Album info & Press Review of: "Sequential Tourism" by Rene van der Wouden (2008)

Recorded at the Miniminus studio Netherlands. All music composed and produced by Rene van der Wouden during Spring/Summer 2008.

Rene van der Wouden - analogue and digital synthesizers + electronic percussion

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Within time, René Van Der Wouden succeeds to create his own sound universe. A world of EM where Berlin School goes alongside the charming elements of a French EM groundworked by pioneers such as Space Art, Jean Michel Jarre, Frédéric Mercier and Thierry Fervant. Synths to romantic, nostalgic and solitary tints which sing towards a nostalgic mist so faithful French repertory cinema. Sequential Tourism is the ideal analogy of this symbiosis so perfectly molded by the Dutch musician.

A rain of stars, to fine crystallized debit, dances on waltzing stratas which hem such as cosmic waves. The title track opens with a nothingnessed romantic where slow layers, which darken discreet choirs, marry surfs, sometimes soft, sometimes violent, of a music punctuated with heavy synthesized veils which waltz with tenderness. Waves sprinkled with analog sound effects, freeing a soft reflection of the 70s, before mixing to a loud neurotic sequence at around the 5th minute point. A sequence which pounds nervously on a fine line of bass, submerged by a very wrapping synth. The sequence gets free of it, taking a vitamined rhythmic on a circular movement, surrounded by fine synthesized accompaniments and by more contemporary sound effects. The movement becomes more animated with strange sound spins whose whirl among fine crystalline and melodious chords which flutter on metallic percussions. Percussions which switch around and beat an infernal pace, bordering a rock approach, on a magnificent synth to sidewinder breaths, chords and melodious solos à la Frédéric Mercier style. This opening track opens the way to a hybrid album where rhythm edge magnificently perfumed intros of sweet sound iridescences and which coil up in celestial atmospheres. The rhythms are progressive and move slowly in crescendo towards rhythmic which border unbridled rhythms by a music more progressive than electronic.
Arcadia is different with its hopping sequences which collide, as in an arcade game, after a syncretic intro where a fanciful train is entering his station. A colorful intro which distances itself from the first 3 titles with a less Cartesian approach. The percussions beat a chaotic pace, a little as if everything was restrained in a spherical arch. Analog sound effects punctuate this structure which modifies its cadence at around the 10th minute mark with a big circular sequence, which oval hypnotically wrapped she is of big skin-tight synthesized layers. A rhythmic break which increases on small pit viper spirals and a weighty synth to twists that spin in every directions, in a sea of analog sound effects. A good title with caustic and heavy rhythm.
The Sequential Tourists closes with a magnificent melodious approach. A thunderous heavy circular sequence and percussions to hoofs horses encircle a synthesized harmony which sticks from the first listening.

Sequential Tourism is a magnificent album of EM. A Berlin School genre, but very near the bases of French EM style. A rather unique mixture needs to be said, which frees a musical freshness among each track, even if they remain complex and muddled with very audacious rhythmic progress. To date, this has to be the most complete and successful album of René Van Der Wouden.

2009. Sylvain Lupari / Guts of Darkness

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I would rather judge this release as Berlin School in a contemporary flavor. The 70 mins of this CD are made up by 4 Track of about an quarter hour each and one 6:30 track.

1. Sequential Tourism (16:14) After some Klaus Schulze's mid seventies like soundscapes (but thankfully not in the typical KS chords of then and today), we notice some nice strong bass in the background at about 3 mins into the track. This is a good counterpoint for the bassless sound effects and vocal like and S&H like sounds. The slow melody is getting more attention now. At 5:18 a lower sequence starts. Yes, this is the Berlin School style I like ! You can feel the urge for more sequences inside. You need to hear them. But René is doing it nice and slow. So we have more from this. The sequence is filter modulated and some chords do a nice Johannes Schmoelling (ex TD member) like pad sound progression. In nearly exactly the middle of 16:14 the track the sound transforms suddenly (but in a nice short way) into a more ambient like textual eighties thing. The sounds are now not seventies at all. A higher percussive played sequence is joined by second one. And the drums shift into the second gear now. We getting nineties here. A classic monophonic analog (like?) lead line is played now. This is music to dream away during the day. But don't get me wrong: it is not boring at all. Just the mood is like this. At least to me.
2. Sequential Solitude (16:16) Starting with some beautiful sounding strong chords this is the most emotional track to me. And this lasts till about 6 minutes into the track. Some of the well known ring-modulated Yamaha CS sounds are introduced. And only the real thing is able to create in this nice timbre. So there is a need for real analog synths. Not only for show-offs or to collect them like stamps. And then two minutes later we suddenly get some sequences that remind me on Tangerine Dream's "Canyon Dreams" soundtrack. No René is not copying them. And when the airy noise sound comes in as a real slow melody line, this TD similarity is only the sequence. another two and a half minute later (yes, we are about 10:30 into the track) a drum box starts with a strong bass and a em phased snare. Maybe I am getting to old, but I think the drums are a bit to much featured here volume wise. But I know some younger (at least feeling so) prefer it this way.
3. Bataille dans les Nuages (13:08) This track names translates to "battle in the clouds". And the sound-cloud in the beginning is matching to this. This could have been recorded in the Gasometer in Oberhausen/Germany with its 100 meter high ceiling in a huge cylinder of black metal. The sequence at 2:30 is one of the trademark of Renés music style. When we think there will be no change anymore, a strong up beat drum pattern is started. And some noise whooshes might be part of the battle noise. A very digital sounding riff is played. Mmmh, are we talking Robert Schroeder here? Maybe. But the somewhat thin whistle like line with some glide is changing this anyway after some minutes.
4. Arcadia (17:58) Some noises and a koto like sequence introduce the fourth and longest track of Ren´s new release. The vocal sounds and this short samples (?) remind me of Johannes Schmoelling's first solo release. Not only sound wise. This lasts till the tenth minute. The rhythm and the sequence dies away. And some real traditional Berlin school sequence with filter cutoff and resonance modulation. If you don't know these terms, you will recognize this changing sound from other Berlin School tracks for sure. The music is getting more and more relaxing. Although the sequence is not slow at all. But from 13:38 on this is changed with some up beat drums to a fast thing. The tempo of the sequence is not changed by the way! Some long string ensemble like chords are the background where the sequence and the drums are running on. I though till I heard this track the first two tracks are the best to me. No I have three favorite tracks on one CD to chose from.
5. The Sequential Tourists (6:30) Starts with a dark sound reminding me of Blade Runner. Maybe due to the Yamaha CS50 use here? When the bass sequence starts we notice Renés typical style again. Relaxing, melodic (catchy melody here), and with a nice major chord scheme.

This is not what we would call Berlin School. But there is no name for this style yet. Maybe we should add a subgroup inside the Berlin School genre for the rare major chord versions. Lets name this "Major Berlin School" or Berlin Major School".

2008. Till Kopper / Germany

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Album info & Press Review of: "Universal Quiet" by Rene van der Wouden (2008)

Recorded and mixed at the Minimus Studio, October to December 2007 on Logic Audio
Mastered on Bias Peak and Pro Tools, December 2007. All music composed, arranged, produced and performed by René van der Wouden.

Used instruments - CRUMAR Bit 99, AKAI AX73, Roland JX3p, YAMAHA SY77, Roland AlphaJuno 2, KURZWEIL K2500r, EMU E5000ultra, KORG Trinity and KORG T3.

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This is absolutely a stunning piece of music which I bought as a download some weeks ago. The sequences are simple, but so powerful and so analogue. The Mellotrons (I presume it comes from a sampler) sound if they are inside your room, very present, breathtaking and sometimes frightening.
Listen to the openingstrack which is for me one of the most convincing Mellotron tracks I have heard. The music is described as retro, but I constantly have the feeling that it is not dated at all. I have got almost all albums of Rene, and this is truly the best up to now. He has a very personal style which is hard to be found these days in the music business. The overall sound is powerful, mature and sometimes a bit headstrong. It is like he is kicking against walls.

The best tracks are "In Silence" (SUPER) and "Be Quiet" with "Go Quiet" as a good second. "Pin Drop" is synthsounding horror in a respectful sense. And "Get Quieter" is a perfect closing titles.

2008. Jon T. Maett / Sweden

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"In Silence" begins with thick synthetic pads and great effects. Some lovely analog timbres are used together with more ordinary digital atmospherics. A square-wave sequence appears, gaining in intensity and momentum. A steady groove develops as the Mellotron choir casts its spell. Subtle bell sounds can be heard in what sounds like a very Schulzian finale.

"Pin Drop" begins with strange effects creating an eerie atmosphere. Dark pads bring in even more uneasiness. Very soon great analogue effects herald the coming of a growling sequencer line. Excellent minimalistic lead melody can be heard. This is some quality EM. The sequences are steady and yet floating and enjoyable. Lovely Mellotron choir adds to the picture, as well as some thick analogue fx.

"Be Quiet" begins with synth atmospheres, lots of effects and a background melody. It's all rather pastoral and restrained at this point. An extremely bright and crisp sequence comes, as the track gets brighter, too. A percussive rhythm starts, as Mellotron string ensemble plays an uplifting melody.

On the other hand, "Go Quiet" surprises with a very upbeat sequence and smooth synth pads. It has something of a Gert Emmens feel to it. This does not only relate to the sounds themselves, but also the arrangements, the melodies and the structure of the piece. If you like Gert's style, you owe it to yourself to check this track out. This melancholic composition finishes with a lot of bubbling analogue effects.

The final track, titled "Get Quieter", begins with sustained Mellotron choirs, some effects and a somewhat plodding sequence. The atmosphere at this point is very Schulze-like circa "X". The tron choirs leave and a reedy lead line is introduced, again reminding on Gert Emmens' style of emotional and a bit melancholic floating EM.

"Universal Quiet" is a relaxing Electronic Music album for those reflective moments, or moments of unexpected sadness. More Eindhoven School than Berlin School to my ears, it's brimming with simple but effective sequences, crystalline atmospheres, restrained melodies and warm effects.

2008. Artemi Pugachov / The Encyclopedia of Electronic Music

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Universal Quiet features five lengthy tracks firmly rooted in the Berlin school style. Though the titles and cover art suggest soft, possibly even acoustic music, the album explore purely synthetic realms.

“In Silence” starts as a nice floater before a bass sequence gets going, joined by male choirs, then a few more synths, and eventually a simple steady beat. Sounds are layered in just right as it goes, quite nice, a strong way to start.

“Pin Drop” has a darker moodier sound to start, including what sounds like banging on sheet metal, which is actually cooler than you might think. The longest piece at nearly 18 minutes, it takes quite some time before the first sequencing arrives, a low brisk bass tone that almost growls before settling into more typical Teutonics. A light playful synth solo makes a good counterpoint to the low bass. Warm pads round things out, and van der Wouden rides this cool groove through to the end.
Wind-like synths and mellotron flutes introduce “Be Quiet” which is indeed quiet and serene throughout, although soft beats and yet more sequencing keep it moving. This could pass for a Mind Over Matter track.

“Go Quiet” seems to be a command rather than a description, as the music is fast paced from the get-go. “Get Quieter” is the final piece, bringing more good synths and sequencing to bear.

Berlin school enthusiasts should enjoy this from beginning to end – I know I did.

2008. Phil Derby / Electroambient Space

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Rene van der Wouden's Universal Quiet is a collection of retro synth music that is a treat for fans of 70ties Berlin School music. Van der Wouden is a Dutch composer and synthesist who describes his style as retro, Berliner Schule and progressive. Van der Wouden builds on Klaus Schulze's pioneering mid-seventies sound, modernizing it and taking it into new directions.nVan der Wouden credits a variety of synths for his sound - including CRUMAR Bit 99, AKAI AX73, Roland JX3p, YAMAHA SY77, Roland AJ2, KURZWEIL K2500r, EMU E5000ultra, KORG Trinity and KORG T3. However, he gravitates towards classic synth sounds, featuring classic Moog-style sequences and Mellotron-style vocal samples. In addition to building on Schulze's vintage sound, van der Wouden uses similar forms for his tracks. Schulze's music is very meditative and often follows a form typical in Indian classical music: a slow meditative introduction (alap), which introduces the mode, followed by a rhythmic section. In the track Pin Drop, for example, van der Wouden begins the track with drones and a variety of spacey synth effects. About a third of the way into the track, an old-school constantly changing bass sequence kicks in. Over this, van der Wouden layers a solo using a percussive synth sound, along with washes of synth strings and Mellotron vocal washes. From the title of the album, Universal Quiet, and the titles of several of the tracks, Go Quiet and Get Quieter, you might expect the music to be minimal ambient. In fact, it's frequently very propulsive, with driving synth basses. van der Wouden effectively balances reflective sections with more aggressive sections. The synth music style that Rene van der Wouden explores on Universal Quiet isn't as cutting edge as it once was, but it's one that justifiably loved by many electronic music fans. If you like classic seventies synth music, Universal Quiet is an album you don't want to miss.

2008. Syntopia / USA

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Album info & Press Review of: "Recreation" by Rene van der Wouden (2007)

Recorded and mixed from April 2004 til July 2004 at the Miniminus Studio Gouda

Used instrumentation back in 2004:
Nordlead 2, JX8p, Juno, EMU pk6, Roland JV880, SC880, Yamaha RM1x, GeneralMusic S2r, Korg M1, Korg DW8000, akoustic percussion, radio shortwave-sounds, GMedia Oddity, NI Reaktor 4 and Logic 5.5.

I composed this work back in the Spring of 2004. It was meant to be released, but didn't see daylight then. It is released in 2007. It's not the official 2007 CD, but a kind of re-release.
The idea of releasing this work lies in the fact that I really enjoyed recording this music and it would be a pity not to do anything with it. The music is in the style of Pro Sequentia. It's not retro, it's not dance or trance or meditative music, it's a mixture of all these elements with the presence of melody and rhythm and the Grandmasters of EM in mind. The only meaning of music to me is to relax and overall to recreate in a way the listener likes.

2006. Press Information

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René van der Wouden’s "Recreation" comes from a studio session held in the spring of 2004, a little before Pro Sequentia. Completely in conformity with its title, Recreation looks to me like a light album. The Dutch synthesist seems to have fun by mixing the styles and the areas. From austere he can jump to frivolity, and vice versa, giving a coloured album, without borders and framings, a little as the kids who have fun in recreations.

In zigzag, Recreation’s intro is metal on metal, until a very beautiful synthetic line turn itself into a violin and draws a classical melody with high and harmonious keys. Under the tenderness effect of this melodious intro, where the violin strings are lost in time, voluntary notes strike a repetitive sequence which undulate its nuances on scattered synthetic scratches, which fly over a sober rhythmic structure.
The intro of Recreation 2 is more dramatic with its dry notes which intersect its sequenced equivalences. A harpsichord bores a dense synthetic cloud which floats gently until the structure becomes animated on a more unbridled rhythm. Moving and touching layers surround this track with varied intonations.
On Recreation 3, we have the impression to hear an accordion which is harmonized with an undulating fluid sequence. A beautiful moment when a cloud of chords and various instruments, intersects with emotion and receptivity. The rhythm becomes jerkier, hopping on a striking synthetic line which winds sequencers to syncopated and nervous emanations, which Rene Van Der Wouden heavy layers cherish with passion of our hearing. On suction grip pulsations, Recreation 3 decreases its intensity on a more overwhelming final, with the arrival of bitter breaths cello.
Keys force against the wind on Recreation 4, to turn on a superb electronic ballade like a harmonious fantasy. It’s beautiful, sweet and hangs instantly.
Recreation 5 is an atmospheric bubble which ends on the very Jarrian rhythm with great percussions of Recreation 6 start. A striking title with slamming percussions, regular tinkling and a running synth as Jarre forgot to make. This is an excellent track which has everything to have success and appear on a rhythmic EM compilation.
Recreation 7 undulating and lazy layers crossed dark notes which resound in a starry cosmic atmosphere. This static waltz is crossed by a beautiful harpsichord line which rocks nothingness, before being struck down by a powerful play of percussion with solid and furious blows. Synth solo girdles this furious movement which multiplies of various sonorities solos, to fall down in a latent peace which is moulded perfectly at the harmonious beginning of The last Recreation.
This last title of this studio session has a light atmospheric intro, as the final besides, very enveloping. Between the two, there is rhythm, lot of rhythm, which spins like a train at high speed on a sequencer jerked by pulsations and which form its modulations in harmonious structures, no matter the rhythm. Riffs are heavy, percussions cold and pulsations filtered by sequential line which does not miss imagination.

Above all, René van der Wouden sublime synth, to heavy and wrapping layers that he painted of so warmth tenderness that make them unique and harmonious when soft chime winds energetic and alive a movement, like an amazing recreation.

2006. Sylvain Lupari - Guts of Darkness / French E-Zine of EM (Fae) / Canada

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This is actually an earlier work of Rene's, recorded back in 2004 and just now seeing the light of day. Recreation is closer in overall tone to Pro Sequentia, as there's a lot of sequencers here and a strong rhythmic element.

This is also a very melodic album as well, powerful and uplifting. There are eight songs this time, many of them shorter pieces, but no less interesting. I'm not quite as fond of Recreation as I am of Pro Sequentia, but only because that album seems a bit more polished.
This is still a fine album and well recommended to fans of melodic electronic music.

2007. Scott Raymond / USA

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Recreation is a new release of material that René recorded in spring 2004. The cover photography and the season adequately reflect the happy tones within.

The first track has a wavering Vangelis-like synth lead. I often find Vangelis overly sweet for my taste, and the same is true here, although once it gets going the melody is pleasant enough.
“Recreation 2” fares better, with a sound like a cross between a koto and a 12-string guitar, and warm pads laid over the top. The steady beat should get the toes tapping.
The third track continues the spring theme with very light sounds. An even more infectious beat establishes itself later on. I could easily envision Jean-Michel Jarre coming up with something like this. Jarre also sometimes gets too cute, and might come up with something like the bouncy “Recreation 4,” which may appeal to perpetually happy people I suppose, and I wouldn’t totally rule out it growing on me.

“Recreation 5” is one of the few darker turns, a moody atmospheric affair that I like quite a lot.
In stark contrast, “Recreation 6” is pure synth pop with happy beats, playful bass lines, and warm synth pads. Moods continues to alternate, as track seven goes back to melancholy textures. A harpsichord appears in the middle to lighten the tone somewhat, then jumps right back up with pounding drums and soaring synth leads. Going back to more ambient touches at the end, this one really covers a lot of ground, but does so in an engaging fashion.
An oboe-like synth lead begins “The Last Recreation,” but it soon goes back to the optimistic sounds that permeate the majority of the disc.

Recreation is light, uplifting energetic music for sunny, happy days.

2007. Phil Derby / Electroambient Space

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In this album, René van der Wouden makes a music near to Synth-Pop, also including some elements of Contemporary Instrumental Music and of Ambient. The themes are brimming with melodies, and the rhythms are at their service. The composer succeeds in creating a solid work which will be liked by all followers of Synth-Pop and similar genres.

2008 Derek Doarn

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Album info & Press Review of: "Alchemia" by Rene van der Wouden (2006)

Recorded and mixed between February 2006 and August 2006 at the MiniMinus Studio
Composed & Realized by René van der Wouden -

The new CD of Dutch electronic artist René van der Wouden is called: “Alchemia” and is the official follow-up of "Pro Sequentia" CD of last year.
60 minutes of retro-based music with sequencers, mellotron-sounds and melodies in the style of the grandmasters of EM during 1976-1985 added with some new elements as well.

Press Information

Since more than 2000 years Alchemists all over the world have spent all their time, effort and mostly themselves to the great Goddess of Alchemia. She demanded from them a lot, but gave more in return to those who had the courage and the talent to become one of her elected sons.
In their search to wisdom, spiritualization and the eternal life, the Alchemists stepped across the borders of all conventions, natural sciences, religion and reason. Although they never may have changed the base metals into silver or gold and they never acquired immortality, human chemistry saw its light in their laboratory. And when Surrealism was borrowed from their way of life and world of arts, the main goal of the Alchemists has always been to shine on that, to what all people may searching for, the Self of the Human Spirit. As Carl Young said: "Heaven has become an empty space to mankind".

May the heavens of the Alchemists be the opposite to that. Through the true glass of alchemy, far across the heavens, strengthened with golden dreams of silver elements, the Alchemists, while the Self already gone to earth thru the books of minerals, will help you to explore your very own imagination.

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Delicate tapestries of feathery electronic textures unfurl, spreading to fill the sky overhead with regal splendor. The tonalities waft with fragile vigor, trembling with ambient restraint as they soothe the ears of all within reach. After an extended intro of nebulous calm, notes sweep into the mix, coloring the heavens with stately cycles that generate the genesis of greater things to come. These tentative chords usher the listen along into a corridor of celestial proportion, one rich with astral pulsations and mounting energy. The pace accelerates as notes cavort with auspicious jubilation.
As the music progresses, its promise takes root with an accretion of stamina oozing from the embrace of the heavenly airs. Power surges and the melody becomes swept up in a cascade of nimble-fingered keys creating a regal disposition of infectious quality.
Deeper notes enter the flow, seasoning the high altitude harmonics with an earthy foundation. The audience finds themselves stretched between land and sky, and fanciful chords tickle the torso as they scamper into existence, coalescing into riffs of congenial demeanor. Gradually, these midrange melodies conquer the environment, transforming the soundscape into a terrain of dynamic pulsations peppered with twinkling embellishments. The currents of sound thicken into luscious layers that stream with vibrant animation.
Sparkling chords rise through a region of sparse sedation, preparing the listener for a deluge of glistening fashion. The notes vibrate with sincerity, generating a soft buzzing undercurrent that lifts the melody to stratospheric majesty. Only during the cd's finale does percussion enter the mix, providing a lasting propulsion that will imbue the audience with a velocity that outlives the music's last endearing chord.

Van der Wouden's music is steeped in grandeur, the type that strives to open intangible doors inside the audience's heads and grant consciousness access to the incredible imaginative resources contained within.

2006. Matt Howarth / Sonic Curiosity

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After the superbly melodious Pro Sequentia, René Van Der Wouden offers an opus a little more different. Definitely more complex, with its very heteroclite intros, Alchemia is an album with slow movements, charming which we listen the body and the spirit down to 0. Not cause it is deeply relieving! No. Because it is well done.

It is delicate, full of subtleties and we have to hear these movements impressed of tenderness and nostalgia, as on The True Glass of Alchemia, an ambient title of an astonishing attraction. Divided into 2 parts, the intro is a slow synthetic movement which develops with subtle modulations. Synth floats in harmonious nothingness. In this space where silence is lulled by fluctuating layers, hide short melodies which come and go, leaving melancholic traces with each celestial lament. A superb movement, full of an incredible sensitivity. In half-time, the rhythm wakes up gently with a series of limpid notes which draws a hypnotic sound arc. A new series of notes is indexed with those in place, stimulating a more complex sequence, which curves with insistence in a rotary minimalism sphere. This sublime sequence modulates its intonations, among sound effects and explosions, before the sequence takes a spring, where the chords pile up and create a harmonious confusion. A bewitching title that draws the depth of his beauty in the shade of his creamy and melodious layers.
Far Across the Heavens has a intro strongly variegated with its vaporous jets, surrounded of tuneful segments, of scattered tablas percussions. Space waves which flood a static universe, where is formed a loopy sequence which undulates among a dark choral and one spectral synth, with acute laments. Ideal as a soundtrack for an intense horror movie. Like an insane goblin, the sequence rolls with frenzy accentuating the minimalism impulsion which splits up on a harmonious synth, to invading layers.
Notes circle, a little like a xylophone, to form a serpentine sequential movement which will scheme in harmony throughout Golden Dreams of Silver Elements. Synthetic pads float and stretch their breaths on other notes which fly around fine pulsations. Floating, the tempo is in rollercoaster on a heavy sequencer which bores in a flooded atmosphere of melodious segments which curve a disconcerting fixity.
After a short atmospheric intro, The Alchemists extends its melody with a superb harmonious sequence. Nimble and limpid notes wind with grace an impulsion to multiple loops, with good slamming percussions and beautiful synth with solos that draw dreams. The Alchemists is certainly one of the beautiful tracks in 2006.
A long atmospheric breath, to which are grafted discrete choirs, prepare the rhythmic intro on clapping percussions of Gone to Earth thru the Book of Minerals. A very electronic title with the spirit of the beautiful rhythmic analog incursions of the 70’s, on a moulding synth with superb melodious lines.

As we can hear Alchemia is a bit different from Pro Sequentia. It is a more progressive opus which requires an attentive listening, to be certain to catch all of its nuances. And, as all the great works, there is always a new click to each listening, capturing our hearing for another listening session. Undeniable sign of a work of great vintage.

2006. Sylvain Lupari / Canada

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Rene van der Wouden follows up his sequencer drenched first album with another effort full of rhythmic/ melodic energy. This time the music and arrangements contain more sophistication and layers of synthetic enhancements. The overall sound is fuller, more powerful, and filled with layers of spatial textures and rippling/ pulsing sequences that make this one of the best recent Euro indie EM releases of late 2006.

2007. Archie Patterson / Eurock USA

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Alchemia is René Van Der Wouden's second album, and though different from Pro Sequentia, it's every bit as good. This time, René takes a more thoughtful approach to the melody. There's still sequencers here, just a bit more subdued. The music is every bit as complex as Pro Sequentia, just a bit more spacey, more atmospheric. Again, there are five long pieces, with lots of room for René's wonderful melodies.
A nice addition to anyone's collection, particularly for those who like Jean Michel Jarre or Vangelis.

2007. Scott Raymond / NY/USA

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Sweet, drifting space music begins the 20-minute epic “The True Glass of Alchemy,” which opens René van der Wouden’s Alchemia. Several minutes are spent in dreamy reverie, light and bright, full of warm pleasant tones. At the 10:30 mark the Berlin school sequencing starts simple and slow. It adds a double stutter step into the loop just before the 14:00 point, then changes again a half a minute later, continuing to meander its way patiently through. Eventually it doubles its pace for that classic retro sound, with warm pads in the background to complete a satisfying piece.
Windswept synths start off “Far Across the Heavens,” joined by bubbly sequencing and nice flute sounds. More sequencing is layered in, as is a slow, simple but effective bass line. Completing the effect is a melodic synth lead line.
“Golden Dreams of Silver Elements” again makes me think of bubbles as the light, brisk sequencing starts. All the sounds are thoroughly electronic.
Gurgling churning noises introduce “The Alchemists” but it too settles into the pattern of bright melodic synths and sequencing.
The last track epitomizes the whole album nothing fancy, not too fast or too slow, with a sunny outlook on things.

The emphasis throughout Alchemia is on keeping things upbeat and moving. Nothing wrong with that.

2007. Phil Derby / Electroambient Space

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"The True Glass Alchemy" begins with mysterious synth pads that set the tone for this moody piece of music. Very soon, bass notes are added, flowing in smooth waves. Excellent atmospheric music! Some effects and samples are applied to great effect. New sounds are added, together with layered synth pads. If you're looking for interesting atmospheric EM - this is it. Little by little, a sequence creeps in subtly, gradually gaining in volume and intensity. However, it remains relatively simple, while the main attraction of this track are the atmospherics. I must also mention that excellent melodic section that comes towards the end of this track. Floating atmospheric EM at its best.
"Far Across the Heavens" begins with some strange effects and windy synths. Soon, a catchy melody develops, having an almost ethnic flair to it. The melody is then supported by a pulsing bass synth that transforms into a nice, albeit fairly static, sequence. Another higher-register sequence joins and we are riding on one roller-coaster of an EM track. A third sequence appears, supported by a strong bass and a nice distant melody. Nice work!
In the beginning of "Golden Dreams of Silver Elements" we hear wind sounds, a mallet-like sequence and a mysterious melody. The sequence then mutates, with low-register notes added. However, it's all pretty whimsical so far. The melody has something of a Tangerine Dream-y quality to it. It's a nice track for those relaxed moments. Nice use of Mellotron string ensemble sounds as well. Towards the end, the sequence becomes fairly intense.
"The Alchemists" enter with heavy effects. A brilliant emotional sequence arrives, supported by a simple but effective three-note melody. It's rather straightforward but very effective. A steady electronic rhythm serves as the backbone, as the sequences mutate and various melodies come and go.
"Gone To Earth Through the Book of Minerals" begins with excellent Mellotron choirs and solemn symphonic synths. A sequence develops, as synth flute play a bright melody. Some hi-hats appear, supporting the sequence. This is EM with bright and crisp arrangements.

If you liked Rene's debut album, you might as well like "Alchemia". On this album, he refined his arrangement skills and added a few really effective melodic hooks. An enjoyable listen! Best track: "The Alchemists".

2008. Artemi Pugachov / The Encyclopedia of Electronic Music

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Album info & Press Review of: "Pro Sequentia" by Rene van der Wouden (2005)

Recorded and mixed between October 2004 and January 2005 at the MiniMinus Studio. Composed, arranged and produced by René van der Wouden.

René van der Wouden - keyboards, electronic percussion

Pro Sequentia = Latin for the sequential hymns sung by monks and musicians at around the year 1100. This kind of repetitive music can be seen as the basis of the Western music as we know it today.
The word Prosa is just the abbreviation of Pro Sequentia.

2005. Press Information

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review 1
This EM merges newer styles and Berlin school like elements into something new. Its not a clone of Tangerine Dream or Klaus Schulze. But its is not too far away from their style.
It pleases the fans of pulsing sequences. How to fit it in words? Better listen!

2005. Till Kopper / Germany

review 2
I received this CD "Pro Sequentia" from René van der Wouden. After I had listened to the soundclips on the site, I decided to buy this CD and I don't regret it. The music is very refreshing but also Berlin School. It is also like the music of other EM such as Jean Michel Jarre and Vangelis, but fitted in René's own style. The sounds are classic but inspiring. The overall sound quality is very good, especially in Prosa 5 which is my favorite. The best is saved for last. Although the music changes sometimes unexpectedly, the album gets better and better while playing it more and more. I find this CD a very promising start for this Dutch artist. It indeed pleases all the fans of electronic music. It is a special record and I hope there's more to come.

2005. Lucas Chagny / Swiss

review 3
A 2005 production containing the 5 (musical) Prosa’s

Prosa 1 (6:12) Imaginary Soundscape : sequencers starting the melody. Rhythm is guiding the music marching through a landscape of colourful sounds. Built on many layers ending as it begun. Prefer to mention it lyrical. Nice piece of music and a perfect start. Marching in!

Prosa 2 (13:2 Totally different floating music mixed with sound effects. Theme starts with a simple melody. “Tubular Bells” followed by heavy sequencers strong middle part ending in “Rhythm and Blues”
Summary : melting pot of different styles showing a musical “bunch of flowers”

Prosa 3 (22:23) Mysterious intro followed by melancholic and emotional music starting the electronic journey looking for ……..
Nice theme again. RvdW proves to be a musical painter using a lot of expression in his works. Sequencers taking over halfway pushing the music to its end. Rhythm is dominating Prosa 3 during the second half cutting it in different slices. The result is a 22 min. voyage working to a climax (Jarre was around

Prosa 4 (9:33) Less interesting piece missing the character of the previous parts. Differs too much (TD influences all over)

Prosa 5 (15:47) “The End” starts impressive almost classical. RvdW is obviously influenced by classical music i.m.o. his strongest side and his best Prosa so far. Beautiful Finale.

Chapeau Rene !

2005. Koos van Wijngaarden / The Netherlands

review 4
Sweeping and majestic, “Prosa 1” starts this synthesizer fest in grand style. Soaring pads and effects ring out. Then a moderately paced sequencer loop arrives, followed shortly by a full-on rhythm section that picks up the pace. The lead synth is a tad on the cute side, but the bright upbeat nature of it is enjoyable. Airy synths draw the track to a close. “Prosa 2” takes time to develop, starting with a cool lengthy space music intro, including some nice chords and reverberating bell tones. Just about the time it seems this one will stay mellow, a low bass sequence comes out of nowhere at the 6:30 mark, along with a fantastic soaring synth lead. I get chills on this one. A slamming beat really kicks it up a notch. What an excellent track this is.

“Prosa 3” is a 22 ½ minute epic, with a majestic feel like Jarre or Vangelis at times. Once the smooth melody and beat comes in, it also reminds me of Gert Emmens. The best part is, a synth sounds like a synth – no pseudo guitars, violins, or anything else.

Pro Sequentia is pure electronic music from beginning to end.

2005. Phil Derby / Electroambient Space

review 5
The album Pro Sequentia consists of five tracks named "Prosa 1", "Prosa 2" etc.

The first part begins with serene symphonic synth pads and abstract noises. At around the 2 minute mark we get the first sequence and then another one. Shakuhachi flute can be heard that gives this track an oriental flair. A 4/4 beat then enters the stage, providing a modern age to what started like an out-and-out retro number. We then get lots of melodies so those who enjoy melodic EM should dig this. The track ends with subtle pads and soundscapes. For some reason it all reminds me on 90's Tangerine Dream, although with better arrangements and more interesting sounds.

"Prosa 2" has an excellent start with subtle hummings and some out-there sounds. A wonderful soundscape that feels like being in a parallel world or in a faraway star system. This is in completely different style compared to the first track and I welcome these changes with both hands. A lone melody is playing on top of wind sounds. Mournful, even a bit tragic mood permeates this piece. A bell sound adds to the funeral-like atmosphere. A musical equivalent of a transition to another world is the only analogy I can think of at the moment. However, it suddenly erupts with a bass sequence and some melodic motifs with even a bit of Mellotron flute in there. A rhythm then kicks in and takes things closer to dance territory, with insistent melodic theme and some tight soloing. The track closes with a dramatic pad section and effective piano sequences.
"Prosa 3" is the longest track of the lot. We hear some pads and a melodic theme that just wanders along. Relaxing, but very emotional stuff. Substantial changes come after 8 minutes when an Enigma-like rhythm kicks in, along with some resonating fast-paced bass pattern, while melodic meandering solo continues to cast its spell. Different themes appear towards the 12 minute mark, along with more intense backgrounds and some additional effects. All then calms down for an atmospheric interlude. Closing this track is another upbeat sequencer-based section with multiple pulsations coupled with a rhythm and some solo synth.

The fourth track is dominated by major chords, therefore being much more uplifting than most of what's come before. Sequences do come in after three minutes into the track, making this another urgent rhythmic number. My only gripe are the sounds that on this particular track sound somewhat unimaginative and way too thin. The sequences are ok, but the surrounding sounds / solos I'd prefer more punchy and bold (and more wooden if you know what I mean).

On "Prosa 5" Rene serves us with some synth pads playing uplifting melodies. Then a sequenced section appears with some cheesy brass & flute leads. Another atmospheric part with synth pads and barely heard effects comes next. Then, noisy sequence echoes in the distance that is joined by yet another one and another one in the bass register. Thus, we motor along on top of the most energetic section of this track that eventually closes with sea sounds and various effects.
The last section is rhythmic but laid-back, with nice melodies.

Overall, Pro Sequentia is a fine album that perhaps relies a bit too much on digital synthesizers for my liking. However, own preferences put aside, I'd say this album will be enjoyed by those who like melodic / sequenced Electronic Music with varied moods and a classical influence in there as well.

2005. Artemi Pugachov / Encyclopedia of Electronic Music

review 6
Dutchman René van der Wouden is already active in the electronic music for a long time. With “Pro Sequentia” he delivers his first cd-r. René’s early sources of inspiration are artists like Jean Michel Jarre and Vangelis. These are people that choose the melodically side of EM and this is also René’s course.

This cd consists 5 pieces: “Prosa” (“Part 1” -“Part 5”). The first part opens with nice digital sounds after which a sequence falls in, soon followed by (pop) rhythms and a Jarre-like melody. It can be heard that René can play pretty well. While listening to the music, these elements together remind me of the music of Frank van Bogaert, though his music is more in the direction of Vangelis.

The second part begins quietly, slightly as filmmusic, and a piano-like sound after which the melodic element returns.
“Part 3”, with 22:23 minutes the longest track, seems homage to Jarre but also has some melodylines that sounds like symphonic rock. The choice of sounds is well. Sequences play an important part in the fifth part. I find this the best track on the album.

The last composition also has excessive sequences, though these sound somewhat fussier. “Pro Sequentia” is an interesting debutalbum. Sometimes it sounds something too poppy for me personally but in spite of this the album is promising.

2005. Paul Rijkens / E-dition Magazine

review 7
With this album, René delivers some very pleasant music whose main characteristic is freshness. This cd has a cheerful tone to it that makes it a worthy acquisition for all EM lovers who don’t want to only listen to ominous landscapes and menacing drones. There are some thoughtful moments as well, of course, but always with a certain lightness that makes for a listen as nice as a walk in the park on a bright morning.
And part five is just beautiful Buy it and listen to it while sitting on your porch and looking at the meadows (or imagining to), and catch a breath of fresh air.

2006. Mac of BIOnighT / Italy

Review 8
What a marvellous title. Pro Sequentia, or Prosa in Latin, means sequential anthems sung by monks and musicians in the years 1100. This form of abstract and repetitive art would be the cradle of the sequenced music nowadays. It is also the title of the 1st work of Rene Van Der Wouden, a Dutch synthesist whom I hear on some compilations, whose style charms me so much. It is thus with a well nourished curiosity that my ears rubbed into Pro Sequentia. And, shall I say immediately, I had very beautiful moments listening to it.

Prosa Part I starts with a wonderful sidereal breath, tinted with analog sounds effects and a synthetic orchestral movement. Soft, the line floats with tenderness, whereas a superb series of undulating keys trace a nervous sequence, a splendid flute appears, solidifying a melancholic melody which could melted tears hidden back since years away. The rhythm becomes animated around another more dynamic sequence, good percussions and one divinely melodious synth. Prosa I is full of serene and great harmonies to hear. A superb title that ends too quickly.

More atmospheric Prosa II proposes a long intro with heteroclite sounds effects. On a cosmic wind, keys cross and uncross a sad melody which will nourish the sequence to come. The tone is serious and disastrous bells open the way with a sequence which oscillates in the dazes of suave and intense synthetic layers which balances a waltzing orchestral movement. The percussions explode a melodious rhythm, with a bass sequence and a superb Mellotron which adds a richer and deeper musical texture. The tempo is more and more rhythmical with superb magical flute Mellotron solos. Another superb moment which dies out in the intense atmospheric dazes, and an alert piano segment.

Prosa III continues this atmospheric quest. The intro floats on good synthetic pads which stretch their chords in a kind furrow of harmonious themes. Superb passages of synthesizer, twinned with breaths of tenderness of a Mellotron flute cradles the melancholic atmosphere which overhangs this intro. Symphonic and majestic, the synths progress until the rhythm becomes animated. Dry percussions and a heavy drone bass sequence, seize Prosa III, around the 8th minute mark. The sequence flies with resonance on a slow rhythm, but stylist, as Enigma or Jean Michel Jarre styles. A wonderful melody which slowly quiets out in dense atmospheric breaths, before finding the road of cadence, with hammering synth solos.

A nice small synthetic serenade cribs the melancholic darkness of Prosa IV. Limpid keys, sounding like a crystalline harpsichord, float in static surroundings. Frantic, they hiccough a sequential movement which rams a jerked and hypnotic rhythm. Heavy synthetic layers dramatize the atmosphere whereas the percussions hammer a hungrier beat on a linear movement of the virtual harpsichord, which is decreasing, on rammed keys of intensity.

Prosa V encloses this extremely melodious opus with a symphonic touch within the spirit of a contemporary classical movement. A superb melody which waltzes on mellotron layers with the violin character, traditional flutes and other classical wind instruments. Superb symphonic synth takes the lead and blows of majestic anthems on a sequencer which circles and assumes the rhythm section. Great contemporary art which exploits various styles and sequences, embracing heavy rhythms and melodies sumptuously dresses more beautiful orchestral assets. What a final.

This first Rene Van Der Wouden exceeds my expectations. Pro Sequentia is a superb opus, with highly stylized arrangements. Van Der Wouden uses and develops his sequences in an astonishing way. His music is woven multiple sequences movements which intersect with affinity on very fluid and melodious orchestral arrangements.
My hairs did rise on more than one occasion, showing out of any doubt the great sensitivity which seems to surround this extremely promising composer.

2006. Sylvain Lupari / Canada, Quebec

Review 9
René van der Wouden posee un estilo muy personal. Su música puede definirse como Planeadora melódica, aunque también se adentra a veces en el sinfonismo clásico y en el Pop.
"Pro Sequentia" es una impresionante obra de melodías cálidas y atmósferas mágicas, donde se fusionan los elementos menos abstractos de la Música Cósmica y los rasgos más etéreos de la Nueva Música Instrumental. Ritmo y melodía se mezclan en complejas construcciones, donde los secuenciadores trazan melodías. También hay pasajes lentos, donde los ambientes flotantes dominan. Estamos sin duda ante un disco estupendo, acompañado además por una espectacular portada.

René van der Wouden has a very personal style. His music can be defined as Space melodic, although it also enters Classical symphonism and Pop sometimes.

"Pro Sequentia" is an impressive work of warm melodies and magical atmospheres, where the less abstract elements of Space Music merge with those more ethereal ones from Contemporany Instrumental Music. Rhythm and melody become fused into complex constructions, where the sequencers shape the melodies. Also there are slow passages, where floating environments predominate.
This is no doubt a wonderful album, accompanied by a amazing cover.

2006. Edgar Kogler / Amazing Sounds

Review 10
This release from 2005 offers 67 minutes of thrilling progressive electronic music.

With the first track, majestic textures sweep overhead, ushering in peppy percussives and nimble keyboards. An orchestral flair accompanies these elements, lifting the tuneage to vertiginous altitudes with breathtaking passion. The electronics convey a masterful air that is commanding and engaging.

The second track begins with an extended airy intro that leads to a passage of classically tinted keyboards. Tubular bells join in with astral effects, conjuring a celestial mood of dreamy demeanor. E-perc enters the mix, injecting a lively disposition that is suitably mirrored as the keyboards grow more demonstrative.

The third piece is the longest (at 22 minutes), and here Van der Wouden's sense of composition flourishes. The tune matures slowly, reaching a state of regal wonder as keyboard riffs interweave and combine, resulting in a fluid grandeur that gradually moves from progressive into pop laced tuneage as percussives emerge to lend a bounciness to the pulsating harmonies. Crystalline passages bestow a chill to the piece. Pensive stretches develop, stepping down the velocity for a ruminative turn...tat leads to a return of the music's previous state of agility.

The next track utilizes a surging quality to capture the audience's attention. Keyboard riffs throb and quiver, building in conjunction with swelling rhythms. The last composition fuses a heavenly manner with an earthy stability, combining Van der Wouden's nimble-fingered keyboards with a jovial sense of celebration.

Moving from flutish strains to darker passages, the music refuses to stop mesmerizing, delivering inventive developments with determined exposition.
Highly recommended.

2006. Matt Howarth / Sonic Curiosity

Review 11 by Scott Raymond

Rene Van Der Wouden - Pro Sequentia (2005)

This is Rene's first album, and an impressive one at that. There are obvious influences from different European electronic music styles, and well done at that. And that alone should be enough to make this a worthwhile album. But what really matters is Rene's command of melody. Even though this is a very sequencer driven album, there's a strong melodic element, an uplifting quality to the music that I seldom hear these days. There are five long pieces, giving Rene plenty of room to show his ability. My favorites are Prosa 3 and Prosa 5, both very heavy sequencer pieces, but also very positive melodically as well. Highly recommended. Check out Rene's website at www.renevanderwouden.net for more info.

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