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The WireMay 14, 2024Rampen feels more expansive than much recent output – it’s certainly longer, but its panoramic character is neither purely durational nor new for the band. Their affinity for a kind of psych folk balladry has been clear since at least as early as their covers of Lee Hazlewood’s “Sand” (1985) and Bonnie Dobson’s “Morning Dew” (1987). Rampen calls both to mind, but the work it’s most consistent with is 1996’s Ende Neu, an album of latent possibilities in the pit of a creative block. [Jun 2024, p.48]
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UncutApr 26, 2024There’s something galvanising about the way they’ve signed off with their best album in decades. This is not to slight previous albums like Perpetuum Mobile or Alles In Allem, but the group are on particularly excellent form. [Jun 2024, p.26]
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Apr 15, 2024This makes for what might be the most polished album in the Neubauten canon, though one band’s polish is another’s poison. There are still interjections of metal perc here (played by N U Unruh) or electric drill (played by Rudolph Moser) there, and if it’s a less dangerous record than some of its predecessors, that’s mainly in the health and safety sense.
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Apr 15, 2024By giving themselves over even more to their concepts on Rampen — and no, everything will not be fine — they’ve created a new set of structures to explode.
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Apr 15, 2024There are those moments, here and there, when patience isn’t quite rewarded. .... The package as a whole however, those moments when the Pit of Language returns intoned into the drone and choir of Tar & Feathers, those moments where all of the haunted brilliance of Neubauten are on full display again, that same soul that made the subterranean abscesses of the bloated, dying West its echo chamber and forced it to confront itself.
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Apr 15, 2024Rampen contrasts Neubauten's hard and soft sides, recalling the spontaneity and inventive instrumentation of their beginnings, but framing them in a more mature and hopeful perspective.