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Riff Rundown: Russian Circles' "Harper Lewis"
The instrumental guitar wizard demonstrates how he uses a simple fretting-hand pattern and tapping technique to create a difficult-sounding passage from Station.
Guitarist Sonny Sharrock was one of the most forward-thinking guitarists coming out of the ’60s, and his music stayed on the cutting edge throughout his long career.
His credits include Miles Davis’ Jack Johnson and Herbie Mann—next to whom he performed in Questlove’s 2021 documentary, Summer of Soul—and his tunes have been covered by Santana and the Messthetics. But it’s as a bandleader and collaborator where Sharrock cut his wildest recordings. As groundbreaking as Sharrock’s music could be, his distorted tone and melodic tunes helped bring rock listeners into the jazz tent. Our callers let us know how much Sharrock meant to them and why he’s one of the “top guys of all time.”
Guitarist William Tyler, a restless sonic explorer: “I would get bored staying in the same place.”
Photo by Angelina Castillo
The expansive instrumental guitarist/composer pushes himself out of his comfort zone, beyond the boundaries of his neo-Americana wheelhouse on Time Indefinite.
Mastering an instrument and an artistic style—and then being recognized and rewarded for it—is a daunting enough accomplishment that one might be forgiven for feeling that, once reached, it’s the be-all to end-all. Guitarist William Tyler, for all the praise and opportunity that have come his way over the past decade and a half, isn’t content to plow the same furrow. With his evolutionary new album, Time Indefinite, this son of the South is pushing further afield, not completely forgoing his virtuosic neo-Americana lyricism but incorporating it into static-friendly, otherworldly studio experimentation.
The disorienting opener of Time Indefinite, “Cabin Six,” begins with a loop of hovering blare that, lasting nearly a minute, might lead listeners to think something is amiss with their turntable stylus; this gradually dissipates into an eddy of railroad-like whine from which a chiming 6-string hook emerges only to finally sink into a murky, detuned drone. The simple, lovely “Anima Motel” and almost naïve “Concern” are eminently approachable, and “Howling at the Second Moon,” with its alternate, Joni Mitchell-inspired tuning, feels like something that could have appeared on one of Tyler’s previous albums (even if it was recorded on his iPhone then texturized via a bump to a cassette recorder and dosed with added effects). But the distressed sonic sculptures of “The Hardest Land to Harvest” and “Electric Lake” or the sampled, distorted church choir laced through “Star of Hope” have a ghostly resonance unlike anything the guitarist has done before.
SoundStream
“I think it’s important for artists to push themselves into new ways of working,” Tyler says. “Most of my favorites, artists I follow over the long trajectory of their careers, have done that, whether it’s in music, film, visual art, novels. Of course, some people have a method or style that they stick to, and it serves them. And I wouldn’t want to put anything out into the world that I wouldn’t myself, as a consumer, enjoy spending time with and taking seriously. That said, I would get bored staying in the same place. The new record is about making something that was a little less chained to certain kinds of guitar music, where I felt like I might be running up against my creative limitations or enthusiasms in that area. I wanted to reinvent myself for myself, to explore fresh possibilities, even with the guitar as my primary tool.”
Tyler, whose parents were hitmaking Nashville songwriters, made his name early on as a young guitar phenom playing in such alternative-minded, country-influenced bands as Lambchop and Silver Jews, before appearing on the fourth volume of the influential Tompkins Square “Imaginational Anthem” series of new-era American Primitive guitar and then making his full-length debut as a solo artist with the 2010 album Behold the Spirit. As a player and composer, he was recognized for subsuming the early influence of John Fahey and the Takoma style into something vibrantly his own.
Once Tyler signed to the stalwart indie-rock label Merge, the guitarist released a string of warmly received electro-acoustic albums: Impossible Truth (2013), Deseret Canyon (2015) and Modern Country (2016). There was also a marvel of a solo performance at Nashville’s Third Man Records released as an LP in the “Live at Third Man” series. A few years later came the album Goes West, its title alluding to a pre-pandemic move to Los Angeles, and its arrangements flecked with atmospheric swirls and sunny, almost pop-like touches. Tyler also created an aptly rustic score for First Cow, director Kelly Reichardt’s 2019 art house Western, and the guitarist capped his Merge run in 2023 with Secret Stratosphere, a live album of soaring full-band versions of numbers from his back catalog, credited to William Tyler’s Impossible Truth.
“I wanted to reinvent myself for myself, to explore fresh possibilities, even with the guitar as my primary tool.”
Tyler has released covers of such disparate artists as Alex Chilton, Michael Chapman, Fleetwood Mac, Yo La Tengo and Neu!/Harmonia’s Michael Rother, not to mention classical composers Handel and Dvorák. The broad listening palette suggested by these choices always pointed toward a more intrepid path. But the album that most presaged the spirit of Time Indefinite is New Vanitas, a small masterpiece of pandemic creation that found him threading beautiful, involved guitar melodies through hypnagogic soundscapes, often haunted by lo-fi snatches of radio broadcasts and sotto-voce dialogue, as on the evocatively titled “Slow Night’s Static.” New Vanitas even includes a woozy track called “Time Indefinite,” the foreshadowing title a favorite that he borrowed from a film by documentarian Ross McElwee.
On Time Indefinite, Tyler says, “I was drawn to more ambient music, including by guitarists like Christian Fennesz and Norman Westberg, but also groups like Stars of the Lid and Boards of Canada.”
Another signpost on Tyler’s new road was a collaboration with Four Tet’s Kieran Hebden that yielded the folktronica single “Darkness, Darkness.” Then last year brought the standalone track “Flight Final,” Tyler’s first release for the artist-led imprint Psychic Hotline, and a slice of musique concrète that brings to mind Brian Eno’s association with German “kosmische” pioneers Harmonia and Cluster. That recording, the first fruit of an association with collaborator and co-producer Jake Davis, set the stage for their work together on Time Indefinite. Most of the pieces on this album, whether blown-out lullabies or spectral hymns or folk-art abstractions, feel like memories refracted in a dream diary.
“The process of working on this album helped me get better at tempo, just feeling more comfortable playing slower.”
“The new album started out as a series of experiments, without necessarily thinking that they were going to make for a whole record—though, eventually, Jake and I heard a thematic coherence to what we were coming up with,” Tyler explains. “It took a long while to come together, but the roots of the music are in the Covid lockdown. The emotional landscape of that time changed the things I was listening to as well as the music that was coming out of me. I was drawn to more ambient music, including by guitarists like Christian Fennesz and Norman Westberg, but also groups like Stars of the Lid and Boards of Canada. I had gone back to Nashville and was dealing with a problematic mental state. Among other issues, I can tend to approach things too fast, spiritually, emotionally, and physically. Beyond using different recording techniques and learning new ways of creating a piece of music, the process of working on this album helped me get better at tempo, just feeling more comfortable playing slower.”
The guitars Tyler used in the studio for Time Indefinite were his “family heirloom” Martin D-18 and a beloved Gibson SG, both of which are his main live instruments. For effects pedals, he favored a Hologram Electronics Microcosm (“for low-pass filter looping and really weird granular stuff”) and a Strymon El Capistan (“for delays kind of like the old Electro-Harmonix Memory Man”), though Davis also did a lot of processing with an array of his own. One serendipitous piece of gear was a 1959 Webcor Regent reel-to-reel machine deck that Tyler liberated, still new in the box, while helping to clear out his grandfather’s storage space in Mississippi. Davis was inspired to make old-school tape loops with it, including that startling sound that opens the album. Tyler would play arrhythmic, asymmetrical parts that Davis would record and chop up for the loops.
Tyler at this year’s Big Ears Festival with Jake Davis and Cecilia Stair.
Photo by Ross Bustin
Tyler’s recent spate of collaborations, from Davis and Four Tet to pedal-steel guitarist Luke Schneider, “has kept me on my toes, challenged me and recharged me,” he says. “The insularity of being a solo instrumentalist and writing everything by yourself can be freeing at first. And it can be motivating, as when I first started learning how to play fingerstyle guitar, with all the practicing. But I don’t like the isolation of it now. These days, I prefer working with other people. It pushes you into other genres, those different modes of communication.”
Another recent colleague, Marisa Anderson, has credited Tyler for his open, venturesome spirit as a studio partner, with his default attitude of “yes” when they were making their absorbing duo album, Lost Futures. “That was something I really enjoyed about playing with William—he was up for everything,” she said. “I was like, ‘There’s the diving board,’ and he’d say, ‘Let’s go.’”
“These days, I prefer working with other people. It pushes you into other genres, those different modes of communication.”
Tyler is quick to credit artists and albums that have inspired him. Along with the aforementioned players, he namechecks a vast range of others, from Jimmy Page to Jeff Parker, Bill Frisell to Fred Frith, Bruce Langhorne to Nels Cline, William Ackerman to Sandy Bull. Tyler muses about how some of his Nashville session heroes should “have gotten weirder…. I wish Chet Atkins had dropped acid, listened to a Sonny Sharrock LP, and made his own noise record, you know?” Regarding his touchstones for sonic left turns, he points to Wilco’s Yankee Hotel Foxtrot, as well as Talk Talk’s emotive, avant-minded swansongs Spirit of Eden and Laughingstock.
“Those two Talk Talk albums are beyond masterpieces, with some great guitar playing,” Tyler says. “They were in essence made by an artist, Mark Hollis, who did not care about being commercial anymore and certainly not about being able to replicate the stuff live. When Jake and I were recording ‘Howling at the Second Moon,’ that sort of attitude was a reference point, kind of like, ‘Well, instead of trying to get away from the lo-fi weirdness of my original iPhone demo, why don’t we lean into it?’”
Ever thoughtful and candid in conversation, Tyler has been exceptionally transparent about coping with personal loss and midlife crises, as well as going to rehab for the over-indulgence of alcohol. Knowing that, one can hear grief and anxiety in the whorls of Time Indefinite, with the passages of guileless 6-string representing a nostalgia for less complicated times. “It’s a mental landscape record for sure,” he says. “For fans of my previous albums, it might not hit the same way, I realize. But I hope this record says to people that it’s all right to take chances with how you express yourself, with how naked and raw that can be. It has a purposeful arc and is meant to prompt things that aren’t super fashionable in today’s ephemeral, constant-content culture, like deep listening, emotional ambiguity, self-reflection, you know?”
YouTube It
This three-song set from last year showcases the expansive cosmic country sound of Tyler and his Impossible Truth band, which includes a Kraftwerk cover.
On our season two finale, the country legend details his lead-guitar tricks on one of his biggest hits.
Get out the Kleenex, hankies, or whatever you use to wipe away your tears: It’s the last episode of this season of Shred With Shifty, a media event more consequential and profound than the finales of White Lotus and Severance combined. But there’ll be some tears of joy, too, because on this season two closer, Chris Shiflett talks with one of country music’s greatest players: Vince Gill.
Gill’s illustrious solo career speaks for itself, and he’s played with everyone from Reba McEntire and Patty Loveless to Ricky Skaggs and Dolly Parton. He even replaced Glenn Frey in the Eagles after Frey’s death in 2017. His singing prowess is matched by his grace and precision on the fretboard, skills which are on display on the melodic solo for “One More Last Chance.” He used the same blackguard 1953 FenderTelecaster that you see in this interview to record the lead, although he might not play the solo the exact way he did back in 1992.
Tune in to learn how Gill dialed his clean tone with a tip from Roy Nichols, why he loves early blackguard Telecasters and doesn’t love shredders, and why you never want to be the best player during a studio session.
If you’re able to help, here are some charities aimed at assisting musicians affected by the fires in L.A:
NASHVILLE, TN – Pablo Picasso had his famous Blue Guitar. Now, so does Brad Paisley, courtesy of the Fender Custom Shop. Last Wednesday, Paisley unveiled his latest signature model, the “Lost Paisley” Telecaster, at a Q&A session and mini concert at Fender’s East Nashville headquarters. The instrument is an exacting reproduction of Paisley’s own, rare 1967 Tele in a stunning, practically glowing, blue-flower paisley finish, with custom-wound Seymour Duncan pickups and a bender that can be set to the B string or, as Paisley prefers, the G string. Spoiler: It looks and sounds badass, even with Paisley playing through a Fender Champ, which you’ll experience when you watch our video. The street price for this limited edition instrument is $7,000.
Of course, PG’s John Bohlinger and our video team of Chris Kies and Perry Bean were at the unveiling, and Bohlinger and Paisley went deep into the new instrument’s back story. As Paisley tells it, after a sheet of the rarely used blue paisley paper that Fender briefly employed for a guitar finish in 1968 turned up in an old ammo box from the Vietnam era, which sounds like a saga in itself, it fell into the hands of guitar historian Alan Cross, who brought it to Paisley’s attention.
Mother and child reunion: The original, at left, and the Custom Shop-built recreation of Paisley’s ’67 Tele. It’s an estimable instrument and carries a serious price tag: $7,000.
Fender briefly produced both red and blue paisley instruments to capture the vibe of the Summer of Love. Compared to the red, which faded to the now famed Fender “pink paisley” hue, the original blue-paisley-finish models are quite rare. Hence the “lost,” in Lost Paisley. Cross took the paper to Paisley, who almost immediately got to work, applying it to the ’67 Tele he had modded for a G-bender by Joe Glaser shortly after Paisley arrived in Nashville in the mid-1990s.
“Once I put the original paper on this guy right here,“ he said, referring to his original instrument, “this became my favorite guitar.” As his affinity for the look and feel of the instrument continued to grow, Paisley figured he’d take it to Fender’s Custom Shop, which had earlier developed his pink paisley signature (based on his ‘68) and his road-worn Tele models.
A close-up look at the finish, which has a nearly reflective quality.
The Lost Paisley model has a lightweight body, crafted from a unique combination of alder, paulownia, and spruce. The finish is relic’d, to match Paisley’s axe, with a colorful, metallic burst. It has a custom ’60s oval C-shape maple neck with a round-laminated maple fretboard. Under the hood, the Seymour Duncan Custom Shop Hand-Wound Lost Paisley pickups provide warmth, clarity, and tonal balance, which was audible at the unveiling, and the Glaser “G” Bender system allows for fluid, pedal-steel-like bends. In addition to its late-’60s appointments, the instrument is bundled with custom accessories, including a vintage-style case, period-correct Fender strap, and certificate of authenticity. At one point while he played, Paisley had to check to be sure he was picking the Custom Shop model rather than his original. “I literally just picked this guitar up for the first time, and it feels just like I’m playing my original,” he noted.
The hardest aspect of reverse engineering the Lost Telecast was recreating the paper for the finish. “Now, between [Nashville tech to the stars] Joe Glaser and [noted guitar collector and dealer, and former Paisley guitar tech] Zac Childs, we know more about adhesive paper than I ever went down that ramp before. It’s literally aluminum foil with a paper backing, and then there's an embossed paisley pattern on it. Getting the color right maybe was the hardest thing. We would change one number in the color code for one of the shades of this and it would look completely wrong.
When he finished his ’67 with the blue paisley paper from the ammo case, “I did the bursting myself to make it look like I thought it should. And so when we did this new version, I’m like, we gotta make sure that this plastic fades and oxidizes or whatever it is. I just love the way these colors work together. In the end, it’s showbiz. What looks cool on stage? And every from the size of the burst and the way that the paint interacts and the way that it fades and the relic’ing of the paper and the cracks all play into that. Then, it’s all about feel, and this guitar looks and plays great. The Custom Shop nailed it!”
Why is Tommy’s take on “Day Tripper” so hard? And what song would Adam Miller never play with him? Plus, we get Adam’s list of favorite Tommy Emmanuel records.
We call guitarist Adam Miller in the middle of the night in Newcastle, Australia, to find out what it’s like to play with Certified Guitar Player, Tommy Emmanuel. Miller tells us just how famous Tommy is in Australia, and what it was like hearing him play from a formative age. Eventually, Adam got to open for Emmanuel, and they’ve since shared the stage, so we get the firsthand scoop: Why is Tommy’s take on “Day Tripper” so hard? And what song would Miller never play with him? Plus, we get Adam’s list of favorite Tommy Emmanuel records.
Adam’s newly released trio album, Timing, is out now.
Plus, we’re talking about new recordings from Billy Strings and Bryan Sutton, as well as Brooklyn Mediterranean surf party band Habbina Habbina.
