1. Avoidance I
  2. Avoidance II
  3. Faded Away
  4. the Dark Ages
  5. st.Anthony's Fire
  6. Avoidance VI
After many years I am back with a new album, it's called 'Avoidance' and contains 6 new tracks, the total length of the album is about 60 minutes.

2011. Danyo Romijn (VOID) Some might know the music of Void, aka Dutch musician Danyo Romijn, from his recent contribution to the EM-sampler "Dutch Masters", although he made his first album back in 1997.

The unaccomplished melodic/rhythmic style found on "Avoidance" is much inspired by the big names in the genre. At the same time, it also incorporates a nice bunch of retro sounds and patches, paying honour and respect to the classic electronic music made in Germany along the '70ís output of Jean Michel Jarre. Danyoís music is well-tempered and presented in lenghty pieces, featuring some jolly soloing surfacing over driving sequencer patterns and moody pads.

With so much electronic music releases around and to choose from these days, I hope "Avoidance" gets properly noticed somehow, as Danyo did a nice job overall.

2012. Bert Strolenberg (Sonic Immersion) / Netherlands Ok had a listen. Enjoyed it, certainly it's in a Jarre style which for many people will be a good thing.

2012. Ian Boddy / United Kingdom Itís not because nitís call Void that itís empty. Okeno! Avoidance marks the return of Void, after an absence of about 15 years and an only eponym album released in 1997. And itís a very good comeback for Danyo Romijn and his musical project Void who presents a wonderful album. Itís a rather surprising album wrapped in an artwork which is inspired by Matthias GrŁnewaldís painting of The Temptation of Saint Anthony of which all the ins and outs are outlined all the way through Avoidance. The Dutch synthesist offers 6 well balanced titles which enlace in cosmic atmospheres ŗ la Jarre where rhythms are lit by good heavy sequences which skip and pound in a clashing symmetry with parallel lines which crisscross and steal into dark and foggy atmospheres. Ambiences as chthonian as cosmic stuffed by melodious approaches, moulded in synths as dreamy as vindictive. Prepare your ears for a pleasant surprise that persons, but persons expected. Here is Void and here is Avoidance!

A synth wave imprinted by a profound melancholic approach opens "Avoidance I". It undulates in an intense mist of sadness, awakening a delicate piano which splashes the universe of its dreamy notes of which the uncertainty glides among somber reverberations. We hear in the distance a heavy sequential movement which waddles in the powders of resonances, increasing gradually the step to end towards another sequence to ascending chords. Itís in a universe of mist and under the twilights of synth blades which frees discreet but curt orchestral arrangements that the rhythm of "Avoidance I" gets loose from its intro abyssal heavy. Sequences are heavy and juicy. They skip and pound in an uncrossed ballet and irradiate a rhythm of lead which progresses towards good strikings of percussions. The rhythm is more incisive. We recognize in it the influences of pulsating and drummed sequences of Jean Michel Jarre, typing a rhythm which moves with firmness underneath this mist with sinuous mov ements and good solos of a very aggressive synth. The movement eases at 8:39, embracing a lunar phase from where escapes this delicate wave of piano which spreads its notes with a black romanticism in a cosmos streaked by outer space sound effects. Itís a bewitching passage of a strange quietude which goes out of its morphic envelope with heavy sequences of which slow and resonant oscillations are joined by this piano, sounding the knell of the tenderness and diving back "Avoidance I" towards a harsher rhythm. A rhythm bowed on electronic percussions of which the systematic strikings are buried beneath good melodious pads and superb solos. Indeed itís sounds like some good Jarre. "Avoidance II" flows with more sweetness. A warm sequential movement waves of its fine chords which skip in a beautiful harmonious cohesion. Heavy pulsations resound and wrap this suave movement of a strange chthonian aura of which mellotron layers strengthen. We are in a dark and murky universe, in the crossroads of Ramp, Redshift and Tangerine Dream, with this mesmerizing procession where the progression is supported by fine percussions and more nervous sequences which pound under fluids harmonies and a splendid layer of this fascinating Gothic mist. Fine crystalline arpeggios clink to shape the delicate suspended melody of "Faded Away", which floats with a dark serenity in a universe filled with pulsations and rippling waves of a synth to rotary movements.
"The Dark Ages" slow intro seems to come out of an intergalactic, or abyssal, Western with its synth lines which confront their tones in a desert of mist. The ambience is breathtaking and livens up with heavy pulsations which shape a slow oscillatory movement, waving in the shade of a synth hybrid lamentations ŗ la Redshift. Besides everything perspires the sordid universe of Redshift on this great title where the latent growth evolves in a hollow atmosphere with sinuous layers from a synth of mist which throws an aura of dark mystery on this title waving of its sequences as limpid as smothered and in the shade of superb intriguing solos. After a short intro fed by somber twisted breaths, "st. Anthonyís Fire" spits sequences with parallels layouts which are joining and crisscrossing in a furious and weighty rhythmic approach. Sequences and sequences again; fat, juicy, crystal clear and resonant. They jump, pulse with frenzy and collide in an aggressive electronic ballet where the symbiosis is not really planning. Gratifying "st. Anthonyís Fire" of a heavy rhythmic from which the wide oscillations are snatched by synths which adopt their curves. Synth lines which flit about, wave and buzz furiously around this sequential shambles, forging just as much beautiful melodious approaches than long loops panicked by so much sequential indiscipline. Incredible! This dark and boosted ambience continues on "Avoidance VI" which closes this last opus of Void with a sequential approach bombarded by pulsating sequences which permute with as much subtlety as ferocity on a more intense rhythmic than "Avoidance I". Synths are as much violent as sequences can be murderers. They spit weighty solos, shrill loops, melodious hatched pads and boiling intersected lines to tones of unchained spectres which interweave a structure in constant rhythmic rise, leaving room to this swaying chthonian mist which floats and wraps this rhythm of which variations are as well aggressive as mel odious. Itís stunningly intense and heavy. And guess what? The whole ends in an odd delicacy. A little as Dracula playing an enchanting lethal melody on piano, while his beauty waits for the final bite, nailing definitively one of the heaviest and darkest albums of 2011.

Ouf!! With its slow and explosive rhythms, its heavy and evolutionary atmospheres, its furious and noisy sequences, its incisive and melodious synths, Avoidance is the surprise of 2011. Itís an unexpected album of an artist, coming from that we didnít expect at all and which busts full in our ears on structures as delicious as twisted. Thatís what Avoidance is all about. Itís a smoking mix of somber rhythms and atmospheres build in the influences that Danyo Romijn takes away from contemporary works of Ramp, RMI and Redshift to mix them to those more classic of Jean Michel Jarre and Tangerine Dream. Such a cocktail can only give an excellent album which will know how to seduce all fans of EM. Highly recommendable!

2011. Sylvain Lupari / gutsofdarkness.com & synth&sequences.com Void is een elektronisch muzikaal project van landgenoot Danyo Romijn die met twee pc's, een handvol Rolands, een Korg en een Nord heerlijke elektronische muziek (EM) maakt, die vooral lijkt op de EM uit de periode rond 1980. Op dit tweede album, de opvolger van het gelijknamige debuut uit 1997, is bijvoorbeeld de stijl van Jean-Michel Jarre in zijn beginperiode goed te horen in het tweede deel van de lange openingstrack Avoidance I. Ook Tangerine Dream is van invloed geweest op de muziek van Romijn; luister maar eens naar Avoidance II. The Dark Ages behoort eveneens tot dezelfde TD-stijl maar is iets donkerder en dreigender. Vandaar de titel. Het daaropvolgende St. Anthony's Fire is geÔnspireerd op een deel van het Isenheimaltaar, dat in 1515 geschilderd werd door Matthias GrŁnewald. Deze schildering is tevens als cover gebruikt. De muziek heeft net als Avoidance VI een onmiskenbaar TD-stempel. Rustige sequences met mooie, vloeiende melodielijnen roepen herinneringen op aan de TD-muziek van eind jaren zeventig tot halverwege de jaren tachtig. Ook qua geluidsbeeld past het album keurig in die tijdgeest. Retro-EM zou je dus kunnen zeggen, maar aangezien zowel Jarre als TD die schitterende stijl al lang hebben verlaten, is het maar wat prettig dat er nog muzikanten zijn die hun inspiratiebronnen naar de kroon steken. Er zit ook een klein stukje 'dance' in het laatste nummer, maar voor de rest is Avoidance gewoon een ijzersterke ode aan voornoemde grootheden: not to be avoided! Op www.danyo.nl/void is meer te lezen over Romijn en kun je ook wat van zijn muziek beluisteren.

2012. Menno von Brucken Fock (iOpages) / The Netherlands "Avoidance" by Void. Right from the first moment lovely mellow analogue synth and mellotron sounds shimmer from the speakers. Apocalyptic synth stabs increase the tension then an equally ominous sequence surges through the mix, stamping its Berlin School credentials firmly onto the music. A lead line skips through the pulsations as things become increasingly rhythmic. A second lead flashes like a laser above it all. As the track goes on there are even moments of Jean Michel Jarre around the Oxygene to Magnetic Fields period. The second part uses an even more beefy sequence and this time "Demon Haunted World" by Under the Dome comes to mind. Yet more swathes of mellotron are used. Chimes ring out over a swirling mist as 'Faded Away' gets into its stride. A tinkling sequence nestles low in the mix. A melancholy piano lead is particularly effective. 'the Dark Ages' starts with an almost explosive reverberating synth stab, fading into more "tron". It's another dark eerie one. A rumbling bass sequence adds a touch of menace. A second sequence provides a ray of light but overall this is wonderful moody stuff. Another flashing lead adds an exciting edge. Multi layered sequences fall like an avalanche of pulsations on 'st Anthon's Fire' and it's a hundred mile an hour journey throughout. We wrap things up with 'Avoidance VI'. Yet again it is rather dramatic but soon becomes triumphant and positive as lovely lead lines and sequences weave around each other. A superb track, probably the best here.

The album should do extremely well. As well as the influences I have quoted above the artist also mentions early Tangerine Dream, AirSculpture, RMI, Pyramid Peak, Arc and Redshift. It would also be nice for him to upload his self titled first album.

2011. David Law (Synth Music Direct) / United Kingdom