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Matt Howarth /
Sonic Curiosity
This release from 2010
offers 74 minutes of fluid electronic music.
Flowing textures are embellished by keyboards, resulting in tuneage that
floats despite its evident weight. The electronics are slick and
polished, evoking a journey through perception and its impacts on life.
Delicate atmospherics generate a vaporous foundation that adapts to
enhance the primary melodies.
Those primary melodies are presented in a slow-build fashion, wherein
basic threads are set forth and then elaborated until the expressions
achieve a vibrant lushness. While Emmens' fingers are rarely idle,
they do not flash across the keys to offer the notes in a rapid delivery.
Instead, chords are presented, sustained, then tempered with additional
touches to produce a smoldering beauty. The last two pieces, though, do
display velocity in which a zesty attitude with swift notes achieves an
inspired energized state of delightful animation. Some rhythms are
present in one track, but the rest of the music is offered mainly in a
beatless form, concentrating on fluid structures tinged with incidents
of amiable puissance. In some cases, pulsations are harnessed and
presented in a rhythmic posture to lend the tracks propulsion.
These compositions exhibit a distinctly regal mien, perhaps because
Emmens crafted them exclusively using analog equipment, thereby
infusing each note with a retro richness. The tunes abound with a sense
of mounting density, moving from sparse openings and progressing through
stages of accretion until the music flourishes with robust power.
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Sylvain Lupari /
Guts of Darkness
Metamorphosis is
the reflection of a translucent wall translucent wall of evolvement and
highlight of pattern of a life as designed by the will of nature. For
his 10th album on Groove Unlimited label, Gert Emmens's not one
to bother with niceties and offers a splendid concept album where the
melody is the message of consciousness. And Metamorphosis is
stuffed with melodies. Melodies linked to sequences as heavy as deviants
in a wonderful analog sound environment. Moved by a new faith and a new
passion, Gert Emmens is making the messenger of his new values by
offering us a solid opus of which the music draws a wonderful tale on
magical thought.
Strategem of Morality opens Metamorphosis with a heavy
atmospheric intro. A dense sound broth where simmers hybrid synth lavas
of which layers are criss-crossing and resounding among sinuous synth
solos. Solos dancing lasciviously in a somber electronic Genesis
drawn of slender twisted waves, hesitating synth pads and reverberating
streaks which cross still synth pads as well as distant felted
sequential line which livens up little by little Strategem of
Morality lavas. Another sequence skips stealthily; leaving its
reverberating tracks formed a pace which amplifies delicately its rhythm
beneath a hazy mellotron mist. At around the7th minute the rhythm is
settling down with a sequential movement to hybrid chords and tones,
sustained by electronic percussions which beat finely the pace under a
firmament stuffed with fine twisted synth solos. The tempo progresses
with this sound architecture unique to Gert Emmens and deviates
delicately towards a more ethereal structure with delicate keyboard keys
which ring among sequencer chords always so hybrid and hued. This
furtive sequential movement which skips stealthily is the cornerstone of
the crossed rhythms which endow the rhythmic structures of Emmens
on Metamorphosis.
Collision is the perfect example. After an ethereal intro which
molds a sober tempo, criss-crossed by these fabulous synth solos, the
rhythm undergoes a transformation by a permutation of a sequential
movement stemming from nowhere. These chords skip with a kind of
hesitation and with slinky solos. The pace becomes more insistent and
modulates an ascending structure from where are escaping soft keys which
ring as a guitar’s. And so goes Collision. Between steady rhythms
and atmospheric passages, sequences of the Dutch synthesist shape
minimalist and hypnotic rhythms on brief surges where rhythms have
arrhythmic measures, bringing Collision towards a superb final
decorated of splendid solos which are entangling around sequenced
cadences unique to the charming musical world of Emmens.
Empathy is modeled in the same mould as Collision, except
for these spectral solos which whistle above the nervous skipping
sequences of the introduction. More compressed cause shorter, Empathy
evolves from rhythms to ambiances with synth solos to cerebral magnetism
which flutter above a sequential world in constant inversion.
After the floating Emotive Disparity, Pace of Voyage initiates
its musical tale with an unbridled sequential race and spiced up of
synth solos as much poetic as lyrical. A piercing solo dismount the
tempo, plunging Pace of Voyage into a brief indecisive passage
with a heavy and slow sequence which waddles beneath pads of a thinker
synth. The tempo becomes then slower, but also heavier. It embraces an
ethereal structure with cymbals which flicker besides keys of a keyboard
as much pensive, on sequences which try to take back its crazy race
beneath breezes of a ghostly synth. But the rhythm is sagging and we
dive into a soft and brief cosmic atmosphere with strata which waltz in
an oniric oblivion, which nervous and hectic sequences repeal with a
sterile rhythmic structure. The tempo is spherical and still. It pounds
beneath waves and solos of a supernatural and eerie synth, accompanied
by choirs and a mystic mist of a dreamy mellotron.
A hybrid synth with solos as symphonic as solitary, floating in an
ethereal mist, he whistles and sings catchy solos, while Opaque
Difference pounds with its first stammering. Solos and breezes of
synth are waddling such as padded sequences, increasing gradually a
cadence which subtly gallops with discretion in a cosmic mist. Weighed
down, the sequence staggers to mold a slow tempo which waves with
heaviness among spasms of a hesitating synth and fluid chords which flow
as guitar’s ones. A strange electronic march is following, flied over by
tiny streaks and brief solos before the heavy rhythm is drawing,
hammered by good percussions. A mesmerizing rhythm which spins
delicately, such a cosmic ballet, on a circular sequence sometimes
heavy, aggressive and sometimes delicate, hesitating, embracing in the
end an ethereal sweetness and exhilarated by suave solos of charming
synth. A synth which lulls our imaginary since we became linked to
Gert Emmens's soft musical universe.
Ambiguous rhythms on sequences in constants permutations and besieged by
beautiful melodies, Metamorphosis is very good and strong Gert
Emmens. A complex album from its unpredictable rhythms and where
melodies are shaping to sequential movements sometimes spherical and
sometimes progressive. Melodies sculptured by an oniric mellotron and
synths which sing and whistle on beautiful ethereal structures.
One of the good albums of 2010!
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Artemi
Pugachov
For this
album Dutch
synthesizer
artist Gert
Emmens
decided to
stick to
trusty old
analogue
instruments
from the
1970's and
1980's,
using CV /
gate
technology
and analogue
sequencers
to control
the machines
instead of
MIDI. Every
piece of
equipment
used on "Metamorphosis"
is analogue
and is of at
least 20
years
vintage.
Thematically,
we've got
Gert
exploring
various
stages of
human
existence
and the
effects that
the events
in our lives
have upon
our psyche
and spirit.
"Stratagem
of Morality"
kicks off
with subtle
effects
before a
nice warm
pad is
introduced.
I am
reminded a
bit of
Gert's piece
"The Morning
After" from
the "Analogy"
series of
samplers (also
done on just
analogue
instruments).
A warm lead
melody is
heard.
Gert's style
is easily
recognizable
and yet here,
it is
infused even
more with
those
nostalgic
70's cosmic
sensibilities,
especially
when the
heavy synth
drone
followed by
synth string
slabs come
in, bringing
in the best
of the "Encore"-era
Tangerine
Dream to
mind. Quite
dark it is,
too,
especially
for Gert,
whose style
had softened
a bit in the
last several
years. A
welcome
change, I
must add. I
adore this
edgier,
rockier side
of Gert's
music. Nice,
fat (and I
really mean
fat)
sequencers
start in a
relaxed pace,
propelling
the piece
forward,
infusing it
with a
cosmic
grandeur and
a sense of
purpose.
Once the
rhythm
starts, we
are taken to
a more
familiar
territory,
with
reflective
flute leads
and warm,
flowing pads.
The track
ends with
the same
kind of
effects that
were heard
at the
beginning.
Wonderful
reflective
pads get "Collision"
underway. It
is not long,
before a
rhythm
starts and a
typical
melodic
section by
Gert follows,
although the
whole sounds
more sparse
and somehow
more
to-the-point.
The
sequences
are
virtually
absent at
this stage
but do
appear after
a while. A
wonderful
progression
of solos and
melodic bits
follows -
relaxed,
stately and
majestic.
Some of the
solos have
that typical
jazzy flair
that Gert
seems to
love so much.
A brighter
section
comes next,
with
sequences
sounding
more
optimistic
and a flying
jazzy solo.
"Empathy"
gets loaded
with warm
pads at the
beginning
but then a
sequence
takes over.
A very
Tangerine
Dream-like
section
follows with
super-fine
sequencing
and typical
Gert Emmens
soloing.
This track
is more
focused,
incessant
and driving
that what
has come
before. It's
one of the
instances
where the
relatively
short length
of the piece
is actually
a big plus.
During 7
minutes Gert
gives us a
nice flight
through
cosmic
realms and
inner worlds.
"Emotive
Disparity"
is a
2-minute
curio
created on a
Yamaha CS-80
synthesizer.
This track
is
atmospheric
and features
nice sound
design by
Gert. I wish
that he
would work
more within
this style
in the
future. "Pace
of Voyage"
starts with
a distorted
sequence
that
gradually
restores its
melodic
qualities
before being
joined by a
warm pad. A
distant solo
is a welcome
change, just
as the
laserfire
rhythm that
appears
after a few
seconds.
Nice
fusion-y
touches give
the track a
special
flair. A
section
filled with
synth pads
gives way
for a
melodic
sequence
that just
ebbs and
flows.
Smooth
melodies
complete the
picture. Oh,
and that
female voice
lead melody
is just
fantastic.
White noise
effects (like
the sound of
crashing
waves)
herald the
coming of "Opaque
Divergence".
They are
immediately
joined by
smooth warm
pads and a
soothing
melody that
just gets
under your
skin. This
is a more
romantic
Gert Emmens,
some might
say New Agey,
but still
recognizably
him. The
symphonic
qualities of
this piece
make it
stand out
from the
rest of his
output.
However, a
marching
sequence
eventually
forms from
under the
blanket of
smooth pads.
A direct
rhythm
launches the
piece into
space. Like
a rocket, it
flies past
planets and
stars, on
top of fat
pulsations
and majestic
melodies.
Rich, rich
sounds are
used on this
track; they
penetrate
your ears
with ease,
touching
your inner
senses. A
lengthy
stretch of
wave sounds
finish off
this
majestic,
nostalgic EM
work. This
album,
released on
Groove
label, is
complimented
by a nice
booklet and
an extensive
gear list.
Needless to
say, the
analogue
instruments
sound
incredible
and like
nothing on
Earth. They
just can't
be matched
in what they
are doing
best and
Gert proves
once again
that he can
handle these
instruments
with ease,
as a truly
professional
musician
with a solid
experience
in the
field. From
an artistic
point of
view, this
album has
got some
darker,
edgier
moments that
I found
hugely
appealing. A
must for
fans of Gert
Emmens,
analogue
electronics
or EM in
general.
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Stephan Schelle - Musik Zirkus
Eigentlich hatte sich der niederländische Elektronikmusiker Gert Emmens
von der aktiven Bühne der elektronischen Musik schon längst
verabschiedet, doch seine Liebe zur Musik hat ihn nicht ruhen lassen und
so kam im Herbst 2010 bereits sein zehntes Album bei Groove Unlimited
heraus. Es trägt den Titel „Metamorphosis“. Zunächst fällt auf, dass der
CD ein für Elektronikverhältnisse ungewöhnliches umfangreiches
achtseitiges Booklet beschert wurde. Es zeigt pro Track eine Grafik.
Ruud Heij hatte Gert im Sommer 2009 seinen Arp Sequenzer
geliehen und genau dieser inspirierte Gert zu neuen Stücken, die
daraufhin im Sommer 2009 entstanden sind. Bis zur Veröffentlichung
dauerte es dann aber noch gut ein Jahr, da Erik erst seinen
abschließenden Teil der „Nearest Faraway Place“-Trilogie abschließen
wollte, dessen dritter Teil bekanntlich im Mai 2010 herausgekommen ist.
Den
Arp Sequenzer hat Erik bei fast allen Stücken der CD (die Ausnahme
bildet das mit 2:26 Minuten Laufzeit kürzeste Stück des Albums)
verwendet. Und dieser Sequenzer bildet dann auch für die einzelnen
Stücke die Grundlage, auf denen Gert seine traumhaften Harmonielinien
ausbreitet. Zunächst aber beginnt es blubbernd im ersten Track „Stratagem
Of Morality“, so als würde man sich unter Wasser befinden. Dann kommen
die ersten Synthieharmonien, die gleich unter die Haut gehen – zumindest
bei den Hörern, die Gerts Stil mögen (und da gehöre ich zweifelsfrei auch
zu) – aus den Boxen geschwebt. Dieser erste etwas mehr als 14minütige
Track kommt zunächst ohne Rhythmen aus und verbreitet erst einmal eine
wohlige Stimmung. Nach mehr als drei Minuten schwellen die Synthieklänge
bedrohlich an (es ist ein fast Sirenenartiger Sound auszumachen), damit
bereitet Gert den Hörer auf den kommenden Stilwechsel vor, der dann auch
ab Minute fünf einsetzt. Jetzt erklingt der Sequenzer und es entwickelt
sich ein Gänsehaut treibendes Stück, wie man es von Gert kennt und
erwartet. Gert versteht es dem ganzen auch noch eine tolle Melodie zu
verabreichen.
Auch
beim zweiten Stück handelt es sich um einen Longtrack, denn „Collision“
bringt es auf eine Länge von fast 18 Minuten. In diesem Stück hebt der
Hörer zunächst in sphärische Höhen ab, denn Gert lässt die
Synthnieklänge nur so dahinschweben. Das dauert jedoch nur eine Minute,
dann kommen ein Rhythmus und eine etwas melancholisch wirkende Melodie
hervor, die sanft durchs Ohr geht. Nach gut drei Minuten ändert sich die
Stimmung, sobald der Sequenzer wieder seine Arbeit verrichtet. Jetzt
haben wir einen pulsierenden Sequenzerrhythmus auf dem ebenfalls zarte
Melodiefolgen den Titel in den sanften Gefilden halten. Nach gut sieben
Minuten wird es dann etwas rhythmischer und dynamischer. Und zum Ende
hin lässt Gert die Sequenzerläufe gar nach Tangerine Dream-Art der 80’er
Jahre marschieren, aber nicht ohne seine typischen Synthiesounds darauf
zu setzen.
„Emapthy“
ist mit seinen 7:07 Minuten schon eher als kurz zu bezeichnen, hat aber
auch genug Substanz um sich hervorragend in das Gesamtbild einzufügen.
Ein hoher, pfeifender Synthiesound liegt phasenweise auf den
Sequenzerläufen, was ganz hervorragend zusammenpasst. Gert ändert
während des Stückes aber die Klangfarbe des Synthies, was den Titel
wiederum abwechslungsreich gestaltet.
Das
nur 2:26minütige „Emotive Disparity“ stellt eine sphärische Brücke
zwischen zwei Stücken dar, bei dem die Sequenzer mal ausgeschaltet
bleiben. Es folgt mit dem Titel „Pace Of Voyage“ ein weiterer Longtrack
von 15:36 Minuten Länge. Dieser Titel startet mit marschierenden,
pumpenden Rhythmen. Das assoziiert bei mir eine Art marschierende Truppe
vor dem geistigen Auge. Die Sequenzer bekommen dann aber eine wärmere
Klangfarbe und Gert lässt wieder die Harmonien in den Vordergrund treten.
Ein typischer rhythmisch und harmonischer Emmens halt.
Mit
dem 16minütigen „Opaque Divergence“ beendet er dann sein Album. Es
rauscht zunächst (wie bei einer Brandung), dann setzen die
Synthieflächen ein und leiten in einen – wieder Gänsehaut treibenden –
epischen Track über, bei dem die Gedanken nur so davon schweben. Ein
tolles Stück. Die Sequenzer lässt Gert erst in der zweiten Hälfte ihren
Dienst verrichten und zum Ende entlassen uns die Wellen der Brandung in
eine entspannte Atmosphäre.
Wer
Gert Emmens Musik mag, der wird mit der neuen Veröffentlichung nicht
enttäuscht. Herrliche Harmonielinien und Melodiefolgen setzt er auf
einen faszinierenden Sequenzersound. Das ist Gert Emmens, so wie man ihn
mag. Eine CD, die ich wieder sehr empfehlen kann. |
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Paul Rijkens - IO Pages
(translated) We
know Dutchman Gert Emmens as the man who achieves a perfect mix between
Berlin School and melodics. Metamorphosis can be seen as a milestone in
his imposing carreer. Not only it is his 10th album for the Groove lable,
it is also the first album on which he used old analog's only. No MIDI
has been used. For those who are interested in the gear he used, a small
list: Arp Pro Soloist, known from Tony Banks, the Korg 700S. known from
Kitaro, the Minimoog, the Moog Taurus MK1, the Soline String Ensemble
and the huge Yamaha CS80, known from the heavey orchestral sounds of
Vangelis and Eddie Jobson, amongst others. Emmens got the idea of doing
this, when he had the Arp-sequencer from Ruud Heij - with who he has
made 4 beatiful albums - on a loan during the summer of 2009. At that
moment he was completing The Nearest Faraway Place volum 3 album. That
is why he recently finished working on Metamorphosis, but it was more
worth waiting for it. The first track Stratagem of Morality causes
feelings of nostalgia within me. Like always the sequences again are
superb. The sounds to colour the music are often made with the Solina
String Ensemble. Moreoever he uses those vintage beatboxes and fat
sounding solo's. The album is full of melodies also, especially in
Empathy, in which he uses the CS80 for the main melodies. Emotive
Disparity is entirely played on this instrument. The modulation-effects
are beautiful.
A beaufiul sequence introduces Pace of Vaoyage, in which the Arp Prol
Soloist is the soloinstrument. It can be heard clearly that Emmens is a
progfan. De sequence half way the track reminds me at Spiral of Vangelis.
Opaque Divergence is the most melodic track on the album.
No mellotron sounds on this album, since Emmens does not own one, on
other albums he uses Mellotron samples.
Metamorphosis is a fantastic outcome. Emmens adds another intriguing
album to his beautiful releases so far. He is planning to do something
different now, i am curious to know what that will be. |
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Bert Strolenberg -
Sonic Immersion
Marking his tenth release
on the established Dutch Groove Unlimited label, Gert Emmens decided to
stick to the use of old vintage gear without MIDI for the 73-minute "Metamorphosis".
For those interested, Gert included a complete list of gear used on each
of the six tasty tracks.
As usual the use, layering and assembling of sounds is outstanding, as
is the implementation of rhythmic and supporting sequencial movements in
this lengthy work where warmth and atmosphere are key elements.
The single tracks on "Metamorphosis" are well composed and nicely
evolving, each displaying a varied and lush array of synth tapestries,
solo voices and melodic chords. All these elements create a warm and
inviting space in which a sense of wonder, beauty and even enlightment
shine through all the way.
Without returning to the sound of the vintage ‘70’s, Mr Emmens has
composed a rather progressive, overall lively and dynamic EM-journey.
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