Heij, Ruud

Artist: Brendan Pollard
P: 2013
Brilliant stuff of lonely tracks and many unreleaed material on CD for the first time. If you like sequences in the late 70s style or like Hoenigs Departure from the Northern Wastelands, this is the right choice. Also with Ruud Heij.

Artists: Free System Projekt & Brendan Pollard & Hashtronaut
P: 2009
Recorded at Radial Velocity Studio, Bedford, England in the Spring of 2009.
Composed and produced by Brendan Pollard, Hashtronaut, Free System Projekt
A new session album is released: Time out of Mind.
It consists of material recorded during our stay at Brendon Pollards studio last May. We (FSP/Pollard/Hashtronaut) recorded hours of music and the results can be heard on the new album.
77 minutes of pure analogue feeling and sequencing.
 

Artist: Gert Emmens & Ruud Heij
P: 2004/ 2007   
Each of the album's progression of tightly composed episodes are centered upon the traveling, cyclical repetitions of splintered rhythms created by Heij's pattern generating sequencers. Gliding above, Emmens' melodic narrative relates a tale told through a wandering ribbon of warm synth lines - rising, falling and bending in time with the tapestry of interlocking electronic pulses and beats. Unrolling expectantly, the thread is thrilling but the weave leaves us spellbound. The duo augment each other well on this poetic meditation into the vastness of human spirit as explored through music technology. They are well versed in the vocabulary of this genre's early masterworks.
For the listener, Return to the Origin is a means to cover great distances while lost in our own imaginations. For Emmens and Heij, it is part of their quest to locate themselves in the world of their musical ancestors.

Artist: Gert Emmens & Ruud Heij
P: 2008 
Emmens & Heij team up for a fourth time on Silent Witnesses of Industrial Landscapes, and they just keep the Berlin train rolling right along. Let’s just cut to the chase and say that if you have and like their prior albums, don’t hesitate to add this one to your collection. Fans of retro EM should once again be in analog heaven. As usual, this is improv-based synthesizer music with an equipment list a mile long.

Artist: Gert Emmens & Ruud Heij
P: 2016
After their concert at the E-live festival in October 2012, Gert Emmens & Ruud Heij spent a month or two on completing the basic musical ideas of their concert. The result was the completion of 6 new tracks. Right after finishing this new music, they decided to switch to making ambient music for some time. This resulted in the ambient album "Signs", released in April 2014. The next musical step was going back to a very retro style of Berlin School music for a next album. Realising that there still were this 6 tracks waiting for release... They decided to offer the tracks as a complete download album only. BUT Now also as a CD release!!

Artist: Kubusschnitt
P: 2006
Twittering cosmic effects mix with very deep windy pads as if we are travelling through space, past nebulae and other wondrous stellar phenomena. A lovely little flutey lead line materialises low in the mix. A tinkling sequence starts up gradually becoming more complex. A second thunderous one, like a mix between ‘Rubycon’ and ‘Arcturus’, falls into place alongside it and soon becomes the main feature- shaking the floor and getting the head nodding in time to the Earth shattering pulsations. Thick pads create a wonderful setting for the mayhem then we get duelling guitar and synth lead lines- awesome! We reach quite a head of steam then in the fifteenth minute calm returns, soft flute and lush pads mixing together beautifully. We continue our journey seamlessly into Part Two. Another bass sequence starts up and soon develops into a cracker supported by gorgeous mellotron (the classic formula!). More sequences come in- one higher register melodic one acting like a lead line in its own right. The guitar adds just a little detail here and there but is very much in support of the sequences which are controlled with great skill, morphing this way and that, creating an every changing wall of pulsations. In the fifth minute things calm down to a low throb over which play excellent analogue seventies sounding melodic detail. The Third Part is yet another sequencer fest, a bright one leading the way with a second chugging one close on its heels. Chuck in some tron and we are soon, once more, hurtling forwards in Berlin School bliss. Guitar and synth lead lines again battle against each other. The synth sounds very mid 70s TD whilst the guitar is of the heavier Maxxess variety. Part Four changes the sequences but is still a syncopated blast. The guitar is there but not as strident, just providing lovely little splashes of colour. Some excellent ‘Sorcerer’ type sounds can be heard nearer the end. The final part begins with a melodic shimmering tinkling loop, gently echoing into the distance. A substantial sequence bounces in. A high hat line comes in to support the initial melody then we get some intriguing sampled text. In the second half of the track the guitar returns, all rather moody and full of attitude it is too. The sequence ends abruptly and a final bell type note echoes into infinity. What a wonderful album this is! (DL)

Artist: Kubusschnitt
P: 2001
We begin with a chaotic collage of sounds and effects out of which emerges an ominous drone and slow pulses. In complete contrast we then get a plucked string type lead line to which is added an absolutely fantastic melodic sequence - one of the best if not the best Kubusschnitt have come up with so far. Not to be outdone in the lead line department in enters a real cracker - again one of their very best. This is such a fantastic track - so full of excitement it just makes you feel like punching the air in pure pleasure. What's more it just gets better, faster and more intense as we progress into the second part with yet more fantastic lead lines. If you want sequencer mayhem with strong melodies you will have it by the avalanche full here. I really can't stress too much just how good this is. We float into the next section on the back of dark atmospherics but in no time at all another sequence emerges - again fast and furious. It is accompanied by a second and we enter Klaus Schulze territory. Nearer the end a subtle electric guitar lead line starts up adding colour to the pulsating brew underneath rather than dominating. Its all change as we move into part four which is basically a short dark cosmic atmospheric piece, a sonar blip being particularly effective. Initially part five takes us out to even deeper space with electronic effects and wooshes of sound making one think of mysterious other worldly phenomena. Out of all this come gorgeous melodic pads. It's as if we are entering a spellbindingly beautiful and yet awesome region of the cosmos. Just close your eyes and let the music take you where it will. For the second half of this part we are brought back to reality with a bump as two more sequences come to life and we now start to move at great speed again. Some lovely floating space guitar plays with the sequences and synth lead. This is both delicate and powerful music, sounds being combined expertly complimenting the sea of pulsations on which they float. The electric guitar does get a little more strident just before we enter the sixth part but not overly so. This section is really a gentle introduction to the even more cosmic part seven. The sound of solar flares fly over some deep pads. In the third minute a rhythm / sequencer combination slowly make their way through a cloud of stellar gasses becoming more strident all the time but never destroying the delicate atmos. Again its all rather Schulzian. To start off with Part eight is another cosmic extravaganza with some lovely floating guitar work. The pulse starts to quicken however as an absolutely brilliant sequence enters around the three minute mark. The guitar disappears and is replaced by synth leads. Things become very 'Sorceror'ish around the eleven minute mark. The sequence mutates just enough to hold the interest, the atmospherics and use of space around it being simply masterful. The sequences are again fantastic on the final part. As they get into full swing some sympathetic guitar work soars into the ether. The sequences get beefier and beefier as the track progresses - synth leads now replacing the guitar and things work themselves up into quite a frenzy up until the end - but is it? Keep the CD running for a little while and you get atmospheric noises and all sorts of other effects then a really nice mid 70's floating melodic passage and that really is the end - honest! Kubusschnitt go from strength to strength proving here that they are one of the very best retro bands around today

Artists: Patchwork
P: 1994 / 2012
Composed by René Jansen, Udo Scheyka and Ruud Heij; recorded during sessions in summer 1994 and summer 1995. Brilliant Berlin School sequences...

Artists: Patchwork
P: 1998 / 2008
First Work is the re-release of the first Patchwork album, simply called Patchwork back in 1998. During a break from Kubusschnitt but before he became part of Free System Project, Ruud Heij joined up with Rene Jansen. I am sure Rene was equally as responsible in creating this superb album but it seems to me that wherever Ruud turns up the result will be Berlin School inspired brilliance.
They get immediately into their stride with 'Synthetic Nature'. Robust sequencing brings to mind Synco, and the percussive detail nods in the direction of Wavestar. The 8 minute track takes a time-out at the 5 minute mark to present tropical rainforest effects with well judges synth motifs. An grandiose and effective way to end a more than satisfactory opening.
Two tracks weigh in just under the 16 minute mark, and the first of these is 'In Memory of Humanity'. A strange mix of voice samples, analogue textures and general electronic burbling occupy the opening salvos. Slowly a sequence begins to take shape - initially just a random set of bass notes however the entrance of percussion marshals them into shape. The synth layers are particularly well handled - not overpowering, yet so full of variety and interest. Generally it's slow, moody stuff however the atmospherics at the 5 minute mark are akin to light breaking through the clouds. A classic sequence then takes over, and by now fans of Synco in '85 to '89 form will be well pleased with their purchase. Plentiful helpings of Berlin School pulsations are served up to the 12 minute mark before a delightful melodic cameo is developed to bring the track to a close.
'Initial Timeline' starts with a tribal gathering before bass laden textures engulf the soundstage, allowing a sequence to take shape and drive the piece forward. Flutey synths add detail, and the occasional chord change reinforces that this music charts the slightly more contemporary end of sequential wall territory.
At 15:56 'Mysterious Discovery' is the longest piece. Bass resonances underpin a rudimentary sequence which is soon fleshed out to form a rhythmic backbone. The sequence changes little for 5 minutes producing a hypnotic effect before atmospherics occupy the mid section. A door opens and closes, footsteps run between the speakers, then vocoder effects bridge to the start of the second sequential run. String synths provide lush accompaniment and spoken samples produce a superb mesmeric collage, complemented by expertly formed synth themes.
'Navigate' opens with more synth lushness before another choice sequence crashes into focus. Plenty of layers are available for perusal, and the percussion sharpens everything up to perfection. Listen out for the way the sequence is deconstructed then jump started in the closing moments. I'm sure this 11 minute gem will find it's way into many people's personal favourite selection. It does have plenty of competition though, not least the closing brace.
'Everglades' changes the mood with slightly discordant synth pads which constantly develop into a dense tapestry of minimalistic themes. Finally the strangely titled 'Meadow' kicks straight in with inviting rhythmics which demand to be unleashed into a classic sequential outing. The invitation is duly accepted as a Redshift-style bass sequence hits home and proceeds to underline that his album has the ability to entertain and impress right to the closing moments.
This is definitely one for sequencer fans, especially those with a penchant for the likes of Synco's '85 to '89 album. Classic timbres and pulsations aplenty, this should be on any discerning EM fan's shopping list.

Artist: Pollard, Daniel & Booth
P: 2010
The epic Pollard / Daniel / Booth / Ramsey / FSP concert from Hampshire Jam 8.
Oceans of mellotron and walls of modular.
‘Hampshire 1’ commences with fizzing, twittering effects which act as an intro for two different Heavenly Mellotron lines. Close on their heals enters a rapid tinkling sequence. A second heavy bass sequence joins it and we are soon belting along at break neck speed, the foundations shaking as we go. Electric guitar touches heighten the excitement still further. What an incredible opener!
After whooshing atmospherics and beautiful ethereal effects ‘Hampshire 2’ continues its slow exquisite build up with a lonesome synth flute lead. When the first sequence does arrive it is again of the rapid high register variety. The second sequence falls into formation with the first perfectly. A third, deeper sequence, joins in the fun and we are soon bathed in a sea of pulsations. Pure Berlin School heaven. The sequences evolve like living entities and the guitar, though used sensitively and never above the middle of the mix, adds even more oomph.
‘Hampshire 3’ grabs the attention right from the opening few seconds with sonic blasts and Mellotron. We then follow the winning formula outlined in the previous two numbers. A sequence emerges, which is again first rate, topped off perfectly by a sensitive flute lead line. The sequence morphs wonderfully, little guitar touches making brief but most welcome appearances.
The sequencer is fired up right from the first second for ‘Hampshire 4 (Encore 1)’ and the trons, taking the lead role this time, have never sounded better. Edgar Froese style guitar tops things off perfectly. The audience demands more and sonic screeches get ‘Hampshire 5 (Encore 2)’ underway. Soothing Mellotron softens things a little until the sequences burst forth once more and proceed to give fans of Berlin School music exactly what they want.