Loreau, Bertrand

Bertrand Loreau was born of and brought up by a family which was passionate about classical music. His elder brothers and sisters played the piano, violin and clarinet. At the age of six he took classical piano lessons and was introduced to the classical composers in this way. So towards the end of the sixties, he was a young boy noticing the electronic sounds in the TV adverts. He also noticed the use of a synthesiser in Elton John's first record. This passion for synthesisers developed during the 70s whilst listening to Pink Floyd, Emersion Lake and Genesis. Klaus Schulze's concert at Nantes in may 1977 caused him to be convinced that he too one day, would devote himself to electronic music.
Loreau, Bertrand
Bertrand Loreau + Frederic Gerchambeau - Vimanafesto

Artist: Bertrand Loreau + Frederic Gerchambeau
P: 2017

Frédéric Gerchambeau and Bertrand Loreau are two prominent (and current) members of a genre called Berlin School, which, since its birth in the late sixties, has spread throughout Europe - and elsewhere - and still offers us great reminders and nods to what we were already able to do with synths, well before the era of all-digital. If this "school" - it is more discreet in this millennium, and if its teachers and students have grown - some have died, like Edgar Froese - the "hard-liners" who perpetuate gender and analogy against the winds and (raz-de) tides (those of electronica, techno, etc.) are also able to renew it. And, we hope to reach a new audience that was not even born in the early days of analog synths ...
So we find brilliant Berlin School music here.

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Bertrand Loreau + Olivier Briand - Interferences

Artist: Bertrand Loreau + Olivier Briand
P:  2013
The style of Bertrand combines delicate sequenced lines and romantic -acoustic like- feelings although Olivier Briand works more on strong analog atmospheres, powerful and complex analog improvisations and often goes through avant-gardism, always exploring new directions and influences including traditional music. The two musicians have each one a strong personality but also many common points. They like to play acoustic piano, to work on subtle harmonies, to play expressive and delicate improvised solos in a jazz-like way, having always the Berlin school style of music as a main background influence. It took a long time before they decided to sign a complete album together. But now it is done with “Interferences” and with the help of Lambert Ringlage and Patch Work Music. “Interferences” is the best invitation that you can dream of, to go inside the universe of two of the best electronic french musicians, who have succeeded in listening each other and combining their differences for recording an original electronic landscape.



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Bertrand Loreau - Amarres Rompues

Artist: Bertrand Loreau
P: 2013
Hollow winds, melodious almost, shake some sonic twigs which sparkle in a somber ectoplasmic universe. It's in this way that the first part of "Le Vaisseau Fantôme Part I" lands between our ears. Afterward, the nine other parts spread some musical veils as much of abstract colors as the melodies can be evasive. “Amarres Rompues” is to Bertrand Loreau what Beaubourg is to Vangelis; a somber album where the borders of the sound experiments are, on the other hand, embraced of a ghostly melodic approach. The tenebrous lamentations of the Yamaha DX-7 float like tears in weightlessness, unfolding oblong sighs with the reverberations tinted of an ochred plasma where the melodies invite themselves and of which the scarlet tints infuse an immense veil of sadness into a sonic setting which flirts between the cohesion and the abstraction, as "Part III" and its black contemplative melody which roams in an introspective cosmos. And it's not because it's a more experimental universe that Bertrand Loreau denies his melodic approaches. Not at all! Among all these winds, turbulences, eddies of synth pads and cosmic sound effects are hidden fragments of melodies which cry in the shadows of the dissonance. Like in the enveloping "Part IV" where they cry of their solitude, or still the very angelus "Part VIII"; two musical pieces with a strong apocalyptic scent à la Vangelis and the darkened but how much romantic "Part VII". And if we want to relax from these psychosonic moods of "Part VI" or "Part VIII", "Part IX" is tying up the broken mooring lines with a superb track where Bertrand Loreau shows to us that he masters to perfection the hypnotic and musical rhythms, as well as the harmonious envelopes which recover them of an attractive shroud of nostalgia. Simply brilliant!
Although clearly more musical, "Le Bateau Ivre" staggers the same ambiospherical longitudes as "Le Vaisseau Fantôme" but with spasms of rhythms clearly more aggressive, as on "Part I" and its sequences which alternate the steps of the violence in accordance with metallic pads of some rather pugnacious synth lines. The ambiences are always torn between some rhythms as much impulsive than the dysfunction of a haywire robot while the melodies show their temperaments of grazed contrasts in a sonic arena populated of rebellion. There are also more musical tracks, more in fact than on "Le Vaisseau Fantôme", even if always enriched in the complex of the reflections of an author who pushes the limits of its machine, and not the opposite, as on the disturbing "Part II" and the organic fury of "Part III". And what to say about "Part IV" and its melody which dances on the hopping chords of sequences, just like in "Part VII" and finally the soft and very melancholic "Part V"? They are simply beautiful pieces of melody mislaid in a mist of experimentations.
In spite of its very experimental sonic environment, “Amarres Rompues” proposes musical plays that will please as much to fans of abstracted EM as melodic, although the melodic portion asks a little of guts from the ears. But once tamed it, well assimilated it, we hear that “Amarres Rompues” remains the musical signature of an author who, of the bottom of his sound experiments, will never succeed to hide his soft touch of melancholic harmonies.


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Bertrand Loreau - Connexions

Artist: Bertrand Loreau
P: 2014
Here Loreau returns to his traditional style of melancholic melodies, and nostagic feelings. Also Awenson joins him at one track.

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Bertrand Loreau - Correspondances

Artist: Bertrand Loreau
P: 2015
This is a hommage a Nantes the French town.
Loreau returns to his traditional style of melancholic melodies, and nostagic feelings.

 

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Bertrand Loreau - Dune Rive a Lautre

Artist: Bertrand Loreau
P: 2006
Music with a classical feeling. Some guestmusicians like Olivier Briand join the lineup for this CD. They all produce an emotional melodic style, that cover a wide range of electronic music.
The synthesizersounds are the main basic structures and some orchestralsounds like flute and oboe are added.

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Bertrand Loreau - Finally (2CD)

Artist: Bertrand Loreau
P: 2017

French artist Bertrand Loreau presents a double-CD-compilation of his best melodic, peaceful, romantic and introspective titles (released and unreleased) he has created over the years.
Bertrand Loreau learned to play classical music as a child but stopped to play the piano during his adolescence and became a fan of progressive rock music, especially of Pink Floyd. He started to play electronic music at the beginning of the 80s, being influenced by Klaus Schulze and Tangerine Dream that he discovered in the middle of the 70s. Though he regularly returns to making berlin school music, produced and distributed by MUSEA and Spheric Music, he also occasionally develops a melodic style during his musical life. He often records short tracks based on improvisations on the accoustic piano.Years after years Bertrand Loreau composed many little pieces in the vein of Vangelis, Enya, Mike Oldfield, etc. However Bertrand has his own universe due to the influence of the classical music he listened to when he was a child. After 35 years of musical creation and because of his recent Spheric Music releases Bertrand is often seen as a berlin school musician. With « Finally » he wants to bring together a selection of melodic tracks which are, at his point of view, a good introduction to his intimate and sometimes mystic feelings that make him an original artist within the berlin school scene. Bertrand Loreau asked the great french designer Jean-Loïc Mellin to create beautiful paintings for « Finally ». They remind Bertrand of his interest in progressive rock music and illustrate the world of peace and hope which have been created from his electronic instruments.
« Finally » is a 40 - track - double CD and a way to share with us a delicate and sensitive musical landscape.   

18,90 EUR
 
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Bertrand Loreau - Jericoacoara

Artist: Bertrand Loreau
P: 1998
The title Jericoacoara corresponds to the name of a little village situated in the north east of Brazil.
In 1998, Bertrand met a young Brazilian girl, who came to Nantes to learn French. Now, they are married. One day, from Brazil, Bertrand's wife, Luciana, sent him a picture from Jericoacora. Bertrand discovered the picture as he was recording a very tranquil piece of music. He decided to call the music "Imagine Jericoacoara" and finally gave the name "Jericoacoara" to the CD itself.
Bertrand wanted to create a very homogeneous CD. The music is completely relaxing. The ambiance corresponds to the will of producing an even more quiet and more tranquil music than before, with the intention of being very close to the taste of Bertrand's wife.
The track "Another Prophetic Step" is an adaptation of the music "Prophetic Step" created by Bertrand's friend Olivier Briand.
The music "Submarine" exists under the name "Experience" in the CD "Musik Sky" by Christophe Poisson.

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Bertrand Loreau - Journey Through the Past

Artist: Bertrand Loreau
P: 2012

In France Bertrand Loreau is one of the most talented artists in the field of progressive electronic music. On this album you hear a hint of Jarre, a hint of Schulze, a hint of Froese and a good patch of french emotion that supply a great harmonic and dreamy charme.  To be recommended to all fans of traditional electronic music (end of 70s, early 80s), who like the old sounds of Hoenig, Froese (Stuntman-era) or the early Jarre- and Schulze classics. Come on, let us go on a journey through the past of the vintage synthesizer sounds of the 80s.

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Bertrand Loreau - Le Pays Blanc

Artist: Bertrand Loreau
P: 1994
The titles were inspired by places in the region of Batz sur Mer, it's a region where Bertrand spent much time when he was a young man. The track "Départ pour le Four" make think to a journey on the sea, from the Croisic to the lighhouse of the Four.
The title "Au Revoir" wanted to say : "I hope to come back with a new CD but I am not sure, at this moment, that the CD will exist one day".
The outside of the booklet is a painting from Monique Hascoët, specially composed for the CD. This watercolour is a description of a village called "Saillé" which is in the centre of the region of the marais salants of Batz sur Mer and Guerande.
The pictures of the booklet were taken by the professional photographer, Xavier Bareault, in the region of Batz-sur Mer of course.
Bertrand thanks Philippe Brodu who is a specialist in application of informatic for music and his advice was very helpful

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Bertrand Loreau - Morceaux Choisis

Artist: Bertrand Loreau
P: 2011
Thirteen pieces filled with his outstanding feelings emmenent us in an electronic trip in tones sometimes close to acoustics. Musical, poetic and electronic, Morceaux Choisis solidifies the perception with a finely elaborated music where the composer and synthesist of Nantes shows off a surprising knowledge by handling styles which overlap in a surprising harmony. Whether it’s melodious or progressive Berlin School, electronic melodies or classical music, Bertrand Loreau weaves beautiful musical paintings which touch inevitably our feelings, the mark of a great composer.


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Bertrand Loreau - Passe Compose

Artist: Bertrand Loreau
P: 2002
Listening to old tapes, and to some others which were recorded at the time of creating the albums, gave me the idea of producing a new CD composed of old remixed tracks, with more recent materials added. "Passé composé" is a puzzle of unfinished music, which recapitulates ten years of musical creation. So we find a wide range of tracks with alot of different electronic styles, just from light experimental till finest Tangerine Dream school style.

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Bertrand Loreau - Priere

Artist: Bertrand Loreau
P: 1992
"Prière" is an assemblage of tracks which were composed at different periods. "Léone, pour une Poignée d'Accords" is, obviously, a tribute to the composer Ennio Morricone, enjoyed by Bertrand and Bernard. The tracks "Aux Frontières de l'Anaconda" and "En attendant Christophe Poisson" were realized in 1989. "En attendant Christophe Poisson" is a tribute to a friend of Bertrand, who died in 1986. Christophe Poisson had played with Bertrand in the middle of the eighties, especially during a concert in a little town, St Etienne de Montluc, close to the suburb of Nantes. The music "Simulacre" now exists, in a new version called "Simulacre of Dream" in the CD "Passé Composé". Bertrand had the bad habit of forgetting to give titles to his compositions until they were chosen to be published. This the reason why a few tracks like "Rêve lové" were named by Bertrand's friend Bernard Ballet.The CD is dedicated to Klaus Schulze. Bertrand particularly admires the authenticity of the German musician.
Bertrand thanks "all his friends who love and play electronic music". He was thinking of his friends Olivier Briand, Jean-Christophe Allier, Lionel Palierne and Christian Gerard who later got together for the creation of the CD 'Patch Work Music'.


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Bertrand Loreau - Reminiscences

Artist: Bertrand Loreau
P: 1985 / 2009
This is great Berlin School style music by this french artist, which was composed in 1985 and finally now saw the light of day in 2009. The music is melodic with lots of old sequences and an real vintage atmosphere. One very good artist from the french electronic music scene.

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Bertrand Loreau - Sequences

Artist: Bertrand Loreau
P: 2010

"Séquences" is a compilation from many parts played on live concerts between 1988 and 2005 and with a major focus on the musical sequences. Here we find a lot of sequences in Berlin school tradition with some melodies on top.


Here the last copy!

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Bertrand Loreau - Spiral Lights

Artist: Bertrand Loreau
P: 2014
Bertrand Loreau already released several albums on the well known Musea label in France.
Since the album "Journey Through The Past" Bertrand started a re-birth of his Berlin School style of music on the german label Spheric Music.
After releasing "Nostalgic Steps" and "Interférences" (both on Spheric Music), "Spiral Lights" is the most recent release.
His main focus are the sequences that are the typical character of Berlin School inspired tracks.
When you listen to his new album you hear the influence of Klaus Schulze and Tangeirne Dream, but also the typical Loreau style that adds romantic and harmonic melodies.
Recommendable to all Berlin School electronic music fans!

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Bertrand Loreau - Sur le Chemin...

Artist: Bertrand Loreau
P: 1996
The aim of Bertrand was to produce music closer to his original influences : Klaus Schulze and Tangerine Dream.
This impression can be felt in particular with tracks like "Point de Fuite" and "Sur le Chemin".
"La Chaise Vide" - The Empty Chair - is dedicated to a young schoolboy, who died suddenly, and who was Bertrand's pupil.
The music "Sur le Chemin" - On the Road - means that for Bertrand, creation is the consequence of life events, meetings and emotions, of the roads of life which are parallel and which sometimes separate.
The cover picture is taken in the centre of Nantes, very close from the house were Olivier Briand was living at that time. It is a place were the two friends spent much time together.
Up to now Bertrand considers "Sur le Chemin..." as his best composition.

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Bertrand Loreau feat. Lambert - In Search of Silence

Artist: Bertrand Loreau & Lambert
P: 2016

Bertrand has always been a fan of TD and Klaus Schulze since his youth in the 70s.
On this album he presents the basic concept and basic structure for a big Berlin School work containing three long tracks like it was usual in the 70s.
Bertrand used analog equipment especially a modular system which is responsible for great sounding sequences.
Lambert coming from the “Tangerine Dream school“ added many effects and atmospheric sounds and put weight on making good tranistions between the tracks that you feel it is complete opus. Most of the music have been played spontaneously during one take.
This enriches the character of the 70s when the Berlin School pioneers improvised on the sequences.
This interplay should be a delight for the fans of the 70s Berlin School style.
Check it out.

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