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 E-News 767 (Dec.10. 2011)

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One of the Coolest Member

Age: 55
Joined: 09 Feb 2007
Posts: 1032
Location: Best. Netherlands


PostPosted: Sat Dec 10, 2011 10:05 am    E-News 767 (Dec.10. 2011) Reply with quoteBack to top

- - - - - G E N E R A L N E W S and R E L E A S E S - - - - -

Hi All.

We are waiting on the new Tangerine Dreams they have not arrived yet.
But the reissue of "Green desert" have arrives as have the reissue of
Agitation Free "Shibuya Nights".

And special attention to the new RAMP - RETURN just on the doorstep of 2011.

""return" is the eighth album by ['ramp], and as its title suggests,
it is a return to where ['ramp] originated from in 1996 – and even more so.
It has become the most "analogue" album since the first two releases
"nodular" and "frozen radios" from 1998 and 2000 respectively.
"Return" was performed nearly exclusively on analogue keyboards and
synthesizers from parsick´s collection, using various analogue effects
devices, To achieve a compelling result: the sonic universe of early tangerine
dream meets the thundering sequencer assaults of British modular
heroes Node and Redshift.
All music on the album was recorded without midi and computer
sequencing, assisted by Parsick´s trusty old friend Heath Robinson.
"return" will be available in a limited edition of 300 hand-numbered copies.
Exciting news and we hope to have it in soon.

Some information for the concert on the 30th of December in German.

Ron Boots: Hello 2012 - Die Erde im Wandel?
Silvesterkonzert am 30 December im Planetarium Bochum.
Ron wird unterstutzt von einer vielzahl von Musiker:-)
Und die musiker sind Eric und Harold v.d. Heijden, F.D.projects
frank Dorittke und Jamie O'Callaghan.
Es werden 2 sets gespielt und alle besucher werden eine gratis CD
bekommen mit u.a. einer der schonsten live versionen von Dacapo und
viel andere neue musik
Ich habe vernommen das nur noch um die 40 karten da sind also wenn
man noch kommen wil bitte schnel dabei sein.

Check also the extra names for the concert in January!!
These fantastic musicians will join us on stage.
Check the concert section.

We have also a costumer that is selling the original KLEM 1 and 2 CD's.
Both are sought after and have unique music on it from many of the
great names in the EM Scene.
Check out the new Cd's section.

We are of line for 2 days and will be back on Monday to answer all
mail and process the orders.
So if we don't respond right away don't worry.

Dreamscape Radio has music this week from the following artists:
Steve Brand, Noryani, Nattefrost, Steve Roach, Andy Pickford
and others. Dreamscape Radio show 167 is now on-line.

Thanks for your time!!
E-News is made by Ron Boots.
Thanks to all who contribute news.


- - - - - message out of the EM Scene - - - - -

And for those who like interviews, here are a few nice ones from E-Live 2011

Matzumi & Eric van der Heijden & Ron Boots:

have fun.

Thomas Broich

- - - - CONCERT INFORMATION - - - - -

Ron Boots: Hello 2012 - Die Erde im Wandel?
Silvesterkonzert am 30 December im Planetarium Bochum.
Ron wird unterstutzt von einer vielzahl von Musiker:-)

Ob die Erde im Jahre 2012 wirklich eine Wandlung erfährt, wie die
alten Mayas es seinerzeit prophezeit haben? Astronomisch ist zwar
nicht mit besonderen Ereignissen zu rechnen, aber musikalisch sind der
Fantasie keine Grenzen gesetzt.
Und so geht der niederländische Ausnahmemusiker Ron Boots der Sache
musikalisch auf den Grund. Er komponiert speziell für sein
Silvesterkonzert im Planetarium Bochum ganz neue Titel, die zum Thema passen.

Ron Boots aus Eindhoven beweist schon seit vielen Jahren immer wieder
eindrucksvoll, dass er einer der besten Livemusiker in der
Elektronischen Musik-Szene ist. Er brilliert mit druckvollen Sounds,
schafft aber auch mit gefühlvollen Piano-Passagen eine gelungene
Symbiose zwischen rhythmischen Sphärenklängen, Sternenhimmel und
Bildern aus den Tiefen des Alls. Seine Musik entführt uns auf eine
fantastische Reise durch den Kosmos und die Geschichte der Erde. Ein
Konzert mit Ron Boots ist immer ein Erlebnis der Extraklasse für alle Sinne.

Als besonderes Bonbon bekommt jeder Konzertbesucher eine Gratis-CD,
und exklusiv fur auf das Silvesterkonzert im Planetarium Bochum
hergestellt wird.


Eintritt: 18,00 €, erm.16,00 €
Fur mehr information mail an schallwende@web.de oder ron@groove.nl

- - - - - CONCERT INFORMATION - - - - -

JANUARY 8TH 2012. Start is 20.00 hours!!

Feat; Harold & Eric v.d. Heijden, FD Project, Ron Boots, Jamie O'Callaghan,
Paul Hellings and !!!


It will take place in The Enck (Yes E-Live and E-Days'place to be).
Tickets are only € 12.50 Euro and for all who come there is a free gift!!
You can now order your tickets by transferring it to the following account.

For the Netherlands
ING 5577616 tnv Groove Unlimited (please ad your name and city you live in)

For our GermanFans. (Bitte Nahme und wohnsitz vermelden!!)
Empfaenger: Groove Unlimited, Best, NL
Kontonr. des Empfaengers: 2803700012
Institut des Empfaengers: Raiffeisenbank Heinsberg
BLZ des Empfaengersinstituts: 37069412

For our Belgian Fans, (please ad your name and city you live in)
Fortis Bank, België
Agentschap Hamont 41280.5
Accountnr.: 001-3797310-30
Ron Boots / Groove Unlimited, Best, NL



The new jukebox contains 28 titles.
To listen: click on the JUKEBOX button on www.groove.nl

- - - b e s t s a l e s s i n c e p r e v i o u s e - n e w s - - -

1: Tangerine Dream - Finnegans Wake - James Joyce (cd)
2: Tangerine Dream - Knights of Asheville (2-cd)
3: Andrew Forrest - Resonance (cd)
4: Tangerine Dream - Mona Da Vinci (cd)
5: Syndromeda - Alien abduction phenomenon (cd)
6: Tangerine Dream - Gate of saturn (cd)
7: Tangerine Dream - Gate Of Saturn - Live At The Lowry 2011 (3-cd)
8: Gert Emmens & Ruud Heij - Blind watchers of a vanishing night (cd)
9: Tangerine Dream - Island of the fay (cd)
10: Steve Roach & Erik Wollo - Road eternal (cd)

1: MorPheusz - Garden Goblins (cd)
2: Boots, Aerts, v.d. Heijden - BAH! Live in Sweden (cdr)
3: Eric van der Heijden - Dal Segno (cd)
4: Synth.nl - Apollo (cd)
5: Ron Boots - La caída de hormigón (cd)
6: Ron Boots - Beyond the boundaries of twilight (cd)
7: Ron Boots - Boundary tales (cd)
8: Ron Boots - Current (cd)
9: Ron Boots - Different stories and twisted tales (cd)
10: Ron Boots - Liquid structures in solid form (cd)

- - - - - - - - - - r e v i e w s - - - - - - - - - -


A few thoughtful electronic thuds, some distant sweeps of cosmic
wind... Slowly the curtain falls and we may cross the border between
this everyday world and that visionary one created by Vanderson. In
the second minute of the opening impression there appears, like a
frosty drawing on a window pane, a hypnotic sequence in the good old
Berlin style. As time goes by, further instruments join in, the
atmosphere gets hot and sticky and yet ethereal... Are we travelling
over mountainous roads through some ancient tropical forest, like it
was 1977 and we had Tangerine Dream's Sorcerer-LP spinning on our
turntable? The musical piece is wonderfully ?gluey? and unreal in a
very special numb way, it seems that this music is coming from some
unknown dimension. Rainy arpeggios in the second half will awaken the
Listener a bit, but they will also supply a load of melancholy.
The second track is a nicely groovy journey through shining,
shimmering desert sands - our footprints have a flutish-sequential
shape, whereas the tumbling clouds over our heads sound like Jarre
chords from Oxygene or Equinoxe. The composition has a unique melodic
touch to it; the musical feast lasts about 8 minutes, but all the main
voices suddenly begin to disappear and dismantle, the only actors left
on the stage are electronic subvoices, unformed thoughts, voiceless
full-stops... until only silence reigns.
Slowly awakening murmurs let the Listener know that the third piece
has begun. This is the most "Berlinian" impression in the whole
playlist, one can hear not only some echoes of Tangerine Dream's music
but also reminiscences of the sounds created by younger cadets of the
Berlin School - let's take AirSculpture, for example, since
Vanderson's frequencies have something in common with their Pogofish.
This 13-minute vision gets complicated and ornamentated, there appears
a hypnotic rhythm-line, from the foamy sequences a powerful solo is
formed. As if it still was not enough, we will hear amazing mellotron
"chorals", so that the pumping sequences may turn into motionless
mouldy stones.
The final track is slower, dreamier, has a deeper shade of ambience.
The beginning of this piece is the same deep black electronic water as
Klaus Schulze's Blanche. As time goes by, the mist disappears and a
solemn sequence is built - once more with a lot of hypnotic atmosphere
to go along with it. A very Schulzean solo marks the plot point of the
composition; the sequence drives higher, there come even more
emotions, recollections... It's a pity that 13 minutes and 40 second
do pass away so quickly... The piece ends all of a sudden, as if its
main sentence hadn't been said to an end... The best thing for the
Listener to do is to push the "play" button once again - and drift
along, towards some other tale, some other dream, some other vision.
Vanderson's music is visual-rich and visionary indeed.

Press release information

- - - - - - - - - - r e v i e w s - - - - - - - - - -

RUDZ PRZEMYSLAW & KOMENDAREK WLADEK - unexplored secrets of REM sleep

One doesn't have to introduce either the el-hero Wladyslaw Komendarek
or the Generator.pl "label"-artist Przemyslaw Rudz to the fans of
sophisticated electronic music. This time we can admire a conjoint of
both musicians. Already the title of the work itself announces
something very special indeed - well, let's see, what unexplored
secrets does the REM phase of sleep hide...
The first track is built in a warm, folded style, which reminds me of
Tangerine Dream's Flashpoint; one can really enjoy the majestic piano
chords and a typically Froesean guitar in the second part of this
piece. In our dream we become watchers of scattered bluesand castles,
which disappear slowly and turn ivylike into a concrete wave
shimmering with darkened colours.
Our second dream consists of dismantled waiting for crispy snow, while
we are hiding in the shade of a huge metal ice-core-container. The
ground is too slippery, we shouldn't take a walk, let's wait for the
weather to make its mind - but what is happening on the other side?
The whole plain is being searched through by some faint limelights of
rusty cranes, which stroll about like hunchbacked mechanical giraffes.
The music could be defined as explicit electronic rock, but the first
minutes of this track sound as if they were taken from some dusty
electronic trail recorded by Alex Smoke or Peter Benisch.
In the third track we will get to know, whether nightshift bulldozers
can play the drums; behind their backs we can see the wonders of
photosynthesis happening here and now. Komendarek and Rudz drift
towards daring experimental electro-jazz - they let some new sunlight
through the windows of Vangelis' Albedo 0.39 in. The fourth dream
means slowing down and falling into deep fog. We must hurry up and buy
a package of ambient staples before the sequential spiral comes out of
its hiding place, somewhere between the solarized beach and abandoned
lairs of sea-snakes. The Listener gets lost in the labyrinth of
notions, what do all these chalk signs mean. Brilliantly surrealistic
17 minutes.
The final track can be interpreted as an homage to rock-oriented
Tangerine Dream - it's pretty cool stuff, full of surprising
chord-dives into halftones, spicy rhythm line and fairly aggressive
guitar tunes. It's hard to tell whether we are observing airports in
turmoil or neural interactions, pictures change even faster, when we
try to pay attention to their shapes they just disappear like heaps of
foam when touched with a piece of soap.
What we're dealing with here is a very explicit content, a daring
odyssey full of daring associations. Strongly recommended.

Press release information

- - - - - - - - - - r e v i e w s - - - - - - - - - -

Mythos - Superkraut Live 1976 (63644)
Superkraut Live at Stagge's Hotel 1976 is a recording of the West
Berlin band Mythos in their early days. Performing here as a three
piece with drums, bass and guitar/flute; the sound is much more rock
oriented than the electronica that was to follow from Mythos. That
vivacious, progressive, experimental sound of the early-mid seventies
is ever-present here: at times reminiscent of Jethro Tull due to the
gutsy rhythms and virtuoso flute work. Mostly instrumental, the album
shows a band keen to let their playing open up the full range of each
player. Robby Luizaga'a bass work is inventive and as much a lead
instrument as Stephan Kaske's. Kaske moves comfortably from flute to
bluesy electric guitar to "prehistoric synthesiser" and back again. A
drum solo was pretty much obligatory back then for a live album and
Paradidel doesn't fail to satisfy on the concluding track of the album.

The neat digipack for Superkraut features reworked artwork from the
band's debut album of 1972 entitled Mythos - with one or two
alterations: the seated eyeball figure now clutches a complete heart
atop the Stagge's Hotel building rather than the original rock
formation. The imagery has that authentic 'classic' feel of the
progressive, psychedelic era, bold lettering included. Track titles
are found on the rear cover. A generous twelve page booklet sits in a
notch inside the package. This features photographs of Mythos in their
heyday both posed publicity shots and performing. Sleeve notes are in
German and English providing a little history, a little nostalgia and
relevant contact and website details.

The Stagge's Hotel in Northern Germany has been the source of a series
of concert recordings released via Sireena Records. Mythos were
captured here in 1976 at the start of their career, the tapes
remaining unknown to even to the band for some time. What a find
though - Live at Stagg's Hotel is the only extant live record of
Mythos from the period. In time growing parallel to such German
pioneers as Tangerine Dream and Klaus Schuze, Mythos here show a more
rugged and rock based approach. The eight tracks will either bring
back some distant treasured memories for fans of the band, or perhaps
open up a whole new aspect to the polished solo Mythos that Stephan
Kaske still runs today. A number of the tracks performed here were
taken from the 1975 album Dreamlab follow-up to the self titled debut
of 1972. Some other pieces can be found only on this unique document.

2011. S. Kaske / Germany

- - - - - - - - - - r e v i e w s - - - - - - - - - -

Nebula - Path of white clouds (33986)
For longer time in the pipeline, but in March of 2011 dreams of all
drone fans came true. This old ambient classic from 2003 (limited CDr
release by Stella Maris) is now available thanks to Hypnos as pressed
CD in nicely looking digipak. Nebulæ (previously known as Nebula) can
be easily described as another ambient supergroup, featuring two drone
kings, Oophoi and Mathias Grassow, as well as legendray Klaus Wiese,
who unfortunately passed away in January of 2009. Tau Ceti (synths),
Lorenzo Pierobon (harmonic chants), Geert Verbeke (himalayan bowls),
Luna (vocals) and Mauro Malgrande (shakuhachi) complete the list of
gifted musicians on this album. "The Path Of White Clouds" begins with
mysteriously hypnotic resonant drones on "The Quest". Deeper, more
massive inner journey continues on "Ascension", this time remarkably
enriched by expressive harmonic chants, an ecstatic journey that
overlaps into the next grandiose composition, "Devotion", on which
except Klaus Wiese and Mauro Malgrande all above mentioned appear.
Beautifully immense and ethereal, and possibly the most mysterious
piece on album, among others featuring also gloomy male and female
voices and chants, definitely another highlight!!! Drifting on "The
Living Mandala" is slowly evolving into more active level,
ocassionally spiced by bells and also by hardly recognized processed
shakuhachi. The next composition, "Enlightenment", is based around
Mauro Malgrande's shakuhachi and synth washes by Klaus Wiese and
Oophoi, peppered by some noises, deep, calm and meditative. Closing
ghostly title opus, "The Path Of White Clouds", showcases masterful
appearance of Klaus Wiese's zither, Mauro Malgrande's chants and
Oophoi's electronics.

Absolutely gorgeous and meditative journey from this strong line-up of
highly acclaimed and talented artists. And kudos to Hypnos for
reissuing this masterpiece, a must have for all die-hard aficionados
of deep mysterious drones!!!
Richard Gürtler / Bratislava, Slovakia

- - - - - - - - - - r e v i e w s - - - - - - - - - -

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 armada 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!

Sylvain Lupari, gutsofdarkness.com & synth&sequences.com


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One of the Coolest Member

Age: 43
Joined: 03 Feb 2007
Posts: 1995
Location: Kristiansand, Norway


PostPosted: Sat Dec 10, 2011 4:25 pm    (No subject) Reply with quoteBack to top

Does everyone in Holland talk german as well as van der Heijden and Boots did?
There's no such thing in the world as the right decision.

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One of the Coolest Member

Age: 49
Joined: 04 Jun 2007
Posts: 868


PostPosted: Sat Dec 10, 2011 10:42 pm    (No subject) Reply with quoteBack to top

A lot of Dutch people do yes. We learn German at young age at school and when I grew up we didn't have much TV channels yet so we watched a lot of German TV.
Regards Michel, Synth.nl

www.synth.nl, www.myspace.com/synthnl and synthnl.blogspot.com

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One of the Coolest Member

Age: 60
Joined: 03 Feb 2007
Posts: 1978


PostPosted: Sat Dec 10, 2011 11:10 pm    (No subject) Reply with quoteBack to top

German is for some of us the second language.
I can speak that better than English ;)

A long time we had, as Michel said, beside two dutch TV-channels only 3 German channels Wink NDR ZDF & WDR.
On School we had French, German & English, only one language was allowed to drop in the third class, often that was French.


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One of the Coolest Member

Age: 55
Joined: 09 Feb 2007
Posts: 1032
Location: Best. Netherlands


PostPosted: Mon Dec 12, 2011 6:21 pm    (No subject) Reply with quoteBack to top

« Phrozenlight » wrote:
German is for some of us the second language.
I can speak that better than English Wink

A long time we had, as Michel said, beside two dutch TV-channels only 3 German channels Wink NDR ZDF & WDR.
On School we had French, German & English, only one language was allowed to drop in the third class, often that was French.

Same here dropped French the rest comes natural

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One of the Coolest Member

Age: 43
Joined: 03 Feb 2007
Posts: 1995
Location: Kristiansand, Norway


PostPosted: Mon Dec 12, 2011 7:16 pm    (No subject) Reply with quoteBack to top

OK, didn't know that. But I guess it's natural as the two countries are geographically close.
There's no such thing in the world as the right decision.

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FSP Marcel
Even more Cool Member

Joined: 03 Feb 2007
Posts: 284
Location: The Netherlands

PostPosted: Mon Dec 12, 2011 11:08 pm    (No subject) Reply with quoteBack to top

We all grew up with Die Sendung mit der Mause. Smile
(well at least 'our' generation).
Same here, dropped french, continued with english and german.
There are definitely similairities between the 2 languages, so even people who can't actually speak proper german, they usually get by when on holiday.


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