Senses
Will Sexton Press

February 1st, 2001 - Scenes From Nowhere: Ever since I first saw them perform together at the ages of six and eight, Will Sexton has operated in the shadow of his older, more famous brother, Charlie. That's a shame, considering that Will's music has historically stayed closer to their roots; when Charlie was a sixteen-year-old Hollywood teen sensation affecting a British accent, Will was still sitting in with bands around Austin, screaming Little Richard songs. Scenes From Nowhere is hardly rootsy, but it does manage to shine more light on Will than any of his previous work has. It reveals a moody, pensive singer-songwriter cut from the same cloth as Tom Petty or Kurt Cobain who casts a few obligatory nods; "Happiness—I Can't Fall," for example, pays tribute to Nick Drake, dead more than twenty years but whose work is enjoying something of a revival among modern rock composers. "Last Faithful Lover" and "Wondering—LA the Whorehouse by the Sea" even sport a few semi-poppy hooks. Still, taken as a whole, Scenes suggests an unfinished work by a promising young artist still figuring out where he wants to go. The shadow, though, has definitely passed.
by Joe Nick Patoski
Saved from: Texas Monthly

"Will Sexton - 1987 (Another Austinite.  I first saw him in the Bergstrom NCO Club, and was amazed by his guitar licks.  I saw him perform a second time at the release party for his CD Will and the Kill.)".
Extract from: Scott's USAF Installations Page

March 16, 2001 - SXSW Picks & Sleepers - Austin Chronicle
WILL SEXTON: It's about time. After six years of false starts, this Austin singer-songwriter recently returned with Scenes From Nowhere, a collection of wonderfully foreboding and fatalistic songs that get more haunting with each listen. Even better, its translation to the stage has been flawless; he's been teaming with the same team as on the album, ex-Borrowers Mark Addison and Nina Singh.  -- Andy Langer

August 2001:
An experimental intro makes way for the piano of “The Waters Edge” a splendid ballad with a melodic voice just the way we like it and with just the right dose of surprises to keep you on your toes all of the time. Like a classic Beatles track, the atmosphere of the song changes once cello (or something sounding like a cello) is introduced. The song was co-written with Will Sexton when Nick and Will were in David Barewald’s New Folk Underground. The same inventive vocal approach creeps into the acoustic “Come What May” where suddenly the ghost of Gerry Rafferty enters the room!
Extract from NDVmusic.com

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