William Tyler has played on his fair share of notable indie albums. You may have heard him on recordings by Lambchop, The Silver Jews, or as his own solo nom de plum, Paper Hats. Behold The Spirit is not only Tyler’s first release under his given name, but is also his debut full-length for Tompkins Square, and probably one of the finest acoustic guitar records in that label’s catalog… for even though Tyler does his part to carry the American Primitive flag for the always Takoma-leaning NYC label, the Nashville-based guitarist is no mere copyist… his fresh sounding arrangements and confident, variegated technique prove him to be an intriguing picker in his own right.
I’ll dispense with some minor criticisms early: the “experimental” passages? This has become something of a cliche at this point, hasn’t it? It seems that no guitarist under the age of 40 can release an LP that doesn’t contain these sorts of generally indulgent, faceless interludes, and Tyler’s are no more or less interesting than most. From a strategic perspective, I can see the logic in having a tangible connection to the thriving drone scene, as it can add considerably to one’s audience, and provide crucial performance and touring opportunities (see James Blackshaw’s recent US jaunt with Mountains)… and after all, more than a few of today’s finest young acoustic pickers have evolved out of exactly that scene… it’s just that on an otherwise compelling guitar record like Behold The Spirit, hazy, meandering tracks like “To The Finland Station” and “Signal Mountain” feel like little more than filler.
My other (intermittent) quibble with the record is the insistently ambient, room-mic’d production style, or rather, the fact that it occasionally swallows up the details in Tyler’s accomplished and nuanced playing. Third track “Oashpe” begins with some very pretty chord changes, and these are definitely enriched by the dreamy sound… but when the guitar playing gains momentum in the pattern-picking section, it gets washed out by the ethereal production, resulting in the track feeling less urgent and less dynamic. This isn’t always the case, though, and the imposed atmosphere is a nice setting for several of the tunes: it adds some sonic distinction to a Fahey-esque composition like “Missionary Ridge”, which has Tyler searching, like so many before him, for that perfect front porch melody. Do echo chambers even have a front porch? Kidding! Continue reading →
Two summers ago, when this blog was a good bit more active than it is now, I thought I would swing for the fences and try to get an interview with Stefan Grossman, one of my all-time acoustic guitar heroes. Stefan wasn’t the first folkie, finger-picking guitarist that caught my ear… I had previously spent a good bit of time listening to Paul Simon, Nick Drake and Donovan. When my friend Michael turned me on to Bert Jansch, that was it. I was, and remain, an absolute fiend for British guitar music, a story that Stefan plays an appreciable part in. Continue reading 
WORK & WORRY 