Released on February 1, 2026, Rêve1: Vent Fragile feels less like a single and more like an invitation inward. As the opening chapter of Serij d’Artosis’ EP Vestiges de Rêves, the piece drifts between wakefulness and sleep, carried by minimalist piano lines and delicate orchestral textures. Drawing inspiration from neoclassical masters while maintaining a deeply personal voice, Serij transforms subconscious imagery into sound with striking restraint and emotional clarity.
Recorded between Paris and Frankfurt am Main, Rêve1: Vent Fragile captures the fragility its title suggests. Live piano breathes at the center, while subtle digital orchestration expands the emotional space without overwhelming it. The result is intimate, cinematic, and quietly immersive—a work that asks listeners not to analyze, but to feel.
We sat down with Serij d’Artosis to talk about dreams, independence, minimalism, and what it means to let the music find you.
Interview with Serij d’Artosis
What draws you to themes of dreams and inner emotional worlds in your music?
Perhaps Shakespeare’s words capture it best: We are such stuff as dreams are made on. I’ve always been fascinated by the inner world of human beings, by what is invisible at first glance, yet so intensely present. When I ride the Paris metro and see someone sitting opposite me who looks sad, I immediately begin to wonder what led them to that moment. The instant when an inner emotional world of dreams, longings, wounds, and melancholy begins to surface on another person’s face is absolutely fascinating to me.
The boundary between wakefulness and dreaming, between emotion and imagination, has always felt incredibly thin. I cannot point to one specific moment when I realized that dreams and visions would become the center of my creative work. I’ve been searching for these emotions and inner worlds since childhood, both within myself and in others, and naturally they became the heart of my music.
How has music and composing changed your life?
I have to admit that music, and especially the process of composing it, has given my life a completely new meaning. On a daily basis, I work a regular job and do not make a living from music, which makes every moment I can devote to it incredibly valuable. I get up very early, often before four in the morning, constantly watching the clock and counting time. The more time I manage to save during the day, the more I can devote to music, even though the process can be truly time consuming.
What challenges come with handling the entire production process yourself?
When the entire production process rests on one person, you have to learn everything and step into every discipline, often through trial and error. One of the greatest challenges for me was understanding piano acoustics and the recording process itself. This is knowledge many people acquire over years of study, while I had to learn it on my own. Recording an acoustic piano can be extremely demanding.
Then comes editing, improving recording quality, and finally experimenting with plugins and sound details. Over time, many of these things began to come more easily and intuitively. When I hear the recorded piano sound blending warmly with plugin based instruments, I know I’m heading in the direction I set for myself, while still remaining aware that I’m constantly learning.
Which artists have influenced you the most?
Both Ludovico Einaudi and Yann Tiersen are true masters for me. Einaudi is a master of musical space, his pieces feel like written diaries that leave interpretation to the listener. Tiersen, on the other hand, is a true instrumental professional, showing how much beauty can arise from pure passion for music.
It was Einaudi’s piece Nefeli that started my journey with the piano. I discovered it five years ago and felt so connected to it that I wanted to learn it myself. Of course, it was far too difficult at first, especially starting piano at the age of 32. Yann Tiersen’s Comptine d’Été No. 2 was the first piece I actually played on the piano.
How have film composers shaped your musical perspective?
Film composers like Danny Elfman, Philip Glass, and James Newton Howard had a huge influence on me. Through their work, I found my place in the musical world. Their compositions show how powerful music can be for storytelling, how emotions and sonic space interact with imagery and narrative. This experience made me even more aware of the immense potential that lies in emotions, simplicity, and creativity in music.
What role does Réve 1 Vent Fragile play in the EP?
Réve 1 Vent Fragile serves as a prologue and a gentle introduction to the EP. The composition reflects the moment of falling asleep, the transition from wakefulness to deep sleep. But it’s also about immersing ourselves in everyday dreams and thoughts, the moment when we feel our heartbeat and hear our breath. It acts as a pathway between the real world and the world of dreams, guiding the listener into the emotional and conceptual space of the entire project.
Why are titles so important in your instrumental work?
I usually keep titles simple and concise, minimalist like the music itself. With Vestiges de Rêves, however, titles play a more complex role and become an integral part of the story. In instrumental music, where there are no words, the title becomes a guide for the listener, the first point of contact with the piece.
Vent Fragile, for example, suggests delicacy and subtle movement, immediately immersing the listener in the world I’m trying to create. For me, a title is not just a word, it’s the first glimpse into the emotional space in which the entire musical story later unfolds.
How have Paris and Frankfurt influenced your music?
Both cities have a subtle yet significant influence on me. Paris is a source of constant inspiration. Its history, culture, architecture, and everyday life permeate my emotions and dreams. In Paris, I feel at home.
Frankfurt, on the other hand, is more raw and somber. Creating music there requires deeper focus and introspection. As a result, Paris brings warmth and color to my music, while Frankfurt contributes austerity and focus. Together, they give my work depth and contrast.
How do you balance live piano with digital orchestration?
For me, it’s about balancing intimacy and space. The piano carries emotional immediacy, every touch and nuance, which I strive to preserve before introducing orchestration through plugins. Even with digital instruments, every note still has to be written and played by hand.
I often use violin, ambient, and percussive plugins, along with reverb, to add depth without overwhelming the piano. This approach allows intimacy and expansiveness to coexist.
What does success mean to you as a composer?
If my music evokes emotions in someone, I consider that a success. It doesn’t matter when or how they listen. The composing process feels almost magical to me, and minimalism allows emotions to resonate without excess. Music’s beauty lies in its ability to move people in subtle, personal, and universal ways.
How do you approach inspiration and creativity?
I don’t try to force inspiration. I let ideas come naturally by observing the world and everyday experiences. Music feels like something that finds me rather than the other way around. This approach helps me maintain authenticity and naturalness in every piece I create.
What can listeners expect next from you?
There are many musical directions I wish to explore, including more rock oriented sounds, though my heart remains closest to neoclassicism and minimalism. Soon, my album De vous à moi will be released, alongside the EP Vestiges de Rêves, which is more cinematic and instrumental. It’s a journey where piano intimacy meets expansive orchestration and subtle cinematic expression.
Closing Thoughts
With Rêve1: Vent Fragile, Serij d’Artosis opens the door to a deeply personal sonic world where dreams, memory, and emotion quietly intertwine. As Vestiges de Rêves continues to unfold, it’s clear that this is an artist guided not by trends or urgency, but by listening—to the inner world, and to the music as it arrives
