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,