The Devil and the River, Vol. 1
Using a calligraphy brush to play a single chord on his electric guitar, William Fowler Collins evokes the spirit of Terry Riley on his latest full-length, shifting from transcendence into MBV-like cacophony.
There's a refreshing simplicity to 'The Devil and the River, Vol. 1'. Collins developed the music when he was touring Europe in 2022 and '23, returning to his New Mexico studio to figure out a fresh way to capture the rural landscape's stillness and beauty. The two pieces are meant to sketch out the sunrise and sunset, and are made with a single brushed guitar chord that's recorded live with no overdubs. This painterly approach pays off - there's nowhere to hide, but Collins doesn't need to. On 'The Church Steps in Montreuil' he tweaks the resonant tones to reflect the sun flickering on desert sands, and its slowness only widens the aspect ratio. And on the louder, heavier 'A Horse Head Within a Star', Collins adds distortion, smudging his drones into a wall of sound as the moonlight strangles the dusk.
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Using a calligraphy brush to play a single chord on his electric guitar, William Fowler Collins evokes the spirit of Terry Riley on his latest full-length, shifting from transcendence into MBV-like cacophony.
There's a refreshing simplicity to 'The Devil and the River, Vol. 1'. Collins developed the music when he was touring Europe in 2022 and '23, returning to his New Mexico studio to figure out a fresh way to capture the rural landscape's stillness and beauty. The two pieces are meant to sketch out the sunrise and sunset, and are made with a single brushed guitar chord that's recorded live with no overdubs. This painterly approach pays off - there's nowhere to hide, but Collins doesn't need to. On 'The Church Steps in Montreuil' he tweaks the resonant tones to reflect the sun flickering on desert sands, and its slowness only widens the aspect ratio. And on the louder, heavier 'A Horse Head Within a Star', Collins adds distortion, smudging his drones into a wall of sound as the moonlight strangles the dusk.
Using a calligraphy brush to play a single chord on his electric guitar, William Fowler Collins evokes the spirit of Terry Riley on his latest full-length, shifting from transcendence into MBV-like cacophony.
There's a refreshing simplicity to 'The Devil and the River, Vol. 1'. Collins developed the music when he was touring Europe in 2022 and '23, returning to his New Mexico studio to figure out a fresh way to capture the rural landscape's stillness and beauty. The two pieces are meant to sketch out the sunrise and sunset, and are made with a single brushed guitar chord that's recorded live with no overdubs. This painterly approach pays off - there's nowhere to hide, but Collins doesn't need to. On 'The Church Steps in Montreuil' he tweaks the resonant tones to reflect the sun flickering on desert sands, and its slowness only widens the aspect ratio. And on the louder, heavier 'A Horse Head Within a Star', Collins adds distortion, smudging his drones into a wall of sound as the moonlight strangles the dusk.
Using a calligraphy brush to play a single chord on his electric guitar, William Fowler Collins evokes the spirit of Terry Riley on his latest full-length, shifting from transcendence into MBV-like cacophony.
There's a refreshing simplicity to 'The Devil and the River, Vol. 1'. Collins developed the music when he was touring Europe in 2022 and '23, returning to his New Mexico studio to figure out a fresh way to capture the rural landscape's stillness and beauty. The two pieces are meant to sketch out the sunrise and sunset, and are made with a single brushed guitar chord that's recorded live with no overdubs. This painterly approach pays off - there's nowhere to hide, but Collins doesn't need to. On 'The Church Steps in Montreuil' he tweaks the resonant tones to reflect the sun flickering on desert sands, and its slowness only widens the aspect ratio. And on the louder, heavier 'A Horse Head Within a Star', Collins adds distortion, smudging his drones into a wall of sound as the moonlight strangles the dusk.
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Using a calligraphy brush to play a single chord on his electric guitar, William Fowler Collins evokes the spirit of Terry Riley on his latest full-length, shifting from transcendence into MBV-like cacophony.
There's a refreshing simplicity to 'The Devil and the River, Vol. 1'. Collins developed the music when he was touring Europe in 2022 and '23, returning to his New Mexico studio to figure out a fresh way to capture the rural landscape's stillness and beauty. The two pieces are meant to sketch out the sunrise and sunset, and are made with a single brushed guitar chord that's recorded live with no overdubs. This painterly approach pays off - there's nowhere to hide, but Collins doesn't need to. On 'The Church Steps in Montreuil' he tweaks the resonant tones to reflect the sun flickering on desert sands, and its slowness only widens the aspect ratio. And on the louder, heavier 'A Horse Head Within a Star', Collins adds distortion, smudging his drones into a wall of sound as the moonlight strangles the dusk.