Author Topic: Drone On's review of "Lament" CD by Parsick & Reuter  (Read 694 times)

drone on

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Drone On's review of "Lament" CD by Parsick & Reuter
« on: October 29, 2012, 10:31:01 AM »
Released this year on promising Swedish label Gterma, "Lament" is a follow-up of sorts (recorded 2010) to the 2007 Ramp CD album "Ceasing to Exist," where these two veteran electronic composers from Germany joined forces to create voluminous clouds of quite dark guitar and drone textures, far away from Stephen Parsick's previous Ramp efforts which focused on heavy Berlin School sequencing.  Instrumentation here is Markus on strings and loop devices, and Stephen on oscillators and loop devices.  Opening track "Weightless Particles" reaches stratospheric, heavenly heights with a floating soundscape and infinitely sustained guitar notes that bring to mind the great Michael Brook.  Nice!  "Hoarfrost" employs some Robert Fripp-like spookiness atop murky grey drones, similar in feel to Fripp/Eno's "Equatorial Stars" release.  This track didn't really work for me, unfortunately.  Title piece "Lament" fuses some excellent guitar textures from Markus with a gurgling electronic pulse.  Next up is the mammoth 24-minute "And All Which is Not," a deep dive into the abyss, rife with swirling electronics and really creepy guitar explorations.  Oppressive and definitely not for the faint of heart, this one would be good for a horror film, but too scary for home listening!  The brief "Lurk" continues in this vein, this time adding some heavily echoed Robert Rich-style metallic percussion sounds.  "Below Ice" had me so scared I had to turn on the lights and grab my teddy bear!  This one sounds like the tripods emerging from the ground in "War of the Worlds."  Final piece "Reign of Dust" is by far the best thing on "Lament," featuring the stratospheric vibe of the album opener and gorgeous hymn-like Frippian guitars.  A truly superb track that I wish had been longer.  All in all, this is a very experimental album that I think is too heavy on the dark ambient side, although fans of Robert Fripp's more atonal and challenging soundscapes might be right at home with the bulk of this material.