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”.
