INTERVIEW: Sequence Of Events unveil debut 'The Art Of Memory' LP on Subject To Restrictions Discs
- Chromatic Club
- 4 jul
- 7 Min. de lectura
Actualizado: hace 4 días

Blending the raw textures of post-punk and industrial with the immersive qualities of shoegaze and krautrock, Sequence of Events navigate sonic terrains that feel both deeply intimate and expansively cinematic. Their debut album, The Art of Memory, is a hypnotic, fragmented journey through dreamlike states, philosophical inquiry, and visceral soundscapes.
We sat down with Deniz and Joshua. to discuss the emotional and conceptual underpinnings of their work, their fine art backgrounds, the role of memory and myth, and how they continue to forge their own path within and beyond the music scene.
Pre-order/Preview the LP HERE
Hi Sequence of Events, welcome to Chromatic Club! How are things?
D: We’re doing well, thank you! We’re happy to have played a few shows in Switzerland and Germany to promote the album a bit. Now that summer is here, we’re looking forward to taking some time to rest. We’re grateful for the very positive review of the album.
J: We’re grateful to release music on our own terms and for the genuine interest it receives. Thank you!
"The Art of Memory" feels both cinematic and deeply personal. What emotional or psychological terrain were you exploring through the album's fragmented, dreamlike structure?
D: Being, in the fullness of experience, cannot be broken down into separate parts like senses, thoughts, or feelings. It is a densely woven entity that carries and radiates a certain mood, color, or character. We both share many artistic and intellectual interests and fields that engage us. Our creative exchange is, in fact, just as much an intellectual dialogue.
J: Deniz and I share something I’d describe as the absence of a clear line between personal belief and professional ambition. What we do is simply what we want to do and we pay a certain price for that, especially since neither of us comes from wealth. The things we talk about often flow straight into the work. Lyrics grow out of our conversations. Parts of the artwork – collages, altered images – come directly from our message threads. Anything we say or do can end up in a project. Sometimes it’s obvious, sometimes it’s just quietly woven in.
You've described the album as "absolute sensuality." How does that idea translate sonically for you, and what role does rhythm and texture play in evoking that sense?
D: Individual elements aren’t defined by their uniqueness but rather as an amorphous, undefined mass of sound. Rhythms and textures can’t be seen as separate components. Instead, everything dissolves into an intense, immersive sensory experience.
Your music weaves together post-punk, shoegaze, and industrial sounds with krautrock influences. Was there a specific track on the album where this fusion clicked most naturally?
D: Each song reflects these influences to varying degrees. Becomings, for example, is clearly deeply intertwined with elements of shoegaze. For me, the blend of industrial, krautrock, and post-punk came through most strongly in TAR. But consciously, this didn’t shape our working process. We don’t think in genres, even though—like everyone—we’re inevitably influenced by this kind of categorical thinking.
The visual and conceptual influences behind the album—occultism, fin de siècle imagery, and AI-generated ephemera—are striking. How do these ideas manifest in the music itself?
D: Sound and image are inseparable in our minds, intricately connected with memory and our other senses. The division between them is a concept humans use to make reality comprehensible. With this idea in mind, we try to approach visual material as if it were auditory and vice versa. An image shouldn’t merely illustrate the sound, just as images shouldn’t simply serve to represent the audio.
J: I’m glad you mention the ‘fin de siècle imagery.’ It’s absurd: as an artist and musician in the late 20th century, when every theory, every antithesis of history and memory has been laid bare, dissected, regurgitated, and force-fed until we’re all overflowing, how do you actually keep on working? Standing on this vast, towering mountain of influences–most of them just faint echoes–makes it impossible to fully immerse in anything without the fear of simply reawakening what’s already been done. What else is this, if not a colossal, centuries-spanning exorcism and simultaneously, an endless summoning of dead souls? Sometimes, I feel as if I were born into a global, transcultural subconscious mass ritual.
You both come from a fine art background. How does that sensibility influence your process when working with sound versus image? Do you approach a track the way you might approach a painting or an installation?
J: As an artist with a musical background, even as a kid playing drums and drawing, I never quite understood the difference between the two or why it should matter to anyone. I don’t think painting could exist without music; music is part of nature, while sounds (words), symbols, and stories belong to human nature. I like to think of culture as something we should unfix—breaking free from rigid identities and fixed definitions.
D: Same here. I think we approach things less as musicians and more from the perspective of aiming for a creative process that isn't tied to any specific medium. Ideally, that's exactly what an art school should offer: the space to experience that, along with a strong sense of self—to understand what you do want to make, and just as importantly, what you don’t. Art, after all, can’t really be taught, aside from maybe certain methods or techniques. It’s more about ideas and sensory experiences than about producing artistic ‘works’.
You mention the "algorithmised abundance of images and sounds" and how culture is now shaped by these overwhelming stimuli. Is your music a reaction against that, or is it more of a way to exist within it?
D: Both—and neither.For all the justified criticism, it’s still difficult to subtract oneself from a specific time and context.And yet, the attempt to do so remains worthwhile and necessary.
This paradox runs through the very core of human existence:To know that life is finite, and still choose to live.To know that certain things may be unchangeable, and still choose to try.
In everything we do, we try to free ourselves as much as possible.Freedom may be an empty concept but the process of liberation is constant.
J: It’s like a vast, uncontrollable feedback loop: realities shaping humans, humans shaping realities.Even trying to grasp what that means—to truly sense what it is to be part of it, whether you feel like opposing or controlling it (neither of which anyone really does)—can be a profound and intense experience.Not overwhelming, but perhaps… humbling.
The album title, The Art of Memory, evokes an ancient rhetorical technique. Is there a narrative or mythology at the heart of the record? Or is it more about evoking forgotten emotional states?
D: Various associations… Memory as data storage, as a container but also as recollection.What is memory?It’s not a mirror of time, not a magnetic tape you can rewind and fast-forward at will to bend or experience time.Memory is hyper-subjective, prone to distortion, and constantly shifting.And yet, paradoxically, it is what allows us to experience time at all.We don’t know whether we, as subjects, exist within an objective reality…or whether we are objects in a subjective world…or whether we even are at all.Perhaps we are in a state of constant becoming, part of a singular, evolving whole.
Given your organic approach to genre and form, what role does intuition play in your creative decisions? How do you know when a track is "finished" in such a fluid, collage-based process?
D: If something isn’t ready, you let it rest until it becomes so. Everything unfolds in its own time.
J: Maybe it’s not meant to be finished at all. A big part of our sound comes from embracing a certain openness in form, while still being highly detailed.
As part of the Salon des Amateurs scene, how has Düsseldorf's cultural landscape shaped your sound, your ethos, or even your attitude toward collaboration and experimentation?
D: First and foremost, the Salon was important as a space founded by artists, precisely because it didn’t try to function as a club in the traditional sense. With a kind of almost amateurish drive, it deconstructed and explored club music and club culture: DJ sets without beatmatching, intense blending of genres and tempos that often fell far below the typical 120–130 bpm. Through the close exchange among local musicians and artists, it became a place that, for a certain period, held immense potential and deeply shaped people like us in our musical education and understanding.
J: I first encountered the Salon and its scene when I was around eighteen or nineteen. I grew up in a city near Düsseldorf, and although I often felt like an outsider looking in, venues like the Salon alongside other genre-fluid, underground, and experimental spaces across North Rhine-Westphalia played a huge role in shaping my understanding of what a concert, a club, or a DJ set could be. I spent much of my teenage years in those spaces before moving to Berlin after finishing school. Honestly, even after all these years in Berlin, I still find the dominance of techno and house, the narrow focus on specific sounds and substances incredibly limiting. It bores me to death.
Could you provide some insights into both your current endeavours and any future projects you're excited to embark on in the coming months?
D: We’ll continue working on music in various forms. Whether as SOE, through our own label ACG, or on a collaborative film project that will likely keep us busy in 2026. We can’t say yet what the music will sound like stylistically. What matters to us is staying independent as people and as artists. It’s a good thing, and perfectly okay, not to know exactly what we’ll be doing next.
J: We didn’t start SOE as a typical band or collective. To me, it’s more of an ongoing project between Deniz and me, like the label, the film, or any other idea we decide to explore. It’s not like we are SOE; we use SOE as an outlet for our collaborative work as artists and musicians. The cover art, the videos, the lyrics—it all absorbs ideas and influences from our other practices and, in turn, feeds back into them.
Pre-order/Preview the LP HERE
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