A resident of San Francisco since 1992, but relocated to New Mexico in the
William Fowler Collins
penned the atmospheric desert-inspired vignettes of
Western Violence & Brief Sensuality (West Mountain Road, 2007)
in a plethora of different styles.
Perdition Hill Radio (Type, 2009) is more about what the sound of what
is not played than about the sounds that are played. The guitar hints at
other dimensions, invisible entities, hidden meanings.
Collins piles up pomp and clangor in the nine-minute The Hour Of Red Glare via a moving mass of overlapping and interlocking drones;
transforms a hissing miasma into an apolcapyptic wall of noise in the
eight-minute Grave Robbing In Texas;
simulates the feeling of filthy musique concrete in the ten-minute On Perdition Hill;
pauses in the choir-like black hole of Slow Motion Prayer Circle;
and finally indulges in the loud saturated multi-layered "om" of The Ghosts Of Eden Trail.
The 21-minute Dark Country Road is also a crescendo of "om" but
it is set against a backdrop of crackling noise that hints at a
burning universe. The whole in fact explodes and decays into a soft dusty
radiation. After a few minutes its chemistry changes and it
takes off for distant galaxies; and one can hear the heartbeat of the
universe behind the fading wake of the cosmic pilgrim.
This piece is the only one that attempts a cinematic approach, whereas the
others vainly and endlessly reflect their own identity.
Enter The Host (Root Strata, 2010) replaced the
electric guitar with the shruti box, a drone-making instrument.
The general mood of Tenebroso (Handmade Birds, 2012) was
gloomy, bordering on gothic.
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