”La Caída De Harmigón” draws upon inspiration Ron got from Ruins, which he calls “windows into histories”. It is a pure soloalbum by Ron. Only Harold van der Heijden gave him “drum support”. |
- La caída de hormigón (the fall of concrete)
- A través de las ruinas vista al pasado - (A view through the ruins of the past)
- Cielo abierto a través de los pilares de la fe - (Open Skies across the pillars of faith)
Ron musically expresses the “windows into histories” in three long epic pieces. The album opens with the titletrack, which, in English, means “The Fall Of Concrete”. From the first moments, we hear music that is so typically for Boots: effective and great sequences that get richer and richer, fantastic atmospheric sounds and cleverly played solos. As we are accustomed from Ron, there is a certain line in his compositions: it is built up beautiful. Drums come and go and Mellotronchoirs fall in. A masterpiece. “A Través De Las Ruinas Vista A Pasado” (A View Through The Ruins Of The Past) has one of the best sequencerpatterns Ron has ever created. Towards the end, a soft but very strong solo is used. And then there were three. The third track “Cielo Abierto A Través De Los Pilares De La Fe” (Open Skies Across the Pillars Of Faith) starts relaxing and gets fuller and fuller as it progresses, together with some very fine drumming. This must clearly be on of the highlights in the (long and ever growing) career of Ron.
With ”La Caída De Harmigón” Ron shows the listener a wonderful insight into ruins and it’s meaning. The Netherlands are quite famous for their popular “electronic musicians” like DJ’s Tiësto, Armin van Buuren and Afrojac. Now it is time that serious electronic musicians also start to receive more interest. They deserve it. ”La Caída De Harmigón” may just be the album that will give Dutch EM a big boost. A big boost from “Big Ron”.
2011. Paul Rijkens
This album is one of his best master pieces, sometimes you think it is Schulze but Ron Boots has his own sound. 3 Pieces of music with a lot of sequencing and he use the secuencer i like.
I have many albums of Ron but this album is since I have buy, mine favourite album and he made many more master pieces of music. But this album tells an stoy of Ruins and I love Ruins.
The Music of Ron is also an medicine for me and mine partner after an heavy working week. The music of Ron brings natural energy back to your life. All the 3 tracks are ending in an nice and welcome climax.
For now take an seat, tune your stereo and listen to this masterpiece of the dutch master Ron Boots.
2012. Marco Smit / The Netherlands
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 armad
a 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!
2011. Sylvain Lupari / gutsofdarkness.com & synth&sequences.com
One of the biggest heros from Ron is by far...Klaus Schulze and as hear on previously albums, but specially on this album, it`s like Klaus has a Collaboration on some moments.
I can`t give good review as Paul Rijkens did (he is right in his review).
it contains 3 tracks but almost 70 minutes of Digitalic music and a lot of sequences.
And indeed som tracks are growing to a very good Climax.
As Paul Rijkens says at last.....A big boo(t)st from “Big Ron”
2011. Ralph Camu / Utrecht
One of his best to date. Has the solos of 'Detachment of Worldly Affairs', the energy of 'See Beyond Times and Look Beyond Words', and the consistency of 'Acoustic Shadows'. One hour of brilliance.
Johnni Winther / Denmark