1 The Warsaw Disaster (Cheap Drum Mix) 11:36
2 Sakrileg am Mittag (High Noon Edit) 7:33
3 Generatorenkonflikte (Ramp vs. Antidot) 7:20
4 Tribejagd (Tribal Edit) 5:36
5 What's the Point of Eating Concrete? (Definite Edit) 6:54
6 Looking Back in Anger (The Real Huizen Finale Edit) 13:59
7 So far ([´ramp] & Markus Reuter) 9:11
8 Scissors (Short & Painful Edit) 13:53
9 Nothing (Keep the Balance Right, Jhonn) 1:25
doombient.music | ramp004 (77:56) *****
['ramp] is a rather particular EM band. Formed of Frank Makowski and Stephen Parsick, this duet produces a dark ambient music with lot of industrial sound effects. It's a unique mixture which sometimes sounds like Redshift but I could name its style as a dark industrial ambient EM. “Looking Back in Anger” is a retrospective which flies over 10 years of career with new unreleased material. All the music was remixed and remastered in order to obtain the maximum of its loud and tortuous sonority. You want to hear something different? Follow the guide.
Although that dislikes the stereotypes and comparisons we cannot avoid any form of association with the Berlin School style EM when we hear "The Warsaw Disaster"; a title that sounds a lot like Tangerine Dream, precisely th Poland era. It's a perfect start which hops on a bouncy sequencer and superb synth solos on a tempo well in rhythm with some good synth pads and lines which are coiling around a spiraled movement. The tempo slows down of much towards the 4th minute to take a more atmospheric tangent, the true nature of . Exploiting with tact the dark and gloomy sound effects, the duet releases fine percussions which lean on ascending synth lines, boosting a rhythm on a very TDish movement. The impulses vary on a gyratory movement which is coated of a superb symphonic synth play and beautiful percussions. It's a superb piece of music. "Sakrileg am Mittag", which is from the same area, is completely the opposite. A long incantation with tribal vocal effects raving on a movement to the moving intonations and filled by multicoloured sound effects and raucous voices, this track progresses on charmingly odd synth pads and waves that we jumble up with dubious voices, providing an excellent atmosphere of terror. "Generatorenkonflikte" offers an intro filled a very industrial sound textures with a bass line to metallic pulsations which is breaking down its troubling rhythm. The rhythm is vague and turns around percussions which knock like impulses of steel-works, a little as if one would attend to a concert of light machinery. It's another brilliant title from which has, without any doubts, influenced some techno dj.
"Tribejagd" plunges us to the heart of an iron and steel abyss where tribal tam-tams filled of metal resonances awake a superb voice which emerges from the entrails of an underground world. The synth strata and swooshes are superb and inject a demoniac dimension to a tempo which roll on the borders of an unchained horror. A droning sequence emerges from the depths of "What's the Point of Eating Concrete?". A second sequence with more limpid keys doubles the movement which gets ennoble of a superb synth solo. Divided by an atmospheric passage, "What's the Point of Eating Concrete?" takes back its heavy sequential movement with a zest of industrial sonority. This is simply a great title, too short in my opinion, that fans of Redshift will devour. The title track is simply great. After a superb ambient sonic intro, where the rich strata are floating through circular pulsations, a line of sequence emerges to undertake an unbelievable sequential swirl. It's an infernal circle where synth streaks and lines create a static mass which thunders of its multiple exploratory reverberations. This is great sequencing art as we hear too seldom. At a maximum (I'll let you be the judge) volume level, the paint on the walls will peel off. Absolutely F-A-B-U-L-O-U-S! After such an intense movement, the very ambient "So Far" is welcome. It's a deep musical reflection built around slow but profound impulsions which continues on "Scissors", at the very least its intro. Because after the third minute point, the rhythm becomes animated on dark and low notes, hiding a fine melody which tries to leave the claws of a drummed tempo. A superb piece fills by fragrances of Redshift at the top of its art.
What an album! WoW! A whole musical experience to live. Throughout this compilation, never stops to surprise. Either it's by rhythms, percussions, whirling sequences and incursions into an underground world with industrial roots; “Looking Back in Anger” is a fantastic musical voyage in time and kinds. An astonishing sound experiment that has simply conquered me. If you ever come across it, grab it!
Sylvain Lupari (January 12th 2007 and
translated on November 25th,
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream: http://www.gutsofdarkness.com/god/objet.php?objet=9260