The music was composed, played and recorded by Gert Emmens from February till June 2003.|
- The Day the Wind blew out the Light [18:27]
- Obscure Movements in Twilight Shades [15:19]
- Entering the Dark Depth [19:08]
- Voice from the Past [16:45]
All tracks were written exclusively for the concert of Gert Emmens at the E-Live festival, September 27th. 2003.
Mastered by Ron Boots
With his albums "Asteroids" and "Wanderer Of Time" (Also on Groove Unlimited), Dutchman Gert Emmens has established himself as one of the leading musicians in the retro/melodically style. On "Obscure Movements In Twilight Shades" he manages to further master this. The album contains music he has written exclusively for his concerts at the "E-Live festival" on September 27 2003 in Eindhoven, The Netherlands.
On "Obscure Movements In Twilight Shades" Gert uses some very impressive classic synthesizers like the Minimoog, Multimoog, Moog Sonic Six, Polymoog and Korg 800 DV (remember this from Kitaro?). His music can best be described as great sequences and fine solos combined with beautiful melodies and a pleasing overall atmosphere. A very impressive track on the album is "Entering The Dark Depth". The title is a good one because it starts with dark Mellotron choirs and nice effects after a brilliant sequence enters. Another well-found title is the last track "Voice From The Past". It leads the listener back to the golden seventies when electronic music was a big thing. Again, this piece bears his own melodically style.
Things have developed really fast for Gert during the last years.
Where will he lead us to next?
2003. Press information
I found Gaspra on our local ambient station and am now hooked. Gert's music is the best I have found since Yanni.
Please keep it up and don't ruin it with vocals.
2003. Char Korcz / USA
What a beautiful album. This is certainly a must-have for TD lovers; track "Voice from the Past" is so "Rubicon" with the sound of 2003.
What I've heard from Gert so far it is his best album.
2003. Martin Hoegee / The Netherlands
Van harte gefeliciteerd met de geweldige optredens tijdens E-live! Hoewel ik aanvankelijk mijn geld op Michael Stearns en RMI had gezet moet ik achteraf bekennen dat ik de prettigste herinneringen bewaar aan de klanken die ik in de kleine zaal hoorde. En gezien de reacties op de E-live website ben ik niet de enige die er zo over denkt. Had wat mij betreft op het hoofdpodium gemogen... Ik heb direct na het eerste optreden Obscure Movements in Twilight Shades aangeschaft.
Er is echter tot twee weken geleden geen enkel album geweest dat ik sinds de aanschaf DAGELIJKS tenminste één keer heb gedraaid! Ik draai Obscure Movements echt overal: in de auto, op de discman in de trein, thuis op de grote installatie... in één woord geweldig. Hoe dat komt is niet eenvoudig uit te leggen. Ik denk dat het ligt aan de warme sound en de perfect gedoseerde afwisseling tussen ambient en sequencer in de toch lange nummers. Mijn voorkeur gaat bij EM - naast echte ambient - toch al voornamelijk uit naar retro/Berlin School, maar zoiets heb ik nog nooit meegemaakt. Wellicht komt het ook omdat ik sinds kort zelf de trotse bezitter ben van een Yamaha AN1x. Wat een verwennerij zeg, twee stuks, en wat een geweldig instrument... Ik moet toegeven dat ik de neiging voel zelf ook naar een tweede op zoek te gaan!
Affijn, nogmaals mijn grote dank. Ik zal zeker op korte termijn je vorige CD's gaan aanschaffen.
2003. Max Delissen
Lately, a whole bunch of new synth composers are seeing the light in the Netherlands. Emmens is one of them who debuted with Elektra around the end of the 90s. It’s obvious he likes long tracks, which have several sequencers running, up front melodies and occasionally a fine solo on top. But Emmens doesn't do it the Schulzian way with long stretched carpets, although the first track betrays his love for Picture Music.
No, he treats the listener to some fresh changes. Out of this cluster of effects a new sequence pattern takes form (some really hit the nail on the head). They don't run on their own, after some minutes they’re accompanied by drum-machine rhythm. Further you have precisely timed effects, resonant synth drones (though never oppressive), some fine Mellotron and of course beautiful choir.
But generally Emmens goes for the more catchy tunes, with a Vangelisian romantic flare. Emmens is at his strongest when imaginative sequencers take hold with iron strong melodies in their wake, like on the best and last track "Voice from the Past".
All in all, an enjoyable album.
2004. Roel Steverink / Exposé magazine no 28
The creativity as a composer that Gert Emmens has flows through several ambiences. Yet the one that, in my opinion turns out to be his best asset in front of other artists of Space Sequencer Music and of Synth-Pop is the fact that he gives free rein to his musical inspiration, without tying himself to pre-determined structures, nor to pre-conceived ideas on how a track related to these styles should sound.
This is why his compositions happen to be so imaginative and wealthy in nuances. In "Movements in twilight shades", we find a new instance of this skill. The pieces, far from monolitic approaches, experience endless transformations, yet they never lose their identity nor do they become mere compilations of micro-themes.
The structure is completed with very well developed melodies over rich synthesizer orchestrations, sequencers of a great expressiveness that, besides sustaining the rhythm also contribute melodic nuances and futuristic atmospheres with a certain industrial, nocturnal air.
2004. Edgar Kogler
Omwille van E-Live 2003 en deze cd, heb ik onmiddellijk al het materiaal van Gert Emmens gekocht. Ik heb er maar één woord voor : SUPER !!!
Wie van retro-sequencing houdt, en niet naar Gert Emmens luistert, moet dringend naar de dokter.
Ik kijk alvast rijkhalzend uit naar het nieuwe materiaal van Gert, als naar zijn optredens in maart en E-Live 2004.
Groetjes uit België,
2004. Luc Reunbrouck / Belgie
Gert Emmens has certainly come along in leaps & bounds over the past two years, capturing just the right balance of memorable melodic & sequenced/spacey music in a style that never seems to lose it's popularity & adding his own talents to the mix.
Each of the four long tracks here has more than one section, which sometimes sound like ideas for two different tracks, a habit that many EM musicians have practised over the years & something which is a real peeve of mine as it's more satisfying to hear a good idea developed & matured well.
For all that, though, Emmens manages to pull many memorable moments out of the bag with the opening "The Day The Wind Blew Out The Light" demonstrating his knack for not only thinking up some rather cool titles but also for knowing just the right sound works best with any given melody & although there is definitely a greater reliance on sequencers here than was the case with the preceding "Wanderer Of Time" this remains Emmen's strongest point which makes this album another successful one for Gert.
2004. Carl Jenkinson
Obscure Movements in Twilight Shades is a set of dark Berlin school electronica from Gert Emmens, a veteran performer on the Groove Unlimited label. The four compositions speak to the darker sides of the psyche. Gert uses heavy sequences and vast atmospheres to convey his dusky imagery.
2004. Jim Brenholts
I begin to discover gert I'm happy because these compositions recall me the years 70' Klaus Schulze, Tangerine Dream and the sound of analog synth it's fine.
2006. Christian GIUDICELLI / MARSEILLE
Emmens’ last cd Wanderer Of Time was a surprisingly straightforward (and very good) homage to vintage Berlin school electronics. I say surprising because although Emmens does lean toward the classic Teutonic style, in the past he has had a somewhat softer, more laid-back touch, with more melodic content than similar-sounding artists.
In that sense, this cd hearkens back more to his earlier releases like his debut, featuring lengthy tracks that have several distinct movements.
And while there are classic moments like the hypnotic sequencer loop that emerges halfway through the 18-minute "The Day the Wind blew out the Light" , there are luxurious, languid pools of sound like the nine minutes preceding this, blending an almost smooth jazz sensibility into the sequencing and electronic textures. I despise most smooth jazz, but the way Emmens folds that style into the mix is wholly gratifying. If, however, you prefer traditional Berlin school, check out the midsection of this glorious piece, with those beautiful sequencers adorned by evocative choirs and a classic synth sound that could have been lifted off of TD’s Exit. Bittersweet soaring strings are then added, followed by a perfect slow fadeout.
The title track begins with dreamy shimmers of sound. The lead synth strays a bit into cheesy territory around the 5:00 mark, but thankfully changes gears soon enough. Mellotron strings then form the melody for a time, dropping out to give way to another brisk sequence with cool spacey effects. Again the vintage sounds are there, but arranged in Emmens’ unique style. The atmospheric passage at the end is even cooler than the first track, which is saying something.
Each track is in the 15- to 20-minute range, allowing plenty of time for deep space sonic explorations.
The sudden ending of "Entering the Dark Depth" is just another of many cool touches. Each number winds its way through a variety of themes and sounds, deftly switching from formless ambient passages to the more upbeat and back again.
Another strong release by Emmens.
2003. Phil Derby / Electroambient Space