Musique
de Chambre 2008
"Musique de Chambre" is the 17th album by the French/German
musician Serge Blenner, who lives in Hamburg for quite some years
now. The 12 tracks on the 24-bit audiophile recording are completely
composed on a virtual chamber orchestra of electronics, for which
Serge applied e.g. VSL Vienna Orchestra, Bela D Media Divas and
Multitrack Digital Sequencing as a sound library.The music blends
delicately atmospheres of emotion and melody, in which a whole range
of classic instruments are applied, ranging from harp and piano
to strings, soprano voices and various wind instruments.
Especially the track "Symbiose" has a very nice, uplifting,
enthralling effect. Of course one can argue that these all sounds
(Musique de Computer) are artificial, but the outcome is overall
relaxing and well executed. Those who love a strong classical approach
towards electronic music should check out this recording.
© 2008 Bert Strolenberg, www.sonicimmersion.org
(Netherlands)
With "Musique de Chambre" Serge Blenner publishes his
seventeenth and most demanding work. On this new album the master
of electronic music sends a complete virtual chamber orchestra on
stage. Came out is a sound enormous music - full of soul! Serge
Blenner creates it to breathe the electronic music life. The sensitive
and melodic tracks device the listeners into dreams while listening
the wonderful and filigree piano, the blowers and the pearling chimes,
of "Pearls" or the urgent soprano voices, the harps and
the string players of "Symbiose". It is a very special
sound of classical music, created by an extraordinary composer.
Miroir de Soi
2004
“[...] La musica di Blenner penetra così la persona
e le dà modo di guardare dentro di sé da spettatore,
pur vivendo il tutto in prima persona. Al di là delle passioni
e gusti musicali personali, credo che questo CD possa essere ascoltato
da chiunque, è validissimo, ben strutturato e molto espressivo.
I più liberi di cuore e di mente credo possano trovare
molto di più di un semplice ascolto, e potranno usare l’album
in molte occasioni di vita che si attraversano. Provare per credere”.
© 2005 Stefania Carezzoli, www.21stcenturymusic.it
(Italian)
“Blenner was vaguely well known 20 years ago as one of many
European keyboard artists associated with the Sky Music label
in Germany, a company who Iifted one, maybe two fingers (not much
more) to promote its material properly overseas. Well from the
looks of things he never went away, having added numerous recordings
to his discography throughout the 80‘s and 90‘s. Nowadays
he mostly uses samplers to create a lush symphonic music of grandiloquent
beauty. Piano (sampled) and acoustic guitar, along with orchestra
percussion, round out the sound spectrum here, on 12 mid-length
tracks that span a moody breadth of emotions, all of which hark
back to the late Romantic era symphonies and tone poems of classical
masters such as Strauss, Berlioz, Mahler, etc. Blenner‘s
compositions approach a Vangelislike demeanor in how they effortlessly
scale the heights of mountains and descend the caverns and valleys
of musical expression. But where Vangelis delves into darker territory
with oblique idiosyncrasies, the Frenchmans gesture stays close
to the surface, reluctant to abandon the simplicity of a well-defined
prominent melodic shape to carry his message. He handles the technology
well enough to create the effect of an orchestra. Close the eyes,
relax, and it is easy to imagine “Miroir de Soi” as
a very exciting soundtrack work to a fantasy movie. In that respect
the CD is a rousing success, and I give it a good score, although
I usually prefer something with more quirks”.
© 2005 Michael Ezzo,
wwww.expose.org (USA)
“The most recent album from Serge Blenner features 12 tracks
of electroacoustic music. Digital creations that sound like symphonic
movie scores or soundtracks to romantic picnics in a park. While
all instruments are performed by synths, samplers or computer
software the overall sound of the album is acoustic guitars, strings
and piano. This makes it less “electronic” in the
traditional sense, and the structures of the songs are symphonic
soundscapes [...]. My first meeting with Blenner's music was “Equateur”
over a decade ago, which in my memory rests as a more electronic
album than “Miroir de Soi”. It's interesting to see
how the artist has gone back to a more traditional sound as and
when music technology becomes more complex [...]”.
© 2005 Glenn Folkvord,
wwww.electronicshadows.net (Norway)
“Miroir de Soi” is the successor of “Virtualis”.
I described that album as a beautiful romantic album for a much
broader audience. And I said that Serge Blenner has found the
ultimate mix of electronic and classical textures. “Miroir
de Soi” has even more refinement and is up to now his most
romantic album. You can find unprecedented beautiful melodies
on this album. [...] Sometimes this electronic orchestra
swells up to a big climax. In the romantic “Janvier”
Blenner makes tasteful use of a virtual guitar sound (listen also
to “Estival”). The melody of this track is unprecedentedly
nice … it is pure beauty. This also counts for the slow
third track “Exlibris”. Only for the first three tracks,
you have to buy this album if you like electronic music with lots
of melody and beauty. But I will say it once more; Serge Blenner’s
music absolutely doesn’t sound electronic! [...] With
“Miroir de Soi” Serge Blenner released again a beautiful
album full of warm, romantic and classical electronic music. Like
on “Virtualis” you find different atmospheres and
electronic textures on “Miroir de soi”, all delicately
arranged. If you like the romantic and melodic side of electronic
music I can recommend this album to you. And the electronic orchestrations
of this unique composer are amazing”.
© 2004 Douwe Fledderus, www.progvisions.net
(Netherlands)
“Serge Blenner hat sich auf seinem neuen Album selbst übertroffen.
Allein mit Synthesizern, Sampler und Sequenzer schickt er ein
ganzes Orchester ins Rennen. Die opulenten, sich weit öffnenden
Werke strotzen nur so vor Kraft und könnten ohne weiteres
so manchen Hollywoodfilm vertonen. Auch wenn sie sich in ihrer
Art recht ähneln, zeugen die in sich geschlossenen Kompositionen
von großem Talent und dramaturgischem Fingerspitzengefühl [...]”.
© 2004 Falk Lenn, www.moderne-klangkunst.de
(Germany)
“Serge Blenner [...] has a unique place in the world of
electronic music. His music is totally incomparable with what
others do and that makes it so interesting. After he started experimenting
with high-grade equipment like the PPG Wave Computer in the early
eighties, his music has slowly grown into a specific sort of classical
music. “Miroir de Soi” (“Mirror Of Self”)
is perhaps his most classic album to date, perhaps also his most
romantic. Beautiful orchestral parts, pianopieces, acoustic guitars
and a lot of atmosphere have an important place on “Miroir
De Soi”. It surprises me that Blenner (as far as I know)
isn’t a well-known composer of filmmusic by now because
his music is excellent suitable for this. Very beautiful are tracks
like “Le Miroir” (nice melody), “Exlibris”
(very romantic), “Projection” (a great recording)
“Illumination” (darker), “Estival” (great
samples of stringinstruments), “Les Méandres”
(could have been music of a French film from the seventies) and
“Les Anges” (samples of churchbells and fine choirs).
This is very special”.
© 2004 Paul Rijkens, E-dition
(Netherlands)
“In "Miroir de Soi", there is a great variety
of styles, colors, emotions, that Serge Blenner is able to reflect
in his compositions. The music is melodic, with cosmic touches
and others typical of Classical Music. Several pieces are dominated
by a majestic character. Others sound mysterious, sinister, like
for instance "Illumination". A certain nostalgic air
is present in most of the themes. The orchestrations are very
well built, enhancing the impact of the music. The use of synthesizers
enhances the nightly, sensual atmospheres, that appear in some
of the compositions, and is likewise useful as a vehicle for innovative
ideas”.
Hector Jordan, Amazing
Sounds (Spain)
“Der Elsässer und Wahlhamburger Serge Blenner [...]
setzt weiterhin auf ausschließlich digital generierte Sounds
[...], lässt dabei jedoch sämtliche Techno- und Post-Techno-Stile
außen vor. Keine Spur von Clicks & Cuts, und gebrochene
Beats sucht man vergebens. Stattdessen türmt Blenner auch
in den 12 Tracks seines 15. Albums sinfonische Klanggebirge auf,
in denen Jericho-Trompeten schallen, die Strings nicht selten
dissonant flirren und Pauken wie in Wagners Bayreuth donnern (Tipp:
Track 5 "Illumination"). Mehr virtuelles Drama geht
nicht”.
Albrecht Piltz, Keys,
Juli 2004 (Germany)
Virtualis
2001
"Great new album for this French artist, who wants to show
in music all a series of sensations from Latin word “virtus”,
not like ethical sense but existential and creating. From that
here 12 very good tracks in a flight over classical sounds, running
with electronic and to go inside in the drops of rare voices [...]. Listener
is capturated by the melody so sweet and strong in the same time,
soft parts and others more rhythmical. Wonderful “Splendeur”,
fabulous ouverture to hear all the music developed for an hour
about. Very good the sound of cello, often important to build
the track. Again, Blenner has composed a rainbow of colours in
music, and we can only leave ourselves to caress by its notes".
© Stefania Carezzoli, www.21stcenturymusic.it
(Italian)
“...und mit “Virtualis” möchten wir Euch das
aktuelleste Werk dieses Ausnahmekünstlers vorstellen. Seine Musik
ist eine Welt aus klassischen Sounds, harmonisch gepaart mit synthtischen
Klängen sowie ab und an ein paar choralen Klängen und einigen
französischen Gesangseinsätzen. Serge Blenner versteht es perfekt
ein sehr warmes Ambiente zu erschaffen aus musikalischen Komponenten
die nicht besser hätten zusammenfinden können. - Klasse!”.
© 2003 Synthetics
magazin (Germany)
“...In the year 1986 I bought my first Serge Blenner album
entitled "La Dimension prochaine". I liked it so much,
that I have always followed the works of this man. His warm, romantic
and classical electronic music touched my heart. However it was
often difficult to get his albums, I managed to get my hands on
most of his titles. He is one of the few people who can create
with synths and samplers warm electronic electronic music. And
he is a master in creating classical orchestrations with his synths.
His previous album "Ars Oratoria" is a classical masterpiece!
As usual the titles of the tracks are given in English, French
and German languages. This is probably because he is born in France
but lives and works since 1975 works in Germany (Hamburg). He
also writes little poems which from time to time are showing up
on his albums. Always spoken in his native language French. This
together with his Satie like piano playing gives a beautiful and
romantic atmosphere. The piano melodies are just amazing. You
can float away on them; Serge understands the importance of melody
in music. On his latest and seventeenth (!) album "Virtualis"
we get an hour of electronic music with beautiful classical orchestrations
(electronic!) and amazing melodies [...]. This album consists
out of different atmospheres and electronic textures delicately
arranged by this remarkable modern composer [...]. I just
love those melodic and romantic jewels only Serge Blenner can
make [...]. He has made a beautiful romantic album for a
much broader audience. He seems to have found the ultimate mix
of electronic and classical textures. This composer has a unique
style and his arrangements are just ("Magnifique") magnificent.
If you are open minded to classical and electronic music (and
progressive fans must be!) please listen to Serge Blenner´s
music”. © 2003 Douwe Fledderus, www.progvisions.net
(UK)
“In seiner nunmehr zwölften CD seit 1988 zieht der
in Hamburg lebende Franzose Serge Blenner alle Register: hier
treffen gut programmierte Orchestersequenzen auf synthetisch erzeugte
und gesamplete Instrumente aus aller Welt: Flamenco-Gitarre, Akkordeon,
orientalische Blas- und Saiteninstrumente, lateinamerikanische
Percussions, etc. Die unterschiedlichen Musikstile verschiedener
Kulturen der Erde werden mit Respekt und Feingefühl in den
westeuropäischen Hörgewohnheiten angepassten Kompositionen
eingebettet [...]. Im aufwändigen 20-Seiten-Booklet
sind neben den Übersetzungen der in die Stücke franz.
lyrischen Verse Blenners Ölbilder und Bleistiftzeichnungen
von Volker Fleischer zu sehen, [...]. Blenner beweist in
dieser Veröffentlichung, dass am Computer erzeugte Musik
keineswegs maschinell und kalt klingen muss. Seine Musik steckt
voller Leben”.
© 2003 Falk Lenn, www.moderne-klangkunst.de
(Germany)
"Richly-realized exotica travels the world via influences
from many lands, ages and musical styles, always keeping it clean
even in its darker moments. Majestically emerging "Splendeur"
(2:33) rises in shimmering synthcurtains, laced with opera-esque
choruses, while pseudo-ethno rhythms set an ever- moving stage.
"Oriental" doesn't deal with cliched sounds from that
direction, instead presenting an opulent Byzantine/Broadway construction.
A wavering mirage for your ears, dreamlike "Optique"
(5:48) drifts upon lush undulations of synth instrumentation and
bubbling percussive ripples".
David J Opdyke, AmbiEntrance
(USA)
"In the twelve tracks included in this CD, Serge Blenner
shows once again his good work in the ambient and contemporary
musical universe. He himself explains this album as the 15th.
chapter of what he calls "Computer Acoustic Music".
The remarkable combination of electronic textures with orchestral
passages the artist realizes results in a successful creation
wrapped in sophisticated melodies brimming with poetry".
Mireille Aubert, Amazing
Sounds (Spain)
"The French musician Serge Blenner, who has been living in
Germany for many years now, has a unique place in the world of
electronic music. His music is totally different from what we
hear normally in this musical style. In the fifteen records he
made in about twenty years he developed himself into a composer
of extremely original music and sounds. This has lead to excellent
records as "Equateur" from 1988, "Cosmos"
from 1990, "Symbolique" from 1993 and "Ars Oratoria"
from 1999. Blenner´s music is being created from all kinds
of samples from western and non-western instruments and sounds.
It can be heard clearly that he is not somebody who just sits
behind his equipment and just knocks of music from his sleeves.
All compositions are well considered and build up with care and
conduct. The twelve pieces on "Virtualis" are very different
in atmosphere and construction: orchestral bombast, spherical
pianomelodies, native sounds and French texts, which are sung
or told with a warm voice. "Splendeur" with its wonderful
stringsounds, a women´s voice and a calm rhythm can easily
be used as filmmusic Harps and cello's introduce "Lumière"
in which Blenner speaks a text. "Oriental" is a strong
case of Arabric orchestral music. Blenner's samples are really
great. This can also be heard very well in the dark and menacing
"Elan Vital" in which the acoustic guitarsound is brilliant.
The last three pieces on the CD, "Erato", "Les
Muses" and "Vivace", bring him closer to his earlier,
more rhythmic, albums but bit a bit of a loungefeeling to it.
Though "Equateur" and "Cosmos" are still my
personal favourites, with "Virtualis" Blenner proves
still to be one of a kind in the world of electronic music. His
fellow Frenchman Jean Michel Jarrecan take the shine out of him".
© 2002 Paul Rijkens, Dutch progressive rockmagazine iO Pages (Netherlands)
"Serge Blenner is one of the long time great of Euro EM.
His first album was released in the golden age of the 1970's and
still today he keeps on producing great music. This brand new
album contains all the classic Euro electronic elements - brisk
sequences, dramatic melodies and dense symphonic textures, all
refracted by Blenner's mastery of the technical medium, into a
prismatic collage of multi-hued timbres. Be it up tempo, or dark
ambient, Serge will provoke the space between your ears with "Virtualis".
Archie Patterson, Eurock (USA)
"Nach nahezu 20 Jahren im Dienste der Kunst-Elektronik weiß
Serge Blenner genau, wie sich kalten Maschinen humanoide Klänge
entlocken lassen. [...]. Doch Blenner steckt in einem Dilemma:
mit seiner hoch entwickelten, an Kompositionsmustern der modernen
Klassik orientierten Ästhetik, für deren Verständnis ein oder
zwei Musikhochschulsemester nicht von Übel sind, zielt er am Massengeschmack
vorbei. Das tut uns leid für die Massen, denn ihnen entgeht eine
ebenso intelligente wie beseelte elektronische Musik, die ganz
ohne "EM"- und "Dancefloor"-Stereotypen auskommt
und mit immer neuen Überraschungen aufwartet. [...]. Nicht
jeder aber liebt solch heißkalte Duschen - der Grund wohl, weshalb
Blenners Brillanz noch immer nur von Connaisseuren gewürdigt wird.
Für sie allerdings ist "Virtualis" der reine Ohrenschmaus".
Albrecht Piltz, Keyboards (Germany)
Ars Oratoria 1999
"Ars Oratoria is, in my opinion, simply great! A contemporay
work, a piece of music which mix ambient, orchestal and chamber
music sound with electronic elements. Great!".
Rafa Dorado, Margen
Magazine (Spain)
"Ars Oratoria" released on his own label, it's one of
the best works he's done in some time. A series of spatial tracks
it ranges the full electronic spectrum from space music to orchestral,
symphonic to progressive ambient. In all 72:46 of pure EM magic".
Archie Patterson, Eurock (USA)
"God, this is really good! The disc opens in dramatic fashion
with a real synth orchestral extravaganza a six minute dramatic
piece that sounds like it's been lifted out of some high tension,
action movie quite a surprise indeed!... One thing is for sure,
this CD is very different from any other Synth music CD doing
the rounds at the moment - the music has a very strong, almost
orchestral feel at times, it is dynamic, grandiose and attention
grabbing with loads going on as classical and cosmic music meet
head on to create a vibrant new sound that I don't think anyone
will be expecting. Hell, he even brings an infectious sequencer
rhythm in half way through a sweeping synth orchestral passage
and it really does work. Overall, I think this is a truly inventive,
melodic, adventurous work that is extremely easy to get on with,
once you get over the initial shock, and it's great to hear someone
in the 'EM' field going out and doing something completely different
and making such a great job of it too!".
Dave Shoesmith, Compact
Disc Services (UK)
"I haven't followed Serge Blenner for some years now but
this album has completely blown away my ears. The interesting
thing about Blenner is, that he always works without any influences
from trends. Without restrictions he makes the music he wants
to make and that is an unique sound. The best results can be heard
on albums like "Equateur" from 1988 and "Cosmos"
from 1990. All of Blenner's music is built on the best samples
around. This results in a bombastic, almost Wagnerian, classical
style. Take, for instance the first track "Organique"
which also has touches of Stravinsky. Brilliant. Sometimes, as
in "Arabèsque" and "Côte d'Ivoire", there
are also some ethnical rhythms and in other pieces a romantic
piano can be heard. Some of the tracks as "Culliculum",
the fantastic "Evasion" and "Mythique" have
such a gloomy atmosphere that they almost can be used as a soundtrack
for a film about World War II. Again, the orchestral sounds are
not to be seperated from the original instruments". © Paul
Rijkens (Netherlands)
"...So ist "Ars Oratoria" (zu deutsch: die Kunst
des Ausdrucks) der bisherige Höhepunkt der Blenner- schen
"Zumutungen" an sein Publikum - Intelligenz ist gefragt,
ein Musikstudium wäre nicht schlecht... denn seine Musik
ist ein Kopffilm par excellence - einer für klare Köpfe".
Albrecht Piltz, Keyboards (Germany)
"This new studio album from Serge Blenner combines short
movements and interludes with more standard length compositions
that are hard to equal in their excellence. If you have not closely
listened to a Blenner album, treat yourself !".
Bradford Warner, SoundDesign
(USA)
"His album is a good example of the excellent imagination
of Serge Blenner. His music is characterized by a great diversity
of ideas and emotions. From the precise instant of the beginning
of the album, we witness a display of creative, sonic energy of
a high degree. In his very personal style, the artist takes us
through a voyage to amazing worlds, full of emotions and adventures.
During the 21 themes that constitute this release, we can perceive
elements of Classical Music, Ambient, Space, World Music, and
others from different origins. The pieces are very innovative
and complex, yet at the same time they are easy to listen to".
Edgar Kogler, Amazing
Sounds (Spain)
"On the track "Organique", French composer Blenner
Serge takes the experimentalism of the Beatles "Revolution
# 9" and melds it with the bewildering arrangements of Bob
Graettinger. Serge starts off where groups like Sonic Youth and
Dead C (at their most explorative) left off and ventures into
new classical territories rarely attempted by modern composers.Blenner
Serge might fall into the category of "incorrect music"
(AKA "difficult") sounds and tunes that are so awful,
wretched and oddly unique that they carry a peculiar charm about
them. Think the Star Spangled Banner crossed with a funeral dirge
and you'll get a feel for what Serge is all about".
David McGurgan, CD
Now (USA)
Amour 1997
"So ist dieses Album ein Geheimtip für Hörer, die
von zeitgenössischer Musik mehr als nur seichte Unterhaltung
erwarten".
Oliver Stegger, Musikwoche (Germany)
"The artist offers us his mastery at creating a work full
of beauty and mystery, with melodies that in some accasions tend
to be of a melodic romanticism, while in other instances they
have an enigmatic, or even a dark air".
Jorge Munnshe, Amazing
Sounds (Spain)
"Amour is what many musicians strive for their entire career
- a moving, yet restrained work that can simultaneously reveal
artful sensitivity and technical accomplishment. From the opening
melancholy melodics of "The Deserts", that could serve
well as a motion picture´s opening title soundtrack, to
the resplendent tones of "Voyage", Blenner leads the
listener through a variety of well wrought sound- scapes. "Amour"
may be one of Blenner's finest albums to date, which is saying
quite a bit in a solo career spanning nearly 2 decades".
Bradford Warner, SoundDesign
(USA)
Vision et Poésie 1995
"...the whole thing is conducted with equal talent and subtlety.
Doubtlessly an aesthetic music".
Fréquence (France)
"Upbeat rhythms, sparkling melodies, and some characteristically
grand chord patterns make "Vision et Poésie"
yet another fine creation by Serge Blenner. While his French counterpart
J-M Jarre has been bringing spectacle to the majority of Europe
over the last few years, Blenner has been making an impact in
subtler style. Evolving his hard to categorize sound with everything
from orchestral samples to human voice, Blenner remains the more
sonically adventurous of the two, despite remaining very accessible
in style".
Bradford Warner, SoundDesign
(USA)
La Vogue & Magazin Frivole 1995
"This CD gathers together, in a very much expected re-released
by Serge Blenner´s fans, his two first albums, released
in 1980 and 1981 respectively. These are two legendary works,
where the composer proved his great imagination by creating a
powerful electronic music...".
Jorge Munnshe, Amazing
Sounds (Spain)
Musique Esthétique Vol.2 1993
"This is a compilation of tracks from three previous albums
(1985-1987) plus two unrealeased tracks... here he offers an hour
of fourteen soundtracks each resplendent in vibrant, colourful
synthesis... an introduction to his many talents".
Graham Needham, Cyber
Noise (England)
"...wer mit Herz und Hirn hört wird bei dem Wahlhamburger
aus Frankreich immer fündig. So auch hier: In "De l´Occident"
und "Cameleon" (die zwei unveröffentlichten Aufnahmen
des Albums) verbinden sich aufs Schönste klassische Symphonik
und elektronische Klangvielfalt. Blenner bleibt eben Blenner.
Gut so".
Albrecht Piltz, Keyboards (Germany)
Symbolique 1993
"This is impressive music to admire. The compositions are
all varied and strong, almost a symphony of music as the moods
and movements change, mixing the styles admirably, creating an
aureal sound- track. A magnificient album from France´s
best known secret".
Jim Cornall, Trax (Canada)
"Another great album from this French born man. "Symbolique"
is yet another superbly sculptured album that I enjoyed from beginning
to end. Twelve purely defined compositions that are played and
recorded with a finesse that takes the breath away, superb !".
Graham Needham, Cyber Noise (England)
"The latest release from the French synthesist who has long
laboured in the shadow of Jarre, but who seems to have eclipsed
him in inventiveness and diversity. This work harkens back to
the melodic days of "La Dimension Prochaine" and such,
melodic electronic music at its most pleasant".
Dirk Dra, (USA)
Libération 1992
"...Der Meister der elektronischen Symphonie... Nichts was
den Stempel "Blenner" trägt, erinnert auch nur
von fern an die Produktionen der Konkurrenz".
Albrecht Piltz, Keyboards (Germany)
"This album is an incredible voyage into the world of atmospheric
synthesis and soundtrack emphasis and it is basically brillant.
Very, very highly recommended".
Graham Needham, Cyber Noise (England)
"This is the latest release from the French synthesist. His
music has matured to a good degree from the fluffy, upbeat works
of the early eighties, two of which were released domestically.
"Liberation" features much more varied and intelligent
usage of synth textures, giving the tracks a orchestral, neo-classical
feel, sprinkled with sequenced, rhythmic melodies in the background.
Blenner shows that the adventu- rous spirit is still alive in
the French electronics scene. The fifteen tracks span just a bit
more than 72 minutes, utilising the capacity of the media to good
effect, which, in my opinion, is also a positive thing. In summary,
this is high-quality electronic music that should appeal to those
who enjoy the Berlin electronics sound, Jarre, and prior Blenner
output".
Dirk Dra, (USA)
Babylone 1991 "Wer
einmal in "Babylone" hineingehört hat, den wird
dieses Album lange Zeit nicht loslassen, allen anderen entgehet
eine der spannendsten Veröffentlichungen der letzten Zeit".
Albrecht Piltz, Keyboards (Germany)
"The Foreman of Gentle sounding Eurodigitalism, Serge Blenner,
has given a new portion of classical- oriental bytestream on his
later laser-disc...the greatest merits of this disc-among ambitiousness
and musicalness- are in its airy and light form".
Jaakko Reäpuu (Finland)
Cosmos
1990
"Damit hat Blenner endlich eine Tür aufgestoßen,
hinter der sich auch für einige seiner Computermusik kollegen
die Zukunft des Electronic Pop verbogen gehalten haben könnte.
Kompliment. Weiter so". Winfried Dulisch,
Keys (Germany)
"We are talking about a remarkable composer, Blenner has
his own and clearly recognizable style. "Cosmos" isn´t
background music, it isn´t electronic entertainment. It
is unashamedly ambitioud serious music of the 20th century, that
grafities its listener with intensive musical experience".
Jussi, Niemi (Finland)
Equateur 1988
"Der Franzose kann mit elektronischen Klangerzeugern umgehen,
beherrscht aber auch das komposi- torische Handwerk souverän.
Die vollständig digital Produktion ist klanglich ein Schmankerl".
Harald Keppler, Stereo (Germany)
"This French-born genius living nowadays in Hamburg is extremely
interesting, for he composes exclusively with synthesizers and
computers... for Blenner´s not in the least a sound-painter
using riffs, but a composer".
Bulk, Rumba (Finland)
Musique Esthétique 1988
"Die 12 Stücke des Samplers entstammen zu je einem Drittel
den 1985/86/87 veröffentlichten Blenner Platten. Gerade in
diesem Überblick zeigt sich das einfallsreiche kompositorische
Können des in Hamburg lebenden Franzose. Blenners Musik hat
Spinnennetz-Format einmal gefangen, kommt man kaum mehr los. Und
ich fliege gern hinein".
Keyboards (Germany)
"...superb CD compilation...The track on this selection are
indeed well worthy of inclusion and I´m sure this disc will
be a best seller. Highly recommended".
Compact Disc Service (England)
Les Architectes du Temps 1987
"Der Franzose ist ein Meister der Fusionen, Blenners verspielte
Interpretationen und glasklare Klänge manifestieren einen
eigenständigen Charakter, sie transportieren eine Atmosphere
sehr persönlicher Inspirationen".
Fachblatt Musikmagazin (Germany)
" ...Serge Blenner´s newie is quite good... I know
that to the average synth music collector it will be an essential
purchase".
AF, Audion (England)
La Dimension Prochaine 1986
"...der Unterhaltungswert seiner Stücke ist dabei unzweifelhaft
hoch...in einem übernatürlich großen Raum staffelt
er vorzüglich jede einzelne Syntheziserlinie. Die Durchhörbarkeit
ist dadurch phantastisch".
Kai Holoch, Stereoplay - die Perfekte 07/86 - (Germany)
"Although a major force in the European Music scene, Serge
Blenner´s unique lyrical romantic style can best be traced
to his French roots".
Billboard, (USA)
Plaisir Ardent 1985
"...fliessende Ambience-Musik zum verweilen und traumen...
liebevoll verspielt mit französischem Charme und Leichtikeit.
Sehr sorgfältig aufgenommen und perfekt produziert".
Music Scene (Schweiz)
Fracture Interne 1982
" ...Seine zwölf kurzen Kompositionen sind hingehauchte,
barocke Fragmente, schöne Hintergrunds musik die seltsam
unfertig wirkt und nur für den Augenblick Sinn ergibt und
Bestand zu haben scheint".
Franziska D. Graf, Sounds (Germany)
© MdeC Editions
