It’s a pace that’s stuck to throughout the album, making it perfect listening for long summer nights – the kind of soundtrack you could just put on, sit back and immerse yourself in. There’s an unhurried, relaxed tone to much of Deafman Glance though – opening track In Castle Dome could be described as mellow, with little hints of flute wavering beneath Walker’s guitar. It still sounds very retro (in the best possible sense) but there’s no longer the sound of a man rather too much in thrall to his influences. He’s no longer the acoustic folkie, but an artist who’s likely to suddenly switch time signatures or unexpectedly launch into a sudden guitar solo. ![]() That changed with the release of 2016’s Golden Sings That Have Been Sung, which added a much-welcomed dose of experimentation into the mix.ĭeafman Glance takes where Golden Sings left off and runs with it. Walker’s early years were spent carving out a niche as a folkie troubadour, one who wrote pleasant enough songs that always seemed on the verge of breaking out into something more interesting but never quite managed it. ![]() His fourth album, Deafman Glance, is the latest installment in the often fascinating way his career has evolved.įor the Ryley Walker of 2018 is very different from the one who released his debut in 2014. The 28-year-old from Chicago sounds like he’s been beamed in from the mid-’70s, with a copy of John Martyn‘s discography tucked under his arm. It’s a cliche to say that Ryley Walker sounds old before his time, but after all, the reason why cliches are cliches are because they’re often true.
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