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Messages - doombient

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141
Other Ambient (and related) Music / Re: Phobos I dark ambient festival
« on: December 06, 2009, 04:11:24 AM »
I would have gone there, had I had a little more time. The location is really awesome, I played there once together with Phelios, and it was wonderful. We had a great PA system which literally blew the audience away.

Stephen

142
Another review, written and translated into English by Sylvain Lupari (merci beaucoup, Sylvain!):

"The least we can say is that Stephen Parsick is in a shady period where the atonal forms of a tetanized music seem to be far from its conceptual priorities. In the same stride as Debris, although less heavy and more atmospheric, Cambrium - Music For Protozoa is a more psychedelic than structured musical journey, depicting the microscopic universe which surrounds us on atonal movements mixed to heavy and full of life musical structures of a reverberant life. Recorded in concert on May 29th, 2009 at the University of Bielefeld for the annual night of sounds, this last realization of the German synthesist is a sound reflection of an effervescent microbiological world. A surprising musical journey where the microscopic life bubbles towards ARP 2600 and VCS-3, synths known for their warm tones to facets as astral as hallucinogenic.

Emerging softly from meanders of a boiling life of metaphoric streaks, Proterozoikum floats in a spectral universe where choirs and caustic breaths flavor a micro organic life of strange luminous parasites who tie themselves to knot as sound jellyfishes. Strange laughter of ash blond witches emanate from this context where subjacent life reigns with color palettes proper to Stephen Parsick. The first stammerings of a world out of control appear on DNA Sequence opening. Spasmodic sequences which collide in a strange merged ballet to dance in a dislocated way such as marionettes that we imagine to be germs, or enzymes, which converge on some point of entry.

An abstracted dance for a microbiological world which spreads its tones among structures so ambient, atonal and atmospheric as we hear on Ekectric Soup Kitchen, Amoeba, Medusa and Radiolaria and lively structures animated by sequential pulsating rhythm as on Tribolite who dances under somber stratas by an arrhythmic flow and the title track which merges on heavy reverberations, while the heaviness’s and the reverberates roundness’s of Urge to Live are similar to the sound vividness of the last Ramp; Debris.

Cerebral journey, abstract or sound exploration of an underlying life, Cambrium - Music For Protozoa presents us a Stephen Parsick in great shape who brings us where he wants to, either to the borders of a spiritual journey where the stellar merges marvelously to a sonorous world that only Parsick can define with a multitude of organic tones which can easily survive in both worlds.



Sylvain Lupari (Phaedream) from Guts Of Darkness

The French Magazine of Dark & Experimental Music"

143
Other Ambient (and related) Music / Re: ['ramp] -- debris
« on: November 27, 2009, 04:11:40 AM »
Here´s another review, written and translated into English by Sylvain Lupari, published on the Canadian website www.gutsofdarkness.com (merci beaucoup, Sylvain!):

"A loud caustic wave wraps the intro of Rails, of which the starting engine sends ochre vapor which spreads a strange cosmic aura in a world nevertheless industrial. Recorded in the turmoil of a stormy separation from the other half of Ramp; Frank Makowski, Debris will take 3 years before being born. The result is an album which allies the dark weightiness of Ramp to tempestuous and strangely violent sequential movements.

Following the hard move forward of Rails wheels of which end on strange metallic percussions, Skeletarl moves blindly towards squealing and sweating feeble-lights with an arrhythmic pulsations bass line. A sound violence is pointing out. It is latent and shouts out with spectral rustles and scattered flickered percussions on a hesitating movement. A movement that is mold as roller coasters which have difficulty to pull their wagons. Biting reverberations and industrial sound environment, without knowing it but while feeling it, Skeletarl plunges us into a heavy and violent sound universe where resonances eat our eardrums on a rhythm strangely vague of which the essence is pulled out of the somber depths of Redshift. A magnificent hard and corrosive track which winds the meanders of lifelessness, while robbing the steel walls of sharp claws, which feed a twisted and howling metal. A track that depicts marvelously the raw and metallic atmosphere which overhangs this last Ramp release. Because from Girders to Residual Oxide, Ramp passes by all the subterranean levels to offer a sound slaughter, sometimes static sometimes sequenced, to the stabbing and terrifying roundness’s of a ruined factory. Some Ramp, but also some Stephen Parsick who likes cement mixers atmospheres stiff of ambient aromas. But who also exploits sequenced movements of an inebriating intensity as on Wreckage where drum roll on contaminated oil barrels which entangled to an abrasive sound universe full of howling sequences which are melting to sieved lights of Pieces, to continue to pulse in an industrial world adrift, before meeting the movements of sequenced ball bearings of the title track Debris who tears simply away the metal from the tarnish towers, before the sequential heaviness’s of Coventried and Hamburgised ends this work of demolition.

Sunk in concrete in tempered steal in only one long track segmented into 12 shutters, Debris offers few ambient or quiet moments. In fact, if there is a moment of tranquility it begins with Dresdened and its long atonal breaths which circulate among the fragments of a factory ground. Although heavy and incredibly disaster, Slow Corrosion hiccoughs of heavy sequences to random migrations, which pulse heavily under metallic and flickered percussions. A movement to the approach so sinister as Skeletarl, but who does not explode and who preserves the oscillatory linearity of a big starving tortoise who ruminates upon her appetite until the last biting breaths of Residual Oxide.

Debris of Ramp is a whole brainwave. While we had become used to the calm universe of tetanised atmospheres of the Doombient series, Debris arrives with its big clogs and kicks down the atonic armature of this suite as cold as biting. In fact, Debris is a sublime mix of both universes; Stephen Parsick molds subtly and skillfully the metallic and biting drones in sequences to heavy reverberations which literally melt the last vestiges of the Doombient series. Debris is a great album which suits very well the visions and the perspectives of Guts Of Darkness. A must for fans of Dark Ambient with heavy resounding oscillations. The underworld of Redshift!

Sylvain Lupari (Phaedream) from Guts Of Darkness

The French Magazine of Dark & Experimental Music"

Thanks for reading,

Stephen.


144
Other Ambient (and related) Music / Re: ['ramp] -- debris
« on: November 15, 2009, 03:30:12 AM »
The first "debris", written by Bert Strolenberg (bedankt, Bert!):

[‘ramp] – debris
CD, Private Release, 2009
“Debris” is a deep, strong organic flavoured ambient journey coming in four sections. It’s composed solely by Stephen Parsick, as he and Frank Makowski parted ways a while ago. As Stephen explains, the outcome (for which he used basic tracks composed between June 2000 and January 2005 as a start) is based both on textural ambient soundscaping, ambient field recordings of steelplants, railway trajects, and factories at night, and grinding sequencer rhythms, so there’s most certainly an industrial/experimental edge to it all. Those familiar with his privately released cd-r’s know what magical, cinematic and dense vintage ambient music can be like. “Debris” once more sees Stephen treat his gear expertly, triggering some great analogue sequencer patterns in the tradition of Node and Redshift, next to offering crispy, multi-layered synth pads which he masterfully mixes with industrial, organic and minimal flavours and a whole range of effects.

Although I highly recommend “Debris”, I’d like to remind those familiar with the album “Ceasing to Exist” to keep in mind there’s far more rhythmic, edgier electronic territory and alienating soundscaping covered on this new release, which won’t be everyone’s cup of tea.   

Bert Strolenberg
www.sonicimmersion.org

145
Other Ambient (and related) Music / Re: Sigur Ros' first CD
« on: November 10, 2009, 02:56:41 AM »
I attended their live show at Cologne Philharmonic Hall in 2002 and was gobsmacked. Probably the most intense concert I´ve ever been to. Yet I must agree that their style tends to veer towards the "kitsch" and "campy" side of things, and the singer -- although I really enjoyed it on the first two albums -- is becoming more and more of a nuisance. A one-trick pony on vocals...

Stephen

146
Matt Howarth kindly reviewed the download version of "cambrium" on his soniccuriosity website (thanks, Matt!):

"STEPHEN PARSICK: Cambrium: Music for Protozoa (DDL on Parsick Music)

This release from 2009 offers 79 minutes of cerebral electronic music recorded live at Bochum Planetarium, Germany, on December 13, 2008.

The astral textures employed in this music are designed to create the impression of the audience’s displacement in time, transporting the listeners back through prehistoric ages where they are exposed to hordes of blooping diodes marking the evolution of micro-organisms.

The atmospherics possess an eerie, vaporous demeanor. While maintaining a constant presence throughout the concert, these cosmic airs undergo substantial evolution of their own, swelling to evoke celestial importance and focusing to draw attention to microscopic events.

The bloopings are all generated by an Arp synthesizer, lending the strangeness an earthy character. These sounds are entrancing in their vivacious diversity. They run the gamut from staccato gurglings to undulant stellar winds.

Rhythmics evolve from the sinuous arrangement adopted by the blooping noises. As the music progresses, these pulsating tempos achieve a lavish series of helixes that produces engaging melodies as they swim through the gaseous tonal foundation.

One is witness to the genesis of basic life-forms. Amino acids coalesce and form bonds with each other, producing single-celled organisms that gradually mutate and develop methods to refuel themselves. Habits are gestated, simplistic though they are, bewitching nonetheless in their awesome implications.

Wandering from ambient passages to outbursts of electronic activity, this tuneage is a moving experience.

According to the liner notes, this music was inspired by Parsick’s fascination with an “earth time scale” encountered in Bielefeld’s Arboretum."

Thanks for reading,

Stephen.

147
The album is now available and can be ordered directly through me. Prices (with shipping, Paypal, and handling included) are as follows:

Germany: 16 Euro (bitte kein Paypal, nur normale Überweisungen)
Europe: 17 Euro
Worldwide: 18 Euro

If you have any questions, please feel free to get back to me.

Apologies for any inconvenience.

Thanks,

Stephen.

148
Other Ambient (and related) Music / Re: ['ramp] -- debris
« on: October 01, 2009, 03:29:46 AM »
Thanks for your kind words :)...

The album is now available and can be ordered directly through me. Prices (with shipping, Paypal, and handling included) are as follows:

Germany: 16 Euro (bitte kein Paypal, nur normale Überweisungen)
Europe: 17 Euro
Worldwide: 18 Euro

If you have any questions, please feel free to get back to me.

Apologies for any inconvenience.

Thanks,

Stephen.

149
Hi all,

I´m very delighted to announce the release of my new official solo album which will be made available on 1st October, 2009.

The music was recorded live in concert on 29th May, 2009, at the annual "Nacht der Klänge" (night of sounds) held at Bielefeld University. It was a three-hour concert performed in front of an audience of roughly 500 spectators in a completely black room.

The main difference from the first issue of "cambrium" is that I not only used an ARP 2600 for creating all the electronic sounds but I also added an EMS VCS-3 to the timbral scope in order to populate an acoustic environment of 500 million years ago. You can say that the ARP was used for all the pitched stuff while the EMS allowed me to do extensive live electronic improvisations and live looping which is all the abstract soundscaping in the background.

You can of course order your personal copy directly through me by sending an email to stephen at parsick dot com (no forum PMs, please!), or -- if you don´t want to order it blindly -- you can wait until some distributors have made audio snippets available online to listen to it first. Please don´t expect me to answer to your email between 11th September and 27th September as I will be away for a while.

Thanks for reading,

Stephen.

150
Other Ambient (and related) Music / ['ramp] -- debris
« on: September 08, 2009, 04:44:40 AM »
Hi all,

I have the great pleasure to announce the release of the new official ['ramp] album "debris" on 1st October, 2009. As some of you may know, Frank and I split a while ago so that this new album is a solo enterprise of mine.

"debris" actually took several years until it was finished the way I had envisaged it. Musically, it won´t be as calm as "ceasing to exist", the last ['ramp] album in its original line-up. "debris" will be based both on textural ambient soundscaping, ambient field recordings of steelplants, railway trajects, and factories at night, and grinding sequencer rhythms. I tried to get as close to my personal definition of what "industrial" means to me so people who listen to XXXX or YYYY might find it very "un-industrial". Well, anyway, that´s why "doombient" had been invented some years ago, right?

You can of course order your personal copy directly through me by sending an email to stephen at parsick dot com (no forum PMs, please!), or -- if you don´t want to order it blindly -- you can wait until some distributors have made audio snippets available online to listen to it first. Please don´t expect me to answer to your email between 11th September and 27th September as I will be away for a while.

Thanks for reading,

Stephen.

151
Hi all,

I just wanted to let you know that you can buy my music from

http://www.iapetus-store.com

in case you were missing the old and now defunct webshop over at doombient.com.

Iapetus not only distributes my music (under the Parsick and ['ramp] monikers) but also music by CentroZoon, Redundant Rocker, Markus Reuter, Tuner and all other projects Markus is involved in. Of course you can pre-listen to some albums to make your choice easier :). And not only music but also Markus´ own Touch Guitar project which seems to be really intriguing.

Thanks for reading, and apologies for having wasted bandwidth,

Stephen.

152
Music Gearheads Tech Talk / Re: show us your field recorders-
« on: July 26, 2009, 08:41:02 AM »
My old fashioned recorder is the Sony TC-D5 ProII Sorry for the huge shot , but it took me 30 minutes to get the picture to show up.    Harry (computer whiz!)

Cool, I used to have the Pro II as well but I sold it becuase it didn´t have the option to use Metal tapes (like TDK´s infamous MX-G) so I kept my TD-D5M instead. I use it mainly with a Crown SASS-P Mk. 2 stereo PZM microphone.

Analogue tape is indeed wonderful, used to use a friend´s Nagra IV-S2 a couple of times... gorgeous.

Let´s see if I can cough up a picture somewhere...

Stephen

153
Other Ambient (and related) Music / Re: Darkest Ambient
« on: July 07, 2009, 02:02:28 AM »
There was some great "dark electronic" music by Wendy Carlos in the 1980 film "The Shining."   :-*
really? i did not know that. i do know that she did some deep dark stuff for a clockwork orange.

In fact, Carlos produced something like 90 minutes of electronic music for the score which Kubrick ultimately rejected so that all that Penderecki and Bartòk stuff ended up in the score. There´s an extensive interview about that issue in an early 1980 Keyboard mag interview with Carlos.

Stephen

154
Other Ambient (and related) Music / Re: Darkest Ambient
« on: July 05, 2009, 02:55:58 AM »
I know it´s a bit blatant tapping one´s own shoulder but I thought you might like to give this a try:

My own "rhizophora" album has been perceived as extremely dark by some people, so you might want to give it a try, too:

http://www.musiczeit.com/album.php?album=846&Stephen+Parsick+Rhizophora

Our "doombient.three -- kalte sterne" album has also been hailed as being extremely cold, aloof, and dark:

http://www.musiczeit.com/album.php?album=996&%5B%27ramp%5D+doombient.three%3A+kalte+sterne

Have a listen and decide for yourselves.

Thanks,

Stpehen.


155
Music Gearheads Tech Talk / Re: Headphones ?
« on: June 28, 2009, 04:27:46 AM »
I´ve been using MB Quart´s Quartphone 90 and 95 for ages, and they´re absolutely fantastic. A very transparent, well-balanced character, not over-emphasizing the low or top end, and very comfortable on the ear even after hours of use.

I also have a Beyerdynamic DT-770 but I find this one terribly mid-heavy and tiring on the ear. I just use it for on-stage monitoring because it shuts off external noise pretty well.

Stephen

156
Everything and Nothing / Re: It's celebrity R.I.P. week
« on: June 26, 2009, 02:29:57 AM »
"You have to realize that someday you will die. Until you know that you´re useless." (Tyler Durden)

The death of celebrities brings to mind that even those virtual gods will pass away someday or other, just like us. That´s kind of comforting. The only difference is that they leave something behind for generations to come. This is a privilege most of us will not have.

Stephen

157
Hi all,

even though I separately opened a brief thread to introduce myself a couple of days ago, I thought I should say hello to everybody around!

My name´s Stephen Parsick, aged 37 (well, almost, just six more weeks to go...), I was born in Moers/Germany. I got in touch with electronic music already at a very early age (most notably Wendy Carlos, Jean-Michel Jarre, and Kraftwerk). In May 1983 I started taking musical lessons for seven years, and in 1989 I released not only my first track ever on a compilation album but also my very first cassette tape. In 1998 I released my first official CD called "Traces of the Past" (which was reissued in a redux version in 2007) that was very strongly influenced by early Berlin School stuff (and performed on the original Mellotrons of Klaus Schulze and Tangerine Dream, for those who might find that important). My second official CD was released in 2005 (called "Hoellenengel") which was basically performed on the same instruments Vangelis had at his disposal when recording the Blade Runner score (which is the mood I tried to capture with this album). Between 2006 and 2008 I released a series of ambient music albums which were produced in small quantities of 25 copies each. I also focussed on creating a couple of albums which are available as download-albums only. I work as a semi-professional musician and a professional language trainer.

Some of you may also know me through my collaboration with Lambert Ringlage in 1993 which ultimately lead to the foundation of my own band ['ramp] in 1996. With ['ramp] I recorded five official albums plus a couple of limited-edition releases. At first, we were firmly rooted in the Berlin School Retro Movement of the 1970s (with musical mates like Radio Massacre International, FSP, or Redshift) while later albums saw us get deeper into ambient territories (particularly "ceasing to exist" which was recorded in collaboration with touch guitar player Markus Reuter). ['ramp] disbanded in 2008 as we felt that our musical and artistic goals were no longer compatible, and now ['ramp] is only me (and sometimes guests, if they feel so inclined).

I also collaborated with Cosmic Hoffmann (Klaus Hoffmann-Hoock, also known for his Mind over Matter albums on IC) on a couple of albums under the Cosmic Hoffmann moniker, most notably on the first three of them.

I of course do enjoy ambient music a lot (in fact, I make it myself just to find something to fall asleep to ;) ), and I would call people like Robert Rich, Brian Eno, Steve Roach or Michael Stearns my major influences in that area. I also like more abrasive sequencer-driven stuff (of the sort Mark Shreeve and I created, or Node, for that matter) but at the moment I´m more into more experimental electronic music. I enjoy toying around with exotic vintage synthesisers, and I have a soft spot for analogue studio hardware (anyone selling an API desk, or a Neve?).

Stephen

158
Hi all,

I just wanted to make you aware of the collaborative album we -- i. e. the old line-up of ['ramp] -- created in collaboration with touch guitar player Markus Reuter (CentroZoon, Tuner, Robert Rich).

Originally recorded in 2000/2001 but not released before 2007, this is probably the darkest drone-laden album of the entire ['ramp] back catalogue. On electroambientspace.com Phil Derby compared it to "Stalker" by Robert Rich and Brian Lustmord, just to give you an impression what to expect. Paul Rijkens reviewed it as one of the pinnacles of the dark ambient music genre for the Dutch magazine I/O Pages.

The album has now been made available as a legal download from musiczeit.com. I hope to have some additional material from these sessions out soon, too. To get an impression, please click here:

http://www.musiczeit.com/directory.php?artist=794&title=%5B%27ramp%5D+%26+Markus+Reuter
 
There are some further albums by ['ramp] and by myself available from Extended Moment, too, which might be of interest to you. Please feel free to browse the other entries :).

For those who aren´t too fond of downloads, "ceasing to exist" can still be ordered as a fully-fledged official CD album, for instance directly from me :). Just drop me a line.

Thanks for reading,

Stephen.

159
It used to be a 1969 Farfisa Compact Duo organ but I sold it a couple of years ago. Now I think it must be my 1971 EMS "The Putney" VCS-3 Mk. 1.

Stephen

160
Everything and Nothing / Re: Hello from Stephen Parsick
« on: May 28, 2009, 01:16:58 AM »
Hi Mark,

being used to the layout of some other forums, I thought there was a link showing up somewhere near the signature. I figured you can reach the link by clicking on the "www" globe to the left. I hope it will work. If not, please let me know :).

Cheers,

Stephen.

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