Lionel Williams, under the extremely clever moniker of Vinyl Williams, has quite the CV for someone of just 22. Whilst many his age are just getting to grips with the horrible reality of a post-university employment he has taken the initiative to start up his own record label and release work from eight acts, including himself, as well as exhibiting his surreal artwork in places like New York, Los Angeles and Berlin and probably doing a lot of mind bending drugs along the way judging by the sonic haze that is Lemniscate.

I may as well get it out the way now, yes, we have heard stuff very similar to this before. Deerhunter (and subsequent solo projects) springs to mind when I listen to Williams' album as does Beach Fossils, Real Estate, Tame Impala, Lower Dens, The Radio Dept., Wild Nothings, Ringo Deathstarr, Young Prisms, DIIV, Seapony and Big Troubles just to mention a few. So no, he doesn't win any points for originality but Williams does have a lot going for him like his euphoric 'Higher Worlds', an exhilarating listen that manages to be graceful at the same time with frantic drums contrasted with slow ethereal synth tones backing William's gritty 'telephone box' vocals.

'Object of the Source' in parts reminds me of Interpol, maybe because of the stern delivery of the hook which is not dissimilar to Paul Banks. Really the whole song sounds like what I imagine Interpol would sound like after a heady dose of DMT or something similar. The climatic end of 'Inner Space' similarly sounds like your brain melting on the inside with drones pervading over the mix of garage rock guitar twangs. It would be interesting to see what was left of this album if you stripped away all the effects, something which people often criticise artists like Vinyl Williams for relying on, but part of the skill is in knowing when to apply these effects to get the texture just right, something that Williams does brilliantly. Williams' also has quite the ear for bass lines and though that sounds like an odd complement, so often in releases of this sort the bass lines just follow a straight four-note turnaround and seem like they are their out of obligation rather for artistic expression. Especially on 'Stellarscope' the bass seems to be an integral part of the song with the bass line weaving in and out of a dreamy xylophone tune. The omission of a bass part on some of these tracks proves further that Vinyl Williams sees bass more as a sonic paintbrush rather than just the canvas.

I would love to talk more about the vocals on this release, as there is a fair quantity of them, but like any good shoegaze release I understand about five percent of the vocals as the rest is either too compressed or reverb-washed to comprehend. Then again, however important or poignant Vinyl Williams' lyrics are I suppose the opposite, hearing them to the point they block out these wonderfully colourful instrumentals, would detract extremely from the effect of this album.

Lemniscate is both cinematic in scope but nicely crunchy in sound managing to tread the line between lo-fi and psychedelic shoegaze. The blend of massive guitar sounds and grainy vocals is married well here without impairing the clarity of sound too much compared to other releases in a similar vein I have heard. Though I complain about the lack of diversity actually Williams is not the worse offender by a mile, often drastically changing dynamics and tempo from track to track to create an eclectic and blissful 42 minutes of listening.