Dark minimalist composer William Fowler Collins announces European tour dates

New Mexican minimalist composer William Fowler Collins – who released the dark, minimal new album Field Music last October via Aaron Turner’s SIGE Records – has announced a European tour this autumn. Nebulosa (guitarist Joel Fabiansson from Anna von Hausswolff) will support. With a special guest Aaron Turner (Mammifer, Old Man Gloom, Sumac) joining the shows in Halle and Prague performing solo guitar sets. Full dates are below.



William Fowler Collins EU tour dates

Sept 26th Varese IT Twiggy

Sept 27th Bologna IT Ikigia Room

Sept 28th Lugano CH Invitation show

Sept 29th Zürich CH UMBO

Sept 30th Mannheil DE Hafenkirche

Oct 1st Metz FR La Chouée

Oct 2nd Kortrijk BE The Pit’s

Oct 3rd Luxembourg LUX Rocas

Oct 4th Wuppertal DE Gallery Grölle

Oct 5th Hall DE Pierre Grasse

Oct 6th Chemnitz DE Odradek

Oct 7th Prague CZ Potrva

Oct 8th Munich DE Kommittee

Oct 9th Verona IT Malacarne

Oct 10th Cornuda IT Tipetca

Oct 11th Udine IT Invitation show

Oct 12th Velenje SLO Klub eMCe Place

Oct 13th Venzia IT Padiglione9 Forte Marghera


Field Music evolves Collins’ slow drone compositions through guitar and electronics, grounding itself upon sustained tones that churn through controlled oscillations activating a trance-state in the listener. Out of this, Collins introduces hypnotic machine-looped convulsions and almost EVP-like disembodied voices on “Contact Is A Mother” as well as polyrhythms that ripple across the title track. He pushes a motorik thump to the foreground of “They Wept Together” to the glowing dilation of foreboding ambience, running parallel to the restrictive strategies of Wolfgang Voigt. The subtle complexities of Field Music address the primal nature of rhythm in connection with the body and the building blocks of energy, matter, and consciousness.

The idea of ‘field music’ can relate to the archaic use of military drum corps in battle, whose patter Collins has intermingled with the polyrhythms associated with Voodoo ritual. To Collins the ‘field’ can also be defined as the physical self (as gleaned from his secular readings of the Bhagavad Gita). The ‘field’ as the fabric of time and space also becomes a possibility when Collins literally wraps this album in the history of the atomic bomb, as the cover photo (see below) portrays the humble ranch where the first nuclear weapon was assembled. (adapted text originally provided by Jim Haynes)


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