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MP3 Ron Boots - Dreamscape

Unique style of heartfelt (Berliner School based) electronic music stands out through excellent compositions, atmosphere and sound/production quality.

8 MP3 Songs in this album (76:51) !
Related styles: Electronic: Electronica, Electronic: Electro, Instrumental

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This 2003 reissue of Ron Boots'' debut CD in 1990 boasts new cover art, remastered originals, and the bonus track "Rivers 2003". I''ve never heard the original Dreamscape, except for the tracks "Rivers" and "The Stand" from the Boots 80s Box. So this was largely a new venture for me into Ron''s musical past, and a worthwhile one.
"Cougarland" moves along at a deliberate pace, and though it seems a bit slow for an opening track the dreamy quality it imparts actually works rather well to get things going.
Next is the 14-minute epic "The Stand", which still holds up as a solid bit of EM, gently flowing along as Ron seamlessly weaves different musical phrases and themes together in a beautiful tapestry of sound. He really had a knack in the early 90s (and still does, for that matter) of being able to take a piece of music and just let it go, without feeling the need to hit the listener over the head.
The musical subtlety and grace is evident here, not only on "The Stand" but also on the soft floaters "Silent Nature" and "Cry of the Heart". Each of these unfolds luxuriously, purposefully. The two parts of the title track are surprisingly different.
Part I is dreamy synths and light sequencing, all played by Boots alone.
Part II, on the other hand, has acoustic guitar in a sort of slowed-down flamenco style, an extended spoken-word text in Esperanto, and musical contributions by Bas Broekhuis, Ron Doesburg, and Eric van der Heijden.
The speaking stops after four minutes, and the music changes from its acoustic leanings into delicate sequencers and soft yet insistent rhythms. It''s a very different piece for Ron, but really quite nice.
The final track is "Rivers 2003", with its slow pulsing bass synth and simple majestic beat like the original, which appears earlier on the disc. Ron comments that he has much more technology at his disposal now than he did then and it shows, particularly as it gradually reaches its peak. Done with synth flutes and horns on the original, the new version more smoothly blends the electronic and symphonic elements together into one overall sound.
The conclusion, as with the rest of Dreamscape, is understated but highly successful.
Phil Derby / Electroambient Space

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