John Ammed Williams is an independent scholar of Masks, Theatre Anthropology and Masking practices. At the time of this update he has read 52 books in relation to the field.
He is also a theorist with one publication under the name: "The Grey's Monkey" which is most often categorized as relating to biophysics, molecular biology, evolution and 'good and evil'. A sub heading to "The Grey's Monkey" title might read: "Explaining mythic and folkloric beings as evolutionary results."
He is an advocate of the boycott of television and though he does enjoy movies he has viewed neither at the time of this update for nearly a year.
As much of the album art makes clear Pipe smoking is among his interests.
John Ammed Williams has released 11 music albums at the time of this update.
"Battle Cry on the Fields of Love" introduces his style with the use of choral vocals and acoustic bass. "Worldly Matters" elaborates with bass amplification and the incorporation of Modes in the chord progressions. "More so than they were" continues the use of Modes for longer segments of the songs thus creating flavor as changes occur. "Knowledge of Rivers" is an experiment in lyrical subject matter borrowing themes which are found in family entertainment. It has no particular musical distinctions much like the proceeding album "Shapes of Proteus" which is basically a collection. Following is "Freshwater Octopus" which has as a main distinction the advantage of being compiled from eight unreleased albums. "Sandy Lake" is made up of the choral singing first exemplified in "Battle Cry" as well as some other ventures. "Dog and the Shadow" is an album which practices a song writing philosophy derived from the Fable of the same name. "Water Crow" combines highlights from four unreleased albums and introduces for this artist the use of discordant notes in melody. This is later retained in the instrumental/improvisational album "The Fruits of Civilization." At the time of this update "Underwater Staircase" is the latest release of John Ammed Williams, using the acoustic base in its second half and further integrating discordant melody in the first.