Originally released on Idiosyncratics label.

Low-key ambience, field recordings and sub bass thumps open up this one-track album from Franck and Hilton. Inspiration is sourced from mysterious French poet Jacques Rigaut (1898-1929); although as is usually the case with non-vocalised music, unless you are the artist yourself it’s unlikely you will pick up on anything relating to the subject matter.

In parts the music is haunting and does hold a sinister edge; and in it 42 minute plus journey it is quiet surprising how quickly the time passes. It’s all too easy to bore people when approaching music in this manner but Belgium born Franck and US based Hilton manage to hold fort with the atmospherics creeping up at key positioning’s within the track itself producing a cohesive and enthralling mass of interrupted spaces to engage with.

For the most part, ‘Flowers For L.P.’ teeters around Dark Ambient circles and this is where I feel their fan base for this release is most likely held. There are momentary spots of light that hold the listeners head just above water as not to let them drown and this is where the true magic lies as a whole with albums of this nature. BLACK AUDIO

Yannick Franck has been more active recently, but in the past already played with K11, Alan Trench (Temple Music), Ester Venrooy and here renews working with Craig Hilton, who is an electronic musician, but also a metal guitarist. His work too found its place in Vital Weekly before. On their 'Flowers For L.P.' release, which has one piece that lasts forty-two minutes they are inspired by French poet Jacques Rigaut (1898-1929), writing aphorisms and short or unfinished novels. He was someone looking for himself, literally, in mirrors and found Lord Patchogue. He shoot himself in the eye in 1929. Its hard to say what these two men actually used to produce this music, hell, its even difficult to guess. It might a duet for two guitars, two bows and a ton of sound effects, but if this was the result of a two cymbals being strummed I would also believe it, or maybe a whole bunch of old Organum records being sampled. The latter just seems very unlikely. But it shares that bowed sensibility. A swarm of drone like sounds, a whole mass of them, being played at the same time and gradually over the course of this piece growing in intensity, and slowly changing color and shape. From the searching for ground at the beginning and the high mountains towards the end of it, this is some heavy slab of ambient noir, dark, brooding and somewhat violent. Perhaps as crazy as the many who inspired it? A top heavy work on the hottest day of the week, and I was wondering: how did I survive? VITAL WEEKLY