Ron Boots – Liquid structures in solid form

 7,90 10,00

Released: 2002 By Groove Unlimited


  1. Liquid Structures in Solid Form [19:00]MP3 soundclip of Liquid structures in solid form [2:59]
  2. KGM [6:22]
  3. Thunder Road [13:57]
  4. Forgotten Memories [9:09]MP3 soundclip of Forgotten memories [2:59]
  5. Centre of the Sphere [8:53]
  6. Soft Skin [11:10]MP3 soundclip of Soft skin [2:59]

More analog than ever

Additional information

Weight 105 g



Video / DVD

7 reviews for Ron Boots – Liquid structures in solid form

  1. R. Fox

    High marks for Ron Boots Liquid Structures in Solid Form if you don’t have this yet. I must confess to having no idea what Ron was trying to do with the last track on Liquid Structures, but I still think this may be his best CD and I’m a big Ron fan. So this should tell you how highly I think of the rest of it.

    2002. R. Fox

  2. Greet Belmans

    A few weeks ago when I visited Ron at home I asked him what can I expect from your new CD.He answered me it’s like going back 10 years in the approach of creating music.Well, after listening to his CD for several times I wonder that if this is going back then what is going forth, the opening track alone is reason enough to buy this CD. So, if all of you can forget the Greek Guy” I consider Ron to be the most innovative artist from the last decade and hopefully he will continue to do so. And to those who dislike singing on an EM Record

  3. Carl Jenkinson

    The mighty opener that is the 19 minute title track has it all, big atmospheric opening, sequencers aplenty but with that all-important distinctive edge & just for good measure, some impressive drumming by Harald Van Der Heijden. Although this is a very sequencer led piece (with all the attendant teutonic overtones that this implies), this has always been a part of Ron’s music (& indeed most EM) & Ron doesn’t bow to any retro fads, the music is very much in the Boots style, as is also the case furing the shorter, more restrained KGM” which follows directly on. Such comments apply equally to “Centre Of The Sphere” which can be found later in the album where a no-nonsense bassy sequence sets a solid basis for Ron to go to work in his own unique way. However

  4. Phil Derby / Expos Magazine

    Ron Boots has firmly established himself as a force in electronic music. His latest release is, as always, accessible top-notch electronic music. The title track gradually unfolds over the disc’s opening 19 minutes, coasting along in effortless stride. A light, midtempo sequencer pattern is joined by fine solos, featuring a plethora of classic sounds for vintage synth fans. Just past ten minutes, after only hints of percussion, the drums finally assert themselves at just the right moment. The track shows Boots at his best, finding a comfortable groove that varies just enough to keep things interesting, resisting the urge to build too much into a melodramatic finale. In fact, it just smoothly levels off, knows when it’s time, and then it’s over just like that, without any pretense. KGM” is mellow yet powerful

  5. Artemi Pugachov

    His latest release, Liquid Structures In Solid Form, represents a massive slab of synthesis with great schulzian sequences, soloing and key changes.
    Simply superb stuff, the only thing I can say is: Bravo, Ron, bravo!

    2002. Artemi Pugachov

  6. Matt Howarth / Sonic Curiosity

    Stately tones amid gurgling synthetic winds usher the listener into a realm of vibrant moods and grand impressions. Melodies commence their formulation from this primal soup, emerging with sequenced riffs and arctic chords to unfurl into even greater structures replete with uplifting textures and dazzling cycles. Repetition gives way to urgent development as the riffs intertwine to create more elaborate harmonics.
    All throughout this evolution, a sense of awe swells to mammoth proportions, gripping the listener with dramatic hooks and impending tension. By the time percussion appears, injecting even more drive to the surging sonic mass, the audience is snared by the impressive gestalt.
    The electronics are generally keyboard-driven, but resound with versatile signatures that run the gamut from luxuriantly deep bass to delicately crystalline patterns. The CD’s title is very indicative of the overall impact of this music, as melodies rise from fluid definition to achieve momentous stature, towering into the sky like huge cliffs of blue ice.
    Vocoder effects are peppered throughout the pieces, manifesting as an instrument rather than communicating lyrical content. The last track, however, features traditional vocals in a whispered style, imparting satin sentiments that wax romantic over illusionary tactile impressions.
    Long-form compositions stand with shorter pieces on this CD. The longer tracks afford the music the opportunity to build to excruciating crescendos, while the briefer tracks (6-9 minutes) deliver more compressed dynamics.Joining Boots on the 19 minute title track is Harold van der Heijden on drums.

    2002. Matt Howarth / Sonic Curiosity

  7. aul Rijkens

    Ron Boots is the most important electronic musician from The Netherlands. Since his early musical explorations in the eighties, Big Ron” developed a distinguished style that has its roots in the classical electronic music from the seventies

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