MYSTERY SEA 03 | Wilt | [white chrysalis in blue]


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-"I wanted to focus on aquatic activity where by
there would be a symbolism for growth or life.
I found a picture of a nuclear reactor
where the outer sides of the image
were black and these dark tubes seemed to pierce the center
where a pool of blue water highlighted by white held the reactor itself.
I imagined this to be a spanning ground for a cocoon,
possibly the birthing of a black hole butterfly.
And thus my opus had a concept.
The sounds represent the birthing on a molecular level,
a white chrysalis in blue."

-James P. Keeler, September 2001.


WILT (James P. Keeler's main musical vehicle) is a name currently on everybody's lips in the field of experimental/dark ambient noise...
From project to project, sound sources may vary greatly, moulded by a concept or a prevailing mood, but there's always some common denominator & unique stamp.
For MYSTERY SEA, WILT has dived into its quietest realms so far, offering a textured snaking audio-exploration of low submerged plateaux, a flow of muffled clanks and ghostly resonances...
.white chrysalis in blue. is the soundtrack to a desolate laguna under an orange pale light, a dark pool of decomposed thoughts bathed with silvery-moon reflections, a path to oblivion...
along this rolling , breathing shapeless sea & deep below, .white chrysalis in blue. unfurls revealing subtle minimal evolving tones, composing the colours of a solemn drowned dream...


01. submerge
02. dim
03. pierce
04. oxidize
05. collapse
06. evolution to the main sequence
07. evolution on the main sequence
08. evolution off the main sequence
09. evolution to the end
10. zero transformation
11. infinite matter defined
12. a beginnings end




VITAL WEEKLY 323|Frans de Waard
According to the label, WILT (aka James P. Keeler) is a name on everybody's lips these days, at least everybody in the field of experimental/dark ambient noise.
Probably I am lurking in the wrong fields then, because I never heard of WILT, nor of other projects by Keeler (well, I know another Keeler, but that was somebody different).
Dark it is indeed. It sounds most of the times as slowed down tunes from guitars, synths or maybe just the eerie hum of a loudspeaker. In general very nice stuff, but in the end a bit long for the limited amount of ideas WILT has out in it.
Around track eight, I began to wonder if I put the CD on repeat and had started again.
When it would be just 40 minutes, I think this would have been a very nice release; now it's a bit over long.

vital weekly

RECYCLE YOUR EARS|Nicolas Chevreux
James Keeler, also known as Wilt, is an incredibly versatile and productive musician. Releasing three full lengths albums (all of a very high quality) in a bit more than a year long with several collaboration and limited edition releases wasn't enough, and here comes "White chrysalis in blue", a CDR released in a limited edition of 100 copies, that announces the release of the massive and impressive "Radio 1940", on yours truly's Ad Noiseam label (I know, I am blased, but I wouldn't write this if I wasn't genuinely impressed by James Keeler's talent).
This new CDR comes, as usual with Mystery Sea, as a very professional and nice produced disc, and feature a kind of dark and tense music that translates very well into music Wilt's idea for this record.
Allegedly inspired by a picture of a nuclear reactor, Wilt has created here a surprisingly organic music. If this project's previous albums were either very solemn and massive ("Black box aesthetics", "Among a spacious fabric") or very noisy and incisive ("Wither"), "White chrysalis in blue" is a weirdly aquatic release, whose basses and echoes sound like the slow rumbling of a deep sea. The sound is partly muffled, partly quite dynamic, and the listener still enjoys the sudden outbursts of sound that Wilt is known for. But "deep" is really the adequate word here, for this CDR builds up quite fast on several layers of low soundscapes and noises, low frequency noises and waves of long beats.
Never falling into an overly dark album, this disc is an assemblage of carefully crafted sounds, and of subtle changes.
Obscure but not depressed, well composed and experimental but not too abstract, Wilt shows here a new style that manages to both stick to the concept of this disc and to be very efficient and seducive.
I genuinely think that Wilt is one of the best thing that has happened to atmospheric music since Lustmord and Archon Satani.
Not a repetition of the previous works, "White chrysalis in blue" is a coherent and original album, that would perfectly fit on Spectre's "Nautilus" series. It is a very good disc on its own, hopefully bringing even more recognition to this project.

Rated : A-
Seekers of deep, dark organic soundscenes ought to rush to score one of these limited-to-100-copies cd-rs from Belgium's Mystery Sea label (usually CD-RS are automatically relegated to the shorter Overview treatment, but this one is worthy of full notice...)
Ruffling notes sputter sonar-like across a simmering expanse, seemingly seeking through the light-though-oblique environs of "submerge" ; they encounter billowing clouds and occasional virulent eruptions. Sedately passing through airy veils into luxurious states of dissipation, "pierce" (7:55) does so gently. From the low rumbles of "collapse" emerge brief swirls of gusty musical colors.

"infinite matter defined" (2:35) steams forth a microscopic spew from boiling subatomic oceans, their wave action vaporizing into nothingness. Other tracks emit such unearthly delights as bone-throbbing currents and tonal wraiths ("dim"), shifting sands amid mechanical undertones ("oxidize") and/or ephemeral, semi-symphonic movement ("evolution to the end")... all of the 12 tracks usually stew with some of the above.
Within wilt's white chrysalis in blue, 58 minutes of sublime isolationism and transportive abstractions of sound define their own strange, new world between your ears. Well done !

SoundVision|TJ Norris
Wilt is James Keeler (Adnoiseam, Organic Conversations, The Rectrix).
NOTE : White Chrysalis in Blue is limited to only 100 CDR copies.

This deep, deep dark and almost raptuorously silent disc is filled with an extreme cautious patience. Dim is the sublime subtextual inverse of a Philip Glass opera.
Paced in ambiguous tones, the raw language spoken here is textured by the use of flowing post-ambient structure.
Sitting here, mesmerized, Collapse disables my musculature.
There is a rare essence to the material covered here.
Keeler, who is influenced by industrial noise has brought to life the echoes of its extreme.
Balanced with the filtered uncertainty of its course of action, the atmosphere is illuminated with menacing phantoms and translucent poltergeists.
Evolution on the Main Sequence is the soundtrack at the end of the universe.
This 12 track, hour long recording could make for an incredible film or installation soundtrack.
A complex, multilayered affair filled with endless, lush drone, saturated in atmosphere.

tj norris

INCURSION|Richard di Santo
Wilt is one James P. Keeler, whose reputation and renown might not be as widespread as these press notes might indicate, but who nevertheless busies himself by making experimental dark ambient music. White Chrysalis in Blue is certainly dark ambient at its most creeping and sinister, and the music here is very well done, with an emphasis on low end drones and submerged sounds. Taken independently, each track is like a growing shadow that first appears in the corner and then begins to cloak the entire room. But taken together, I can't help but feel that there's a lack of diversity here; after listening for a while (there's nearly an hour's worth of music here), my ears and my head would grow tired of the same low-end rumblings, submerged sounds and sparse, open-ended drones. Perhaps this would have been solved by releasing this music as a short series of 7" records (the Drone Records catalogue, for one, is a perfect example of how to present short yet very strong releases), but as it stands there's too much sound here and not enough substance to keep the listener completely interested throughout. But let's keep our eyes and ears open for future works by Wilt.
Limited to 100.

DEEP LISTENINGS |Gianluigi Gasparetti
Wilt’s sea is a stormy sea, saturated with electric frequencies or underwater creatures’ whining. The moving waters are bleak and frightening, the sense of obscurity appears invincible. Rather than the minimalist rarefactions of the first two titles of this label, which had shown a more evident delicacy of shading of that Sea of Mystery, Wilt prefers a stronger, more defined, physical rather than metaphysical sound less fluctuant but more apocalyptic, undoubtedly darkness-prone. Very few concessions are granted to the listening, which confirms itself as demanding: I remember the sudden, brief, chromatic opening of ‘Collapse’ which penetrates length of extremely low frequencies just for a few seconds before leaping back into the wild waves; or dense ‘Evolution in the main sequence. As for the rest, we are in deep waters, in which the echo of atmospherical explosions and the striking of huge lightning turn out as wadded and extended, the images of a threatening, menacing, afflicted world. This is an isolationist, great album, an endless oscillation through every actual, possible world, a recap of Lull, Lustmord or Lilith’s
great work.

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