mercredi 19 septembre 2012

RON BOOTS: Ghost of a Mist (1991-2002)

“Ghost of a Mist is the meeting point between lunar atmospheres and passive rhythms evolving with a minimalist approach drawn in the shade of angelic melodies”

1 Ghost of a Mist (The Sleepwalker) 15:16 
2 In Timeroom Spirits 9:29
3 Ghost of a Mist (Ring Mist Mountain) 15:34
4 On the Field 5:28
5 Flowing Forces (Bonus track) 9:20
6 Desert Clouds 18:47

  GROOVE| GR-073 (73:55) ***½

Here is an album that is stopped by briefly in the universe of EM and which nevertheless is equal to the quiet works of  Steve Roach and Michael Stearns. Quiet, but not that much! “Ghost of a Mist” abandons the pure and static rhythms of Dreamscape for sleepy ones which teem of passive sequences. This Ron Boots' 2nd opus on Groove is an intrusion in the clanic atmospheres of the American, or illusory deserts, such as put in music by Roach and Stearns. Flanked of Klaus Hoffmann-Hoock on "Desert Clouds" and fort of a splendid bonus track (Flowing Forces), “Ghost of a Mist” is among these albums that time can’t erode the fragile astral beauty of it.
"Ghost of a Mist (The Sleepwalker)" plunges us into these lunar phases and rhythms with unctuous synth layers which float on a sound fauna black-spotted by quirky tones. They glide over the horizon, between the Earth and its stars, with fine contrasts in their musical tints, going from foggy to iridescent and discreet to evident to increase their swiftness or idleness with the power of our hi-fi volume. Like clouds sailing in infinite, these contemplative strata draw invisible hands which caress the nothingness while percussions in tones of light metal are ringing in an ambiophonic frenzy from where emerges an attractive unrealistic gallop which sways hips such as a solitary cowboy in the dunes of another planet. True to himself, Ron Boots wraps his structures, as much abstracted as rhythmic, of a melodic veil unique at his signature which never stops charming the hearing with a troop of sequences to tones so different than ambiguous. Hypnotic sequences which pound and wriggle by hardly skimming the ground, cutting through a mystic mist coated of distant voices with more incisive and curter movements while taking care of not perturbing the singings of the crystal arpeggios which sing like the reflections of Klaus Schulze on Mirage. And then the nasal synth layers with tones as apocalyptic as philharmonic fill our ears, displaying all the depth of the harmonious approaches of Boots who, whatever it’s on a ambient or rhythmic music, always succeeds in drawing these melodies which roam between the ambiences of Roach and Schulze without getting lost as the breaths in the winds. "In Timeroom Spirits" drops a filet of a Berber synth, introducing a dance of shimmering arpeggios which ring with scattered tom-toms to enchanting clanic trances. Another synth wave shows its charms, awakening the glass arpeggios which clink and draw an enchanting contemplative melody from which each key sings off-key on the knocks of percussions. "In Timeroom Spirits" loses its soft rhythmic and melodic approach to stumble towards a heavy ambient passage where the synth layers are crying to the moon, crystallized in a cold of which the collateral damages let hear some spatial rustles.
Delicate tinkling arpeggios climb the sides of a musical mountain to weave a hypnotic cosmic melody which enters our ears as the vestiges of the tribal works of intergalactic deserts imagined by Steve Roach. Other epic title of “Ghost of a Mist”, "Ghost of a Mist (Ring Mist Mountain)" begins with this delicate oniric approach of dances and spiritual trances from nomads of a planet fill by deserts of clay with soft glass chords which flutter and dance in warm winds, like petals carried by paradisiacal breezes. The first part is bewitching while the second, which is setting to motion at around the 8th minute point, offers a more rebellious approach where percussions strikings replace the arpeggios of glass, harpooning an imperceptible rhythm that only the fluty breaths seem to contain this idle mutiny which bursts on a still rhythm watered by delicious blows of synth in Hispanic aromas. With its heavy approach which lurches between rock and a fed by jerky spasms, "On the Field" sounds out of tune among the fragile ambiences of “Ghost of a Mist”. But as all that Ron Boots touches, the harmonious envelope of synths (which inhale the elegiac blows of Mark Shreeve) that rolls up to the heavy and knocks of percussions, as well as the lascivious hummings of a bass line is of a breathtaking musical wealth. "Flowing Forces" is a bonus track and it’s a wonderful one. Fine sequences and/or percussions resound in the trail of their echoes, drawing a delicious minimalist approach that is very close to Mike Oldfield's tribal serenades, I think in particular from the hollow percussions of Incantations. The synths slather their veils of mist and soft angelic voices which whisper in the harmonies of fine harmonious solos, juxtaposing a sheet of additional emotion on this track which has a profound dreamlike impact. It’s just a great track! "Desert Clouds" parades an intro similar as on "Ghost of a Mist (Ring Mist Mountain)" but with a slower pace. It’s a slow morphic procession with arpeggios which ring in each corner of our ears and of which the emotive crescendo is soothing itself among smooth strata in shrouds of mist. The movement gets lost in mists at around the 6th minute to explode violently in the incisive bites of Klaus Hoffmann-Hoock's guitar from which the violent solos tear all passivity. His solos with twists and angelic bruises run out little by little, renewing the morphic approach of "Desert Clouds" which skips shyly towards a finale where the angels chant in a seraphic universe.
Ghost of a Mist” is the meeting point between lunar atmospheres and passive rhythms evolving with a minimalist approach drawn in the shade of angelic melodies. Less striking than Dreamscape, this 2nd effort of Ron Boots on Groove is nevertheless an intensely musical work where the Dutch synthesist amazes by his mastery of tribal atmospheres in a musical envelope and where the synths prevail on soft passive sequences but quite even strongly presents. It’s another extremely interesting album that shows another side of Ron Boots who, as usual, has the art to wrap his music of a delicate and beautiful harmonious envelope. To dream about the open eyes!

Sylvain Lupari (September 19th, 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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