A London-based, live Amp unit coalesced around Walker and Charff with Walker's bandmate from The Secret Garden, Gareth Mitchell, joining on guitar. Amp contacted kranky when their American label dissolved and began work on a new studio album in summer 1996. Recorded partially at home and partially in North Wales, Astralmoonbeamprojections is a expansive album that The Wire described in June 1997 as "a panoramic sweep of experimentation, encompassing cavernously loud landscapes, murmured vocals and a paradoxical blend of violent ethereality." Packaged in Richard Walker's luminous artwork (Walker also did artwork for the Creation label at this time) reminiscent of igneous rocks and a starlit night, Astralmoonbeamprojections was both ambitious and visceral.
Gil Gershman, Magnet Sept./Oct. 1997
A number of EPs and singles followed. To delineate between group and personal recordings, Walker began to designate some recordings as being from A.M.P. and A.M.P. Studio.
For their next album, Amp began collaborating with Loop/Main prime mover Robert Hampson. Gareth Mitchell had left the band to focus on his own Philosopher's Stone project. Olivier Gauthier added his expertise with rhythm programming and the album that came out in 1998, Stenorette, marked a new and more crystalline musical direction for Amp. With a more concerted rhythmic underpinning, the songs on Stenorette ring out more concisely, especially those motivated by piano melodies. Chris Twomey wrote in the Feb. 1999 issue of Exclaim! that Amp's "space drones and abstract soundscapes now introduce 4AD-style instrumental melancholia and provide textures to biting cuts of Scala/Echo Park-ish trip hop" and Matthew Moyer went so far as to say in Ink 19 that "this album has every bit of the glacial calm, distance, disaffection and quiet longing that made groups like Japan and John Foxx's Ultravox so very romantic and European."