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)

"Looking at the tape overlay, the first impression you'll get is a weird one as it suggests one's mind consciousness opening to another dimension. As you listen, this music will undoubtedly do this to you. The upbeat music follows in the steps of J.M. Jarre's European sound but has even more to offer than a chain of sequences. With four selections on each side (rarely less than four minutes apiece), you'll definitely get your fill. I'd tell this Frenchman that it was a good project to produce, and should be proud of it...Good."
Alex Rad, All Music Guide (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)

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