In fact Silas fits in so well that I end up wondering whetherthe sci-fi writer story could be a cover for yet another Jones and/orWilliams noise entity even though they assure me that this is not so.Just take for instance the opening child's toy chime, out of time synthsquelches and closing door slam of 'View from a Room' which could allquite easily be deployed the same way by Pendro. Named in remembranceof a 1975 tube disaster, 'Moorgate' revolves around a wondrously densenoise drone of the kind so loved by Berkowitz, Lake and Dahmer,shuffling like steam train shunting. 'Warlock Hill' has a brighterfeel, with an uplifing rising keyboard line and pleasant little goodtrip pings. Even though the title 'Setting the Clinch' is pure FflintCentral, this track moves to a simple dancebeat with distant echoingghost traces of early Non. Much of "Lilliput", especially thedecelerating backwards voices and percussion of the title track, has afading photograph feel, like a partial shadow of half glimpsed memoryof something too shocking to bring to full consciousness. 'Lilliput'itself could actually be 'Setting the Clinch' played in reverse throughsome dirty effects. This is perhaps the spookiest Fflint Centralrelease I've heard. The 'Garden of Pale Children' is a nightmarish walkthrough the dimly lit tangled limbs of tortured miscreants singingtheir unfortunate spirit songs and is a track Coil would be proud of.'Chamber 7 Vat 3' closes the door to Silas' disturbing world with ahorrific rotting futuremachine belch which I could imagine working verywell as background music to the tense scene in 'Aliens' where theydiscover the alien hive. If you are yet to dip your toes into the fetidpool of the FFlinty Ones then this and 'The Oxide Heresies' of Pendroboth make good starters that should leave you wanting to hear more.
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