time ticking by. Other times, I find myself in the role of a perfectionist and I therefore have to find the energy in order to end such a process and finalize the piece. 

Sequentia Legenda (Laurent Schieber) in working session for the next album RENAISSANCE.

Tobias Fischer: What was your first studio like? 
How and for what reasons has your set-up evolved over the years and what are currently some of the most important pieces of gear for you?

 Sequentia Legenda: My startout studio was in one of the rooms within my parents' basement. My equipment consisted of analogue instruments, such as the ARP Odyssey, Oberheim Two Voices, Korg PS 3200, MS 20 and SQ 10, a Crumar Multiman S and a Roland RE201 echo chamber.

With the arrival of MIDI, I began transitioning from my analog synthesizers to the benefit of digital keyboards. It was at that moment that I would, for the first time, use software to manage my music - it was Pro24 Cubase installed on my Atari 1040 STF. I could now store my sounds and rework them according to my own will. It was possible for me to edit and save my compositions. It was a true revolution!

Today, I work with synths and virtual effects.
The VSTs allow me a great flexibility of use and I manage to find sounds similar to those of my past synthesizers. I appreciate the Arturia collection, especially the Minimoog and the Modular Moog emulation. 

Sequentia Legenda (Laurent Schieber) in concert with Tommy Betzler in Hamm in 2017.

Tobias Fischer: Could you describe your creative process on the basis of a piece or album that's particularly dear to you, please? Where did the ideas come from, how were they transformed in your mind, what did you start with and how do you refine these beginnings into the finished work of art?

 Sequentia Legenda: I can gladly tell you about my last album, ETHEREAL.
At the base, I had represented a mystical and very aerial universe. I would describe my compositions as "serious" with a touch of nostalgia.

My intention was to integrate the Modular Moog from Arturia in my work for the first time. Therefore, I began to study the different sound approaches for this instrument. I quickly oriented myself towards the use of the modular, as well as its superb sequencer. Its filters are a source of unlimited creation and with subtle automation, it is then possible to nuance the resonances in order to obtain loops that evolve over time. For the three tracks of this album, the modular and its sequencer were used almost identically. The Formant filter (which did not exist on the basic instrument) was a valuable tool for further diversifying the sound modulations of the loops. The next step was the association between the sequences, the pads and the choir. It is precisely in this phase that the sensitivity, the emotions and the tint of the atmosphere, will magnify.
It is also the most time consuming part.

The compositions of ETHEREAL have been finalized by the mastering varnish, composed of different effects in order to highlight and underline certain details of the soundtrack. 

To the original interview

 Testimonial about ETHEREAL

Synth&Sequences Magazine

Somptuous music from my friend Laurent Schieber. Fans of retro and floating EM a la Schulze, you have to get this album from Sequentia Legenda.
Somptueuse musique de mon ami Laurent. Amateurs de MÉ flottante et vintage à la Schulze, Ethereal est un incontournable.

Sylvain Lupari Apr 13, 2017

More Testimonials

            

www.sequentia-legenda.com

Valentin's Traum the 3rd title of RENAISSANCE

This composition is dedicated to my youngest son Valentin

🎬  The first preview of my next album RENAISSANCE ♫

I have the pleasure to present you an extract from my next album, "RENAISSANCE".
This title "Valentin's Traum" is the third and last track of this futur album.

(1. Out of the Silence, 2. Ici et Maintenant, 3. Valentin's Traum).

I wish you a very pleasant time during the listening and viewing of my video clip,

Laurent Schieber (Sequentia Legenda)

More informations on the RENAISSANCE landing page

More Testimonials

✹ Music for hope and love ❣

This composition is dedicated to my youngest son Valentin,
who was diagnosed with autism.
It is a gift for him, my message of hope and love for him.

This title is in German language, thanks to the Germanic public who gave me their trust
 and support. It is a privilege for me to appear in the fiefdom of the Berlin school,
to be appreciated and heard in the land of Klaus Schulze and Edgar Froese.

More informations on the RENAISSANCE landing page

Till Kopper: First of all: Happy Birthday to Valentin!

 Sequentia Legenda: Thank you for Valentin, he is an admirable child, besides his pathology (autism) he is a fighter, he has managed to speak, communicate, share and be an exemplary child. I'm proud of his efforts, proud of him. He loves music too :-)  

Till Kopper: This excerpt is again (!!!) Berlin School music at its best.

 Sequentia Legenda: Thanks for this highly praiseworthy comment, I'm really delighted and it gives me strength!! I did my best for this new album and especially for this track which was very important to me for many reasons. From the sentimental point of view, I wanted to offer a title that was worthy of the efforts and courage of my youngest son. Emotionally, I wanted to thank all the Germanic people who gave me their support in a very beautiful way.  

Till Kopper: The mood of this track is so near to the very special Klaus Schulze album "X" from 1978. Without actual copying it, it got the right overall sound. 

The very open mix, although the sounds are layered.

 Sequentia Legenda: Ooooh, what a wonderful comparison! "X" is a very special album and a timeless work by Klaus Schulze. Brilliant sound and exemplary orchestration.
Once again, I'm really happy to be compared to him.
I must confess that I once again spent a lot of time fine-tuning the sonic atmosphere of this opus to the last detail. It is always very important for me to find the right balance of spatialization, harmonics, global sound spectrum.  

Till Kopper: There is no beat or sequence in the first 4:30 min running.
But the music is always slightly changing.
A kind of regular breath makes this track very organic
and by no means static. Then a sequence is faded in.

 Sequentia Legenda: I love your vision and your writing.
It is a pleasure to be able to read your feelings.

It remains essential for me to gently lay down the soundtrack, to install the listener comfortably in the musical universe proposed. It is an invitation, a sharing between the musician and the listener. Especially for this title, it was essential to set up a sensitivity, 

a depth, an emotion.  

Till Kopper: There is a cut (this is not the full track we are hearing here) and we are a bit later in the track. We hear the drums of Tommy Bezler and the now multilayered sequences. But all still relaxed and calm. But with a steady rhythm like a heart beat.

 Sequentia Legenda: On this album Tommy Betzler is not present. I wanted to produce a solo album again. But Tommy and I will meet again soon :-)  

Till Kopper: The sequences disappear. The rhythm of the percussion sound dissipates. And we slowly fall back into the dream as an ambient background that we heard at the beginning.

Fantastic!

 Sequentia Legenda: It is a shared pleasure. I often like to invite the listener to embark on an musical adventure that begins slowly and gradually increases in intensity.  

Till Kopper: Although we are just at week #2 of 2018, I believe this will be one,
if not THE best Berlin School music release for 2018! I can't imagine a music more matching to my personal music preferences.

 Sequentia Legenda: I am absolutely delighted. I think RENAISSANCE will be a beautiful exploration for the listeners, a sound universe to discover,
an extended vision of the Berlin School. I'm crossing my fingers. I really enjoyed composing this album and I hope the audience will appreciate my work. It's the music that comes from deep inside me, my language.  

Till Kopper: Thanks for sharing this excerpt of the upcoming RENAISSANCE album.
I am looking very much forward to listen to it in its full length and glory.

 Sequentia Legenda: The pleasure is all mine. I will be presenting "Ici et Maintenant" and finally "Out of the Silence". I thank you for your comment and look forward to reading you again.  

Interview with Till Kooper January 13, 2018

            

www.sequentia-legenda.com