“James Keeler used a variety of instruments and devices to create "As giants watch over us". A display of high resolution ambiance and up to date composition, this new album offers a fresh view of Wilt's creation, as James Keeler here incorporates various elements and influences of today's electronic music into his drones and sound-layering.
The focus of this new Wilt album is indeed current matters. As he did with "Radio 1940", James Keeler tries (and manages) to find sonorities which speak and evoke the underlying themes of the album, not walking the easy way of sampling and quoting Wilt's most accomplished album so far, "As giants watch over us" is in the very words of Keeler "a sonic declaration of political unrest, social engineering and coming plagues”.” - bleep

“This record is stated to be a "sonic declaration of political unrest, social engineering, and coming plagues", and opener "Empire of the Snake" certainly represents the latter portion of said declaration perfectly, through walls of sinister dark ambience. The following title track, by contrast, it a lot different than what I'm used to hearing from Wilt, with a few obscure musical elements, stuttered loops and staggered arrangements, quick shifts and changes, etc. As a whole this material is far softer than much of Wilt's earlier work, and has more in common with the controlled and conceptual "Radio 1940" 2xCD, solidifying the project's more "mature" (for lack of a better term) and perhaps more focused direction. "Media Labyrinth" is another dark and somewhat ethereal piece, whose slight glitchiness foreshadows the crisp and stuttered electronic cutups and shape shifting that takes place in "Engineering Eternity" - one of the busiest and most frantic tracks herein. "Reversing Magnetism" is among my favorites, as it's a mysterious track that has a very strange sense of feeling and musicianship to it, relying mainly on repetition and consistent tones, but creating a strange progressive rock nuance that's very interesting. Many of these tracks ("The Mystery of Iniquity", for example) are indeed well crafted soundscapes that do suggest a visual element, and that ties in nicely with the "progressive" sort of edge that comes into play at times. The CD comes in a digipack with lots of abstract artwork on it, and I enjoy it for the most part. I almost like the colors and textures of the center spread more than the front cover, and the back of the package is a bit too colorful and stands out from everything else, but it's still a nice looking piece of work for the most part. It's definitely different visually than most of what you'll see accompanying this style of music. One of the things that I really enjoy about this CD is that, aside from the fact that there is obviously a strong conceptual base, the track titles are very suggestive and curious, showing that a truly respectable and admirable level of thought is involved with the process here - and you don't find that with every release in this genre by a long shot. It makes a difference, for sure. Wilt has yet to disappoint, and the intelligence and effort of the work alone calls for a great deal of admiration.” - aversion online

“Wilt's latest effort As Giants Watch Over Us is a mature and reflective work, a carefully textured mesh of wandering deep inner space drones and intricately constructed lo-fi electronic noise convulsions and loops that combine with fantastic results.
Slow-moving hums and harmonic drones form the backbone of many pieces; scrappy, defective noises are snipped and pasted into well-timed moments, scratching and murmurring in permutating loops. And these sounds have such soul; they resonate and churn and convulse with delicate, conscious nuance. The timing is impeccable; the music is patiently structured to culimate into beautiful and penetrating moments, spending just the right amount of time in deliberation over each sonic space before moving on to new, fathomless places.
A black and white backdrop of writhing static and slow bending synthetic drones are illuminated sporadically by flashing, colored radiowave hiss (Empire of the Snake). A ensemble performs a chamber symphony of stereoized mis-parsed image blips from abandoned television sets, slowed vinyl scrapes and bell-like synthetics (Engineering Eternity). Bouncing low electronic loops and gentle pulses give way to spectacular ringing overtones and soft reverberant synth harmonies (Tangled in Briars).
As Giants Watch Over Us is a work that demands a listener's full attention . . . but in return offers nearly infinite rewards.” - static signals