Description
- A Good Day to Live
- Chasing the Rabbit
- Closed Eyes
- Desolate Station
- A bright new day
- Lament for the lonely
- Of Wolves, Lannisters and Dragons
- Longing for
- Running from Walkers.
Inspired by TV series and Films this is a more filmic Ron Boots.
Paul Armstrong / United Kingdom –
This is just a superb album. It is majestic, powerful and magnificent. Don’t miss out on a gem.
2018. Paul Armstrong / United Kingdom
Sylvain Lupari / gutsofdarkness.com & synthsequences.blogspot.ca –
Two years separate this last Ron Boots’ album and the very Berliner a la Klaus Schulze Signs in the Sand. Nevertheless, Ron Boots wasn’t inactive! Between a delicate surgery, an ambient album and his diverse appearances in festivals in Europe, the big boss of Groove Unlimited worked on a project which meant a lot to him for a long time. In spite of its 9 tracks scattered towards different essences, Standing in the Rain is an album concept. An album which is inspired by a multitudes of television series and movies which have left an imprint on Ron Boots’ imagination. But it’s especially a music tinted with melancholy, as shown very well by the artwork, which has seized the feelings of the spiritual guide of the Dutch School EM during the last two years. And it’s flanked of Harold van der Heijden on drums and Frank Dorittke on guitars that Ron Boots has decided to express his feelings, as his passion for life and his world of fantasies on a music which embrace by moments some tints of funk, jazz and, most of all, dark romance. Above all it’s a real jump in time, I think of Dreamscape or Acoustic Shadows, that Ron Boots invites us to. Him who has known so well how to get out of the complexities of Signs in the Sand in order to offer us another album which is still as high as our expectations.
A brief wave of melancholy invades our ears as soon as a synth perfumed of sadness and with a sigh which floats like a soul soaked by a saxophone is tipped over by an uncertain movement of bass pulsations. Another line of livelier and more palpitating sequences seizes the opening of A Good Day to Live” which rolls now with quick orchestral saccades. While a line of bass is cooing in the background