Gert Emmens - An Artist's Stroke

Artemi Pugachov

--> The music on the latest album by Gert Emmens is inspired by the life and work of Yuri Pugachov (www.pugachov.ru) - a late Russian painter that happens to be my father. Of course I am biased when writing this review, as this project means really a lot to me. I would like to thank Gert for this wonderful endeavor and I must say the results have surpassed my expectations. I will try to only describe the music itself here, without referring too much to the subject matter so as to not become too subjective when judging this album's merits. "Cossack Temperament" describes the period of my father's childhood and adolescence, as well as certain character traits. After a very brief atmospheric intro, a wonderful melodic sequence starts, accompanied by mournful mellotron strings. A typical theremin-like lead line is heard in what sounds like a classic Emmens track. There's a hymn-like quality to the music, which is full of life, joy and at the same time is somewhat melancholic. A brief atmospheric section is a welcomed change. After that, an even more effective sequencer section appears, that combines the floating quality of Gert's pads and atmospheres with assertiveness of the multiple pulsations. It's tense and easy-going, anguished and relaxed, melancholic and bright. The track closes with yet another section dominated by fat cascading sequences and Gert's trademark (very earthly, not cosmic) minimoog soloing. I loved this track. "The Long Walk (Towards the Black Sea)" reflects a period of traveling for my dad, when he literally walked by feet the whole eastern coast of the Black Sea, from Batumi (now in Georgia) to southern Crimea, painting landscapes mainly. A marching rhythm serves as the basis for this track's first part, helped by a one-note bass sequence and lots of classic analog sounds (including some trademark mellotron patches). There's also a nice melodic sensibility in this track that sets it apart from many other current EM works. It has that nature-inspired romanticism you don't encounter often nowadays. An excellent atmospheric section follows. I must say that Gert's ambient parts have never sounded as full and deep as on this album. He has really refined his sound-sculpting and atmosphere-creating abilities to perfection. Then a majestic galloping sequence / pad combination that just takes your breath away! It grips you with its beauty and doesn't let go. I was not born when my father did his "little journey" but listening to this track I can vividly imagine how exciting it might have been for him, how many beautiful places he saw and painted, how many people met and how many miles he walked. A shadowy world of clanging ambient textures and mellotron choir wraps up this wonderful track as the journey finally reaches its end. "Paintings - The Themes" is the longest track at just under 17 minutes. It's straight into business this time, with great melodic sequencing ("Gert style") and mournful pads. Fat, symphonic synthesizer textures ala Vangelis make an appearance, giving an epic quality to the track. From beneath the blanket of impeccably constructed sequencer pulsations a harmonica lead line appears, reinforcing the Vangelis analogy. The sequences are lilting, passionate, assertive, lively. And there are really lots of them here. A four-note melodic theme welcomes the coming of a brief atmospheric section after which an assertive bass sequence appears. This section, with its excellent, rolling sequences and symphonic string chords is easily one of the EM highlights from 2012. Overall, the track is the crowning jewel of the album, although all tracks were great so far. It finally climaxes into a melange of dramatic pads and symphonic textures before fading out. "Paintings - The Spirituality Behind It" strikes a darker note with it's thick fog of atmospheric textures and a steady bass drum pulse, before complex melodic sequencing takes us to familiar territory but with a different twist on Gert's typical sequencer music. On this track, the trademark harmonica lead makes a triumphant return in a much more subdued and melancholic setting. The track ends with dramatic pads and synthesized atmospheres enveloping you. "The Leningrad Years" starts with a great atmospheric intro by Cadenced Heaven. Reflecting my father's most productive and best-known period, the music has a fittingly busy and uplifting vibe to it. Then an analog goodness of a sequence by Ruud Heij appears, well in the style of Emmens / Heij collaborations. After a rhythm starts, in comes what I can only describe as Gert's best ever soloing. The excellent use of modulation wheel gives the lead line a kind of depth, subtlety, grandeur and emotion that are just indescribable. A nice use of oboe reminds us on great Russian classical traditions. And the roll calling between the oboe and synth was an excellent idea. On the other hand, Gert's most unusual and experimental ideas found their way on the following track, "Darkness Unfolds". After an atmospheric intro, a strange bubbling sequence appears and a metallic rhythm drives forward the track that is chock-full of melancholic pads and reflective symphonic solos. It's still Emmens style but seen through a dark window that leads to the otherworld. After a brief section of dark sounds, a whirlpool of uplifting sequence picks us up and takes us to an unknown territory filled with sweet chord progressions and soft analog rhythms. This is probably the best section of the album. The track ends with a chilly atmospheric part with what sounds like a telephone ringing and distant choirs. "Yuri Pugachov - In Memoriam" is a short tribute that is uplifting and gentle. With tears in my eyes and a strange, pleasant sensation inside, I finish this review. I have seen this album criticized slightly for not bringing anything new to Gert Emmens sound but I have to disagree. First of all, there are lots of new interesting sounds on "An Artist's Stroke". Secondly, it's quite different in mood to his previous efforts - more personal, emotional and atmospheric. Even the chord progression (one of Gert's trademarks) is often quite different from what we're used to hear. There are no weak or strong tracks on this album, because "An Artist's Stroke" is a complete journey. I've said it many times, but I am afraid I'll have to repeat it here: this is Gert Emmens' best album, with or without bias. I wonder if my father can hear this music, from wherever he is now... I think, yes.

Paul Rijkens for IO Pages (magazine on progrock - in Dutch)

Gert Emmens is een liefhebber van de schilderijen van Yuri Pugachov. Voor de cd The Nearest Faraway Place, volume 2, gebruikte onze landgenoot al een schilderij van hem. Op een gegeven moment ontstond het idee om een heel album op te dragen aan de Rus. Ik op mijn beurt ben al jaren fan van de warme, melodieuze en immer goed gespeelde en verzorgde elektronische muziek van Emmens. De man brengt altijd kwaliteit. Het nieuwe album An Artist's Stroke opent met Cossack Temperament met fraaie sequences, Mellotron-strijkers en een solo die een beetje lijkt op een Theremin. De sequences worden steeds voller waarna het stuk wordt onderbroken door een intermezzo waarna Emmens in het tweede deel weer meesterlijke sequences inzet.
Pugachov liep 1000 kilometer naar de Zwarte Zee om daar te schilderen. Dat beschrijft Emmens in The Long Walk (Towards The Black Sea), een naar mijn mening iets lichtvoetiger stuk dan de rest van de cd. De solo is echter gaaf. Emmens onderscheidt zich van andere beoefenaars van retro-elektronische muziek, omdat zijn muziek meer melodie en spanning bevat. Toch blijft hij merendeels binnen de grenzen van de Berlijnse School en dat vind ik knap. Dat gold ook voor de Duitser Lambert. En laat Paintings - The Spirituality Behind It nou net wat op diens muziek lijken, inclusief de sequences! De vette solo klinkt bijna als Vangelis, die ook in Darkness Unfolds voorbij komt. In het begin klinkt het sequencerpatroon als een marimba, iets wat je in het begin van de jaren negentig wel vaker hoorde in deze stijl. De cd sluit sfeervol af met Yrui Pugachov - In Memoriam. Hier horen we onder meer antieke drumdozen. Emmens heeft opnieuw een knappe cd gemaakt. Muziek en schilderkunst gaan op deze wijze fraai samen.

Sylvain Lupari (Synths & Sequences)

Inspired by the life and works of the Russian painter Yuri Pugachov, from whom one of the paintings (The Garden in Toulouse) decorated the front artwork of The Nearest Fareaway Place Vol.2, An Artist’s Stroke unfolds in 6 musical paintings of which the beauty equals the most beautiful creations of Gert Emmens. The Dutch synthesist has dug at the bottom of his emotions to deliver us a superb album where his sequences and synths, unique to his poetic universe, weave the main lines of an album to rhythms floating in the breaths and lines of synth as harmonious as misty.
Divided into 3 segments Cossack Temperament goes out of the limbos with an oblong breath of a nasal synth which loses its threatening character in the voices of a cosmic choir. The rhythm begins with sequences which skip into fine undulations, drawing a rhythm emerging beneath nice foggy synth pads. These flickering sequences harmonize their indecision to undulate like snips of scissors in space and bind at sober percussions, structuring a rhythm oscillating into the layers of a synth to angelic vocalizes. An atmospheric passage smothers this first rhythmic flight with the ephemera threatening lines of the introduction. This time they darken the horizon of a heavy ochre veil which lowers one's guard and let go a sinuous bass line which awakens sleepy sequences in layers of ether. They skip in deep oscillating loops, dissipating morphic clouds which draw a bewitching melody as abstract as discreet before that the rhythm takes back its rights with some furious sequences which bounce and pound in a linear whirlwind. A lively tempo that percussions harpoon of incisive strikings and that a synth dresses of a strange serenade to nasal solos. This structure of Cossack Temperament is the skeleton of the titles which compose An Artist’s Stroke, where the intros and atmospheric passages engender some evolutionary rhythms which progress and float like planes carried by winds. Choirs wandering within electronic tones, threatening sequence which gallops slowly around hesitating chords and fleeting synth lines; the intro of The Long Walk (Towards the Black Sea) is as much scheming as fascinating. The percussions fall and go astray into sequences which skip finely under a synth injected by an iridescent fog. The rhythm fluid but delicate, The Long Walk (Towards the Black Sea) hangs on to a bass line to a slow gallop, shaping a strange sensual blues of which the cosmic environment makes it simply unreal. The chords of an e-guitar add a surprising and fascinating dimension of a western where we imagine a cowboy roamed in a plain full of living monoliths. The rhythm kicks back after a rather long atmospheric moment. Hardly more fluid it gallops in a plain with a fog as harmonious as symphonic, drawing a superb floating tempo which supports its delicacy into fine percussions of which the metallic jingles resound in a foggy angelic choral.
With its long structure to unpredictable outcomes Paintings-The Themes is one of An Artist’s Stroke's jewels. An apathic sequential line pierces the dark introductory veil. Its keys waddle, leading sweet carillons which espouse the slow tempo and sparkle beneath a dense cloud of a synth to hybrid tones where some nice angelic voices roam in ethereal mists. A bass line emerges from it and makes dance its notes beneath the gyrating eye of a synth to threatening waves, while slowly the rhythm takes the shape of oblong oscillating curves to wave under the spells of a synth with musical solos. The sequences are isolating to dance in solo, bringing Paintings-The Themes towards a brief atmospheric passage where thunders and cosmic tones prepare the entrance of a heavier bass line. Its agile notes pulsate frantically on a long intro before bursting with sequences which the alternate strikings dance beneath rippling synth layers. These sequences which skip in lanes of mist are the core of Gert Emmens' works. They shape a soft melodic rhythm on Paintings-The Spirituality behind It, dancing a spiral ballet which gives itself to a superb synth with celestial harmonies. Sequences flickering with velocity pop out from the introductory fog of The Leningrad Years. Like the wings of dragonflies they dance of a stationary movement before being harpooned by a beautiful line of percussions, bringing The Leningrad Years towards a tempo made languid. A rhythm which increases its intensity after a brief sequences solo where the harmonies and breezes of the synths move us closer to the melodic rhythms of TangerineDream and Paul Haslinger era. Always agile the sequences beat of their frenzied wings a tempo which wanders in the thin filets of a melancholic synth whereas that slowly the musical painting of Darkness Unfolds opens in an ambience tinged with nostalgia before espousing a rhythmic curve slightly more livened up, plunging this very beautiful title to dreamy nuances towards a kind of cosmic blues rocked by a superb synth to harmonies as contemplative as dark. Yuri Pugachov-In Memoriam closes with a beautiful electronic ballad inspired by shadows and lights, rhythms and ambiences which embroider the wonderful universe of An Artist’s Stroke, one of Gert Emmens' beautiful albums, otherwise his best, and undoubtedly one of the jewels of 2012.

Mariusz Wójcik

The latest album by Gert Emmens, „An Artist’s Stroke”, has totally taken my senses over. This time, Gert’s vivid palette of sounds is a homage to russian painter, Yuri Pugachov, whose astonishing portraits had been used as a cover of âNearest Faraway place vol. 2. The newest album is all about the life of this russian painter. He was a very gifted man â despite painting, Pugachov had been also into arts in general, and surprisingly, at some point of his life he had become interested in ballet. Gert Emmens in the first track of his musical homage introduces us into quite a spiritual bit of sequential electronic music. The music is specked with mellotronic passages and charming melodies.

Next, music in the ''Cossack temperament'' accumulates its power to eventually fade out, having its emotions cooled down and going to the next excerpt of the album which is 'The Long Walk (Towards the Black Sea)'. We can clearly hear the pulsating and swinging bass pattern, which sprinkles melodies which are on one hand gambolling, but nostalgic on the other. Moreover, the emotions are intensified by blossom analoguish synth lines. The second part of this stroll is filled with sequencer’s swinging ostinato and melancholic orchestration which are undoubtedly well-known for Gert Emmens fans. This music is typical to his taste - full of oneiric manner accompanied by beautiful spiritual synth solos. It fits very well with the album’s concept of âromantic spirit of Yuri Pugachov’. It is a musical description of emotional states during ones life.

Next track of this album - 'Paintings - the Themes''- literally paints us sound pictures full of dignity, peace, and some kind of reverie. The piece shimmers with sparkling synth lines which, personally, put me in a state of hypnotic trance. Every single note seems to be placed just where it has to be, having its reflection in spiritual paintings of Yuri Pugachov.

Similarly - this reflection also takes place in the next track, 'Paintings - The Spirituality Behind it'. I think that romantic works of dutch electronic music wizard conveys the spirit of russian painter. Listening to this piece, I can’t get rid of impression that only Gert Emmens, with his mystic manner, is able to place a listener in the artistic world of Pugachov. Listening to such beautiful melodies - I see pictures. Looking at pictures - I can hear music. This seems to be beyond belief, but that’s the way I perceive it!

Now it’s time for my beloved piece from the album - 'The Leningrad Years'. It starts with the beginning by Cadenced Haven after which there’s a - literally - feast for Gert’s fans. His friend - Ruudi Heij, who absolutely enchanted me - is in charge of sequential parts. I believe that those of you, who are used to Emmens-Ruudi duo, will love marvellous playing of this gentleman.

This music hooks to its unique magic and leads us to 'Darkness Unfolds'. Indeed, the title suggests an obscure mood although it’s not entirely minor since the music sometimes flashes with pulsating patterns like comet in the sky. The end itself is very moving and astonishing. Somewhere from darkness a russian choir appers singing an old song... It sounds pompous and unbelievable in the background of oneiric electronic clamors.

The album’s closing track, 'Yuri Pugachov - In Memoriam', is Gert’s personal dedication - a short musical tribute to Yuri Pugachov. Thanks to Gert Emmens, he isn’t forgotten. Gert’s emotional music helps to get inside the world of this already dead russian painter

Uwe Sasse (SequencerWelten)

Herrlich !! Ich liebe die Musik von Gert Emmens....die leicht angehauchte düstere Melancholie, da bekomme ich jedesmal einen angenehmen Schauer über den Rücken :-)
Für diese Musik hat Gert sich von den Werken des russischen Malers Yuri Pugachov inspirieren lassen, was ihm auch wirklich sehr gelungen ist. Die -An Artist´s Stroke- finde ich doch um einiges besser als die -Metamorphosis-. Auf dieser CD ist wieder die ganze "Wärme" zu spüren, eben den für mich typischen "Gert-Emmens-Sound"
Zusammenfassend gehört die -An Artist´s Stroke- zu den besten Werken von Gert Emmens. Richtig schöne und eingängige Musik. Da braucht man auch nicht überlegen....die CD kann man "blind" kaufen :-)

Stephan Schelle (Musik Zirkus)

Der Niederländer Gert Emmens hat sich bei seinem neuen Album, „An Artist’s Stroke“, das im Frühjahr 2012 erschienen ist, von den Werken des russischen Malers Yuri Pugachov inspirieren lassen. Pugachov wurde 1933 in Novosibirsk geboren und wusste schon im Alter von sechs Jahren, das er Maler werden wollte. Seine Passion für das Ballet brachte zahlreiche Zeichnungen hervor, in denen er Tänzer/innen portraitierte. So ist es nicht verwunderlich, dass das Cover von Gert Emmens CD auch eine Ballerina zeigt.

Neben zahlreichen Portraits hat Yuri Pugachov aber auch Landschaftsmotive gezeichnet. Seine Werke zeigen recht unterschiedliche Maltechniken, während die musikalische Technik des Gert Emmens mittlerweile einen hohen Wiedererkennungswert hat. Und so ist das auch auf dem neuen Album, das die vertrauten Sounds Emmens mit frischen Klängen vermischt.

Sieben Stücke mit Laufzeiten zwischen 3:07 und 16:44 Minuten (allein fünf Tracks sprengen die Zehn-Minuten-Marke) sind auf dem Album enthalten.

Den Einstieg bekommt der Hörer mit dem fast 14minütigen Stück „Cossack Temperament“, das mit den typischen Emmens-Sounds beginnt. Sequenzerrhythmus und herrliche Flächen (sie haben diesen warmen Sound eines Mellotron), kombiniert Gert mit unter die Haut gehenden Harmonien. Nach gut der Hälfte ändern sich die Harmonien, der Rhythmus und auch die Struktur. Der Track wird jetzt wesentlich druckvoller und auch ein Schlagzeugrhythmus fügt sich ein. Auch Klänge, die sich nach einem Theremin anhören, mischt Gert perfekt in den Track. Verträumt wehen die Harmoniebögen durch den Raum. Wer die Musik von Gert kennt, der weiß was ich meine wenn ich schreibe, man ist sofort in seinem Klangkosmos gefangen.

Nach diesem tollen Beginn geht es dann im 13minütigen „The Long Walk (Towards The Black Sea)“ weiter. Dieser Track hat einen hypnotischen, pulsierenden Rhythmus und die Klangfarben erinnern nun eine Spur an Jean Michel Jarre, was aber alles andere als ein Plagiat darstellt. Hier werden nur Ansätze genutzt und zu einer neuen Klangwelt aufgebaut. Nach gut fünf Minuten verstummt der pulsierende Rhythmus und es entwickelt sich eine erhabene, ruhig dahinschwebende Stimmung. Aber ab Minute acht wird die Nähe zu Jarre dann noch einmal deutlicher. Ein sehr schön gemachter Track, der immer Gert’s Handschrift trägt.

„Paintings - The Themes“ ist dann der längste Track des Albums. Auch hier beginnt Gert mit seinen unwiderstehlichen Harmonielinien, die auf den wunderbaren Flächen und Sequenzerrhythmen ihre Bahn ziehen. Das ist ein typischer Emmens-Longtrack, bei dem sich auch stilistische unterschiedliche Parts zu einem einzigen Track perfekt zusammenfügen. Mal sind es die Harmonien, die im Vordergrund stehen, dann wiederum erklingen etwas bedrohliche Sequenzerrhythmen, um im nächsten Moment wieder eine sehr positive Stimmung durch hellere Synthiesounds zu erzeugen.

Es folgt das etwas mehr als siebenminütige „Paintigs - The Spirituality Behind It“, das auch wieder so typisch Emmens ist, wie man ihn kennt und liebt. Das Stück „The Leningrad Years“ beginnt zunächst recht traurig - zumindest empfinde ich die Stimmung so -, doch sobald die Sequenzer ihre Arbeit aufnehmen, baut Gert wieder seine gefangen nehmenden Klangmuster auf. Ab diesem Zeitpunkt kann man wieder seine Gedanken fliegen lassen. „Darkness Unfolds“ ist der letzte Longtrack auf dem Album. Das Stück beginnt zunächst recht mystisch und auch im weiteren Verlauf kommen oft recht düstere Stimmungen auf, bei denen Rhythmik und Melodie fehlt. Gert macht das Stück aber dadurch spannend, in dem er verschiedene Elemente immer wieder einstreut.

Die CD endet mit dem kürzesten Track „Yuri Pugachov - In Memory“. Nach einem eher surrealen Beginn hat Gert hier ein etwas melancholisches Stück geschrieben, das Songcharaktere aufweist. Damit hat er einen gelungenen Track ans Ende der CD gestellt, in dem er den Maler noch einmal persönlich anspricht.

„An Artist’s Stroke“ bietet die gewohnter Qualität des niederländischen Elektronikmusikers Gert Emmens. Die CD ist von herrlichen Harmonien und warmen Synthieflächen, die auf fesselnden Sequenzerrhythmen gebettet sind, durchzogen. Ein klasse Album, das ich allen Freunden der harmonischen, melodischen Elektronikmusik empfehlen kann.

Bert Strolenberg (Sonic Immersion)

For the concept album "An Artist’s Stroke", inspired by the life and works of the late Russian painter Yuri Pugachov, Dutch synthesist Gert Emmens has composed some vintage music with a strong lyrical feel.

Overall, the retro sequencing is well done but also executed in the same manner. Furthermore, Gert shows a strong focus on spatial sound design along many melancholic leads floating over beautifully sculptured and warm synth tapestries and smooth pulsating bass patterns.
While some flavours of Vangelis aren’t far away, the outcome has a pleasant unhurriedness and breaths a moody atmosphere all the way. In a certain way it also creates a nice sense of space and an opportunity to reflect on things.

I’m personally not blown away by this release, but if you’re fond of the typical "Emmens"-sound and sequencing, "An Artist’s Stroke" will certainly be a most pleasing and satisfactory recording.