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PASCAL VAN DEN DOOL

Crossover Prog • Netherlands


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Pascal Van Den Dool biography
Pascal van den DOOL is a solo crossover prog artist (born 29th february, 2000 in Papendrecht, The Netherlands).

Start

Playing piano and composing started at an early age and he continued with this a lot in his life. In 2014, he began composing orchestral pieces and piano compilations and publishing them on Youtube. These orchestral pieces were largely inspired by trailer music which has always been an influence.

First albums

After a little while he composed his first orchestral album, called 'Nature'. In less than a year a new album came out: 'The Transition'. It had a more realistic orchestral sound and functioned as a bridge between orchestral music and band-oriented music. These albums were never officially released.

Prog period

Pascal discovered prog, which would be a big love from that point. Inspired mainly by Pink Floyd, he made the album Space (July 2015) just 3 months after The Transition. Still the use of orchestra was prominent.

Next, he wanted to develop his own style more and thus mixed a lot of piano and orchestra in his sound. The result was a concept album: City Between Two Seas (January 2016). From this point, this album and the Space were available for sale and he gained more international fans.

With his next album The Sent Alien (October 2016) he amplified his style; more thought out layers with lots of piano and orchestra and a bit more experimental, the album touches avant-garde briefly for the first time as well as adapting classical composition.

The next album, Fedus (June 2017), focusses more on piano solo and other keyboard layers. In this nearly fully instrumental album the aim is to find a balance of seemingly almost contradictional musical aspects: peaceful - tensional, impressionistic - modernist, emotion - complexity, etc. The album again takes a new direction, namely much more jazz and modernist music, but it remains Pascal van den DOOL's own style.

**biography submitted by the artist**

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PASCAL VAN DEN DOOL discography


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PASCAL VAN DEN DOOL top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.00 | 1 ratings
Space
2015
0.00 | 0 ratings
The Sent Alien
2016
4.00 | 1 ratings
City Between Two Seas
2016
0.00 | 0 ratings
Fedus
2017
2.00 | 1 ratings
Piovecoian Islands
2019

PASCAL VAN DEN DOOL Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

PASCAL VAN DEN DOOL Videos (DVD, Blu-ray, VHS etc)

PASCAL VAN DEN DOOL Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

PASCAL VAN DEN DOOL Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

0.00 | 0 ratings
Prog On The Piano
2016
0.00 | 0 ratings
Twinkle Twinkle Little Star
2018

PASCAL VAN DEN DOOL Reviews


Showing last 10 reviews only
 Piovecoian Islands by VAN DEN DOOL, PASCAL album cover Studio Album, 2019
2.00 | 1 ratings

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Piovecoian Islands
Pascal Van Den Dool Crossover Prog

Review by TCat
Collaborator Eclectic Team

— First review of this album —
2 stars PASCAL VAN DEN DOOL is a young composer that has already composed and produced more albums than some artists have ever done in their lifetimes. He was born in the Netherlands in the year 2000, started making orchestral music and albums early on and then transitioning to Progressive Rock in 2014 when he fell in love with Pink Floyd's music. After a few progressive albums, he started doing some experimentation with music. He has had different styles, thus is considered a Crossover Prog artist. 5 albums are listed in the archives, even though he has produced more than that, and his most recent album is called "Piovecoian Islands" which was released in May of 2019. This album only consists of Pascal on piano and vocals which were recorded together with no overdubbing. The album consists of 11 tracks totaling a bit over 41 minutes.

The tracks here are all covers starting with "Fly Me to the Moon" which is the jazz standard that everyone is probably familiar with. It is easy to pick out that the vocals are not embellished or overdubbed as they can sound a bit off sometimes, but not obnoxiously so. What is surprisingly apparent is Pascal's amazing use of jazz chords that are played on the fly. The following track is "Estate" which is originally an Italian song. It starts out in English and he switches to Italian part way through. Again, the jazzy accompaniment is pretty amazing.

He moves to more current songs at this point starting with IMAGINE DRAGONS "Radioactive". His singing is a bit questionable, but again, he has the amazing ability to accompany himself with an amazing ability, translating the original songs into nice stripped down piano versions. The fact that this is done without overdubs is pretty amazing. I would have liked to hear songs like this one with a more jazz style, however. Next he takes on THE BEATLES' "Lady Madonna" and even includes the same vocal effect, or at least tries to imitate it. The accompaniment is pretty much faithful to the original, just transcribed to piano. "Proclamation" comes next. This time he uses an electric piano. I am not familiar with this song, and it could be an original as I couldn't find any credits. We could have easily done without this track as the vocals are awful and the accompaniment is very uninteresting. At least he does keep a progressive feel to the instrumental solo, but this just doesn't seem to translate to this format very well, but then, I haven't heard the original to this track, if there is one. This is also one of the longer tracks at over 5 minutes and the regular piano probably would have been better.

So, let's try a QUEEN song next. "Somebody to Love" sounds better on a regular piano this time around, but the operatic and overdubbed style of the original doesn't fair well here either all stripped down. This sounds like someone playing around and making a recording for family or something. He moves back to a jazz sound with the slow and pensive "I Fall in Love Too Easily" made popular by SINATRA and covered by MILES DAVIS and CHET BAKER. I can't help but think that the jazz styles sound so much better given Pascal's raw treatments, though his vocals aren't the best, his musical skills are definitely quite impressive. He gives a lovely piano solo in the middle, and that is where he shines the brightest. Next he does Australian singer DEAN LEWIS' "Be Alright". Not good.

From there, he moves to COLDPLAY's "Everything's Not Lost". He keeps the pensive feeling of the original, doing okay on the piano (the original was quite piano heavy too) but messing up the vocals, almost sounding like he was getting either tired or careless with the sound, but again the music gets translated well to the piano. The heartfelt singing of the original gets destroyed in this cover as Pascal has a hard time singing the high notes. RANDY NEWMAN's "You've Got a Friend in Me". He plays with a Honky Tonk ragtime piano style effect copying Newman's original. He obviously sings this because it is probably one of his personal favorites, but he doesn't add anything to the original and does take away from it with his shaky vocals. Last of all comes "Islands". That's right, it's the KING CRIMSON classic, the last masterpiece written by PETER SINFIELD for the band. This is the biggest surprise of all, at least for this album. This cover is actually decent. The soft, pensive song doesn't have to be translated very extensively to solo voice and piano, and the original vocals, which were quite vulnerable, remain that way with Pascal's treatment. That is what gave the original song its heart, and it does here too. This one really works well.

So, I can't help but wonder how much better this would have been if Pascal would have translated all of the covers to a more jazz style arrangement as that is where he shines the most. Also, adding the nice surprise of "Islands" is a highlight to the album. I am not a fan of his versions of the more popular and current songs because they don't add anything, and make this sound more like an album released for his own family or die hard fans. At least he reminds us a couple of times on here that he knows his music. His singing definitely brings this down a few more notches, and it only really works on the jazzier numbers and, again, on "Islands". I suppose this album was released for his fans, though. He is quite brave to have released a raw album like this, and I admire him for that, but he should have translated all of the songs to a more jazz style, which he does have the ability to do so. Anyway, the stripped down versions of the pop songs just don't help them become more interesting, in fact, it ruins them. Stick with the jazzier numbers on this one, and avoid the others. "Fly Me to the Moon", "Estate", "I Fall in Love Too Easily" and "Islands" are the highlights, the rest of the album is like listening to a recording he did for his family that wasn't supposed to be released to the public.

 City Between Two Seas by VAN DEN DOOL, PASCAL album cover Studio Album, 2016
4.00 | 1 ratings

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City Between Two Seas
Pascal Van Den Dool Crossover Prog

Review by Star_Song_Age_Less

— First review of this album —
4 stars City Between Two Seas showcases Pascal van den Dool as a promising composer. It's a cross between almost entirely progressive song structures (ABCDEFG, etc., rather than something more repetetive) and orchestral/symphonic inspired arrangements that bring a grace and balance to the work. The first piece, "On Earth," is pristinely lovely and surprising at many turns. Unlike the heavy-handed use of seething synth leads common in prog, this artist chooses attention to subtle detail and layered soft synths that slowly rise into ethereal beauty. Its elegance sounds entirely natural despite the complexity of the piece. These qualities foreshadow the rest of the album, but surprises abound as well. "Rose," for example, is a brief departure leaning more toward the world of folk music, though it still retains that ethereal quality - and "Not Me" features some highly expressive piano work. Pascal's singing and vocal effects are singular to him and assist in generating a unique texture - a blend of classical western musical style and prog rock composition, the synthesis of which may have been undermined by intrusive vocals.

This work is not without its faults, which are primarily in the mixing. There are several sudden ramps in volume which are too loud compared to the average volume of the songs (seems like a mastering issue). Occasionally, a midi sound is too obviously artificial, or too cutting. And it is unfortunately difficult to distinguish the lyrics when listening - a lyric sheet is strongly recommended. However, these minor problems pale beside the quality of the composition, musicianship, and genuinely emotive nature of the sound.

Thanks to evolver for the artist addition. and to aapatsos for the last updates

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