About Vinyl Williams
Vinyl Williams is an experimental rock outfit from Salt Lake City, UT. They have been known, especially in more recent work, to infuse psychedelic, ambient, drum & bass, dub, and various Egyptian and middle-eastern nuances into a maximalistic rock and roll rhythm section.
In most recent and unreleased work, listeners at live shows and an exclusive few whom have received leaked tracks / demos, have notated the effect of “sonic matrices” in almost every individual song. They explain these matrices as being a certain, organized combination and cluster of sonic melodies and rhythms that aesthetically take place, all at one specific, privileged moment, sometimes ranging from 3 seconds to a full minute. These overtones include drone-based sections, ambient interludes, hugely (and sometimes ear-piercingly) loud sections in contrast with following or preceding softer verses, or b-sections.
They have also been classified as an “underground” act, as a vast knowledge is not widely known, and is spread far-outside of where they are actually located. This may have emerged because of their spaced touring for months at a time, and lack of “local shows”.
The band has claimed to record, produce, and engineer all music themselves, but it is unconfirmed if the drum tracks are done in their studio, or at a third-party professional studio. The band has notated that they have been spending an accumulative time of almost two solid years working on a full length album, Lionel (guitarist, vocalist) was once recorded in an interview in Fort Collins, CO, stating that, “…the recording process is more of an ‘approach’ or, per se, a ‘modus operandi’, which means a ‘manner of operating’, because of various experimental elements we are trying to discover as well as lay down simultaneously.” Lionel also stated, later in the interview, “…well, I could give an example of one component of our album that takes our (and your) precious time – at one point I was sitting in my studio, overdubbing on & off for a two week duration, recording 800-1200 guitar parts on one 14 second section of a new song. I want it to be big, literally. I don’t want it to sound big, that would be an illusion, instead of an ‘allusion’ to what we’re trying to accomplish with music.”
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