Bertrand's biography

Biography

YOUTH

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.

AMATEUR of ELECTRONIC MUSIC

In response to listening to Moondawn (a record of Klaus Schulze) Bertrand said, "I could play the same chord on the Polymoog for a whole hour - it is so beautiful." This is how Bertrand started with synthesisers. At the beginning of the 80s he had started a recording career and acquired his first synthesiser. Like other numerous new users of synthesisers, he was then playing with echoes, phasing, flanging,
reverbs etc. Buying the Korg MS20 from Lionel Palierne, from that time both of them formed a group called "Krill" with reference to the little shrimp eaten by fish and cetacean. They practised and created experimental music. Lionel said, " The music of "Krill" is the spiritual nourishment of the future". Bertrand started to record cassettes with the atmosphere of very strange and beautiful sounds which were poignantly electronic." One recording, "Prière", permitted him to be described as "a most promising French electronic composer" by the most active of the associations devoted to the promotion of electronic music.

CREATOR of MUSIC

At the beginning of the 90s, Bertrand discovered the existence of MUSEA, a label of extremely dynamic and expressive rock music. A friend of the Nantes musician, Bernard Ballet, proposed that the French label made Bertrand's first CD, "Prière". The project was completed during '92.
Since then, Bertrand has succeeded in making an album roughly every 2 years.
Although Bertrand is a discreet creator of music, he participates actively at the centre of his musical art along with his contemporaries. Public concerts are the known medium as well as the setting for his work.
His discography is presented entirely on the internet : here each one of his CDs has its place : contents, anecdotes, critiques or impressions. Listen to the music free of charge without forgetting the possibility of purchasing online.
His associated life is relatively unknown but none the less significant for that.

ASSOCIATIONS

In 1977, Bertrand discovered GAMEA (Animation group of Future Electronic Music). It consisted of a group of musicians who felt passionately about electronic music - particularly that of Klaus Schulze. In GAMEA he met Jean-Christophe Allier, a synthesiser player and great friend since that time (both of them in the photo opposite). As treasurer of GAMEA, Bertrand met 2 particularly motivated members : Christian Jacob and Serge Leroy, who are known for having developed the association "Crystal Lake" when GAMEA folded up.

There was also APRM, but the life of this association for musical research was short-lived. However, it gave Bertrand and one of his friends, Nicholas Moreau, the opportunity to organise a festival of electronic music in 1984 with Didier Bocquet and Jean-Philippe Rykielheere was also APRAM, but the life of this association for musical research was short-lived. However, it gave Betrand and one of his friends, Nicholas Moreau, the opportunity to organise a festival of electronic music in 1984 with Didier Bocquer and Jean-Philippe Rykiel.

Equally, there was the Association of Music and Technology created by Bertrand Loreau, Olivier Briand (photo opposite) and Christophe Martin of Montagu amongst othersqually, there was the Association of Music and Technology created by Bertrand Loreau, Olivier Briand (photo opposite) and Christophe Martin of Montagu amongst others.

In the 90s, Bertrand was amongst those who wrote the editorials of "Rubycon" and "KS-mag" - newsletters of progressive electronic music - without attempting to hide his allegiance to Klaus Schulze.

In the 90s, Bertrand was amongst those who wrote the editorials of "Rubycon" and "KS-mag" - newsletters of progressive electronic music - without attempting to hide his allegiance to Klaus Schulze.
Strong from such shared experiences, exchanges of ideas and affinities gained in this way, the association Patch Work Music was created by a group of friends found on the CD bearing the name of the association.

THE THIRD MILLENIUM