UK based Sweet Williams is the post-punk project of guitarist and songwriter Thomas House. On September 20th, Sweet Williams is set to release a new album titled Where Does The Time Come From via Gringo Records. He recently released a preview track ‘Ride A Gold Snail’. It’s a great track rich with rumbling bass lines and crunchy guitars. If this track is any indication, the album is sure to be stellar.

We caught up with Sweet Williams and asked, what three albums have influenced him and his music? The following was his reply.

Order link (Due 20th September via Gringo Records): http://gringorecords.limitedrun.com/products/645874-sweet-williams-where-does-the-time-come-from

Lungfish – The Unanimous Hour

This group were all about incremental changes – not necessarily within the songs themselves, which very rarely feature any kind of change – but you can trace a very organic evolution over the course of their ten (or so) albums. It’s worth listening to them all, not necessarily in order, to get a sense of that. This one comes somewhere near the middle of their run but it’s as good a place as any to start. More than on any of their other records, each song is distinguished by a unique feature: ‘Searchlight’ has an almost-chorus, ‘Vulgar Theories’ has a coda, ‘Metatron’ has no rhythm section and some bizarre vocal pitch shifting. Daniel Higgs‘ lyrics make something to wonder at out of the truly absurd here. The last track, ‘Hallucinatorium’, either collapses in on itself or dissipates outwards in a cloud of dust, only for its own rebirth as something even more breathtaking. Superlatives have little bearing, but this music is universal in the most infinite of senses, elemental in the most microscopic.

Throwing Muses – Red Heaven

I love Throwing Muses. Dad bought this when it came out, when i was a teenager listening to a lot of grunge. It was heavy and raw enough to grab me the way Nevermind had, but i ended up paying more attention to Kristin Hersh‘s songs than anybody else’s. The structures are weirder, but they still make absolute sense; the lyrics are somewhat impressionistic, but always of a piece. Each song is so perfectly itself. I raided Dad’s collection for the earlier stuff and he took me to see them on my fifteenth birthday, when University had just come out. I hadn’t realised that they were such an influence on Sweet Williams until my friend Andrew from I’m Being Good picked up on it. But it’s plain to me now that they have had an indelible effect.

Labradford – Labradford

This record is just transportative from beginning to end. The delicacy and simplicity of the compositions, the precise articulation of every note, and the gorgeousness of the sounds put a spell on me the very first time I played the LP. When he sings it’s like hearing the voice of a loved one through a coma. I could not describe the places this music takes me to even if I wanted to. I don’t even like to listen to it in company. People just talk instead of listening don’t they. It’s the kind of record you form a very personal relationship with.

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