| $18.01
new to stock as of
november 17th, 2011
threads:
electro-acoustic-composition
minimalism-drones
modern-psych
field-recordings
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| | | type (uk) #type 103 lp william fowler collins “the resurrections unseen” long playing record - first breath (3:00)
- the light in the barn (5:42)
- premonition at dusk (3:30)
- abattoir (10:00)
- warm transport (7:05)
- embracing our own annihilation 1 (5:40)
- embracing our own annihilation 2 (10:10)
- ghost choir (6:22)
| november 2011 release ; ... quite lovely set of downtrodden drone music from new mexico’s william fowler collins that in no way even closely relates to black metal (someone had to say it) ...
that said, there’s a fair bit to latch on to within these grooves, from the brooding pitch-scale writing to the slightly grisly low-end feedback figures ... that this deviates greatly from the whole sparkling-sunshine vector of contemporary frozen sound makes it stand out (in my book at least ; it’s nice to hear so many degradation-oriented processes applied simultaneously to such ecclesiastic material, lends a certain earthen, dust-worn flair) ... |
| | “the resurrections unseen” by william fowler collins
a dank, haunted collection of dense, noise-laced black ambience from new mexico's william fowler collins.
there are dark forces at work deep in the deserts of new mexico. william fowler collins has been hard at work since his last full-length effort, but collaborations with gog and aaron turner (of isis) haven’t deterred him from crafting this pitch-black follow up. the ingredients won’t surprise fans of ‘perdition hill radio’, but on ‘the resurrections unseen’, collins further damages and buries his palette of sounds beyond all recognition. howling field recordings are trapped between walls of tape hiss while white noise and twisted guitar suffers through overdub after overdub leaving only the picked carcass of what once a discernable sound. much was made of its predecessor’s deconstruction of black metal, but ‘the resurrections unseen’ takes this to another level entirely.
the album is, for all intents and purposes, a black metal record – but any traces of blast beats, hoarse, blood-curdling vocals or shrill distorted guitar have been totally obliterated. what remains are bleak, windswept textures, spine chilling rituals and the kind of doom-laden ambience that’ll have you double-bolting your doors and checking your phone lines. this is not theatre though; collins never resorts to the typical horror tropes, instead opting to suggest fear with the most restrained hand. as rolling hiss emerges from a muddy puddle of dank sub bass it might take a few listens to pick out exactly what you’re hearing at all, but the terror is there from the very beginning. many artists attempt dark music, but few really succeed – collins has managed it by merely suggesting what our brains already know. a frightening thought indeed. |
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