On the seven songs here, he delivers the signature shimmering and pristine sonics he’s become known for over the years. Seeing his name in an album’s liners is pretty much a trademark of quality.Īnother Windy City exile, McEntire is based on the west coast these days, working out of the Portland, OR studio he’s dubbed Soma West. John McEntire, Course In Fable’s producer/engineer/ mixer, can rightly be called a legend for his work with Tortoise, Stereolab, The Red Krayola, Jim O’Rourke and countless others over a prolific career that now spans more than three decades. Last October, Ryley went straight to one of the primary architects of the Chicago sound to make the LP.
BARTENDER LYRICS RYLEY WALKER FULL
To put it simply: Course In Fable is Walker’s best record yet, full of active imagination and endless possibilities.
Even though he emerged at first in folk-rock troubadour mode, it makes sense that he’s arrived at this point each LP has grown more intricate and assured, his influences distilling into something original and unusual. Walker spent his formative years in Chicago, absorbing those heady sounds and finding ways to make them his own. The masterful Course In Fable, the songwriter’s fifth solo effort, draws from the deep well of that city’s fertile 1990s scene, when bands like Tortoise, The Sea and Cake and Gastr del Sol were reshaping the underground, mixing and matching indie rock, jazz, prog and beyond. But his latest LP is a Chicago record in spirit. Ryley Walker currently resides in New York City. The Madman From Massachusetts In An Empty Bar (7:53) Listen to A Tap on the Shoulder in the context of Ryley’s glorious Course in Fable listen to it in the context of Grubbs’s playing with Loren Connors, Jim O’Rourke, Taku Unami, and others or listen to it as if you’ve never heard note one from these soulful odd birds, the two of them curiously, quixotically committed to working inside and beyond song form.ħ. And where the duo’s live performances thus far have been set-length juggernauts, A Tap on the Shoulder toggles effortlessly between microscope, telescope, and Cinemascope, letting the smallest of gestures land in all of its sonic specificity before opening the scene up to disorienting panoramas. What’s good for the geezer is good for the, etc.
Ryley’s hellion musical fearlessness lights a fire under the more typically Apollonian, chess-masterly Grubbs. Don’t think for a second that these shorthand descriptions suffice.Įlectric guitars make electronic music. Studio sessions were clearly in the cards, and the result is A Tap on the Shoulder, a collection of duo performances that veers from crystalline instrumental compositions (“A Tap on the Shoulder,” “Accepting Most Plans,” “Dorothy Kept”) to animated alien chatterfests (“Leslie Steinberger”), and from ecstatic extrapolations charging this way and that (“Pump Fake on the Death Rattle,” “The Madman from Massachusetts in an Empty Bar”) to, I don’t know, words don’t do the trick (“Uglification”).
BARTENDER LYRICS RYLEY WALKER SIMULATOR
(One of these live sets was released earlier this year as Fight or Flight Simulator on Café OTO’s Takuroku label.) Mutual admiration society and David Grubbs and Ryley Walker had been taking notes on one another’s playing for some time before they hit the stage together on a couple of blistering occasions immediately pre-pandemic. How about now? (Not for you to decide.) Or exactly what it means-except in the aftermath.
You never know when that tap’s going to come. We invite you to take a dive into the humble beginnings of a project that has continued to grow, shape shift, and accrue new and exciting sounds for its sonic palette. The tracks have been lovingly remastered by Doug Krebs. Initially released only in the digital domain and on a short run of cassette tapes, these two EPs that defined the early era of GFO are now finally available together on a single LP via Colemine Records. ‘Night Walker’ and ‘Death Waltz’ were conceived as one-man-band, reel-to-reel tape recorded experiments that would bring together elements of all the sounds that Seth most adored at the time: tape-saturated drums, gratuitous spring reverb, surfy guitar, Latin-style percussion, odd time signatures, and Spanish-language female vocals. Back in 2016, producer Seth Applebaum released two EPs that marked the inauguration of the band Ghost Funk Orchestra. For Fans Of: Temples, Allah-Las, Unknown Mortal Orchestra, Khruangbin, David Axelrod.
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