1. The Unknown Soldier [11:37] MP3 soundclip of The unknown soldier [3:00]
  2. The Battle of the Somme [17:23] MP3 soundclip of The battle of the Somme [3:00]
  3. Acoustic Shadows [13:47]
  4. Assault [10:04]
  5. Desolate Fields [8:42] MP3 soundclip of Desolate fields [3:00]
  6. Dresden [9:24]
All tracks composed, played and produced by Ron Boots.
Additional effect sounds by Kees Aerts on "The Unknown Soldier".

No, Ron Boots, Holland’s leading electronic musician, has not created an acoustic album. An "acoustic shadow" is a phenomenon whereby a sound, such as the "thunder" of artillery during a battle, can be clearly heard far in this distance and yet be unheard by observers closer to the battle. For "Acoustic Shadows" Ron let himself be inspired by the war periods and the reasons for them. It struck Ron that there is never a good or sensible reason to start a war. "Acoustic Shadows" is a tribute to the soldiers that died in numerous useless battles.
It is almost three years ago since Ron has made his last solo-album "Area Movement" but it has been worthwhile waiting. "Acoustic Shadows" can be regarded as one of his best records. Ron’s sound is, as always, rich and full of details. Every time you hear this music, you hear new things.
The almost symphonic "The Unknown Soldier" opens the cd. It reminds of his masterpiece "Tainted Bare Skin".
The tracks on "Acoustic Shadows" are accompanied with voices that tell stories about wars.
"The Battle Of The Somme" is one of the best pieces Ron had ever created. The sequences are absolutely great. After the somewhat atmospheric title track, Ron pumps things up somewhat on "Assault".
"Desolate Fields" fits its title because it is a little dark and slow composition.
"Dresden" ends the six pieces on the album in a typical "Ron Boots-way".
With "Acoustic Shadows" Ron has proven again to be one of the best electronic musicians of today.

Press Information Amongst the extensive and stunning catalogue of Ron Boots (1962), I have chosen “Acoustic Shadows” to open my blog, since it’s a CD I especially cherish. This Eindhoven musician has been into electronic music from 1986 to this day, and he regularly releases one or two albums per year. He’s also the man behind Groove.nl, one of the best electronic music distributors in Europe and also an organiser of E-day and E-live his music blends elements from the Berlin School and prog rock, with a (sometimes) more melodic approach to both of them, a characteristic to a lot of electronic music from the Netherlands.

The album begins with “The Unknown Soldier”, a kind of tribute to all the ordinary men and women fallen anonymously during wars. This time, Ron is ably helped by Kees Aerts’ deft hand, who contributes with sound effects on this track alone. The track oozes some tension throughout, as if we were in for some nasty surprise, as the days and weeks before a war breaks out.
Then comes “The Battle of the Somme”. At over seventeen minutes, this track almost reaches epic proportions. Again the tension is there from the very beginning. A narrator describes the terrible landscape after the bloodshed at the Somme. There’s a sequence that keeps subdued in the mix, until it slowly grows in power and places itself at the centre. Boots plays some solos here, although they are also restrained in speed and volume. Perhaps a bit too long a track, but nice anyway.
The third track is “Acoustic Shadows”. Even though this is clearly a concept album, in that there’s one leitmotiv running through it all (war), not for a single moment does it depict a depressing, sad atmosphere. I guess it is not supposed to be optimistic either. You can reflect about how much suffering wars cause and still enjoy the music. It’s not a cynical exercise. It’s conscious listening. With a message. This eponymous track flows along quite nicely. It has an ethereal beginning and very early into the piece rhythmic sounds join in. This is chill-out mood for a while with the sound of a faraway synthetic saxo playing. Percussion appears after two and a half minutes. Then Ron starts to solo in his very unique style, but keeping things very restrained all the way. At 5:30 the track begins to grow in strength with a slightly heavier solo from Mr Boots. Never going wild, but managing to maintain your attention. God, this is gorgeous! After three minutes, the solo stops. Some eerie sounds draw the piece to a halt, but the bass sequences keeps pumping on the background. The rhythmic sounds of the beginning return again and Boots rebuilds the piece again. This time the percussion sounds are those of bongos. The atmosphere is never tense, but rather relaxed. And it’s worth every minute of it. At 11:40, sounds start to fade out, stripping down the piece little by little, until we reach a peaceful end to it.
It melts with the next track, “Assault”, which begin with a voice explaining what an acoustic shadow is: basically, within a mile or so, the protagonists in the heat of a battle are unable to hear properly the strong sound of cannon balls and weapons being shot, despite the fact that observers from a distance can hear them clearly. This phenomenon is called “acoustic shadow”. This explanation is followed by a tense windy noise. Then comes the voice of a woman talking about the horrors of war. At the two-minute mark, Ron Boots unleashes the most powerful sequence he has ever created. Pumping from both sides of the stereo image. The climax of the album for sure! I remember a friend of mine telling me about the first time he listened to this CD on his headphones at night on his bed, feeling a bit drowsy and suddenly being hit by this massive sequence (and being delighted by it, at that!). At the eight minute mark, the sequence abruptly ends, while the track is still lingering quietly for 30 seconds or so, right until another voice describes more horrors of those soldiers who lie wounded or agonising after the fight.
This cruel narration gives way to “Desolate Fields”, the scene after the battle. It unfolds slowly, menacing in tone. After 45 seconds, Ron begins to elaborate a slow sequence and soon it’s followed by a solo on top. Once more, it is a restrained one. You can imagine a panoramic view of buildings destroyed, blood everywhere, soldiers dying and an awkward silence pervading it all. After that, the sequence disappears, leaving white noise effects. Nothing much really happens throughout this track, but what it does, it does very nice.
More effects take us to the final track, “Dresden”, which is initiated by a narration of what happened to this German city during WWII: “a severe case of over-bombing”. For half a minute, we have subdued sounds, till another voice tells us what the city looked like after the attacks: “a monument to total war”. After this sombre statement, a slow sequence –not unlike the one we heard in the previous song. Again, this piece goes along quite smoothly. Another sequence, more melodic this time, comes in, with added percussive sounds and a rocky solo, which draw the track to its close. Once more, as the piece approaches the end, Ron deconstructs it by removing almost all the layers he had put in before: the solo stops, the sequences disappear, the percussion stops and it nicely rolls to its fadeout.

”Acoustic Shadows” stands right amongst the best Ron Boots has ever produced, and that’s saying a lot. Just look at his long list of recordings. He doesn’t hide where his influences come from: the golden period of Tangerine Dream and Klaus Schulze, namely, nice sequencing with sharp solos on top. However, he does it with talent, passion and depth. He’s managed to create a voice all of his own, and for that matter his voice deserves to be listened to. Dare do it; you won’t regret it.

2013. Jose A / Synth Caresses This isn't an acoustic album at all. The title refers to a war time phenomena where the sound of a battle is heard in the distance, but not heard by those closer. As the sleeve notes state this is a CD tribute to all those who have died in numerous useless battles, and quite frankly how could war ever be described in any other way? Given its subject matter (which to be honest made my heart sink, no matter how good the intentions), you might be forgiven for thinking that this is going to be a dull and sombre 70 minutes or so. The fact that it isn't is a tribute to Ron's mastery of the material he has produced, which is good enough to stand in its own right.

The Unknown Soldier starts us off, with a drum beat and heavy chords. Orchestral and electronic effects revolve the basic structure, and whilst is good and interesting it is a bit samey. Half way through the pace lifts, and the synth work from this point on is very impressive.
A smattering of gun fire effects, electronics, and a voice describing the horrors of The Battle Of The Somme get this track underway. In the background a deep bass rumbles along in a rhythmic pattern, before becoming more prominent as an understated sequencer, and this is really quite moving. The sequencer picks up its pace as the track progresses before becoming much more "in yer face", and my feet are tapping away like crazy as I type this. I can picture this being played at the Space Centre! Washes of sound interact with the sequencer and this is really first class stuff. The pace then picks up even more as the sequencer threatens to run out of control, and I'm still only at the 10 minute mark! This lasts for a further 3 minutes before the sequencer eases right off, as it moves towards the finale. Wow.
Next up is the title track. A strange looping rhythm morphs into a more percussive beat, and musically this is interesting stuff as there is a lot going on around that beat. It is difficult to describe this, but the synth work is really great, and on my headphones it sounds fantastic. Around the 8 minute 30 seconds point, musically it slows right down with a very deep bass, before a completely different rhythm sets in, with what I imagine are supposed to sound like acoustic drums. At the end of the piece a voice describes the phenomena of Acoustic Shadows, which should surely have been at the start of it? Assault lives up to its name in spades. Don't be lulled into a false sense of security by that female voice. Sequencers, sequencers and yet more sequencers!!! To describe it as mad doesn't do it justice. Are you listening Christopher Franke? I haven't heard music as bonkers as this for years. A definite highlight.
After 8 minutes of this Ron decides he needs a break so we have some space age synth work and more narrative, and then we flow into Desolate Fields. Washes of synths flow into another really lovely sequencer pattern, which sounded vaguely familiar (It actually reminded me of Blind Watchers of a Vanishing Night) and this is another great track.
The firestorm of Dresden in 1945 is the last track. More narrative sets the perspective and electronics get us underway. This gives way to all sorts of percussive effects, and what appears to some sort of guitar. It's a busy piece, and again it's the overall rhythmic effect that impresses.

This is a truly GREAT CD, one of the best I've heard this year. Don't let subject matter put you off, just buy it.

SJS Bedankt voor Acoustic Shadows. Het is weer een echte Boots plaat! Die sound haal je overal tussenuit, prachtige, ruimtelijke sound, veel pads, veel galm, weinig solo's. Mooie CD!!
Passende hoes ook, van Kees. Dat is - net zoals het concept van je CD - weer eens wat anders dan al dat spacegedoe dat je zoveel in de EM tegenkomt. M.i. een verademing.

Gert Emmens / NL Wat is dit een geweldige en waarlijk indrukwekkende concept-cd geworden, gefeliciteerd!
Moddervette effecten, klanken en geluidsmuren afgewisseld met subtiele enviRONmentals en indrukkende teksten, een waardig eerbetoon aan een onderwerp dat sinds die tijd helaas nog steeds de aardbol blijft terroriseren...blijkbaar leert de mens het nooit.

Bert Strolenberg This album is à great momment of music....
The Battle of the Somme is a beautiful piece...Congratulations Ron

Fabrice Baudinot Het gebeurt niet vaak dat een muzikant die al zoveel cd's heeft geproduceert in staat is om succesvol de sterke punten van zijn vroegere werk te combineren met zijn eigen muzikale ontwikkeling.
Ron Boots is het gelukt. Dezelfde sterke 'donkere' sfeer uit Too Many Secrets heeft hij op inventieve wijze kunnen combineren met eigentijdse klankbeelden. Alles wat je op de cd hoort staat in dienst van het uitgangspunt.
De muziek op deze cd staat zo vol van sfeer en indrukken dat het gebrek aan een gemakkelijk in het gehoor liggende melodielijn niet echt hinderlijk is.

Kortom... Kopen! Luisteren, en genieten.

2000. E.G. Teljeur (Epiphany) Have been listening to the sound samples and they convinced me enough to go for it and buy this cd, well done, as all the other cd's I already have.
Keep up going this way and give us great EM music !

Eric Van den Acker "Acoustic Shadows" is in another league altogether. For me it was a very thought provoking and engaging listen. This is due to the well chosen pieces of narrative that are interspersed with some very excellent and powerful music.

It's worth mentioning that the music itself isn't necessarily as bleak as the subject matter (the futility and suffering caused by war) might otherwise suggest.

Endorphin Het heeft toch even geduurd maar was het het wachten dubbel en dwars waard.
Hoe meer ik 'm hoor des te meer 'm ga waarderen. Hoewel het een heel andere sound heeft is het toch een echte "Boots". Bedankt Ron, weer een topper!

Martin Hoegee Een prachtig album, deze nieuwe van Ron Boots. Weer mooie sequences en klankbeelden verweven. Dit is werkelijk genieten geblazen.

2006. Jos Lieffering (Phochos) / Nederland Bedankt voor dit indrukwekkende album. Ik luister er nu ruim een week onafgebroken naar en kan er maar géén genoeg van krijgen. Telkens weer van begin tot eind. Wat een schitterend album Ron, gefeliciteerd. Muziek en onderwerp sluiten naadloos bij elkaar aan.

2006. Ronald Nieuwenhuijze / Nederland Remarkable work, musical and topical. Musically converted with respect to a serious unfortunately still actual theme.

2006. Lothar Lubitz Ron Boots does it again. After his stunning Area Movement two years ago, here is another fine piece of art. Acoustic Shadows is a wonderful musical journey that shows the skill and the creative abilities of Ron Boots.
Melodic half way between ambient and rhythmic moves, Boots succeeded in making us see and feel his music. Which is quite something in a musical world where words and lyrics are absent? He brings us, where he wants us to be. This is great music, with strong sequencers lead, good percussions work and wonderful synth moves.
A musical story that will please all EM fans especially those who like progressive EM.

2006. Sylvain Lupari / Guts of Darkness Great atmospheres, sequencing, solos, etc. This is definitely one of Rons best yet. Really didnt care for the last two releases, just feel the vocals ruined the entire cd, however this one is fabulous, like the idea of incorporating the voiceovers from the wars, very different, worked well with the music.
Great work Ron, keep it coming.

2006. Mike / USA Ron Boots returns with Acoustic Shadows. Black and white photos of wartime and headstones adorn the cover. While the music is classic Boots sequencing with catchy rhythms and melodies, several tunes are sprinkled with narration. These track plays like an entry from a soldier’s diary or history book.

"The Unknown Soldier" gives the disc an appropriately rousing start, with heavy drums and dramatic synths.
Then "The Battle of the Somme" starts with artillery fire, followed by a voice that fades in and out, describing different parts of the battle. The music that follows is restrained at first with a low bubbly bass line. It gradually builds tempo and adds various layers as Boots does so well.
The title track starts softly, with gentle synth oboe in the background and a gently panning percussion loop. Conga drums and other rhythmic elements are added in. Finally, warm synths add power and melody. Then the music drops off save for a deep resonating bass line and a few sparse electronics.
The beginning of "Assault" describes the acoustic shadow effect that can occur during battle. An eerie ambient section ensues, a good metaphor. A female voice warns of impending battle. Brisk sequencing launches right into the main section.
Easily the most active number, it ends incongruously with the longest speaking segment, and the darkest as well, which brings us to "Desolate Fields". This subdued selection reminds me of mellower dramatic pieces by Syndromeda.
"Dresden" has another speaking intro, which subsides for a minute and then returns once more before the music gets going uninterrupted. After that it is classic Boots with a perfect build up and conclusion.

I give the music itself a 9 out of 10, but would have preferred a fully instrumental mix.
Nevertheless, I recommend it highly.

2006. Phil Derby / Electroambient Space An excellent electronic album. I like it.

2006. Theodoros Sotiropoulos / Greece "The Unknown Soldier" serves as a very moody beginning to this album, with deep bass chords, pads and great drum programming. There are also some supporting sequences that I found extremely well crafted, as well as some excellent solos. The music is imbued with a sense of anguish and anxiety. Excellent EM! Bloody excellent! All those sequences, the dramatic solo, the insistent rhythm - everything is well achieved - it's quite simply some of the best EM from the last several years.
The track eventually fades out and the next track, "the Battle of the Somme" starts with radio voice reciting key facts about the said battle and some deep drone / melody / bass throbbing combination. There are also EMS-like twittering and those dramatic chords that really get under your skin. This is not your usual a-walk-in-the-park affair. It's profound music that makes you think. Gradually, a bass sequence comes into the fore, slowly gaining in volume. Great moody lead line plays on top as we face a key change - yep, just like in the old days. This track's got a definitive Berlin School air to it. Additional sequences join the play and overall this track is an intense, improvised workout. It all ends with breathy pads and the same deep bass chords that started it.
The title track begins with an ethereal soundscape. However, strange rhythmic constructions soon occupy the stage. Then a heavier rhythm appears that does not destroy the delicate structure of this track, but supports it. This is unusual, deep stuff. Best track so far! Lead sounds call like horns over deserted battlefields. Then there's that dark section where everything subsides only to return a couple of seconds later. This track just sends shivers down my spine and I just have to think of all the useless deaths that human greediness and stupidity has led to over the years. A little sound snippet with male voice explaining the phenomenon of acoustic shadows serves as the transition into the next track.
"Assault" starts with female recitation, after which aggressive sequences suddenly come in that are joined by more sequences to create one intense piece of EM. A laid back rhythm supports the fast-paced sequences and then all of a sudden comes a key change, even adding more urgency to the track. The ending of this track is again embellished by a voice reciting battle-related text.
We then segue into "Desolate Fields" which has real tragic atmosphere that makes you think of a deserted battlefield where there's hardly any place for human bodies anymore. A mid-paced sequence and pads, pads & more pads is essentially what we have here. Oh, and a mournful lead line that's wrapped in EMS-like effects.
"Dresden" is the last track. After a short introduction by means of a speaking male voice sample, we get very deep chords / atmospheres while the voice continues reciting historical facts. Then a jagging bass sequence appears and then in comes a rhythm of the complex / explorative variety. A bright sequence sparkles into life as the rhythm intensifies, becoming more strident and urgent. A solo flies on top like a banshee over the moorland. Some TD-like harpsichord stabs only add to the strident nature of this track. This striking harpsichord sound can be heard at the finale when everything subsides to give way for a strange, alien soundscape.

"Acoustic Shadows" is a very successful concept album and is for me one of the best EM releases. As I've said earlier, this is music that makes you think. Best track: the title track.

Artemi Pugachov / Encyclopedia of Electronic Music This album is brilliant!!!!!!!!!
I am just amazed at how perfectly balanced it is. Every element in exactly the right place, not one misstep. I think it's one of the best EM albums, ever.
Track 2 is a particular favorite. It has all the mood and mystery I could ever hope for in an EM piece... Gorgeous! I have it on my MP3 player at work and have been playing it over and over.

2006. Paul Ellis Ron Boots offers us an album born from the deepest regions in his heart. Inspired by the drama of war, he portrays in his music some of the feelings that several of the most widely known wars in the nineteenth and twentieth centuries awaken in him.
More than reflecting the horror and death inherent to all wars, something that, on the other hand, is utterly obvious in itself, the composer intends to, and succeeds in, transmitting the human side of the non-professional combatant who has been drafted to the battlefield out of necessity.
He pays homage to the Unknown Soldier, and therefore to the soldier giving his life on the battlefront, or the soldier who returns, forever marked with physical or spiritual injuries. The music, electronic, is created with emotional melodies and powerful sequencer rhythms.
The focus is mostly melancholy, although never sinking into despair, and does not lack an epic element as well as a sparkle of hope in the horizon.

Edgar Kogler This is a very interesting concept-album about one of the failures of mankind, namely that of war. Minimal music with a glance and details of sound and compositional structure. It's the musical opposite of Bruce Springsteen's memorable rocksong "War (what is it good for)", but yet with the same strong message of that war is nothing good for.
I really liked the spoken context that accompany the music. Especially when the soldier explains the meaning "Acoustic Shadows". One feels anger, fear and despair they must have felt in the fields of war.

2006. René van der Wouden / The Netherlands This CD from 2006 features 71 minutes of dramatic electronic music.
Joining Boots is Kees Aerts who contributes additional effects on the first track.

This music possesses a strong theme, that being a sonic appraisal of war as seen from a historical perspective. The tunes are salutes to all the soldiers who have lost their lives on the battlefields of the world. Although not a cheerful subject, Boots' music is far from dark or cynical. His compositions serve as a tribute to courage and determination. The sentiment that war is abhorrent and should be globally abolished is quite evident.
Lofty electronics collaborate with sparkling rhythms to produce music of a highly dramatic nature. Sweeping textures generate shadowy mien for a bevy of nimble-fingered riffs and seething sequences, all of which blend to form a grand presence. Melodies evolve and undulate with stately mannerisms, standing tall and exuding confidence. Shimmering fogs thick with auspicious sentiments waft through the tunes, lending a grim reality to the somber pieces. Cycles are born that breed tension with crafty application, instilling an air of mounting vitality.
Boots flavors his music with dynamic percussive, but he also creates lavish rhythms through the compressed looping of electronic noises, producing sinuous tempos of non-impact character. This tends to imbue the melodies with additional verve.
Battle sounds and radio newscasts pepper the pieces, helping to establish the context for these moody compositions. Drama runs high in these tunes, while melodies reach for stratospheric heights littered with sincere hope.

2007. Matt Howarth / Sonic Curiosity Mittlerweile drei Jahre ist es nun her, dass Ron Boots, der niederländische Meister der elektronischen Musik mit „Area Movement" sein letztes Soloalbum herausbrachte. In der Zwischenzeit hatte er im Jahr 2004 mit Frank Klare auf „Monumental Dreams" ein musikalisches Lebenszeichen abgeliefert. Das neue Werk, mittlerweile seine 16. SoloCD, trägt den Namen „Acoustic Shadows".
Ron, für seine herrlich stimmungsvollen Sequenzen bekannt, die einen eigenen Stil, ich möchte ihn mal als „Eindhovener Schule" bezeichnen, kennzeichnet, hatte auf seinem letzten Album „Area Movement" vor allem bei den Titeln „Strand" und „Serengeti Part 1 + 2" einen ethnischen Flair in seine Musik gebracht. Auch der Rhythmus in diesen Stücken entwickelte einiges an Druck. Und mit dem Kansas-Klassiker „Dust In The Wind" hatte er sogar eine Coverversion im poppigen/elektronischen Stil aufgenommen. Auf „Acoustic Shadows" lässt er es aber etwas gemächlicher und teilweise auch melancholischer angehen, ohne jedoch seinen typischen Stil zu vernachlässigen.
Beim Titel der CD kommt mir gleich der Gedanke: „Hat Ron jetzt sein Instrumentarium gewechselt und spielt hier auf akustischen Instrumenten?" Doch gleich die ersten Töne der CD zeigen, dass es mit dem Titel etwas ganz anderes auf sich hat. Ron hat sich auf seinem neuen Album einem sehr ernsten Thema, nämlich dem Krieg gewidmet. Schon auf dem sehr düsteren, in Grau gehaltenen Cover sind Soldaten während des Krieges zu sehen, wie sie durch eine zerstörte Landschaft gehen. Und auf der Rückseite ist gar ein Soldatenfriedhof abgebildet. Sechs Tracks, bei denen sich das Thema um den unbekannten Soldaten, um die Schlacht von Somme und die Bombardierung Dresdens dreht, finden sich auf der mit gut 71 Minuten Spielzeit gut gefüllten CD.
Ron schreibt im Booklet, dass die neue CD die persönlichste seit „Detachment Of Worldly Affairs" ist. Immer schon hat Ron Interesse an Geschichte gehabt. Ganz besonders weckten die Kriegsphasen und deren Hintergründe seine Aufmerksamkeit und so lag es auf der Hand, sich dem Thema mal musikalisch zu widmen. Besonders gut gefällt mir als Deutschem, dass Ron da ganz objektiv an das Thema gegangen ist, was für Niederländer, die ja bekanntlich im zweiten Weltkrieg von uns nicht gerade gut behandelt wurden, nicht einfach ist.

Aber kommen wir zur Musik. Es ist natürlich klar, dass Ron hier keine fröhliche Musik anstimmt. Beim Opener „The Unknown Soldier" gedenkt er den vielen gefallenen unbekannten Soldaten, die auch heute noch auf fremden Boden begraben liegen. Er beginnt zunächst sehr hymnisch und orchestral und vermittelt eine gewisse sehnsuchtsvolle Melancholie, aber Rons Stil ist schon früh zu erkennen. Dieser erste mehr als elfminütige Track ist in der ersten Hälfte recht ruhig, entwickelt sich aber dann zum typischen Boots-Titel im Midtempo-Bereich. Und hier bietet er dann wieder diese herrlichen Melodielinien, die wir von ihm kennen. Die Stücke gehen nahtlos ineinander über und werden durch Effekte miteinander verbunden.
Teils, wie auch zu Beginn von „The Battle Of The Somme", fügte Ron gesprochene Texte, die sich anhören, als seien sie aus einer Fernsehsendung entnommen, seiner Musik hinzu. Das wirkt manchmal auch wie die Erzählstimme aus „War Of The Worlds". Mir persönlich gefällt das sehr gut.
Das fast 14minütige Titelstück entwickelt durch seine ganz eigene Rhythmik eine wohlige Stimmung. Ein Track zum abchillen und genießen, trotz des ernsten Themas. Denn „Acoustic Shows" nennt man das Phänomen, dass man in direkter Nähe vom Kampfgeschehen die Kanonen und das Kriegsgeräusch nicht richtig wahrnehmen kann, als wäre man im Schatten dieser Geräusche. Erst in einiger Entfernung ist dann das Kampfgetümmel richtig zu hören.
Mit dem zehnminütigen „Assault" (Angriff) kommt für mich das Highlight der CD. Zuerst erklärt eine männliche Stimme den Begriff „Acoustic Shadows", dann schweben noch einige psychedelische Flächen aus den Boxen, eine Frauenstimme spricht traurig ihren Text und dann geht der Sequenzer ab wie „Schmitz Katze", so wie ich es von Ron am liebsten mag. Ron startet, im übertragenen Sinne, einen Angriff auf das Nervenzentrum des Hörers, der die Töne in Gänsehaut und wohlige Gefühlsausbrüche umwandelt.
Die „Desolate Fields" hat Ron dann dem Thema entsprechend ruhig und melancholisch angelegt.
Der Abschlusstitel „Dresden" wird wieder durch einen Sprecher und Sounds, die nach Bombenangriffen klingen, eingeleitet. Auch dieser Track ist wieder rhythmisch und typisch Ron Boots.

Wer seinen Sequenzer orientierten Stil mag, der kann bedenkenlos zugreifen, was man von allen Boots-Scheiben sagen kann. Ich hoffe nur, dass Ron nicht wieder drei Jahre ins Land gehen lässt, bevor er wieder eine Soloscheibe herausbringt.

2006. Stephan Schelle Ogni tanto Ron Boots sveste i panni del produttore e si dedica alla composizione. Acoustic Shadows non è un album acustico, come il titolo farebbe pensare, ma il nome di un fenomeno fisico che si verifica quando un suono - ad esempio un'esplosione di guerra - può essere nitidamente percepito a distanza ma non invece da chi si trova vicino alla deflagrazione. sia questo che il poema The Unknown Soldier di Billy Rose hanno ispirato l'olandese, che così ha realizzato questo cd dedicato alla follia della guerra. Il risultato è un album misurato, melodico e solenne senza diventare pomposo, a cavallo tra Jarre e Froese anni '80.

Donato Zoppo / MovimentiProg Typically Ron Boots... solid programming, very nice soundscapes, sophisticated special effects and massive sequences make for a nice listening experience. So far the good news...
Hate to say it but Ron has once again a hard time hiding his one weakness, ie. his soloing or rather the absence of it. The music does not "linger" as there are no clear themes or melodic parts. Also, the music does not fit with the theme of the album (too much rhythm and sequence). The voice clips from documentaries increase the feeling that Boots' music is inappropriate, though in itself of very high quality. Even the slower parts, like "Desolate Fields" miss their effect. I would have expected music more introverted ambient like "Too Many Secrets".
If you guys want to hear the one piece that fits the sheer horror that took place in places like Dresden, Verdun or along the Somme, listen to "The Host Of Seraphim" by Dead Can Dance.

2007. Erwin Broers / Belgium Smooth
@ The top of his sound. Mediative and provocative

2008. Zia Ka Je hebt het weer geflikt! Wat een schitterende CD is "Acoustic Shadows" geworden.
Met name "The Battle Of The Somme" vind ik werkelijk uitstekend. Ik ga 'm nomineren als (modder) Vette Krent in iO Pages.

Paul Rijkens Les ombres acoustiques décrivent le paradoxe du tonnerre de l'artillerie qui est clairement entendu par les témoins éloignés du chant de bataille tandis que les acteurs proches des explosions n'en perçoivent que les éclairs des déflagrations. Au-delà de ce phénomène, Ron BOOTS décrit en six tableaux les horreurs liées à des épisodes des deux guerres mondiales et pour ce faire, nous délivre un album rare, juste, ciselé, précis.

Une symphonie de sons et d'atmosphères qui transcende tout auditeur normal. Les boucles de basse sont lourdes et précises, les sons synthétiques sont sublimes et ces narratifs qui annoncent les morceaux ajoutent encore une touche de perfection là où c'est encore possible. En fait, cet album est tellement parfait qu'il devient difficile de trouver les bons mots pour décrire les émotions ressenties à son écoute. Cette chronique est sans doute percluse de subjectivité mais je ne peux que me mettre à genoux devant le travail de Ron Boots.

Simplement : bravo !

LouLou / Prog-résiste