This is the remastered version of 2007 with a new cover.|
- Current part 1 [16:10]
- Ambiguity [9:21]
- Below Paradise (Current part 2) [9:20]
- Close Call [11:21]
- Alignment [8:59]
- Reciprocal [10:30]
- Smiles [5:00]
This album was created between October '96 and July '97.
All songs composed by Ron Boots except Close Call; drums by Harold van der Heijden .
Vocals on Close Call by Ron Boots
"Let the Dream continueÖ". These words are written by Ron Boots in the booklet of "Current", his 1997-album and his tenth anniversary of releasing music (of course, he was already making music much longer, as was later proved on his "80ís Box").
"Current" was an important album for the Dutchman. It came as a follow-up of some rather successful albums and can perhaps be regarded as a "warm-up" for his brilliant album "Tainted Bare Skin" from 1998. Now, again ten years later, "Current" has been carefully remastered by Ron and re-released on the Groove Unlimited label.
"Current" is a solo-album in the true sense of the word. Where on many other albums Ron is accompanied by guest-musicians, he works alone on "Current". The only exception are the drums on "Close Call" which are played by Harold van der Heijden. Two things play an important part on "Current". First of all, the sequences; they are beautifully crafted and long-stretched.
This can already be heard in the masterful opening track "Current part 1" and "Below Paradise (Current part 2)". The second thing is that Ron experiments some more with rhythms, new sounds and atmospheres.
Rhythm is quite essential in "Ambiguity", "Close Call" (in which Ronís voice also can be heard) and "Smiles". "Alignment" and "Reciprocal" are all about atmosphere and intense warmth.
This new version of "Current" again proves how fresh and innovative Ronís music was and is. This is an essential album in Ronís career and in electronic music.
This is a remastered reissue of his excellent album from 1997.
The CD opens with a classic but subdued sequence over a delicate shimmering backing. The way the sequence shifts and adapts causes a melody all of its own. The first sequence dies away just to have another replace it with a melody that is just as beautiful if not more so than before. At around the six-minute mark we take a momentary pause before returning to business as usual. Ten minutes in and bass line heightens the tension and drums make their first appearance. It is almost as if we are on a train that had called in at a station then after leaving it entered the fastest piece of track and was now careering along at full speed.
'Ambiguity' starts gently with a half heard flute in the background. Very quickly a bass beat is introduced, a sequence weaves in and out and before you know it we have a Trance track but one that doesn't have to be at 100 miles an hour or 'in yer face' to have the required effect.
'Alignment' on the other hand calms things down. Drone upon drone are used to create a sonic tapestry on top of which weave the most beautiful, slow and delicate melodies. Tinkling chimes add to the relaxation. This track just goes to show that beautiful music can be created without resorting to sugary New Age.
'Below Paradise' starts with a very short vocal statement. Yet another superb sequence gets under way and reacts effectively to the ever-shifting background. At the half way mark a heavy no nonsense drum beat bursts its way to the front and from then on we have a fast paced cyclone of a track. I can just imagine this one live with a strobe flashing away through a curtain of dry ice.
The fifth track 'Close Call' hinges on a simple repetitive theme which becomes rather hypnotic even though all that is going on around it is constantly shifting. This theme itself changes in form throughout the track but is always there.
'Reciprocal' makes use of the sound of rain and a thunderstorm which is slowly getting closer. The synth drone backing is then interrupted by what sounds like bamboo percussion and the strings of a double base being plucked. These effects do have a slightly rhythmic quality but it is all rather disjointed. It rather reminded me of being asleep, being woken by the weather and for the rest of the night drifting in and out of consciousness.
The final track 'Smiles', as its title suggests is a very happy little piece that you could almost dance to. This piece might be a little too commercial for some and is a million miles away from the first track but then what is wrong with giving the album balance?
"Current," by Ron Boots is a dense ambient soundscape of epic proportions. Ron synthesizes the entire album. On "Ambiguity," a tribal rhythmic pulse drives the synth riffs and washes. The tribal rhythms are created on the drum machine. There are no ethnic instruments credited. That is a great juxtaposition - or joke - from Ron. He drives his electronica with a simple Native American rhythm. Touche, Ron. The rest of the album is peppered with natural and electronic ambience. This is a highlight of Ron's long and illustrious career.
1999. Jim Brenholts
This CD from 2007 offers 71 minutes of celestial electronic music.
Joining Boots on one track is Harold van der Heijden (on drums).
Liquid electronics gurgle and flow with robust power. The keyboard-driven melodies achieve a compelling presence as cycles and additional riffs layer to produce a lustrous density that somehow remains crisp and crystalline despite its rich profusion. With each passing moment, the sonic panorama aggrandizes into illuminated eminence.
Pensive texturals lie just beneath the lively surface, establishing a cosmic foundation for each tune. These pulsating undercurrents provide lofty support for the main electronics, as if the music was born amid cloudbanks and designed for aerial appreciation. Passages of dreamy tonalities embody a luxurious ascension, exalting the listener to a level where the more strident musical aspects easily take over and generate lateral momentum, bearing everything off into a whirlwind of ethereal rapture.
The application of dramatic percussion energizes the already-supercharged tuneage. The rhythms act as a luscious propulsion, lifting the pieces to greater altitudes.
These compositions are rich with a volatility that combines whimsy and optimism to achieve a state of imaginative ambrosia. The melodies are majestic, yet congenial, imparting a sense of confident enthusiasm that can be quite infectious. Where some EM evokes introspection, this music stimulates a mood of bold aplomb, readying the listener to meet any challenge that comes along.
Matt Howarth / Sonic Curiosity
Meesterwerk van Ron. Heerlijke nummers zoals "Close Call" met een repeterende sound die je blijft pakken.
Uitspatter is "Smiles" wat ik werkelijk een geniaal nummer vindt, super!!
2004. Martin Hoegee / NL
I stumbled over Ron and his "Current" completely by accident and it resonated instantly with my imagination. All the CD is OK, but Current part 1/2 is an exceptional soundscape. Listening is a journey, I can't get my ears off.
2005. Dominique / Switzerland
With this CD we head again for an intruiging trip into sound. Vast soundscapes blend perfectly with exiting sequencerlines and soundeffects, this time digging deeper in the style set by hir former album "Screaming Whispers".
1997. Bert Strolenberg
It's interesting to look back at my review of Ron's last album, "Screaming Whispers" and see that what I say about that could equally be said about this new album!
Although there is a change of focus here, this is still synth music with a spacious, melodic and classical touch, the change being a move to more gothic sounding realms instead of cosmic space, and more use of unusual textures and effects. with much more use of spacial fx and a wider range of sonic textures it all amounts to another step up the ladder for Ron, and is certainly his finest recording to date. Highly recommended.
Alternate Music Press
Although Current, Ron Boots's 16th album, dates of a dozen years, it aged very well. Itís a powerful album with heavy rhythmic structures whose are in constants permutations. A work that shows above all the impact of the Dutch synthesist on the evolution of contemporary Berlin School EM. A very good album filled with rhythms sometimes neurotic, sometimes hypnotic where the harmonies cut themselves a dreamlike place.
Current (Part I) starts the ball with brief intriguing whispers. Quietly the epic title installs its basis with a sequencer which skips nervously, accompanied with a discreet fluty synth. Without losing time, Ron Boots manipulates rhythms, adding a line of bass which farandole curtly on a more alive sequencer and a synth to notes sickly tinkled, drawing a fascinating melody which turns around a constantly evolving structure. The tempo is weighty, especially with those unctuous layers which wrap this melody who looks like a hypnotic nursery rhyme. Subtly, the rhythm becomes more circular on crossed sequences and a heavier synth which dive into an atmospheric universe where everything is in slow motion and hesitating. An atonal sound universe, with magnificent synthesized layers, which wakes up on a sequencer to heavy gallop and a synth which skips with more strength. Current (Part 1) is aiming towards a superb cavorting Berlin School, with good drum strikes and solos which emphasizing as much the rhythmic cadence as the sound acuteness.
A very good fiery musical piece, quite as Below Paradise (Current Part 2), which is even heavier, more rhythmical and explosive suite.
After a heavy and slightly variegated atmospheric intro, Ambiguity is animating on a floating bass line and a synth to reverberating circles, which pill up on another on with short spectral breaths. The structure gets speeding up with electric drums which lay out a semi disco pace with bursts which collide in an electronic universe furthermore syncretic.
Alignment is our first atmospheric rendezvous. A loud track which feeds on its reverberations and which has difficulty in hiding a synth thus solos bore finely this load atmosphere. Without noticing it too much, a drum settles a lascivious cadence forming a sensual tempo. A pace which revolves around a synth with more forthright solos, felted by discreet choirs.
Close Call starts sharp. Percussions on sequences to hopping and light chords, Close Call winds around a synth to atmospheric pads where strange voices multiply behind a slow rhythm, which increases constantly its pace with shimmering chords on a waltzing synth.
Reciprocal begins with a thunderstorm and a line of bass which blows a slow tempo. Tinkled notes drop multi- sound prisms, under a fine reverberating layer, while the tempo is forming on a hesitating structure. A nervous rhythm, to hatched movement, prisoner of an almost atonal and hypnotic musical stillness on a distant lyrical synth and fine scattered percussions. A beautiful title of a cosmic sweetness, which contains beautiful crystalline tones on a beautiful synth, strangely nervous.
Smiles is a short energetic track with a whistling synth and a nervous sequencer, ideal for dance floor.
2009. Sylvain Lupari / Guts Of Darkness