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After crucial stints in Silver Jews and Lambchop, William Tyler emergedwith a string of inquisitive albums that paired his country rearing andclassical enthusiasm with his ardor for experimentation and fieldrecordings. His productive enclave of instrumental music has not onlyushered in new sounds, but also critical new voices. No other soloAmerican guitarist this century has impacted that fecund scene quitelike him. And on the brilliant, bracing Time Indefinite, Tyler's first soloalbum in five years, he steps at last into the widening gyre he helpedcreate. The guitar is the starting point for an album that will make youreconsider not only Tyler but also the possibilities of an entire field. Avortex of noise and harmony, ghosts and dreams, anguish and hope, itis not just a great guitar record. It is a stunning record by a greatguitarist, a masterpiece of our collectively anxious time.In early 2020, as the world teetered at the edge of unrests stillunimagined, Tyler left LA for Nashville, where he'd lived most of his life.Most of his gear and all of his records stayed, awaiting a presumedrapid return. It, of course, wasn't. So as Tyler dealt with the depression,nerves, and questions of those endlessly tense times, he beganrecording ideas with his phone and a cassette deck, resigning himself tothe distortion inherent in those devices. Tyler was talking with KieranHebden about making a record together, and some of these bits felt liketest cases. As that collaboration crept in other directions Tyler magpiedother sounds. He asked longtime friend, producer Jake Davis, to helpstitch them together, opting to embrace the hiss and wobble and tounintentionally make a record that reflected those times andthese-uneasy, damaged, honest.A seesaw of struggle and survival defines these songs, a map ofanguish and belief and the trails that link them. InchThis is a mental illnessrecord,I
