After more than 15 years of drumming in math rock, post-rock and post-hardcore bands, William Covert began experimenting with live-looed synths alongside acoustic and electronic drums. This experimentation birthed two full-length solo albums characterized by post-rock and krautrock inspired synth loops and melodies, all performed solo with loop pedals and sequencers. "I wanted my third solo album to go in a different direction with different instrumentation," explains Covert discussing the process behind the creation of 'Dream Vessel.'
Combining solo and group improvisation to forge a unique sonic landscape, 'Dream Vessel' melds abrasive noise rock, free-jazz textures and cinematic ambient atmospheres. Joining Covert (on drums) for half the album's tracks are longtime collaborators Jack McKevitt (guitar), and Nathan Schenck (bass), performing together as the William Covert Trio.

The album is six tracks beginning with "Brotherhood Of Sleep" with all musicians present and echoed guitar chordal harmonic kicking it off. Sounds a bit like a laid back King Crimson slow jam, nice and atmospheric but lacking any sort of meaningful development. The follow-up, "Trancers" is in the same vein, and this could be nearly any '70s prog-rock outfit jamming with Bruford / Wetton style interplay from the rhythm section and a guitarist who leans so heavily on the effects pedals it's just crushing. Once again, a bit of style over substance.
The mode of the music changes radically on "Dream Void" where droney ambience holds sway. The sonic palette is both light and heavy and the movement is somewhat subtle. A little more than halfway through, Covert comes in with his drumkit adding a rhythmic element that's more improvisational drum solo than developing a steady rhythm. Oddly enough, it works in a strange, abstract way. "C-Beams" incorporates the same modus operandi with drums and ambient drones, but also adds synth-generated guitar loops as what could be construed as the track's main melodic element. Mood-wise, it's rather dour, devolving into a bit of chaos with reverb crashes and other electronic effects, sounding like wild animals sprung from cages.

The WC3 are back together again on "Throttle" and improvisational noise along with Covert's lightning quick drumming are the overarching components here. Schenck's bass is so low I couldn't even distinguish it. Final track, "Come True" is actually the nicest one on the album, and the one that most closely resembles any sort of krautrock. Covert drums consistently with bass and melody synth loops. Plenty of sonic variety makes this one interesting. Over all, 'Dream Vessel' is a hodge-podge of ideas that may delight some and confuse others but showcases Covert's creativity in atypical ways. I should also mention that the album is available on cassette (limited edition) as Chain D.L.K. does not have a CD/Download/Tape category in its auto-formats.