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review by Mark Morton This recording presents the Berlin School in another light. Boots has his own style and has thoroughly integrated the conventions of what has become known as the "Berlin School" into it. With many of these recordings, this reviewer finds himself thinking that a certain period or piece of the classic Berlin School bands has been an influence. But I did not feel that way about this recording. The result was that I focused on Boots' style and what he was trying to say. This made for an enjoyable listening experience and I recommend this recording. Boots' style is quite mellow. His music flows expertly but is not generally harmonically adventurous. This recording does not reveal its fullness if the listener does not pay careful attention as there is no obvious "attention grabber" sound. All the Berlin traits are present but they are put to use in the service of an understated style. Area Movement opens with "Grand Banks." The listener hears some smooth synth drones layered with some piano-type noodlings. A slow and simple lead sequence emerges out of this and interacts with a percussive bass sequence. Very often, Berlin School bands use sequences as a feature of the music or as substitute percussion to drive the piece, but that is not the case here. Here, the sequences are "balanced" as part of a whole piece that includes ambient harmony and occasional melodies. Rather than "interlock," the sequences "interact" and are balanced against each other, each sequence voice occupying a place - bassline, a melody of sorts, etc. I found this sort of arrangement charming and engaging. I also note the percussive sequenced chords with a somewhat unusual tone color help distinguish the piece. "Serengeti part 1" follows with some standout percussion that does not intrude, some interacting sequences again, and a relaxed melodic flow. "Strand" uses a Berlin School hallmark - the repeating sequence that jumps octaves - as the basis for an entire piece and somehow manages to sound different. The tempo is relaxed and there is a sense of playfulness that adds immeasurably to the track. "Serengeti part 2" follows with flute pads, ambient natural sounds and a nice bass sequence over which a mellow sounding synth lead is placed. In "Rapids," the piece is dominated structurally by the interacting sequences with a familiar-sounding descending seconds harmonic pad behind it. The only "miss" for me, was the cover of Kansas' "Dust In The Wind." The piece is performed competently enough and the vocal is pleasant but I couldn't warm up to it, mostly because I am not a fan of the original. I think this will appeal to a wide section of this readership. Fans of traditional ambient and Berlin School music will like it very much and I believe the mellow style exhibited would appeal to New Age fans as well. Boots is to be commended for really showing others what it means to be associated with a "school" and yet managing to create and execute your own style. |
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