Ron Boots Liquid Structures in Solid Form Play Sample:   56K Dialup   Broadband   Download Sample:   500K   1.5Mb (Excerpt from track(s) 'Thunder Road')

The packaging for this CD is worth a quick mention. The CD is presented in a metal box – very stylish, it took me back to PiL's 'Metal Box' album, must be getting old with all this nostalgia!

It's the title cut up first. 'Liquid Structures in Solid Forms' opens with analogue drones and effects, the latter sounding very 'liquid'. A simple but melancholy lead weaves through the effects; rather beautiful it is too. It soon builds in intensity with some gorgeous fast runs. As I'd expected, it all sounds very retro. At the 2.36 mark a mid tempo, subtle sequence is deployed with accompanying 'Tron choir – the elements for a classic Berlin track are now locked in formation – destination the 1970s! More syncopations, including a loping bass sequence enter at the 4.30 mark. Just sit back and nod to the beat – great stuff! The lead, of course, just hovers over the rhythmic structure in the time-honoured fashion. By the 9 min mark a more strident lead makes its presence felt, but the tone is still resolutely retro. Likewise the beats become more muscular and somehow familiar. I decided to check the sleeve notes: they're live and superbly played by Harold van Der Heijden. I love the combination of live drums and electronics, and really rate Harold's work. What a stunning opener!

Syrupy analogue strings ease us into 'KGM'. Another melancholy lead shows Boots' musicianship. A rhythmic drone and various effects held forge a Spartan atmosphere. A drum roll at the 2.40 mark heralds the inevitable sequence; it's a steady but heavy bass one. Symphonic washes add to the atmosphere and the track simply runs its course.

I expected Van Halen when I read the next title! 'Thunder Road', however, opens in atmospheric style with a bubbling drone and string melody. It isn't long before a very analogue and skillfully played melody is introduced, along with a stuttering sequence and choir backing. The sequence is joined by an insistent mid-register sequence and ticking percussive sounds. The symphonic string melody and lead duel or duet through this growing rhythmic storm – it's infectious stuff, you just have to move to this one! Boots strips back the track to sequence and effects at the 6 minute mark. Elements re-configure, and first up is a Tron-like choir. It's joined by strings and a faintly-eastern sounding melody. Vocal 'ahs' are used as rhythmic stabs – there is a lot going on but it's skillfully handled. By the 9 min mark we are left with bass synth only, but a high register sequence, marimba-like in sound, begins another build. This section is far more digital in sound, recalling 'Logos' era TD. Another excellent track.

'Forgotten Memories' is up next. The mix is fairly 'full' from the start, with warm pad, piano, tinkling sequence and laid-back beats. The backing continues in this manner and is a little too 'lounge muzak' for my taste, but the soloing is just superb!

A ticking sequence and Tron drone open 'Centre of the Sphere'. Boots is quickly into the soloing here, but its more atmospheric and sparse – this is more like it! Symphonic strings build and rise in the background as electronic effects come and go. The solo gains more grit, but the atmosphere is expertly held – I just loved this one!

Swirling pads, a dense drone and abstract effects open 'Soft Skin', and are joined quickly by vocal samples and a contemporary beat. The atmosphere is a little unsettling, reminding me of the late 80s sounds employed by Front 242 or Nitzer Ebb. This comparison is cemented as the vocal samples become semi-whispered vocals! Metallic sounds punctuate the beats at times, though a warm pad does lighten the mood a little.