The result is a rich, immersive, complex, off-the-cuff, playful Ryley half-jokingly calls it his “prog record” – but if you follow him on Twitter, you’ll know he has a deep and abiding love for Genesis’ Duke and other such dusty treasures. “I told him to take the mixes and have at it,” Ryley says.
Though of course if you bring John on board for a record, he’s gonna get involved beyond that.
Ryley grew up in the Windy City and it was to one of the prime movers of that turn-of-the-century scene, John McEntire, that Ryley turned for the making of Course In Fable the Tortoise and The Sea & Cake man being the perfect foil behind the faders. It sounds like a really strong catalogue of work just keeps getting stronger. On this new set the brilliantly freewheelin’ guitar style he has finds a path between the twin towers of Sam Prekop and an almost baroque soft-rock thang, melodically complex, jazz-inflected, diaristic and wholly true to the Ryley aesthetic.Īlthough he’s moved to New York, the new album is wholly Chicago in spirit, with that jazz-folk-prog-postrock inventiveness twining. He’s set to release his new solo album, among a complex catalogue of other releases and brilliant two-handed musical conversations with people like Charles Rumback, Bill MacKay, Daniel Bachman and Kikagayu Moyo – fellow travellers out in the interesting and experimental edges of Americana, psych-folk, and folk. TROUBADOUR genius touched by the hand of the Tim Buckley, collaborator on some very fine albums, sole architect of yet other records that fall very much in that same category, and one of the funniest and most candid tweeters in music: Ryley Walker is all of these.
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