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Messages - doombient

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[...] Too much choice can be paralyzing.  [...]

It makes people docile -- and hope for someone to make all the important choices for them because the world has become a tad too complicated.


Alright, here we go, here comes the nasty bit:

doombient.two probably is the most radical album in ['ramp]'s repertoire (well, that's my take on it anyway). It was recorded during a one-off festival which really went out of control due to the organizer being very ambitious but inexperienced, and the personnel he had asked to help him being totally inept. The FOH mixer, for instance, had never heard of "stereo", and in order to cope with clipping he tweaked the EQ controls rather than lowering input gain.

This left me not only with a ruined live recording but also with an audience that really felt annoyed by the sheer amount of noise and aggressiveness ['ramp] presented right from the start. In fact, ['ramp] managed to empty the hall in less than 20 minutes. I believe that this concert put off quite a lot of people who still believe that ['ramp] is rubbish, fifteen years on.

To this day, I sometimes can't stand the emotional intensity of the recording as it was not only recorded under really extreme personal and existential circumstances, it also marked the beginning of the end of ['ramp] as a duo.

Be prepared that this is not exactly for the inexperienced listener or for the faint at heart.

Thanks for listening, and -- as always -- thank you for your support,


Music Gearheads Tech Talk / Re: Teufelsberg Reverb
« on: February 15, 2017, 04:19:45 AM »
If you know the location from actually having been there, you will have found out it is a rotten, crumbling, run-down, filthy place (I was tempted to write "piss-hole") with (bad) graffitis all over the place. The qualities of the place in terms of "ambience" or "reverb" are pretty much non-existing -- the only intriguing bit would be the cold-war connotations it evokes.


Forum Member Projects News and Promotion / Re: Forrest Fang news
« on: February 14, 2017, 09:38:53 AM »
Thanks for the pointer, I really enjoyed reading this interview.

Some tough questions I would have a hard time to answer.


And now for something a little more pleasant (before it gets *really* bad) and tranquil:

"Planetary Music" has just been made available -- a concert from March 2008, recorded at Osnabrück planetarium. The programme was billed as "Planetary Unfolding" in order to pay homage to Michael Stearns'  highly influential space music album -- interestingly, a local newspaper described "doombient" as "a hybrid of new-age music and death metal." This I'd love to hear -- if only once.

Anyway, thanks for your attention. Feel free to enjoy,


26 -- verbrannte erde ("scorched earth") has been made available as a digital download Album as well:

Unlike the regular releases by ['ramp], this one -- as well as its siblings -- was more heavily influenced by early industrial music bands and artists like e. g. Throbbing Gristle and can thus be filed under less pleasant listening rather than "Berlin School".

The concert this music was recorded at literally witnessed some airborn vegetables and other positive response from the audience... always a good and encouraging sign. A true disconcert.

Thanks for listening and, of course, for your ongoing support. Much appreciated.


I received an email from Hearts of Space earlier this morning... apparently, one of the tracks Markus Reuter and I created was played on last night's broadcast, all across the USA:

    PGM 1134 : "AFTER THE BURN"
    PGM NOTE : the nostalgic sound of a world without us
    FEED DATE : 1-13-17

   "Corvid Collections" (beginning) < 0:00->2:52 >
   "Soft Rains Fall" < 2:52->6:47 >
   "Corvid Collections" (ending) < 6:47->10:23 >
    : WHAT WE LEFT BEHIND; Soundscape Productions SP027; 2016
    : Info:

   "Equipoise and Dissolution" (edited) < 10:23->17:41 >
    : VESTIGES; Soundscape Productions SP029; 2016
    : Info:

   "Aerial on Warm Seas" (part) < 17:41->21:37 >
    : WHAT WE LEFT BEHIND; Soundscape Productions SP027; 2016
    : Info:

   "Lonely Moon" < 21:37->25:18 >
    : RESTLESS; First Fallen Star ffs006; 2010
    : Info:

   "Weightless Particles" < 25:18->32:43 >
    : LAMENT; Gterma Records gterma003; Sweden 2012
    : Info:;;

   "Night Seas Luminesce" < 32:43->39:10 >
   "Anchorless on Quiet Tide" (edited) < 39:10->44:05 >
    : VESTIGES; Soundscape Productions SP029; 2016
    : Info:

   "Crepuscular Birds" < 44:05->54:27 >
    : AMIDST THE CIRCLING SPIRES; Projekt PRO292; 2014
    : Info:;;

   "Obscured by Leaf Shadows" (edited) < 54:27->58:59 >
    : VESTIGES; Soundscape Productions SP029; 2016
    : Info:

    BAY AREA WEATHER : waterlogged
    (c) 2017 Hearts of Space


Took me more than twenty years to get there.

BTW, "rhizophora -- music for mangroves" will be up on Bandcamp soon. I still am amazed at how this music makes time dissolve. Extremely slow, deep-listening stuff.

Stephen (smiling with satisfaction).

[...] Did you play right under the moon sculptur? ;)

Yes, I did. It was suspended from the ceiling, and at that time it was the biggest three-dimensional moon model on earth (with a diameter of roughly 25 metres). Quite impressive even though it tended to get lost a little inside the gasometer (which measures roughly 70 metres in diameter and 120 metres in height).

I would have loved to play at Landschaftspark Nord in Duisburg (another abandoned steel plant) but, with those weather conditions in mind, playing inside the gasometer was perhaps a better choice (if only slightly...).

To me, the Oberhausen Gasometer is a very special place. I saw Lightwave play there live in 1996 when they were performing their Mundus Subterraneus installation for Anne and Patrick Poirier. That was awe-inspiring, and I always wanted to play there myself. I played there twice, actually -- once in 2007 and again in 2010.

[...] Very smooth textures! [...]

Thanks. I believe the gasometer's natural reverb blurred the edges even more :). Best moment during the performance: A fellow came walking up to me, asking "Excuse me, sir, but what are these sounds?" -- you have got to love this.


Forum Member Projects News and Promotion / Some ['ramp] and Parsick news
« on: January 01, 2017, 03:35:18 AM »
Hi all,

as already discussed elsewhere on this forum, I decided to take a sabbatical from releasing music after the Bochum Planetarium Show in July 2012. The workload of running a label enterprise (even a tiny-scale operation as mine), creating and producing music, and working a day job which pays the electric bill turned out to be a tad too much.

My hands have not been idle, though, and I kept producing music in the meantime, although perhaps not as ambitiously as in the past -- I'm getting older as well. I hope to be releasing one, if not two new ['ramp] albums on CD in the course of the new year which I finished off in 2016 (with a third album waiting in line). Also, I hope to get my website (ho-hum...) up and running -- it took me all of 2016 to elaborate on the concept, write the texts, and sift through my archives for some pictures I might want to upload.

The first step to get things going again was signing up to Bandcamp. Some of you may know how reluctant I am to release music online but people really seem to embrace this format as I could tell from past experience with Iapetus. I took the time around Christmas to start uploading not only ['ramp]'s back catalogue but also some music I created under my name. I hope to have some more albums added to my discography (download-o-graphy?) soon:

There are two ambient music albums I have had in the pipeline for some time which I decided to upload to Bandcamp, "music to walk through" and "a beginner's guide to doombient". I hope you will enjoy listening to them. You can order downloads and physical releases (if available) directly through Bandcamp while my own webshop is still inactive. If you have any questions, feel free to get in touch with me.

Many thanks to all who have sent emails, encouragement, and moral support -- much appreciated.

Thanks for your time,


Music Gearheads Tech Talk / Re: The Modular Synthesizer Thread
« on: August 19, 2016, 01:10:31 AM »

Trying to bring this thread back on focus and leaving EMS non virtues behind.....kind of funny but not really.

I thought we might gloat at Mr Cortini's Buchla Rig.....

Cortini's Buchla stuff is among the few listenable (and enjoyable) Buchla performances on the net.

I sometimes can't help the feeling that most people seem to mistake the Buchla for an expensive whoopee cushion.

"There is nothing more satisfying than making a synthesiser sound like a fart." (Vince Clarke)

Nothing wrong with the EMS. Its price is just a bit out of proportion.

The first incarnation of the Synthi-A was to be called The Portabella.


Music Gearheads Tech Talk / Re: The Modular Synthesizer Thread
« on: August 17, 2016, 08:26:21 AM »
[...] and now we know the meaning of VCS3, I wonder what AKS stands for  ::)  ;D

A krappy sequencer.

Aye, kool shite.

Just an idea...


Music Gearheads Tech Talk / Re: The Modular Synthesizer Thread
« on: August 17, 2016, 04:29:19 AM »
According to Dave Cockerell, the abbreviation "VCS 3" stands for "Very Crappy Synthesiser, third attempt".


Music Gearheads Tech Talk / Re: The Modular Synthesizer Thread
« on: August 15, 2016, 05:23:50 AM »
[...] You got to really want one of these and have patience.

As much as I like the VCS-3 for what it does, there are better and more instantly available options around today.

More cost-effective, too.


Music Gearheads Tech Talk / Re: The Modular Synthesizer Thread
« on: August 14, 2016, 04:51:07 PM »

Well, a 2600 or a Putney are (semi-)modular in nature

The VCS3 or Synthi are fullly modular in nature, they don't make any sounds unless you make connections with the pins on the matrixboard.


They are not internally pre-wired and ready to be played (unlike a 2600 or a Mini Moog), that's true, but "modular" in a sense of "give me three of these modules and four of those" they are not. They are fairly limited in terms of options and you're stuck with what you've got (they don't even have a proper envelope generator, for a start).

I do love my educational toys but I don't refer to them as "my modular rig". That would be a bit pathetic.


Music Gearheads Tech Talk / Re: The Modular Synthesizer Thread
« on: August 08, 2016, 02:31:24 AM »
So here is a successful musician with lots of modular toys......Oxygen was the first electronic music I had heard, guess I was about 12 years old when it came out.  Still love to this day!

Well, a 2600 or a Putney are (semi-)modular in nature but due to their size and the limited selection of modules closer to hard-wired synthesisers like an Odyssey or Mini Moog. Patching is a nice bonus but not the main purpose of a 2600.

It's a great educational toy. So is the EMS.


Other Ambient (and related) Music / Re: RIP Lemmy
« on: February 27, 2016, 05:06:33 PM »
[...] I say this not as any kind of personal judgement on Lemmy or David Bowie, but this brings up the issue of the consequences of living the rock n roll lifestyle for decades.  Long term drug and alcohol use WILL affect your vital organs, as does being a heavy smoker, the most insidious drug, for 40 plus years (and this is the main culprit, IMO). [...]

I didn't know Klaus Schulze was rock'n'roll...?


Other Ambient (and related) Music / Re: Would you pay $1,000 for a CD?
« on: February 27, 2016, 05:05:13 PM »
You mean the seller has low self esteem or the buyer? If the buyer I think it's more about ignorance.  EBay is not the only place to buy rare music items.  I think maybe these sellers prey on these types.


The seller needs to price that item like this to make himself believe he's got something that makes him stand out from the others, the buyer needs to have this in order to make himself stand out... well, you guessed it.

I like the Dutch saying What the madman forks out for it...


Other Ambient (and related) Music / Re: Would you pay $1,000 for a CD?
« on: February 26, 2016, 07:07:59 AM »
You see these items listed on eBay, Amazon, Discogs, Barnes and noble, etc.  Some seller is asking $1,000 for a CD.  Goes without saying nobody would pay that much.  So what is the motivation for creating these listings?  I just don't get it.

Artificially inflating prices is a good way of making simple minds believe they've got something exquisitely precious and expensive in their possession.

I think this is a symptom of rather low self-esteem.


Other Ambient (and related) Music / Re: Whatever happened to....?
« on: February 19, 2016, 03:34:44 AM »
[...] Stephen Parsick (disappeared from the forum and music making apparently) [...]

Thanks for asking, I'm still around. Now that's a relief.

Making ends meet isn't exactly getting easier but more and more time-consuming. Basically, it's all about art and life interfering with each other :).

Running a tiny label enterprise (ho-hum...), being creative, and earning money to pay the electric bill at the same time takes more time and energy I have to spare hence I had to cut back a little (in fact, three years ago I decided to take a sabbatical from releasing music for an indefinite period of time). And gosh, I do need electricity...

I hope to be releasing a new album or two in the course of the year but I am not all too keen on live performances, simply because I do not have the time to prepare myself for any.


PS: Thanks Jez... wish we could have had more time for a little chat.

I have noticed on some recent purchases the practice of printing inner booklet liner notes in German.  Two that come to mind are Mathias Grassow "Wisdom of Fate" on Swedish Gterma label and Klaus Schulze "Shadowlands" on SPV.  Any theories on why the text wouldn't be translated into English?

I guess it´s because most Germans suck at writing, speaking, or understanding English... it sometimes makes me cringe to read English texts written by Germans. They simply don´t seem to get it into their heads that both British and American English are languages which have absolutely nothing in common with German idiomatic speech. "Oh, these languages are different from each other?" Yep, they are.

Hello, I am becoming a Hamburger. Siss issnnt propper Inglish.

Misschien ga ik volgende keer mijn cd-boekjes in het Nederlands schrijven...


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