2 great reviews for Entangled Time - From Italy and Germany

Four compositions and an extended mix characterise this 10” of the British Amp, one of the most dilated and experimental English post rock historians along with the adventure cousins ​​Flying Saucer attack.The atmospheres are always ethereal thanks to soft digital rugs and at six o’clock made strings that are the basis for the angelic vocalisations of Karine Charff.Although the chapter is short-minutes, with their proposal the time expands.JUST LIKE HEAVEN

Gianluca Polverari, Rockerilla Jan 2019

Quattro composizioni e un extended mix carartterizzano questo 10" degli inglesi Amp, uno dei nomi storici del post rock inglese più dilatato e sperimentale insieme ai cugini d’avventura Flying Saucer attack. Le atmosfere si mantengono sempre eteree grazie a soffici tappeti digitali e alle sei corde effettate che sono la base per gli angelici vocalizzi di Karine Charff. Anche se il capitolo é di breve minutaggio, con la loro proposta il tempo si espande. JUST LIKE HEAVEN

groove.de Jan 2019

Bristol’s British shoegaze indie avant-gardist Bristol, now shrunken to pair with Karine Charff and Richard Walker, is one of the few survivors of the 1990s who have consistently produced great music, always interested in non-genre sounds and styles. For years, breakbeat extremist Matt Elliott (Third Eye Foundation) and psychedelic post-rocker Matt Jones (Movietone) have been part of the band. Their roughly estimated fifteenth album in twenty-five-plus years does not neglect the core competencies of the band introspection and experimentation, but has yet become their quietest. With just the right portions of pathos and melancholy Entangled Time (Ampbase) balances with closed eyes between a harshly overdriven folk song and an aimless hovering ambient track. The sound of Amp was never aggressive or stressed ugly, despite all the joy of experimentation. As super-beautiful as on this mini-album but not often.

Die mittlerweile zum Duo/Paar von Karine Charff und Richard Walker geschrumpften britischen Shoegaze-Indie-Avantgardisten Amp aus Bristol gehören zu den wenigen Überlebenden der neunziger Jahre, die kontinuierlich großartige Musik produziert haben und dabei immer an genrefremden Sounds und Stilen interessiert waren. So waren lange Jahre Breakbeat-Extremist Matt Elliott (Third Eye Foundation) und der psychedelische Post-Rocker Matt Jones (Movietone) Teil der Band. Ihr grob geschätzt fünfzehntes Album in fünfundzwanzig-plus Jahren vernachlässigt die Kernkompetenzen der Band Innenschau und Experimentierfreude nicht, ist aber doch ihr bislang ruhigstes geworden. Mit den genau richtigen Portionen an Pathos und Melancholie balanciert Entangled Time (Ampbase) mit geschlossenen Augen zwischen harsch übersteuertem Folk-Song und ziellos schwebendem Ambient-Track. Der Sound von Amp war trotz aller Experimentierfreude nie aggressiv oder betont hässlich. So superwunderschön wie auf diesem Mini-Album allerdings doch nicht oft.

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AccessPass Update

A new Amp track for early pledgers

Exclusive listen for pledgers of a forthcoming Amp single Drone in A (yellow on Blue No1) is the the first in an ambient collection we are working on. Its going to be released as a digital sing...
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First review in for Entangled Time

From Badd Press blog

This stunning new disc from London duo Amp comes with a
backstory that is equal parts long and involved. If you’ve never
heard a thing produced by members Richard Amp and Karine
Charff, this is a good time to check in. They’ve produced a
gorgeous ambient album that harmonises delicate electronics
and vocals. It is one of the year’s best.
For those familiar with their impressive catalogue
(https://amptheband.bandcamp.com/), Entangled Time continues
Amp’s tradition of finely crafted space music.
Four things to know about Amp:
1. Charff arrived in London from her Montpellier home in 1991.
She met Richard F. Walker (a.k.a. Richard Amp) in 1994, two
years after he’d launched the Amp project.
2. There are only one or two degrees of separation between the
duo and much of Europe’s avant-garde music scene. A short list of collaborators includes David Pearce
(Flying Saucer Attack), Ray Dickaty (Moonshake, Spiritualized), Matt Elliott (Flying Saucer Attack, The
Third Eye Foundation), Matt Jones (Crescent), Guy Cooper (The Secret Garden), Gareth Mitchell (The
Secret Garden), Robert Hampson (Loop, Main) and Donald Ross Skinner (Julian Cope, Baba Looey).
3. While more than a few prominent artists were turning onto The Ramones and Sex Pistols, Amp says his
journey began with a BBC sound effects record in 1977.
4. From Amp’s manifesto (https://www.ampbase.net/amp-ambase-about/): “Randomness and Serendipity
had always played an important part in the work of Amp, it is by the use of aleatoric processes that music
and sound can breathe together and become alive. … An Amp tune is never fixed in stone, it is an
expression of a ‘Now,’ a point in the time and space continuum. There is always improvisation involved
and thereby freedom created. … Live, Amp never repeats itself, all the concerts are unique events, all
happenings during performance, mistakes and events, have validity. Every performance of a song or tune
is a fresh version of that tune.”


Also “Opal Tears” on a French radio show. Electronic Therapy, Friday 16th Nov….Radio Mercure
you can listen to the show here…..