William Tyler is a Nashville guitarist and composer. He spent years woodshedding and touring with Nashville groups like Lambchop and Silver Jews before breaking away to focus on his own version of instrumental guitar music.
No other solo American guitarist this century has impacted that fecund scene quite like William Tyler.
After crucial stints in Silver Jews and Lambchop, this adopted son of Nashville emerged at the dawn of the last decade with a string of inquisitive albums that paired the measure of his country rearing and classical enthusiasm with his ardor for postmodern experimentation, fieldrecordings and static drifts folded beneath exquisite melodies. Tyler dug Chet Atkins and GavinBryars, electroacoustic abstraction and endless boogie. His productive little enclave of instrumental music has increasingly followed such catholic tastes, not only ushering new sounds and textures into the form but also critical new voices and perspectives.
And on the brilliant, bracing, and inexorably beautiful Time Indefinite, Tyler’s first solo album in five years, he steps at last into the widening gyre he helped create. The guitar serves as a starting point for an
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