vendredi 9 décembre 2011

RON BOOTS: La Caida de Hormigón (2011)

''La Caida de Hormigón is quite a great album''

1 La Caída de Hormigón 17:26
(The Fall of Concrete) 
2 A Través de las Ruinas Vista al Pasado 22:51
(AView through the Ruins of the Past)  
3 Cielo Abierto a Través de los Pilares de la Fe 20:33
(Open Skies Across the Pillars of Faith)

Groove: GR-180

It’s from the ashes of history that Ron Boots presents his last opus. La Caída de Hormigón is a concept album inspired by the Ruines. Built on 3 long titles which intertwine in dense trade wind spheres, La Caída de Hormigón is immersed by latent, implosives and explosives rhythms shaped in brief minimalist sequential segments which turn in timeless loops in a fascinating sound fauna. Heavy and hypnotic rhythms which are fed by avalanches of sequences, coupled with the solid percussions of Harold van der Heijden, and synths with hybrid breaths where winds and solos transport us in a musical world totally magical.
A pulsating line awakens a cloud of sound particles, while a stream of synth breaths and winds assaults the shy intro of "La Caída de Hormigón". An ascending sequence comes out of it. Its 5 furtive chords twirl in loops, giving the impression to climb the marches of a timeless spiral. The rhythm continues its ascent under brilliant soloes of a synth which also throws hazes of mists, while drum rolls accompanies this astral procession which does nothing else but follows the pulsatrice line of the introduction. And it’s how Ron Boots works the 3 epic titles of La Caída de Hormigón; on short minimalist structures which turn in loops, the man behind Groove weaves a surprising sound fauna, as ambient as rhythmic. But those rhythms, even if bubbling on furious sequences, always remain captive of an impressive armada of breaths, mists and solos of synths which also distil a strong concentration of heterogeneous sound effects. Because the tension rises inside the enslaved rhythm of "La Caída de Hormigón" which maintains its slow cruising speed. New musical elements are added towards the 7th minute spot; keyboard riffs, other more nervous colliding sequences and an immense veil of mist. Elements which sound the knell at a rhythm which becomes heavier and more incisive with more powerful percussions strikes and sequences which pound intensely, over sizing the initial rhythm which collapses under smooth soloing. Hypnotic, we let ourselves rocking by this title which progresses constantly, and in subtlety and in aggressiveness, but always held by a curious and intense musical shield. Segmented in 2 parts ''A Través de las Ruinas Vista al Pasado'' begins it journey with a thick cloud of synth winds of which the somber reverberations activate a cosmic river of twinkling arpeggios and embrace the mesmerizing tones of the peoples of sands. We could believe being in the caustic universes of Klaus Schulze, periods Black Dance and Picture Music. A fine pulsating sequence awakens a discreet rhythm with a series of chords which drum dully in an intense sound broth where heterogeneous noises embrace various synth breezes. Another sequence line offers more gleaming keys which flutter, collide and permute finely on a rhythmic structure which increases gradually its pace and heaviness. Keyboards riffs and pads are grafted to this ascent which intensifies its evolution without ever getting rid of the influence of winds and layers of mist which will finally get the better of its hatching and bring back ''A Través de las Ruinas Vista al Pasado'' towards the vestiges of its pulsating bass line. Then we dive into another lunar phase where fine electric piano chords rock at the threshold of cosmic winds and a nice sequence undulates such as an ethereal wave which dances under mellotron choirs and mists. This sequential impulse will guide the rhythmic phase of ''A Través de las Ruinas Vista al Pasado'' 2nd part which, in spite of the piling up sequences and synth solos, will always remain captive of its heavy subdued mood. Moulded in ashes of the opening track, ''Cielo Abierto a Través de los Pilares de la Fe'' offers a heavy rhythmic structure which crescendes with more restlessness. Sequences are caustic and fit to a strong ascension movement, whipped by winds and mellotron choirs. Other sequences are added. More crystal clear, they skip and increase the bombast of a furious movement which swirls indefatigably in an intense rhythmic spiral to reach its paroxysm with the arrival of percussions which hammer the bases of a lightning heavy and hypnotic rhythm which turns and turns under suave solos and brilliant sequences. What a title!
In fact, La Caida de Hormigón is quite a great album. Ron Boots succeeds of an audacious bet by concocting a rather complex album where the heavy floating rhythms bubble in heavily sieved atmospheres. Sequences on La Caida de Hormigón are magic. They come from everywhere. Couple and juxtapose to shape rotary rhythms that Harold van der Heijden’s percussions twin with sharpness and ferocity. Synths are divine. Ron Boots pulls the maximum out of them, sequences too by the way, by weaving wonderful atmospheres and drawing great hybrid solos. La Caida de Hormigón is the perfect union of sequences to synths, rhythms to ambiances, in a musical universe as stunning as enchanting. Hat to you Ron Boots!

Sylvain Lupari (2011)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream

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