8/10 Mike Staff review, 03 August 2011
Rain Drinkers are busy this week! Not only do we have this new tape in, there's a pretty ace CD on Reverb Worship that just dropped too. That one had almost a kinda Godspeedy vibe to it, but this one's a bit more introspective and measured. It has a kinda spaghetti western vibe going on...I guess you might call it "chamber drone" or something if you were desperate to categorise it. These guys expertly create moods and textures that take you to new and unexpected places. It kind of feels like a midpoint between Popol Vuh's organic and meditative spiritual grooves and the cosmic drift-and-chunter of Expo 70. On the second side it gets quite horror soundtracky, too, with spooky piano arpeggios and high pitched creaks alongside an ominous pulsing bass drone as choral one-note vocals drift in and out. I think I can hear trumpets and guitars in the distance in places, there's some really interesting things going on with the texture in this track. I think these guys would do a great score for a survival game, actually. One of those ones whose objective is to keep you constantly on the verge of shitting yourself. They build tension beautifully; always melodically, but with the focus really being on tones and textures...I wouldn't exactly call this a drone tape, but it certainly shares a lot in common with the best of the drone crop. Another fine release that probably won't stick around for long.
10/10 Weed Temple Customer review, 29th August 2013
The opening “Strange Tapestry” creates an ominous, mournful vibe with a bassy drone and dead man style bluesy desert guitar passage in the style of Barn Owl. The funeralistic atmosphere is further developed with dual trumpets, which play hymns for the dead cowboys somewhere in the desert between the US and Mexico. The track then delves into a more ritualistic/pagan territory with fierce tribal drumming set to first an acoustic guitar and later to a series of undulating and relaxing electric organ drones (Hammond? Rhodes?) very much in the style of Popol Vuh’s In den Gärten Pharaos. The sound is deeply spiritual and almost New Age-like in style and the comparison of the two Wisconsinites to the work of the German master of atmospheres is more than apt.
The flipside’s “In the Central Loom”, like the previous track, begins with a bassy, cavernous drone, like thunder clouds rolling over a plain. A distant, faint sound of a flute emerges, calling the lost wanderers to the nearest village to find the shelter from the rain and the night. A simple, ululating electric organ melody plays while the wordless choir shapes the walls of the cave, bringing even more Barn Owl to mind. The scattered field recordings and a spacious acoustic guitar add the ritualistic feel to the music, conjuring dreams of might and unknown ancestors and the wildlife so rich before the white man came. The following string suite is a sort of a conclusion, a mourning soundtrack to the death of a million buffalos, who were once roaming the great plains and whose skulls create artificial mountains along the first transcontinental railroads.
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