lundi 17 septembre 2012

RON BOOTS: Dreamscape (1990-2002)

“Dreamscape is a very beautiful album which shows that Ron Boots has his place beside Klaus Schulze, Manuel Göttsching, Edgar Froese, Vangelis and Steve Roach”

1 Cougarland 6:45
2 The Stand 14:02 
3 Silent Nature 11:14
4 Rivers 7:35
5 Cry of the Heart 8:40 
6 Dreamscape Part I 9:20
7 Dreamscape Part II & III 12:00
8 Rivers (New 2003 recorded version) 7:43

GROOVE| GR-074 (77:37) ****½

By glancing through Ron Boots' biography we are capable of noticing the impressive road map of the founder of the Dutch electronic movement (Netherlands School) and the internationally recognized Groove label. The career of Ron Boots began in 1987 with Linear Waves, an opus realized and distributed on cassette format. Format that was going to support the release of his 5 following works. Initially realized in 1990 on the Synteam label, which became Groove, “Dreamscape” is about dreams. Reveries and lucid dreams which are skillfully transposed on a music where rhythms and ambiences are separating the melancholy from hope. With this album, which was chosen as the best album by the German Schwingungen Club, Ron Boots had aimed at the summit and stayed there since. In fact, “Dreamscape” explains by its structures and music all of Ron Boots' impact on the chessboard of contemporary EM.
It’s with hesitating pulsations to outlines eroded by silvery echoes that "Cougarland" is settling a slow rhythm fed by a sequential approach which has difficulty in climbing a spiral ascent. The rhythm is heavy and slow, as the steps of a puma that surrounds his prey. Looking for the support of some fine percussions of Tablas kind, the tempo swirls under the scattered breaths of a flute which loses its harmonies in the singings of a synth with dreamy solos which harmonizes its harmonious reflections with suave choirs, wrapping the delicate staccato of "Cougarland" of a soft oniric approach. "The Stand" is a wonderful title which displays its 14 minutes by interposed phases where the rhythms are switching forms for ambiances into hybrid spaces. One would believe to hear the first sequential stammering of Steve Roach and Edgar Froese's Drunken Mozart in the Desert on a tribal approach of Vangelis and his Opera Sauvage. The intro takes back this charming fusion of slightly jerky synth breaths which sound like flutes and choirs chanting a celestial nursery rhyme. Chords sounding like hollow knocks of xylophone come to cavort around this delicate approach while gradually Ron Boots surrounds his long procession of a beautiful musical pattern which goes by increasing with all the sweetness that commands reverie. Little by little "The Stand" becomes besieged by a threatening veil while the rhythmic path goes astray towards somber pulsations which bite the ambience and make it swirl in a beautiful spheroidal movement filled by harmonious sequences which twirl around beneath heavy resonant sails where the harmonies and rhythms are embracing in a surprising allegorical symbiosis. The energy dissipates and the sequences are changing skin, borrowing the delicately jerky breaths of a synth which subdivides constantly its lines into flutes and angelic choirs of which the dreamy impacts are delicately harpooned by these tinkling of glass and Tablas percussions which roam in search of a rhythm to be shaped in a space became ambient and idyllic. As for me, "The Stand" and the surprising bolero with a philharmonic crescendo à la Vangelis that is "Rivers" are two inescapable titles of Ron Boots' repertoire to nest on “Dreamscape”. "Silent Nature" is a beautiful ambient musical landscape with uncountable synth layers, some passives and others more musical, which float and surround the ephemeral pulsations of a sleepy nature.
This sort of ambient structure which encircles a fauna of mislaid percussions is also on "Cry of the Heart" where synth layers to silvery breaths cogitate with choirs and lamentations of whales. A warm breeze of Orion frees fine star-studded particles which ring on a carpet of mist and "Dreamscape Part I" enters into our ears with its tones of musical anvil which shine among keyboards riffs fluttering into an enchanting harmonious ballet. Like a storm of sonorous ions, this long prelude to a 2nd part totally independent inhale the peaceful harmonies of a static ballet à la Steve Roach with its sparkling arpeggios which turn in a delicate stationary spiral and its choirs to hatched timbres which wrap this virginal approach. "Dreamscape Part II" begins with a beautiful ballad where Ron Doesborg's acoustic guitar caresses the voice of Desiree Derksen who recites, in Esperanto, a poem of Reina de Jong. The dreamlike approach is fading little by little into the scattered percussions and resounding breaths, plunging "Dreamscape Part II" towards some more steady percussions which hammer a rhythm of lead nearby shimmering arpeggios. Heavy synth waves wrap up this implosive storm while the keys of xylophones blown in glass are courting the heavy tribal tom-toms and the hoarse breaths of an illusory trombone, plunging "Dreamscape Part II" in an intense static bubbling which calm down its lyrical anger in the soothing blades of synth to iridescent prisms. A new version of "Rivers" ends this edition of "Dreamscape" on  Groove and its pulsations which increase their boleric heaviness are always so intense. Only the layers and lines of synth are taking a profound philharmonic essence, restoring to this intense title such a nobility that was lacking to it but of which we hardly noticed on the original version so much it’s immensely beautiful.
Dreamscape” is a very beautiful album where the powerful or motionless rhythms embrace sweet seraphic ambient phases. And whether it’s through his ambiences or his rhythms, the strength of Ron Boots lies in this capacity to structure and tie melodies with an uncommon ease. It’s an inescapable that I recommend strongly and which will introduce you to the musical universe of an excellent composer who has his place beside Klaus Schulze, Manuel Göttsching, Edgar Froese, Vangelis and Steve Roach. Big names in EM from whom we perceive a clear influence on Ron Boots.

Sylvain Lupari (September 17th, 2012)
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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