So; if you dig that sub-Victorian ‘Gothicke’ J W Waterhouse scene, you will dig this record’s opening numbers; there is no doubt of that.
So; if you dig that sub-Victorian ‘Gothicke’ J W Waterhouse scene, you will dig this record’s opening numbers; there is no doubt of that.
www.littlecrackdrabbit.co.uk/lcr004
A fine record this; and sadly one informed by a personal loss. Not that this fact should preclude you from enjoying the album proper, as it really is a fine listen; rather it’s something that can pop up now and again, somewhere in the back of your mind. It’s just the phasing, or the way the reverb sounds sometimes; it has this cavernous, wave-like quality that seems to allow no way out. It is hard to explain in a review but you’ll see what I mean after a few listens; especially with tracks like Untitled.
The opening track Communion starts off a tad too coyly for my liking, but by the end we’re deep in some spaced out world that Pale Saints lived in when they created A Deep Sleep for Stephen; a world that is given extra colour and space by the following track, the beautiful Field Two. So; if you dig that sub-Victorian ‘Gothicke’ J W Waterhouse scene, you will dig this record’s opening numbers; there is no doubt of that. Elsewhere there are elements of drone, or slowcore; the sonorous and ever-evolving PTSD is a case in point, albeit with a very pretty hook as a melodic pay off. Things really start to get intense with the last two tracks; Funeral/Wake is at turns terrifying and hypnotic; the beautiful but chilling throbs and eddies of sound threatening to engulf the listener. Finally, we get the gargantuan PTSD remix by Nadja’s Aidan Baker, which sounds like the wind blowing through a deserted power plant.
Tremendous stuff, but not a record to skip through. You’ll need all your senses on alert.