William Tyler - Goes West

A Closer Listen

William Tyler’s fifth record begins and ends with widescreen focus, evoking the sensation of opening a curtain at golden hour and sinking into pink effervescence. Full of major scale grandiosity and intimate American Primitive finger picking, Go West sounds wholly bathed in this cinematic, early evening light. Through ten short, highly melodic compositions, Tyler hits the sweet spot of slowly fading American romanticism where nothing matters except one man’s acoustic guitar.

The most immediate distinction between Go West and Modern Country, Tyler’s previous record, is the shift away from the hypnotic influence of krautrock. Ditching Wilco’s Glenn Kotche for Dawes’ Griffin Goldsmith on drums has lessened the propulsive nature found on that record and replaced it with a pensive softness. Tyler’s arrangements still function similarly, with guitar phrases circling around a subtly varying rhythm section, but now the melodies proudly stand front and center. Some rich texture is lost, but high-resolution clarity is found along the way.

“Not in Our Stars” and “Eventual Surrender” each exemplify Tyler’s ear for simple beauty with two chord progressions that cycle in and out of each other and somehow retain their freshness through to the end. Similarly, “Fail Safe” makes do with nothing more than two guitar motifs bouncing around percussion one might hear at a square dance. Opener “Alpine Star” ushers the listener into starry-eyed Americana in three distinct sections, connecting the self-containment of Tyler’s guitar playing with an underlying restlessness and refusal to stay in one place for too long. It’s his first record that doesn’t contain anything longer than six minutes.

Throughout his discography, much talk has been made about Tyler’s skill as a wordless storyteller. Perhaps these claims are built on an intertwined notion of Americanness and the fading frontier that translates so directly into instrumental folk music, or maybe it has to do with the equally common “driving music” descriptor that’s (not unfairly) bestowed upon his work. The language that Tyler bends and manipulates on six strings certainly recalls some long forgotten idealization of expansive highways and pastel sunsets— not unlike the surreal painting that adorns the album cover. This language of confident, melancholic strumming, as heard on album highlights “Man In A Hurry” and “Not In Our Stars,” begins to feel more authentic than whatever beautiful image it might bring to mind. In turn, his “stories” start to feel more like distilled moments, or an auditory response to reflections on a twilight saunter.  (Josh Hughes)

Mon Mar 11 01:01:42 CET 2019

80

The Guardian

(Merge)

Modern Country, William Tyler’s last solo album (2016), lived up to its clear-eyed billing as a thoughtful, contemporary take on Americana. Played mainly on electric guitar, it was as indebted to cosmic folk and the deprivation Tyler saw in the small, Trump-leaning southern towns he drove through on tour as the rhinestone-spangled country music of his home town, Nashville.

This former member of Lambchop now lives in California. Despite the potential for culture shock, on Goes West his signature sound remains consistent. If anything, the move to acoustic guitar makes Tyler – who mischievously describes his sound as “rural new age” – ever gentler on the ear. These are 10 skilful and meditative instrumental acoustic guitar renderings that bear the weight of Americana – of contemporary America – lightly, but consciously.

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Sun Jan 27 09:00:34 CET 2019

78

Pitchfork

The solo guitarist’s fourth album is soft and subtle, approaching the strains of pop while still basking in the solitude of Americana.

Wed Jan 30 07:00:00 CET 2019