Wilt has been known to me previously as a rather schizophrenic electronic music experience. This needs to be understood as a compliment, an attempt at describing a kind of unpredictable genius that Wilt musically embodies. In the course of a single song Wilt is capable of emotionally hooking the listener with some grey and drizzly ambient lullaby before trouncing those feelings with controlled outbursts of strange musical constructs. If anything can be said about Wilt it is do not presume anything. The songs on “Graveflowers” are a brilliant illustration of the bands character and music ranging from dark ambient drones to dense slabs of smothering noise. Wilt casts this juxtaposition of elements at the listener immediately. Opening the album with a very long, mellow hypnotic dark ambient track they immediately follow it with a blast of genuine power electronics. In the style of the true old school industrial music Wilt blasts throws the listener into a blast furnace of noise and never offers you a respite to catch your breathe and collect your mind. Occasional and random looped noises shift in and out of the rushing wall of sound but little has affect against the great cacophony that Wilt unleashes. Loud, fierce, and beautiful it ends in a cataclysmic collision of subdued industrial rhythms shaping the relentless noise. The remaining two songs lighten up slightly allowing for more industrialized percussive and rhythmic elements to penetrate the otherwise dense and foreboding darkness.

“Graveflowers” is a very intense release filled with imaginative compositions that awaken the imagination and stir emotion. With eyes closed and full abandonment the potential for the music to become mentally cinematic is immense. Much like beginning a journey through deep space, hibernating yet conscious you drift slowly through star systems and galaxies. Then half way to your destination you are lost in a black hole. Sucked deep into the hidden recesses of time and space where all is distorted, primal, and emerging. That was my experience of “Graveflowers.”

I highly recommend this release for people looking for music that goes beyond entertainment and treads the paths of the mind and spirit. “Graveflowers” is a serious album filled with obscure and original soundscapes that are sure to leave you feeling utterly consumed in the feral darkness. Fans of dark ambient and serious old school industrial music will really want to check out this release. Wilt are highly gifted in their chosen ways and this release is sure to impress even the most hardcore old school industrials. It is everything you once loved about industrial music brought into the present and even launched into the future. People new to dark ambient and industrial music had best have an open mind because this release is not for the tentative.

Ritual applications are best reserved for those working in the realms of chaos and primal forces. There is a lot of meat in this music so the rebellious and the brave have fun!”

– EDITED - Malahki Thorn - Heathen Harvest

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A few years back I was really into Sweden’s Cold Meat Industry stable, and the gloomy artwork and design on this new unusually-formatted new CD release from Canadian label Angle.Rec took me straight back to the days of such pioneering dark-ambient/ritual/power-electronics compilations as “...And Even Wolves Hid Their Teeth” and “In The Butcher’s Backyard”.

The sounds on offer aren’t a million miles away from the Karmanik Family’s home in the frosty Swedish wastelands either. Wilt’s starts off fairly gently, appropriately enough, with a track entitled ‘From The Museum Of Sleep’, whose near-Lovecraftian name rests happily on its resonant arrangement of sounds evoking unfamiliar shapes moving dimly in the void. ‘Hemophilic Root Plow’ on the other hand brings us face to face with the horrors hinted at before. A dented, mis-shapen funeral knell tolls repetitively over slabs of clipped low-frequency rumbles, punctuated by occasional high-pitched screeches, only to be replaced in its rhythmic duties halfway through by enormous percussive impacts that sound like sarcophagus lids crashing shut. ‘When We Had Skin’ is much more ambient in form, if still noisy in construction, introducing the first hints of tonality in sonorous synth pads that bring to mind Cold Meat stalwarts like Raison D’Etre and Ildfrost. ‘Unrest’ starts off in a similar manner but moves through at least three distinct phases, with the dominating textures varying from a finely-detailed oscillator improvisation to a barrage of harsh rhythmic loops. The CD is brought to a close by an unexpected exclamation mark, a blast of noise recorded louder than the rest of the album in a wonderfully antisocial manner.

– EDITED- abc