Serge Blenner is an independent composer. Unlike many of his contemporaries he will not "try anything" to attract public attention. Instead he works consequently on the development of his personal styles of composition and orchestration.

Though Serge Blenner has composed and released an impressive number of albums (17 in 28 years, to be exact), like a true artist he has never really been concerned about commercial success or popularity. That’s why, despite his considerable base of loyal fans and customers (who live as far away as in Sydney, Tokyo, and Minneapolis), hardly anyone knows anything about the life and work of Serge Blenner in the country he has chosen to call home, Germany. This may be because Blenner’s music isn’t easy to categorise as any particular genre. It’s not really ambient, nor chill out – it's stimulating philosophic New Age Music, at most. After all, life in a pigeonhole isn’t particularly comfortable, no matter how popular they may be.

Furthermore, his music grew up with him. When he began  producing classical music on electronic equipment over 20   years ago (one of the first to do so in Europe, by the way),    his contemporary experiments were hard on some     people’s ears. When, in 1984, IBM published a lavish      book together with a vinyl compilation of the world’s       leading "computer musicians", Serge was included as        the musical enfant terrible, much to his satisfaction.         However, in recent years, his music has become          gentler, more atmospheric and much more melodic…           no  longer  wanting  to  fill  the space between our ears

with agitated percussion, it now prefers to act as a stimulant and catalyst for personal feelings and images.

Add to this the fact that Serge Blenner has always invested all proceeds from the sales of his CDs and records into acquiring increasingly professional studio equipment. What’s more, for his symphonic works, he uses expensive software/sound library that basically places the skill of the world’s top symphony orchestras at his disposal as a base: rather than synthesizing them, he gets the richness of tone of real musical instruments that only virtuosos know how to coax out of their equipment. The results can be heard on his latest CD Musique de Chambre in pieces such as Balance, Les Perles, and Symbiose : orgiastically ample strings and puritanically filigree piano sonatas flit through the cerebellum as though it were in the middle of a concert hall. This is precisely Blenner’s second talent: dedicating the same care to the orchestration of a piece as to its composition.

Serge Blenner’s muses are philosophy, nature, and life itself. Anything that crosses his eagle-eyed intellect’s field of vision risks being turned into music. Thoughts solidify into themes and fragments into sequences, which he collects and saves until a piece is finished enough in his head for him to transform it into something that can be heard. This peculiarity can be hard for his friends to take: he really does begin by composing a new piece to the very end mentally, without anyone around him having the least idea – clued in by experimental tinkering, for example – of what’s looming. A professional dream… Yes, Serge Blenner has one, too. He loves well-made, sophisticated (documentary) films. And, who knows, maybe the films for pieces like Balance, Les Perles, Symbiose or La Source already exist in some filmmaker's heads.

If not… Well, "Unfilmed Music" is a pigeonhole that he might even appreciate.