• Sylvain Lupari

Skoulaman & Ron Boots Hot August Afternoon (2022)

Updated: Nov 20

For an improvised concert it's magic! Pure and simple magic!

1 Unexpected Two 12:57

2 Exit A33 12:16

3 Hot detuned 11:55

4 Dry Fields 14:40

5 In the Barn 16:59

Groove GR-337

(CD/DDL 68:49) (V.F.)

(Berlin & Netherlands Schools)

Ron Boots and Hans van Kroonenburg, aka Skoulaman, had to fill in at short notice for Detlev Keller's absence at the recent Electronic Circus festival in Borgholzhausen, a small town in the county of Detmold, Germany. It was in August, and it was very hot, hence the title, during this performance held in a barn. On short notice equals improvisation! Although Ron had a base to start the show from, the improvisation model is the basis of this recording. The principle creates slow introductions, as well as long finales that build those bridges, those atmospheric passages between two tracks. And both extremes frame structures of ambient and/or driving rhythms that are evolving. This is exactly the content of this HOT AUGUST AFTERNOON. Without taking anything away from Skoulaman, whose music I love, the presence of Ron Boots is more than reassuring in this kind of event where he has a vast experience. The Dutch musician knows tobacco and how to build a rhythm structure from scratch. And this is how this recording unfolds, where the rhythm slowly imposes its presence with structures of ambient beat that converge on solid and very catchy Berlin School. The fans of Tangerine Dream, of the Baumann years, will be delighted by the ambiences of this album.

So, Unexpected Two starts slowly. Various sound effects: shimmering arpeggios in suspension, breezes of chthonian voices, bursts of wind and atmospheric rumblings, and other elements belonging to the Dark psybient model adorn its opening. A flute wave settles, adding an enchanting element to this introduction modulated by two ideas waiting for complicity. The roars of the artificial squalls maintain their gothic grasp, while the sequencer quietly carves out a rhythmic line with arpeggios whose hesitant march remains in symbiosis with the slow opening of Unexpected Two. If it's not catchy for the feet, it's enticing for the ears! Especially when the synths start to roar with their most beautiful electronic tones. The ambient rhythm adopts a processional march under these synth blasts, where a flute air still drags, up until the door of the 8 minutes. Where a pulsating movement was fomenting a few seconds before. This movement accentuates the pace under celestial trumpet harmonies so dear to the Dream's tonalities in its 77 North American tour. Misty riffs add even more depth to these memories of another era, while the rhythm remains statically pulsating and struggling under a huge membrane of electronic tones with these synths imposing their effects and solos in the form of harmonies under a sky that has become almost cacophonic. This richness of the synths is the anchor of this album and surrounds the rhythm lines that intersect and/or juxtapose in the stationary rhythm, an element of pleasure more for the neurons than the feet, in Exit A33. The flavors of