Ramp

Artist: Parsick + Reuter
P: 2012
Stephen Parsick and Markus Reuter have once again met up to brew their own kind of dronescapes. Perhaps you are already familiar with the collaborations between  ['ramp] and Reuter, already released quite some time ago. Well, the gents have been at it again, and in summer of 2010 they went to work on this remarkable and slightly twisted musical landscape.
As you wander inside the dreamfield that is Lament, you will happen upon a path which leads into sonic hinterlands where processed guitar fuses with experiments of a decidedly electronic nature. Complex structures are erected from out of a mysterious tonal language, and the journey meanders between cold and harrowing audioscapes into the blooming fields of the outer reaches of the psychosphere.

Artist: Stephen Parsick
P: 2023
LTD 111
"arp-en-ciel" is probably the most up-to-date album i have released in a long while.
admittedly, some bits had already been recorded between january 2018 and july 2020 but the majority of music came into being in early 2022, just before klaus schulze's passing. obviously, my music had strongly been influenced by schulze's work -- however, i didn't want to jump the bandwagon and use schulze's passing as a vehicle to promote my own work. hence, i decided to postpone its release and, instead, published "happy days" first.  When recording the tracks for "ultima ratio", i thought to myself that it would be great to return to the simplicity of my earliest music, making use of very simple chordal progressions (not that i know any more complicated ones anyway), lots of improvised soloing, very much in the vein of those who inspired me in the late summer of 1988. the album title just came to mind as a pun on the french "arc-en-ciel" as i used mainly arp synthesisers for the first half of the album. quite witty, huh?
the second half of the album is made up of some recordings that date back to april 2000 when cosmic hoffmann and i had spent a lovely morning, walking through a misty forest (we were quite foggy as well but that would be a different story altogether). a subsequent recording session at klaus' own quasar studio quite nicely absorbed the atmosphere of that morning but, for some reason, the music had remained unused until i re-discovered it by accident. i took some bits from this session and turned them into some rather ambient affair which i think klaus might have liked, too.

or most probably not, who knows. 
all music composed, arranged, performed, engineered, mastered to basf sm 911, and produced by stephen parsick.
prepared for digital download by stephen parsick at dachgeschoss borgholzhausen in april 2023.
stephen parsick: analogue synthesisers, keyboards, and sequencers; mellotron; tapes, loops, and treatments; ambient field recordings
cosmic hoffmann: glissandoz guitars on "chunky cookies part one"
oh, by the way, there is no mini moog on this album.

Artist: Stephen Parsick
P: 2022
LTD 111
It's been a little while since i released the last ['ramp] album, and frankly i wouldn't have thought any new recording would ever see the light of day. hard to imagine that this world was a slightly different one when "no sleep 'til wilmersdorf" was released four years ago, and no one would seriously have guessed our world would take such a massive nosedive, right?

it is not only the dire prospects of future we are facing -- in some way or other, i also had to deal with the passing of one of the most crucial figures in my personal and musical evolution, cosmic hoffmann. in fact, it took me almost three years to come to grips with the fact klaus isn't around any longer. much of this cathartic mourning process is to be found on "happy days", and sometimes it even feels as if klaus was intervening from beyond (or elsewhere).

come to think of it, i am even happier i managed to finalise a string of recordings made between the summer of 2017 and april 2022 -- and arrange them in a more or less meaningful way as an album of entirely new (and at the same time very old) music. in some regard it might be seen as a continuation of what was already present on "wilmersdorf". on the other hand, though, the music presented here took on a life of its own thanks to the recent events, and i must admit that i haven't made anything *that* doombient since my own "hoellenengel" album from 2004/05 (even though "happy days" is nowhere near as bleak, but that's only me, of course). honestly, i wasn't all too keen on taking that dark turn again, and i was perfectly happy to have left the gloomy reaches of electronic music behind a bit.

well, it wasn't meant to be for long, was it?

Artist: Stephen Parsick
P: 2024
LTD 111
35 years after recording my very first piece of music, it is time to celebrate the 14th ['ramp] album (which would also be the ninth album i created all on my own... i seem to be doing alright with no interference from the outside).
most of the music was recorded around the same time "arp-en-ciel" and "happy days" were recorded, and up to a certain point it wasn't quite clear which piece of music would end up on what album. by late 2022, it had become obvious which pieces belonged together to form a coherent whole that would also have a narrative element of its own. "havoc" was third in line, with "arp-en-ciel" and "happy days" being released in reversed order. shortly after i had finished the rough edits of the album in mid-august 2022 i had to learn about mark shreeve's passing. this devastating news overshadowed the production process in many ways, and in some respect i would like to view this album as some sort of tribute to mark and the lessons he taught me, with the title track "havoc" in particular (i am sure he would have liked that "massive sequencing-meets-mellotron" thing).
all music composed, arranged, and performed by stephen parsick at dachgeschoss borgholzhausen, where the future is being made, today.
conceived between march and august 2022.
recorded, mixed, engineered, produced, and mastered to basf sm 911 by stephen parsick in april and may 2023.
no midi used.
stephen parsick: analogue synthesisers, sequencers, and keyboards; mellotron; tapes, loops, and treatments; ambient field recordings.

Artist:  Ramp + Markus Reuter
P: 2007
This time it´s not a recording of the duo Parsick / Makowski but a collaborative effort which was recorded together with experimental guitar player Markus Reuter. Markus gained a lot of reputation by not only collaborating with Ian Boddy on several joint albums but also by being member of CentroZoon, Europa String Choir, Tuner, and of various other groups which venture deep into the realm of progressive music. Markus helped [´ramp] greatly to push the envelope and create the most progressive and least "retro" album of [´ramp] thus far. "ceasing to exist" is an entirely ambient affair which was based around touch guitar improvisations Markus submitted to [´ramp] for further treatments. The material recorded during one long session was then processed and produced further separately by Stephen Parsick, Markus Reuter, and Frank Makowski, resulting in a final batch of dronescapes that was grouped and arranged by Markus Reuter. Unfortunately, the first-generation master was technically flawed and had to be redone completely. Hence it took so long until the group came up with the final result. Most listeners may feel a little cautious about buying an ambient album from [´ramp] because, alas, a lot of ambient music is very one-dimensional and – put frankly – reduced to boring "fridge drones" only. The group tried to come up with enough interesting timbres, textures, structures, and elements to keep the listener riveted over the full length of the album. Markus´ beautiful contribution of divine frequencies adds a lot of spice to [´ramp]´s deeply ambient sound currents. The gorgeous cover painting was created by Bernhard Woestheinrich, Markus´ creative partner in CentroZoon.
 

Artist:  Ramp
P: 2012
LTD 300
There are eight tracks on the album, and if you liked the previous albums 
"return" or "steel and steam" (the latter featuring Mark Shreeve of Redshift), 
I am confident you will most certainly enjoy this one as well.
 The CD comes with an eight-page booklet with a couple of pictures assembled 
from studio  and live work.

Artist:  Ramp
P: 2009
Interestingly, most discs like to grab your attention early, but Stephen Parsick (now the only force behind Ramp) starts with the gloomy, dark shifting textures of “Rail.” Really, though, it serves as a lengthy intro to the main course, the nearly 14 fantastic minutes that are “Skeletal.” Fans of Redshift and Node absolutely must hear this stunning track. It is at turns edgy, moody, dramatic, and aggressive - an instant classic.
The disc has great flow, going from active numbers like this one to the dark formless bridging piece “Girders” before rich, thick bass and gritty synths kick back in on “Wreckage.” After virtually abandoning sequencing for his foray into purely doombient releases, Parsick rediscovers the technique with a vengeance here, continuing seamlessly into “Pieces” and the title track. The album is divided into four parts of three tracks each. The third three-part epic reaches its peak on “Hamburgised”, another powerfully restless sequencer fest with rumbling pulsating bass. The fourth and final section is every bit as good as the rest.
Debris is hands down the best, most potent electronic music album of 2009.
 

Artist:  Ramp
P: 2006
The Doombient-release "Looking Back in Anger" is 78-minute retrospective compilation by the duo Stephen Parsick and Frank Makowski.
It provides an overview of nine rare or elsewhere unreleased tracks spanning the first decade of [´ramp]´s work, which saw them collaborate with e.g. Stefan Kraft, Martina Beine, Jens Peschke, Lambert Ringlage and Marcus Reuter.
“The Warsaw Disaster” is typical of their early period, a classic Teutonic offering, particularly the latter half which sounds awfully similar to Tangerine Dream’s “Logos” from 1982.
“Sakrileg Am Mitta (High Noon Edit)” is another early recording, but one which hints at the dark road [‘ramp] was later to take, with eerie vocal samples and dark choirs, very Schulze like once it gets going.
“Generatorenkonflikt” features guest musician Stefan Kraft on rhythm programming and processing, giving it a much harder, synthetic feel than usual [‘ramp] outings.
The tribal-tinged “Tinbejagd” has its moments, showing a unique take on the [‘ramp] sound, although Martina Beine’s vocals alternate between enhancing and detracting.
The metallic sequencing of “What is the Point of Eating Concrete?” reaming a winner in this updated version, courtesy of some reworking in the studio by Stephen.
The title track is the band’s 1999 finale at the 6th Alfa Centauri Festival. A long slow build up of energy is unleashed at the end, wherein the synths do seem almost angry at being played so intensely.
Next is an outtake from the [‘ramp] collaboration with Markus Reuter called Ceasing To Exist.
“Scissors (Short and Painful Edit).” [‘Ramp] is at their best when they combine their Berlin school and dark ambient leanings into one package, as they did throughout their fantastic Oughtibridge release. This is a great track up there with the best that Node and Redshift have done ­ and of course [‘ramp]. The last bit is a brief oddity that emphasizes the disjointed nature of this collection.

Artist: Ramp
P:  2018
LTD 222
To celebrate his 35 years of music, Stephen Parsick plays a lot of vintage sounds on his favourite instrumens like, Arp, Moog, Mellotron, EMS, Elka Rhapsody 610 Strings, Oberheim and Rhodes Piano.

Artist:  Ramp
P: 2011
Ltd 300
"return" is the eighth album by ['ramp], and as its title suggests, it is a return to where ['ramp] originated from in 1996 – and even more so.
it has become the most "analogue" album since the first two releases "nodular" and "frozen radios" from 1998 and 2000 respectively. being rooted in the berlin school of thought, ['ramp] quickly started adding other ingredients to their blend of electronic music styles: being sequencer-driven and psychedelic-sounding on the one hand, ['ramp] founder stephen parsick was also keen on incorporating a grittier and more abrasive "industrial" sound into the band´s scope. "there is nothing more satisfying than making a synthesiser sound dangerous", parsick points out.
"return" was performed nearly exclusively on analogue keyboards and synthesisers from parsick´s collection, using various analogue effects devices, to achieve a compelling result: the sonic universe of early tangerine dream meets the thundering sequencer assaults of british modular heroes node and redshift.
all music on the album was recorded without midi and computer sequencing, assisted by parsick´s trusty old friend heath robinson. all tracks were recorded live onto an old-fashioned digital multitrack recorder, mixed on an analogue desk, and mastered in the analogue domain by berlin-based studio owner matthias fuchs who had already made "debris" and "steel and steam" sound great.
"return" will be available in a limited edition of 300 hand-numbered copies