astral disaster
  1. 122112
  2. astral disaster
  3. unholy messiahs
  4. iniernal machines part one
  5. iniernal machines part two
  6. a new dawn
  7. 122212

  8. Return
  9. radiocarbon part one
  10. beacon
  11. radiocarbon part two
  12. lighthouse
"return" will be a return to where ['ramp] started in 1996/97, and I guess it has become the most "analogue-sounding" album since the release of "Nodular" and "frozen radios". There will be two sections on the album, called "astral disaster" and "return" respectively, each running beyond the 30 minutes mark.

Like its predecessor "steel and steam", "return" will be available in a limited edition of 300 hand-numbered copies. I do not intend to make it available as a digital download.

2011. Stephen Parsick As its title freely let suggest it, Return is a return to basics for ['ramp] with an album completely made from analog equipments. Only master aboard of his studio and his abyssal wings, Stephen Parsick weaves 2 long titles to similar structures where the abrasive and industrial ambiances blow in the neck of heavy, static and unbridled rhythms. astral disaster and return are 2 long titles of an average length of 37 minutes segmented in several parts which are entwining in 2 powerful musical patterns of smells of suffers and colors of steel. Two titles of a lead heaviness which let themselves caressed by ambiances as poetic as devilish and bombarded by rhythms as heavy as unbridled, Return embraces the blackness of Redshift, the tamed rhythms of Tangerine Dream and the illuminated cosmos of Jean Michel Jarre.

Like an apocalyptic musical book, "122112" goes down from celestial bodies with a slow linear movement adorned by cosmic dusts which sparkle in an ambiance stuffed with atmospheric tones. Ambient noises, restrained impulsions, crystalline serpentines, scattered pulsations and dark breaths feed this intro which amplifies its Dantesque character to finally sink into the heavy implosions of "astral disaster" and of its angelic choruses immured in the entrails of a condemned land. The ambience is heavy and stigmatized by a scent of suffer made iridescent. The choirs murmur and their voices join to synth lines at once mephistophelic and poetic which float and which tear of their silvered tones the walls of an abyssal corridor in order to hide in the depths of immobilism. This opera of choirs sclerosed in time gets transpose into the limbos of the steel mill from "unholy messiahs" which, such as sunbeams after a torrent of carbonized drizzle, moderates the chthonian ambiances with a pas sage with the colors of rainbow, before that the anger of the gods thunders with "iniernal machines". "part one" opens the infernalities with deaf pulsations which drop their felted rustles among metallic cymbals and silvery breaths. A powerful sequence starts to activate. Its heavy resonant keys surround some more agile sequences which flutter in a delicious anarchy, shaping an unreal rhythm which is feeding of a sequential mishmash to forms and tones mixed. On an abstruse rhythm, "iniernal machines part one" continues its powerful and static devilish ride with heavy sequences to made Redshift go pale. Sequences which stagger with the grace of an elephant on acid, up until the doors of its 2nd part, there where the ambiances toil to contain the ceaseless stream of the stormy sequences which cry out their right of destruction. Puny, the rhythm of "iniernal machines part two" shivers and bends under the weight of the thunderous sequences which resound and make trembles both the eardr ums than the subterranean corridors and crash into an aggressive echo. The subdued choruses roam on this powerful stationary rhythm which little by little gets out of breath and takes refuge within the breaths of genesis of "a new dawn" and those more orchestral and more liberators of "122212".

The 2nd portion of Return is more musical and more melodious, caressing the rhythms and approaches of Tangerine Dream in the clogs of Redshift. The intro of "Return" slides in a beautiful musical panorama where sinuous waves caress the resonant curves of the biting reverberations. The chthonian choruses always have precedence. They breathe in gloomy mists. Blowing in horns, they clear particles and hoops of metal which tear the astral veils to make roar the intersidereal darkness and bring us to the first stammering of the deaf pulsations from "radiocarbon part one". Except that the rhythm carries away very early. Heavy and powerful, it strolls with hesitation before biting the spine of zombieís choirs and skipping with strength and resonance in a structure of lead where the wandering choirs are caressing it curvatures. The rhythm is heavy, powerful and fluid. Itís flown over by synth solos as much strident as lyrical which become infatuated with an infernal passion to a rhythm of steel. A rhythm which evolves in fine permutations to be ennobling in the sweetnesses and the ethereal solos of "beacon" before spurt even more in "radiocarbon part two" which revives all the power of its first part. "lighthouse" concludes this apocalyptic journey into the blows of angelic and iridescent trumpets, looping the loop of Return with the Dantesque breaths of "astral to disaster".

Return is a powerful journey in the analog lands of an EM which fed the fantasies of the first fans of a music which transcends the borders of imagination. Stephen Parsick succeeds an incredible tour de force by sculpturing a music to thousand torments from completely analog equipment where the somber psychedelicosmic ambiances bind themselves in rhythms as heavy as powerful. Following to evolutive musical patterns where the passion whips up furious sequences sculptor of thunderous rhythms, Return is a real musical puzzle where every sound and every note fit into 2 wonderful electronic acts displaying all the genius and the know-how of the caustic man in black of EM.

2012. Sylvain Lupari / & synth&