Sairen’s 4th album, “Vestiges” contains the pieces he composed between 2019 – 2020. This is 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 searches 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.

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 music. With a style of writing sometimes borrowed from classical music 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. This intense album in nuances does 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.