Last year, some friends of mine were playing through town with a solo post rock musician I hadn’t heard of. After his set, we got to talking.
“I didn’t get your name,” I said.
“Billy Mays III.”
“Descended from the original Billy Mays, of course?” I joked.
He smiled. “Yeah, that’s my dad.”
And that’s the story of how I met Infinite Third.
If his notability was merely a matter of parentage, his novelty would have quickly run out. But his talent would be evident regardless of his name or lineage. And as I’ve followed him in the months since, he has proven himself as one of the singularly most prolific artists I have ever met.
Channel(s) is his first vinyl release, but it comes on the heels of a dozen or so other albums over the last ten years: one of which had 154 tracks. He’s even released another album in the months it took to complete the vinyl pressing.
Often if a musician has this scope of output, their work is unfocused or scattered. There’s an unfinished, sketch-like quality that runs across their output.
This quality doesn’t touch Channel(s) at all though. It is a consistently excellent record, masterfully paced and intricately composed. Billy creates an universe for his music to live in and invites us into it. And for forty blissful minutes, it’s easy to forget that there’s anything else.