Musique instrumentale, Post-metal, Post-rock, Classique, Doom, Progressif
Hailing from France, Sairen is a composer accustomed to post-rock instrumental pieces.
Hailing from France, Sairen is a music composer accustomed to great alternative instrumental pieces. Introduced to musical listening and instrumental practice at a young age of fifteen, he discovered computer music which allowed him to take his first steps towards music creation. Since then, he has become very sensitive to baroque and romantic music as well as dark metal or post-rock, and he sometimes defines his music as a link between these seemingly opposite worlds.
Through a rich and harmonious sound language, Sairen delivers powerful contemplative music that evolves between post-rock, orchestral and electronic genres. With a style of writing occasionally borrowed from Classical genres and the use of amplified and electro instruments, Sairen offers a burning emotional sound universe, where each piece is an invitation to an uncertain and tumultuous journey. He says “Most of my songs are composed in two intense uninterrupted days. Beyond, the bright freshness evaporates and the process of creation becomes more laborious.”
In Flux EP
4.Le Négatif Des Apparences 06:40
7.Radicalité Des Temps Derniers 08:29
© Fluttery Records
As the year 2020 comes to an end, Sairen is ready to release his 4th album, “Vestiges”, with pieces he composed between 2019 – 2020. This is a a more “post-metal” album with dark atmospheric sound which also proudly features slow tempos and resounding endings.
Vestiges is a guitar dominant album. The guitars are sometimes heavy and tormented and sometimes more playful with the use of reverbs and delays. The pieces follow each other vehemently while the artist search meaning among the themes. Sairen says this album is more about being at the opposition and searching for truth.
Sairen composes and delivers his music from Brittany, France. His music is sometimes described as “apocalyptic instrumental pieces” by his listeners. He loves baroque and romantic music as well as dark metal or post-rock, and he sometimes defines his music as a link between these seemingly opposite worlds.
Besides musical influences from the post-metal / post-rock bands such as Mono and Will Haven, this album is inspired by the growing struggle between “being and having” and the “Orwellian era in which we are living in now” as Sairen describes.
released November 6, 2020
1.Vortex Lyre 07:14
4.Fall of the Colossus 05:24
5.Shield of Light 03:09
6.Shield of Light 01:05
7.Tsuki no Namida 05:04
© 2018 Fluttery Records
Hailing from France, Sairen is a music composer accustomed to great alternative instrumental pieces. Introduced to musical listening and instrumental practice since childhood, he discovered computer music which allowed him to take his first steps towards music creation. Since then, he has become very sensitive to baroque and romantic music as well as dark metal or post-rock, and he sometimes defines his music as a link between these seemingly opposite worlds.
Through a rich and harmonious sound language, Sairen delivers a powerful contemplative music that evolves between Post-rock, Orchestral and Electronic. With a style of writing sometimes borrowed from Classical and the use of amplified and electro instruments, Sairen offers a burning emotional sound universe, where each piece is an invitation to an uncertain and tumultuous journey.
“Neige Nuit” is the new release of Sairen. Short and intense, this album in nuances did not need much time for its elaboration: it shows a raw, homogeneous and spontaneous piece which through a rough winter journey evokes the subversive radicality of Being. The pieces are few, but their evolution is ample and generous, like “Vortex Lyre” which starts in a calm and serene way, ending in a smashing downpour of instrumental rising. Sometimes peaceful (Nordvarme, Shield of Light), epic (Fall of the Colossus) or dreamy (Tsuki no Namida), tracks follow and answer each other, until the relentless Neolithic which accomplishes the album in a massive flood of decibels.
released May 5, 2018
2.La Traversée 05:26
8.The Box 04:13
13.Ultime lumière 06:43
© 2017 Fluttery Records
“Most of my songs are composed in two intense uninterrupted days. Beyond, the bright freshness evaporates and the process of creation becomes more laborious.” Sairen.
The album is comprised of thirteen tracks. The first song is Cassiopée, a wonderful post-rock piece where the contemplative melancholy induced by the strings changes little by little, leaving room for a flood of guitars. It depicts a starry night, which at first seems calm and motionless, but eventually, anyone with a view in the cosmos sees the moving stars engaging in endless battle.
Like this first song, the album is all in nuances, expressing evolving feelings. Instruments of all stripes unite in a sound whirlwind where sadness coasts euphoria, and serenity succeeds the storm.
released December 8, 2017
Von: Jochen Rindfrey
The name Sairen hides a French musician and composer about whom not much else can be learned. After a debut only available as a download, his second album Ultima Lux was also released on Fluttery Records as a physical sound carrier. Who does what there, whether only Mr. Sairen is active or other musicians, is also silent about that. The label info speaks somewhat vaguely of “use of amplified and electro instruments”.
Anyway, the short pieces are all instrumental and stylistically show quite different. The cover almost screams “Postrock” at you, and that’s what it starts with. The first few pieces are actually classic post rock with alternation between passages of gentle, downright barren elegy and mighty mountains of sound made of jubilant guitars. Then it becomes neoclassical with a lot of bombast of winds and strings (which may have been produced electronically), a bit spacerocky with a lot of electronics, metallic, or once again post-rocky with massive orchestral bombast and in between a romanticizing piano piece.
A lot of variety is offered on Ultima Lux and each piece in itself is quite successful. Alone, I am missing the common thread, the album ultimately seems like an arbitrary collection of different styles. This can bother you, but you don’t have to. The album is definitely worth listening to for post rock lovers.
Von: Gunnar Claußen
Sairen on the second: Just six months after “Ultima Vox” there is already a new album with “Neige Nuit”, and in the meantime the involved musician of this name has of course not revealed his identity or just revealed further details about the making of these recordings . So once again the music comes first. Interestingly enough, the label info says that “Neige Nuit” in nuances did not need much time for its elaboration “, be it” [S] hort and intense “- this modesty seems to be an ornament for a 40-minute record to be.
At least the “intense” cannot be denied, even if “Neige Nuit” with “Vortex Lyre” with clear guitar arpeggio motifs, which are later accompanied by keyboard instruments, begins rather contemplatively and then, typical for post-rock, with the onset of percussion and crescendo increases, but tends to remain slow and difficult and does not lapse into hysteria. The following “Nordvarme”, on the other hand, has a similar structure, but first sprinkles in a sampled choir via a chirping and puffing loop rhythm, later strings are added – so an orchestral bombastic direction is already indicated.
From here and with this, Sairen continues to develop his music. “Salvation” already adds a lively, rocking aggressiveness with a catchy bass riff, which is later taken over and formulated by the electric guitar, but not without taking an A-guitar-heavy break in between, and the immediately following “Fall Of” The Colossus “creates a certain mood of optimism only with a sharply harmonized guitar motif and increasingly urgent drumming and finally, after the usual delayed increase with horns, ensures a successful bombastic climax with a hearty film soundtrack appeal.
Sairen has developed this style with this, so it is fully enjoyed in the last two tracks (whereas the two (!) “Shield Of Light” titled numbers before that are minimalist sound sketches). Actually – but that doesn’t stop there either: “Tsuki No Namida” surprises with a sweeping main riff in 9/8 time and also deviates a bit structurally, it starts here with full intensity, but then it calms down and finally that initial volume gradually regained over time – but again using the orchestral elements. “Neolithic”, on the other hand, initially struggles a bit with vibrating strings, echoing guitar chords and sporadic percussion and drags on, but finally after a little more than three minutes it really works itself out, where heavy rock and the film score orchestra come together .
So “Neige Nuit” is an album that can be entertaining, because on the one hand the named pieces from the last two thirds of the season are of course pretty well done in terms of craftsmanship and composition, despite some well-worn dramaturgies, on the other hand it is simply pretty good in the course described It is cute to hear how the music gradually appropriates and works out its stylistic features. That is not only interesting in itself, it also makes it clear that the responsible musicians – Sairen himself – are in a continuous process of further development. So it should go further.
by Dave “That Metal Guy” Campbell at 09 November 2020, 12:25 PM
Hailing from France, Sairen is a music composer accustomed to great alternative instrumental pieces. Introduced to musical listening and instrumental practice at a young age of fifteen, he discovered computer music which allowed him to take his first steps towards music creation. Since then, he has become very sensitive to baroque and romantic music as well as Dark Metal or Post-Rock, and he sometimes defines his music as a link between these seemingly opposite worlds. His fourth studio album is presented here, and contains seven tracks.
“Sacrificiel” leads off the album, with dark tones and an even-keeled rhythm. Bass guitar thumps away, and it eventually drops to just some light, atmospheric tones for much of the middle section of the song. A key change ushers in a new sound, which is again dialed back. I’m not sure what to make of the album, but this is just the first song. “Inévitable” is under five-minutes in length. It has a long and slow fade-in. The sound is again somber and steady, then drops off again. I am sensing a bit of a pattern here.
“Insecte” pushes some dark tones in the opening, with a riff that repeats as first, then retreats into the background. A little bit of sad melody comes through with the guitars, but that darkness never completely fades. A secondary riff comes through close to the half-way mark, thick with staccato. Then, it’s back to the opening sound again. “Le Négatif Des Apparences” opens with some soft bass guitar notes and drums. Some light guitar work leads to the main riff. It’s melancholic and depressive mostly. Again, the sound drops after the half-way mark, and at this point in the album, the vision of Sairen is fairy clear.
“V’empire” features some more guitar presence than previous tracks did. It’s still that droning, somber style but at least this song has a little more “umph” to it. Again, the sound drops around the half-way mark, and he has a formula he is sticking with. “Interlude” is a short, two-minute song that connects to the final lengthy track titled “Radicalité Des Temps Derniers,” which is eight-minutes in length. It opens again with some dark tones, and a slow, grinding rhythm. Once again, the sound drops to nearly nothing, then springs to life, and retreating again.
This was a very tough album to evaluate because there just wasn’t much sound overall. I love this type of music Sairen just didn’t present much in the way of sonority, choosing too many atmospheric passages that occupied much of the album. It’s dark for sure, but too much time passed between moments of sonority, and many of the tracks sounded the same. It’s just not for me, and I would have trouble locating someone who might really appreciate this style of music.
Stupendous French composer and multi instrumentalist, his melodies very well structured have a dark style of metal on a neo classical basis, full of impressive details. Impressive harmony and cadence, with soft, melancholy and atmospheric textures alternating with a vigorous intensity of riffs. This missegenação of styles was fantastic, a beautiful work. Aryon Maiden