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Reviews & Opinions Pro Sequentia

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

CD-Mastering by REWO

René van der Wouden - analog & digital synthesizers, electronic 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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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

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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

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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 (13:28) 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

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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..

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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-r 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. By the way, this cd-r is not available anymore through SynGate. On October 15 2005 René gave a concert at the E-Live festival.

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.

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If you like rhythmic/ spacy sequential electronics, this is for you! I‘ve not heard an album in some time that uses sequencer quite so well as this. Its featured front & center musically, and diversely programmed so the layers of melody & effects literally intertwine forming a seamless web of sound. The 5 tracks on the disc make for powerful & energetic listening, programmed so as to complement each other nicely.

© 2006 EUROCK USA - Archie Patterson
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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.

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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 1 st 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 .

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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.

http://www.soniccuriosity.com/sc280.htm

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.

Enjoy,
Matt Howarth

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Reviews & Opinions "Alchemia"""

This release from 2006 offers 60 minutes of thrilling progressive electronic music.

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.

Enjoy,
Matt Howarth

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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.

Sylvain Lupari (Fae) from Québec, Canada
Guts Of Darkness; French Home of Dark & Experimental Music

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