1. Escher drawings part 1 [9:59] MP3 soundclip of Part 1 [3:00]
  2. Escher drawings part 2 [12:18]
  3. Escher drawings part 3 [8:34]
  4. Escher drawings part 4 [4:50] MP3 soundclip of Part 4 [3:00]
  5. Escher drawings part 5 [9:51]
  6. Escher drawings part 6 [8:00]
  7. Escher drawings part 7 [7:59] MP3 soundclip of Part 7 [3:00]
Originally released in 1991.
This is the 2004 re-release. Remastered by Ron Boots.

Escher was an artist who in his work was very into structures and lines. The same thing can also be said about electronic music. The music of Bas B. Broekhuis is also quite structured and tight. Perhaps this has something to do with the fact that he is very accomplished (electronic) drummer. He is much in demand as a session drummer for other electronic artists and has worked with people like Ron Boots and Keller/Schönwälder. Often, he is called a next Harald Grosskopf.
After initially producing music as The System and working with Ron Boots as Project Two/Point One, "The Escher Drawings" from 1991 was Bas’ first solo album under his own name. It contains music that represents the period in which it was produced very well (with a lot of D-50 sounds) but has survived the course of time in an excellent way. As can be expected from Bas, rhythm plays an important part in his music.
The album, divided into seven parts, has some wonderful tracks.
Part 1, already known from Project Two/Point One, has a somewhat traditional Klaus Schulze sequencer style. On other moments like the very relaxed Part 2 the approach is more atmospheric, is Part 4 slightly filmy while Part 5 even has some jazzy elements.
The highlight of the album is perhaps the ingenious Part 7 that has a great eighties feeling to it.
Now, in the remastered version of Ron Boots, we can enjoy this top album from Dutch soil again.

Press Information Listening to these sound clips, I would say that it's just a re-run of Klaus Schulze during his 90's period, where he went all digital.
It would be nice of most of today's EM artists had their own style instead of copying the old masters of EM. But unfortunately that's what the buyer's want. If other people like this, fine, but it's not my cup-of-tea, sorry.

2004. emonster / UK I would have to disagree with the "Emonster" review which bashes Bas Broekhuis's album. I have been a longtime fan of Ron Boots, and more recently Kees Aerts, and have discovered that there is a thriving and distinctly original school of electronic music in the Netherlands. Bas Broekhuis is another example of some brilliant Dutch music talent.
Obviously electronic music had its start in Germany with Tangerine Dream and the "Berlin School of Electronic Music", but instead of being a rehashed copy of earlier works, I find B. Broekhuis's music to be distinctly original, and very melodic. He could perhaps beef up his percussion effects a little. I have Escher Drawing 1 on his collaboration album "Hydrythmix" with Ron Boots, and like the percussion effects alot better than on Bas's solo album.
Anyhow, good work Bas, bravo from Albuquerque, New Mexico

2004. James H. / USA The Escher Drawings is from 1993, but I had not had the distinct pleasure of hearing it until now.

"Escher Drawings Part 1" is pure enjoyment, vintage Schulze sounds circa 1976. This is ideal night listening. Percussion enhances perfectly, never intrusive.
"Part 2" begins in a restrained manner, including brightly shimmering metallic synths, eventually adding a pulsing background. Again, drums seem to know to hold back until just the right time, and then don’t force the issue. This is a striking piece of music, understated and sublime.
Schulze-like smooth sequencing arrives again for "Part 3", laying back the mood even further while still being thoroughly captivating.
"Part 4" is slow and majestic, a cross between Vangelis and Jarre in their softer moments.
The disc progressively gets more relaxed, until "Part 5" skirts close to new age without touching, as light keys and ethereal synth textures wrap around each other.
Even "Part 6" with its beautiful piano playing stays clear of kitsch. I really like how this one develops a soft rhythm toward the end to go with the other elements.
"Part 7" is reminiscent of good melodies by Software or perhaps Mark Dwane, a bit of EM easy listening to finish out a fantastic album.

2004. Phil Derby / Electroambient Space In this release, Broekhuis combines dreamy melodies of great strength, with floating environments, outlining an impressive sonic landscape of a mystic-cosmic character.
"The Escher Drawings" is terrestrial electronic music, that seems to evoke the most spectacular physic natural phenomena of our world, but with an important romantic charge as if emphasizing the beauty and fragility of the Earth.
The music turns out to be oniric, with ethereal sounds, cosmic textures and a careful musical sensitivity.

2004. Eduardo Fontana Ispirarsi all'arte figurativa è cosa assai frequente nei musicisti, ma quando quest'arte figurativa è ipnotica, surreale, irrazionale eppure apparentemente lineare, bisogna avere un particolare talento. E' quello che dimostra Bas B. Broekhuis con il suo lavoro dedicato al celebre Maurits Cornelis Escher.
Avete presente quelle figure con le scale che salgono su e giù, avanti e indietro ma non si capisce dove iniziano e finiscono? le avrete sicuramente viste, fanno quasi male agli occhi. Ricorderete sicuramente "Ciclo" e "Cielo e acqua" (1938), la celebre "Case di scale" (1951) Escher disegnava così: linee e strutture apparentemente normali che celavano progetti imperscrutabili e angoscianti. L'uomo è così: si nasconde dietro lo schermo della razionalità ma dentro di sè c'è una mare di magma che ribolle senza motivo e senza spiegazione...
Ispirato da queste visioni, il polistrumentista olandese nel 1991 compose e registrò una magnifica suite in sette parti, recuperata e remasterizzata da Ron Boots e dalla Groove solo nel 2004. Una composizione profondamente evocativa ma, attenzione, non suggestiva nè affascinante: Bas riesce a creare un ambiente sonoro sinistro, inquieto e obliquo, nel quale i suoni non coccolano nè aggrediscono, ma sono una viuzza tortuosa, un minuscolo e traballante ponte sull'abisso.

La seconda parte, ad esempio, visionaria e inquieta, o la terza, ossessiva, in contrasto con lo smarrimento estatico della quarta. Nel finale l'opera rivela i suoi lati più ingenui ma al tempo stesso accattivanti, per la prevalenza del dato melodico su quello ritmico.
L'impostazione non poteva che essere quella berlinese, Tangerine Dream e Schulze in primis. Eppure il musicista ha qualcosa in più: è anche un eccellente batterista e la sua concezione del ritmo, della ciclicità sonora e della scansione, ha un certo fascino.
Sicuramente la strumentazione di 14 anni fa oggi è del tutto superata, sarebbe interessante verificare come oggi Broekhuis realizzerebbe l'opera. Tuttavia nell'economia del "concept" il suono "vintage" è voluto, e questo rende tutto molto caldo: come il piano elettrico della quinta parte, una melodia leggera, in linea con la prima new age.

"The Escher Drawings" è un disco molto carino, ma lo consigliamo ai più fervidi appassionati della cosmica tedesca.

2005. Donato Zoppo This CD from 2004 features 62 minutes of dreamy electronic music. Originally released in 1991, this edition has been remastered.
From his work with Ron Boots, Keller & Schönwälder, the System, and tons of high profile session work, Bas Broekhuis has established himself a Europe’s premiere electronic percussionist.
This release is thoroughly tasty and endearing. Expanding his equipment to include a wide range of synthesizers and samplers, Broekhuis produces EM of the highest quality. Rich with looping keyboard riffs and swimming with heavenly textures, the music exudes a powerful dynamic. Even the dreamier passages evoke a stately command, not unlike the beauty of a mountaintop sunset.
Turgid notes sparkle amid a pool of shimmering calm, agitating the harmonic in a congenial fashion. The flow swells, achieving an insistent velocity, then plunges into a cosmic tunnel that compresses the resonance into a palpable intimacy for the listener. Some tones are stretched into infinite backdrops for a host of crystalline embellishments.
Rhythms abound as serpentine threads of e-perc undulate throughout the melodies. While rarely demonstrative in their execution, these rhythms are riveting and just as commanding as the authoritative atmospherics. This music embodies an ethereal disposition that brims with vitality.

2005. Matt Howarth / soniccuriosity The Escher Drawings (61’30) est une parfaite démonstration de l’intemporalité de la musique électronique. Parce que je croyais être un pigeon de l’année, est en fait un album écrit en 1991. La musique ici interprétée est extrêmement structurée et concise. Cela est sans doute à ses qualités de percussionniste (électronique) qui le font considérer comme le successeur d’Harald Grosskopf. Broekhuis est un adepte de la mélodie et un élève brillant de l’école de Berlin. Les séquenceurs schulziens sont là pour le rappeler, même si certaines parties sont plus tmosphériques et cotonneuses, voire intègrent certains éléments jazzy. Revenons un moment (même deux) à Harald GROSSKOPF.

Prog-résiste / Belgium