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Alternative & Indie - Released April 8, 2013 | Domino Recording Co

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After debuting in 2011 with the evocative If..., a largely orchestral, all-instrumental set inspired by author Italo Calvino's 1979 post-modernist novel If on a Winter's Night a Traveler, former Coral guitarist Bill Ryder-Jones seemed poised to go the film score route, which he had shown interest in shortly after leaving his flagship band. Instead, he released the lovely A Bad Wind Blows in My Heart, an equally evocative, yet more traditional collection of songs that suggest what Nick Drake might have sounded like had he emerged in the early aughts instead of the late '60s. Measured, melancholy, and mysterious, Jones' debut as a singer/songwriter is as subtle as it is striking, skillfully marrying the sedate melancholy of Elliott Smith with the sly, darkly comic lyricism of the National. Recorded in his old childhood bedroom in his mother's house in Liverpool, A Bad Wind Blows in My Heart can feel a bit like an exorcism, and there's an extra shade of intimacy to stand-out cuts like the sad and sensual "Hanging Song," the wry, Luke Haines-inspired "You're Getting Like Your Sister," and the impossibly lonesome "There's a World Between Us," the latter of which is one of a few songs that threatens to break into Chris Isaak's "Wicked Game" at any moment, but it never feels like a self-absorbed, autobiographical bore, as Jones' is an enigmatic enough narrator and a gifted enough arranger that what initially seems like ephemera turns out to be surprisingly affecting. ~ James Christopher Monger
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Alternative & Indie - Released March 4, 2016 | Domino Recording Co

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Alternative & Indie - Released July 26, 2019 | Domino Recording Co

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Bill Ryder-Jones isn’t a sunshine-and-daisies kind of guy. Yawn, released in 2018, toed the line between dream-pop and depression-fueled shoegaze, with the brit’s charming, wavering vocals in the driver’s seat, whispering dreams, regrets and inner contemplations like the ocean at the end of a seashell. There was still a measurable amount of chaos in that tired, Smashing Pumpkins-esque sigh. Out go the guitars, the bass and the drums, and you have Yawn revisited: Yawny Yawn. You could call it a solo album since BRJ is credited as the only writer and performer; whether the overall mood is reflective of depression or complete exhaustion (often these are one and the same), the end result is pretty much this: it seems as though he’s reached the end of his tether. The 10 tracks, reinterpreted for solo performances, are nonetheless striking. Performing solo let Ryder-Jone’s Chris Martin-esque voice, the piano and towering reverbs take up all the sonic space. It’s cinematic, tender and terribly grim. The alternative version of Yawn would fit right in as the soundtrack to a Scandinavian movie – it’s the perfect expression of the gray drizzle and low energy of the longest winters, where days seem to last for barely a few hours before the sun recedes below the horizon. In the words of Henrik Norbrandt: “There are 16 months in the year: November, December, January, February, March, April, May, June, July, August, September, October, November, November, November, November.” © Alexis Renaudat/Qobuz
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Alternative & Indie - Released November 2, 2018 | Domino Recording Co

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Like pensive clouds crawling over a dramatic landscape, Bill Ryder-Jones' songs take time to develop, scattering their various moods and tones along the way. Over the course of three previous solo outings, film scores, and myriad production projects, the mercurial British singer, songwriter, and multi-instrumentalist has honed his mix of rainy day jangle pop and classical influences, producing works of warm sophistication often beset by stormy weather. For the most part, Yawn, his fourth solo release since leaving his post as lead guitarist for the Coral, picks up where 2016's excellent West Kirby County Primary left off, concerning itself with matters of deep self-reflection while gazing just far enough outward to capture the scenes, events, and people existing in Ryder-Jones' penumbra. Recorded, produced, and largely performed alone at his home studio, Yawn takes the form of gently melodic and sometimes noisy slowcore guitar rock, its slow dreamy grooves punctuated with squalls of distortion and grainy textures. Most of the songs extend beyond the five-minute mark with several exceeding six. Standouts like the gorgeously building "Don't Be Scared, I Love You" and the ethereal "No One's Trying to Kill You" are fine examples of the kind of weary world-building that Ryder-Jones does best. Rarely sung above a cracked whisper nor boasting a raised tempo even for the sake of variety, Yawn unfortunately suffers from its creator's steadfast refusal to exist in any mode but slow and sad. While it's true, this could be said for some of his earlier work -- there was enough movement, detail, and rough-hewn beauty woven in to reward listeners for enduring the more challenging bits. Yawn, too, has its moments of beauty and craft, but the payoffs are so subtle and slow to arrive that its title becomes the regrettably inevitable reaction. ~ Timothy Monger
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Alternative & Indie - Released July 15, 2019 | Domino Recording Co

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Alternative & Indie - Released August 21, 2018 | Domino Recording Co

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Alternative & Indie - Released June 3, 2019 | Domino Recording Co

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Alternative & Indie - Released September 4, 2018 | Domino Recording Co

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Alternative & Indie - Released August 24, 2015 | Domino Recording Co

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Alternative & Indie - Released September 3, 2018 | Domino Recording Co

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Alternative & Indie - Released October 30, 2018 | Domino Recording Co

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Alternative & Indie - Released October 27, 2015 | Domino Recording Co

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Alternative & Indie - Released October 6, 2015 | Domino Recording Co

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