Released: 2004 By Groove Unlimited
2 in stock (can be backordered)
Great duo. Analog sequencing
Phil Derby / Electroambient Space
Return to the Origin has the long dreamy space passages, the pulsing hypnotic sequencer sections, everything a vintage electronic music voyage should be.Vortex” spends several minutes drifting and floating
Martin Hoegee / NL
De combinatie van Gert’s stijl en sequencer meester Ruud heeft een geweldige CD opgeleverd. Alle lovende reacties zijn volledig terecht. Een must have voor sequencer en analoge synth liefhebber.
2004. Martin Hoegee / NL
Edgar Kogler / Amazing Sounds
In this album, Gert Emmens and Ruud Heij have succeeded in creating a window through which the listener can glimpse at faraway worlds, experience adventures among the stars, and find himself face to face with the transcendental enigmas every Human Being wonders about from birth to death.Impressive music that spurs imagination. Best quality Space Sequencer Music, rich in complex rhythmic architectures and suggestive melodies.
2004. Edgar Kogler / Amazing Sounds
Matt Howarth / Sonic Curiosity
This CD from 2004 features 71 minutes of galvanizing electronic music.
A haunting opening strongly evokes vistas of cosmic proportion seething with astral elements to which even spacier aspects are introduced. Drifting electronic textures establish a sense of overwhelming awe. Distant blooping sounds herald the emergence of imminent sequencing of sparkling disposition.Once this harmonic flow gives way to a melodic presence, the thrills begin with ecstatic results.Keyboard loops interweave with increasingly more complex chords, generating a lush mood of compelling electronics. An urgency is quite evident, stirring the audience’s soul with dancing notes that spin and spiral with enormous enthusiasm.Pinnacles are achieved with alarming frequency, each peak surpassing the last and lifting the listener to higher altitudes of quantum mesmerization. Touches of heavenly airs hide in the surging euphonies, lending a reverent touch to the constant sonic ascension.Subtle e-perc plays a vital role here, creeping from the tonal morass to flourish amid the melodies with shining effect.These rhythms propel the tuneage with engaging tempos that blend with the whirling electronics, merging to form a cohesive gestalt of synthetic rapture.
These compositions are superb, capturing attention and emotion with their emphatic sonority. Sound transmutes into instant bliss, then immerses the audience in a stimulating soundscape of active riffs and energized sedation.Ruud Heij has played with Kubusschnitt, Free System Projekt, and Patchwork.
2004. Matt Howarth / Sonic Curiosity
Return to the Origin is one of those special that spark several responses on several levels. Gert Emmens and Ruud Heij created these magnificent soundscapes with no acoustic devices at all unless they are fabricating the equipment lists!The style is primarily Berlin school electronica and there are many other references as well. Gert and Ruud surround their sequences with atmospheres, melodies, symphonic synths and experimental effects. The music skirts the edges of sci-fi and space music textures and timbres. This is another great CD from a great label – Groove Unlimited – in a great e-music era!
2004. Jim Brenholts
Ren / Neverland
This is one of the most interesting retro-cd’s I’ve heard. It’s classic Berlin-style sequencing with powerful leads and beautiful chords.
2004. Ren / Neverland
Andr de Waal
I died and went to sequencer heaven. That is what I was thinking while listening to this CD. Don’t be fooled by the first seven minutes of opening track Vortex” because these are deadly dull: from the eight minute the sequencers erupt and don’t ease up until the fifth and last track “So Long” which starts quietly
Chuck van Zyl / Star’s End
The genre of Spacemusic is based on the concept of the future. It’s true that musicians working in this field have always been perceived as making music that is ahead of its time, but that’s just half the story. In actuality, it’s not that the world isn’t ready for this mode of expression, but rather that this kind of music always points to some unspecified faint point in the distance and to the possibilities of tomorrow. Return to the Origin (70’40)
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