Vinyl Williams

Into

         ^{Vinyl Williams — Into (July 24th, 2015 / 2 LP)}•♦•   Objev letní sezóny. Kvůli těmto příjemnostem miluju muziku. Lionel Williams, the grandson of film composer John Williams, records chillwave.
Location: Los Angeles, California
Album release: July 24th, 2015
Record Label: Company Records
Duration:     56:13
Tracks:
01 Gold Lodge feat: James Lake     3:22  
02 Space Age Utopia feat: Ian Gibbs / James Lake / Lionel Williams     4:38  
03 Ring     0:28  
04 World Soul feat: Ian Gibbs / Lionel Williams     4:28  
05 Hall of Records feat: Ian Gibbs / Lionel Williams     3:58  
06 The Tears of an Inanimate Object     2:40  
07 Iguana City feat: James Lake / Marcus Rubio     4:14  
08 Greatest Lives feat: Marcus Rubio     3:59  
09 Zero Wonder feat: Ian Gibbs / Lionel Williams     3:33  
10 Axiomatic Mind     3:47  
11 Eter–Wave–Agreement feat: Ian Gibbs / James Lake / Lionel Williams     5:29  
12 Plinth of Uncanny Design     2:07  
13 Allaz feat: Ian Gibbs / Lionel Williams     3:29  
14 Xol Rumi feat: Ian Gibbs / Lionel Williams     10:00
Credits:
••   Ian Gibbs Artwork
••   Omid Jafarnezhad Cover Photo
••   James Lake Primary Artist
••   Marcus Rubio Primary Artist
••   Lionel Williams ComposerDescription:
••   On vinyl, Into is a double LP release that comes in a gatefold package with rainbow starburst color vinyl and a digital download card.
••   Lionel Williams leaves behind the murkier lo–fi production of his 2012 debut full–length, Lemniscate, for the somnambulant pop of Into. The new album — out July 24th on Chaz Bundick’s (Toro Y Moi, Les Sins) Company Records — moves Lionel’s Vinyl Williams alias into a more vivid, multi–colored dream world. Unlike the dramatic film scores of his grandfather (famed composer and conductor John Williams), this 25–year–old Los Angeles–based musician’s songs are far more introspective, effortlessly blending ambient, electronic, Krautrock, psychedelia and shoegaze influences into a uniquely visceral listening experience that often mirrors the surrealism of his own collage–based visual artwork.   Like staring at the intricate geometry of a nautilus shell through a rippling aqua lens, Into’s detailed arrangements shimmer across the stereo field with Williams’ breathy, yearning melodies bathed in warm reverb. The gentle, rhythmic percolation of breezy album opener “Gold Lodge” imagines CAN at their most ethereal, as if vying for a release on 4AD Records during the label’s halcyon days. Similarly, Cocteau Twins–esque guitars ring above the pulsing kosmische atmosphere of “Hall of Records” and then later, the 10–plus–minute “Xol Rumi” takes a detour across the Autobahn using Neu!’s motorik precision. Elsewhere, the celestial “Greatest Lives” shuffles through a thick, gooey cloud of synths, while instrumental “The Tears of an Inanimate Object” pays tribute to the spiritually minded explorations of Alice Coltrane and Dorothy Ashby, with astral harp strums guiding the light electronic accompaniment.
••   From the mysterious, nocturnal drive of first single “World Soul” to the gauzy, space–age funk of “Allaz,” Vinyl Williams nicely blurs the line between melodicism and experimentation, his impressionistic song–craft being as inviting as it is beguiling. In this modern era of shuffled playlists and musically short attention spans, Into is that rare album created to be listened to uninterrupted from beginning to end, and one that is sure to reveal itself again and again after each successive play.                       AllMusic Review by Tim Sendra;  Score: ****
••   After releasing an album in 2012, Lemniscate, that seemed to jam all the musical ideas young Vinyl Williams (aka Lionel Williams) ever had into each song, his second album dials down the ambition in favor of a more focused and relaxed approach. Released in 2015, Into refines the sprawling and overstuffed space rock meets chillwave of the first album, and repurposes it into something that works much better. ••   Taking a cue from his new mentor and label boss, Chaz Bundick of Toro y Moi, Williams sets the controls for the heart of chill, with echoing waves of reverb that gently rock the listener and fluffy clouds of sound that cushion them at all times as well. Working deep inside the smoothly sculpted, easy–to–swallow framework of the album, Williams delivers one laid–back, softly nocturnal gem after another, sometimes easing into soft rock disco territory ("World Soul"), sometimes delivering something a little artier yet still wrapped in dry ice (the pulsing "Hall of Records"). He does a nice job of blending banks of vintage synths with new wave guitars and skillfully programmed drum machines, with the occasional live drums to keep things loose. To keep things from settling into too much of a samey groove, Williams takes on some different styles, like the rollicking Stereolab–in–space "Gold Lodge," the formless soundscape "Eter–Wave–Agreement," and a little bit of weirdo late–night R&B on "The Tears of an Inanimate Object" and "Allaz." The album–ending "Xol Rumi" is like the whole album boiled down and blown out into a ten–minute song, and shows Williams has the imagination and ability to go epic if he wants to. It's a thrilling way to end an already impressive album that's quite an improvement over his previous effort and on par with the best chilly, spacy avant pop around in 2015.                                 Artist Biography by Jason Lymangrover
••   The résumé of Los Angeles–based multimedia artist Lionel Williams may seem heady, quoting Egyptian BioGeometry and Russellian science as key influences, but when he performs under the name Vinyl Williams, his music draws from more typical reference points like shoegaze and psychedelic pop. As the grandson of renowned film composer John Williams, his style is different from what one might expect. Instead of being thick and orchestral, his improvised bedroom recordings are akin to the dreamy lo–fi of acts like Deerhunter and Ariel Pink's Haunted Graffiti. Williams started recording his debut in the spring of 2010, playing all of the instruments himself and building washy textures through multi–tracking. Soon after the album was completed, he employed a full band to tour behind Lemniscate, which was released on No Pain in Pop in 2012. While in Seoul, South Korea, Lionel met up with Toro y Moi's Chaz Bundick and the two soon decided to collaborate, with 2014's Trance Zen Dental Spa being the result. Bundick signed Vinyl Williams to his Company Records, and released the more relaxed and less ambitious record Into during July of 2015.
Discography:
••   Lemniscate    (No Pain in Pop)
••   Into    (Company Records)
Website: http://vinylwilliams.com/
Bandcamp: https://vinylwilliams.bandcamp.com/
Tumblr: http://vinylwilliams.tumblr.com/
Label: http://store.companyrecordlabel.com/
Twitter: https://twitter.com/vinylwilliams
Facebook: https://www.facebook.com/vinylwilliams
Agent:
Management:
Booking:
Poejazzi: http://www.poejazzi.com/vinyl-williams-lemniscate/
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Vinyl Williams

Into

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