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p r o u d l y p r e s e n t s ..::
░ Artist | Ryley Walker
Title | Primrose Green
Genre | Indie
Source | CDDA
Format | Album
Label | Dead Oceans
Catalog | DOC101
Released | 2015
Ripped | 2015
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Quality | 239 kbps avg at 44.1 kHz ▄▄███▀▀
Encoder | Lame 3.98.4 V0 ▄▄██▀▀ ░
Size | 82.18 MB ▄▄█████▀ ░░░
Playtime | 44min 49s ▄███▄▄▄▄▄ ▄█▀ ▓█▄ ░░
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░ R E L E A S E I N F O R M A T I O N
Ryley Walker is an accomplished fingerstyle guitarist, singer, and
songwriter from Chicago. After a few years cutting his teeth on the
city's indie and experimental music scenes, he began making solo
live performances with his acoustic guitar. The first recorded
aspect of his complex musical persona arrived with the cassette-only
EP "The Evidence Of Things Unseen", issued in limited edition from
Plustapes in 2011. Its artwork was deliberately reminiscent of John
Fahey's Death Chants Breakdowns & Military Favorites, and inspired
by the American Primitive lexicon of Takoma Records. Later that year
he released - again via cassette on Plustapes - "Of Deathly
Premonitions", a four-song collaboration with fellow fingerstyle
guitarist Daniel Bachman. Walker's first widely circulated recording
was a vinyl-only three-song 12-inch entitled "West Wind" from
Tompkins Square Records in 2013. His debut album, "All Kinds Of
You", was issued by the label in April of 2014. After intensive
touring and playing on others' records, he signed to Dead Oceans in
the fall. Recording in Chicago with a cast of improvisational and
jazz session aces (including cellist Fred Lonberg-Holm and
vibraphonist Jason Adasiewicz), Walker completed "Primitive Green",
issued in 2015. It was the first of his recordings to feature his
own vocals. Musically, it blurs the genre lines between folk, rock,
jazz, and new music...
Guitarist Ryley Walker follows "All Kinds Of You", his 2014 debut
full-length, by delving deeper into some of the abstract jazz, indie
and psych-inflected folk-rock that permeated several of its tracks.
On "Primrose Green" - his debut for Dead Oceans - he doesn't worry
about putting his own signature on his tunes; this record is all
about playing music he loves with people he respects. Though these
are original songs, their inspirational roots lie in late-60s and
early-70s sources. He's found a host of willing Chicago
collaborators from the worlds of jazz and improv to assist,
including cellists Fred Lonberg-Holm and Whitney Johnson,
vibraphonist Jason Adasiewicz, drummer Frank Rosaly, keyboardist Ben
Boye, upright and electric bassist Anton Hatwich, and electric
guitarist Brian Sulpizio. Less than a minute into the opening title
track, one can hear the very spirit of Tim Buckley - one of several
Walker muses here - coming through the ether (or smoke, such as it
were, since it is titled for a particular strain of pot). Eastern
modes and droning psych are rung out on a 12-string, piano, electric
guitars, vibes, and upright bass (the latter recalling Danny
Thompson, who played with Buckley on the London concert issued as
Dream Letter). Walker's voice swoops and sails, floats and hovers
through his words about getting high.
"Summer Dress" moves on (a bit) to widen the circle and embrace John
Martyn's early-70s sound inside Buckley's elastic chamber jazz
approach. Sulpizio's guitar and Adasiewicz's vibes send this one
into a darkly grooving stratosphere. "Same Minds" is so silvery and
mercurial, one can feel Martyn's ghost in the mix. The instrumental
"Love Can Be Cruel" evokes Brian Auger's sense of space and motion
with wafting electronic noise grounding the tune in the 21st
century. Speaking of Auger, the twilit psych-jazz of "Sweet
Satisfaction" recalls the keyboardist's Trinity band with singer
Julie Driscoll (now Tippetts), though Buckley's sense of elongated
glossolalia still holds sway over the singer's vocal. Walker's
killer fingerstyle guitar artistry isn't left off this record; it's
present to stellar effect on "Griffiths Bucks Blues", "On The Banks
Of The Old Kishwaukee", "The High Road" (a duet with Lonberg-Holm),
and the closing "Hide In The Roses". The latter track is informed by
Bert Jansch's and Davy Graham's readings of the British Isles folk
tradition. It's these rootsier tunes that add glue to the sensual,
stoned, free-spirited cuts to make this a cohesive album. With its
ready absorption of, homage to, and engagement with the past,
Walker's skills as a guitarist and arranger make "Primrose Green" as
musically compelling as it is willfully indulgent.
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▀▀████████████▄▄▄▄ ▀
::t r a c k l i s t ::: ▀██████▀▀
::: . ▀▀
------------------------------------------------------------------------------
01. Primrose Green 4:07
02. Summer Dress 5:10
03. Same Minds 4:19
04. Griffiths Bucks Blues 2:47
05. Love Can Be Cruel 5:03
06. On The Banks Of The Old Kishwaukee 5:00
07. Sweet Satisfaction 6:23
08. The High Road 4:48
09. All Kinds Of You 4:36
10. Hide In The Roses 2:36
-----
44:49
------------------------------------------------------------------------------
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