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Pop - Released March 31, 2015 | Dead Oceans

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Pop - Released November 16, 2018 | Dead Oceans

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Alternative & Indie - Released May 18, 2018 | Dead Oceans

With his ragtag, big kid look, Ryley Walker seems to be emerging from an anything goes drinking party. But the young man has come a long way. Addictions, alcohol and drugs are but a recent memory. He decided to take charge of his own destiny, launch a transition phase that would eventually strip him from his 19-gin-and-tonic-Ryley nickname. Particularly gifted at guitar picking, he possesses a unique sense for musical phrase. With Deafman Glance, he detaches himself from his older image in a very personal album, probably the most autobiographic of all. Ryley Walker has always expressed a particular affection for Chicago. He enjoys the atmosphere created by the architecture, the dreary feel of the city, the oddities, the strong smells and pollution, the beauty in its imperfections… Deafman Glance probably draws from this Chicago sound that combines jazz, folk and psychedelic. The young artist dove into jazz improvisations, taking the time to soak in the notes before adding the vocals. It’s worth mentioning that Ryley Walker has acquired a certain musical maturity that helps him play with silences. As for the vocals, he opted for almost spoken lyrics in the mould of a Merle Haggard, but in his own dark and broken style. One can picture the artist wandering the dark streets of a city at night, before comforting himself with a few more joyful ballads. Deafman Glance immerses the listener in a world of quirky mysticism roamed by spellbinding guitar solos. Hence it comes as no surprise to learn that the artist draws inspiration from the likes of John Martyn, Bert Jansch, Nick Drake and Tim Buckley. However, he has the wonderful ability to blend cynical humour with psychedelic jazz ballads through wacky lyrics like on 22 Days: My life is chicken scratch, sometimes baby you can’t sell the same shit back. A form of burlesque poetry that perfectly befits the character and is reminiscent of a few Scott Walker albums. © Clara Bismuth/Qobuz
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Pop - Released August 19, 2016 | Dead Oceans

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Pop - Released August 19, 2016 | Dead Oceans

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Rock - Released April 15, 2014 | Tompkins Square

After two limited-edition cassettes, a single, and 2013's fine West Wind EP, fingerstyle guitarist, singer, and songwriter Ryley Walker delivers All Kinds of You, his debut full-length for the discerning Tompkins Square. Produced and mixed by Cave's Cooper Crain, Walker fearlessly navigates musical traditions in bracing, seductive, and adventurous ways with the self-assuredness of an artist far older than his 24 years. His influences are on his sleeve: the British fingerstyle folk of guitarists Davy Graham and Bert Jansch, American primitive guitar soli à la Takoma Records, the delirious psychedelic folk of Tim Buckley, and the bluesy jazz-folk of Tim Hardin and more. But Walker's sound reaches deeper and wider; it cannot be reined in by them. Set opener "The West Wind" juxtaposes jazz drumming, modal blues, classical viola, and raga-esque drones in an intoxicating meld. "Blessings" pairs viola and guitar in a lilting display of early Celtic folk, Baroque classical music, and jazz with his blues moan on top. Walker's baritone may be limited in range, but it is clear and expressive; the grain in his voice inhabits his lyric with commitment, but not overstatement. "Great River Road" is a driving country blues that recalls Hardin, but its turnarounds are tight and knotty, and the Gypsy swing in the bridge moves it outside that frame. Instrumental "Twin Oaks, Pt. 1" is a riveting guitar breakdown with a throbbing bassline, soaring viola, and post-bop drums. "Clear the Sky" recalls the guitar style of early John Martyn, though the the elegant instrumental arrangements and open vocal recall Tim Buckley's Happy Sad era -- though Walker ultimately slips both restraints and delivers something more mercurial. The guitar soli in "Twin Oaks, Pt. 2" is a gorgeous meditation on minor-key patterns, while "Fonda," another instrumental, contrasts ragtime and Appalachian-style guitar with neo-classical piano in a haunted round. "On the Rise" is an uptempo modal blues that features Brian Sulpizio's neo-psych electric guitar duetting with Walker's fluid fingerstyle acoustic. Closer "Tanglewood Spaces" is a gorgeous round that reflects both Graham and Jansch, but draws from the rural American South in its melody. All Kinds of You may not contain new sounds -- they weren't new for his influences, either. But Walker's harmonic sensibility is vast. With his idiosyncratic compositional method and stunning -- yet emotionally resonant -- playing technique, he is able to dissect, distill, recombine, and, just like his predecessors, reshape the music that inspires him in his own image. © Thom Jurek /TiVo
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Pop - Released July 8, 2016 | Dead Oceans

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Pop - Released September 25, 2018 | Dead Oceans

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Pop - Released April 6, 2018 | Dead Oceans

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Pop - Released March 1, 2018 | Dead Oceans

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Pop - Released May 10, 2018 | Dead Oceans

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Pop - Released October 23, 2018 | Dead Oceans

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Pop - Released June 1, 2016 | Dead Oceans

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Pop - Released February 25, 2015 | Dead Oceans