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dustedmagazine · 2 years

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Eli Winter — S/T (Three-Lobed)

Eli Winter by Eli Winter

This may be Chicagoan guitarist Eli Winter’s first self-titled album, but that certainly doesn’t indicate a paucity of collaborators. And while Winter, a folk experimentalist with formidable chops has focused on these skills on previous releases, here he revels in musical partnerships. Ryley Walker, Yasmin Williams, Tyler Damon, David Grubbs and the late jaimie branch are all featured on the album. Compositions that are filled with interesting combinations but never overstuffed make this an engaging listen all the way through.

“For a Chisos Bluebonnet” brings pedal steel to the fore with Winter’s guitar, the resulting duo entirely in keeping with leftfield country. “Davening in Threes” employs a trio of guitars in an effusive jam. A brief drum solo sends it into a slow, abstract section with aphoristic punctuation. It then returns to the opening’s freewheeling demeanor. In its opener, “No Fear” has creepy, howling vocals and whammy bar guitar playing angular melodies. This is followed by low guitar arpeggiations, guitar glissandos, and propulsive drums. It is like an alt-folk horror movie score. The coda knits a signature Winter riff between the gradually diminishing clangor.

“Brain on Ice” is quite different. An enjoyable, ambling tune with recognizable changes and an old-fashioned turn around. Once again, pedal steel matches guitar riff for riff and chugging bass and drums fill out a pleasant, yet skillfully deployed, ambience. “Dayenu” features branch, and every note serves as a heartfelt valediction from this extraordinary musician. Midway through, there is once again a pause and interlude followed by a sweet-toned descending progression featuring chord melody by Winter and a fiery solo by branch. The final track, “Unbecoming” begins with solo harmonium, a delicate sound that foreshadows the lyric, autumnal quality of Winter’s playing. A compound tune with a Celtic quality, “Unbecoming” gradually builds into a rousing close with fleet fiddle joining the other instruments.

The genre hybrids that Winter addresses in S/T mix well, and the arrangements are, to a song, well-crafted and conceived. It appears that Winter thrives with a bit of company. One hopes he will make collaborative albums in the future as well.

Christian Carey

#eli winter #three-lobed #christian carey #albumreview #dusted magazine #guitar #pedal steel #yasmin williams #ryley walker #tyler damon #david grubbs #jaimie branch

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neuroticlens · 1 year

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#ryley walker #livemusic #live #nyc #williamsburg #union pool #brooklyn

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rastronomicals · 2 years

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9:54 PM EDT May 18, 2022:

Ryley Walker - "4th Time Around" From the compilation album Mojo presents Blonde on Blonde Revisited (May 2016)

Last song scrobbled from iTunes at Last.fm

Compilation given away by Mojo magazine with its July 2016 issue, in honor of the 50th anniversary of the Dylan classic

#Ryley Walker #Mojo presents Blonde on Blonde Revisited #4th Time Around

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soreheadinamblemood · 5 months

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#ryley walker #a lenticular slap

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krispyweiss · 1 year

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Album Review: Ryley Walker - Live in Cork Ireland 2015

Ryley Walker was still a folkie when he traveled to Cork, Ireland, for a 2015 solo-acoustic gig.

And he drew a small but enthusiastic audience to hear him deliver songs from Primrose Green (the title track, “Summer Dress”) while previewing Golden Sings that Have Been Sung with “Sullen Mind” and “Funny Thing She Said” as documented on Live in Cork Ireland 2015. Being hugely influenced by Van Morrison at this point, Walker also performed “Fair Play” and encored with a terrific, almost joyful rendering of the traditional “Cocaine Blues.”

Accentuating his fluid guitar playing with screams and falsetto quavers, Walker is feeling it on this nearly decade-old momento and Bandcamp exclusive. And while he’s moved far, far away from the kind of music presented on Live in Cork, with eight tracks spanning just over 45 minutes, the archival album represents early Walker quite well.

Grade card: Ryley Walker - Live in Cork Ireland 2015 - B+

#Bandcamp #ryley walker #2023 albums #live in cork ireland 2015 #van morrison

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woodencup · 1 year

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WoodenCup Radio Hour Ep.8

The Brian Jonestown Massacre-It's About Being Free Really Hater - Brave Blood Juni Habel - Chicory Ryley Walker - Great River Road Fenella - Hexagonal Table The Duke Spirit - Cuts Across The Land Ghost Woman - The End of a Gun Native Harrow - Old Kind Of Magic Carla dal Forno - Come Around SUO - Honey I'm Down The Coral Sea - Hero The Warlocks - Caveman Rock Amber Arcades - Just Like Me Meg Baird - Unnamed Drives yeule - Don't Be So Hard on Your Own Beauty Love - My Little Red Book

#The Brian Jonestown Massacre #ryley walker #Amber Arcades #Meg Baird #Love #burt bacharach #mixtape #alternative rock #folk #indie #electro pop

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grace-and-danger · 1 year

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Ryley Walker - "Primrose Green" (Official Audio)

#ryley walker #primrose green #music #art

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beginningspod · 2 years

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It's time for Beginnings, the podcast where writer and performer Andy Beckerman talks to the comedians, writers, filmmakers and musicians he admires about their earliest creative experiences and the numerous ways in which a creative life can unfold.

On today's episode, I talk to artist and musician Tara Jane O'Neil. Tara cut her teeth in the 1990s Louisville music scene as the bassist of the influential post-punk group Rodan. After their breakup in 1994, she moved to New York, where she performed in a number of fantastic bands including Retsin, Ida Retsin Family, The Sonora Pine, and The Naysayer. She's also released over a dozen albums and EPs under her own name on labels like Kranky and K, and as a visual artist, she's been exhibited all over the world. In early November, The Sonora Pine's second album II will be reissued on Ryley Walker's label Husky Pants Records, and I can't recommend it enough!

I'm on Twitter here and you can get the show with:

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#beginnings #tjo #tara jane o'neil #retsin #sonora pine #rodan #louisville #indie rock #ryley walker #husky pants

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brownwork · 2 years

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Very happily, the 75 Dollar Bill Little Big Band is back in action next week as part of the FIRE OVER HEAVEN Benefit Concert on Saturday, October 22 at Outpost Artists Resources @outpostartistsresources. This epic 6-hour concert will feature sets by the 75 Dollar Bill Little Big Band, William Parker, Eve Essex, Loren Connors, David Grubbs & Ryley Walker, C.Spencer Yeh, Anaïs Maviel & Che Chen, and Patrick Holmes, Ryan Sawyer & Marcia Bassett.

TICKETS: https://withfriends.co/.../1022_a_benefit_for_fire_over...

If you can't attend the concert there are other ways: donations of any amount can be made via withfriends https://withfriends.co/outpost_artists_resources/join or the Outpost website https://www.outpostartistsresources.org/donate.

Another great way to support is to purchase live albums from the Fire Over Heaven Bandcamp page https://fireoverheaven.bandcamp.com/. 30+ live set recordings to choose from! Please help us keep this series going.

#Fire Over Heaven #75 dollar bill #75dollarbill #Outpost Artists Resources #William Parker #Eve Essex #Loren Connors #David Grubbs #Ryley Walker #C.Spencer Yeh #Anaïs Maviel #Che Chen #Patrick Holmes #Ryan Sawyer #Marcia Bassett #75 Dollar Bill Little Big Band

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fivestarmiral · 2 years

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Ryley walker the lillywhite sessions

Ryley walker the lillywhite sessions how to#

Hopefully Walker fans won’t be put off by the album’s origin and Dave Matthews Band fans will discover Walker. To be honest, here at Under the Radar we were sent an advance promo copy of Walker’s The Lillywhite Sessions a few weeks back and had no idea it was a Dave Matthews Band covers album until now and have been thoroughly enjoying it.

Ryley walker the lillywhite sessions how to#

As a press release puts it: “When he was a kid growing up in the Rust Belt suburbs of Chicago, worlds away from the city’s cultural stronghold, the Dave Matthews Band taught him how to play and love music.” The album features Walker’s frequent collaborators Andrew Scott Young and Ryan Jewell. Walker, however, grew up listening to them. Dave Mathews Band have been very successful, all but their first two albums have debuted at #1 on the Billboard album charts, but they aren’t what you would call a cool band, or at least one that’s been all that embraced by indie rock fans and musicians. The Lillywhite Sessions were never officially released, but most of its songs were reworked (sometimes with new lyrics) and re-recorded with producer Stephen Harris for the band’s 2002 album Busted Stuff. The Lillywhite Sessions leaked to the Internet soon after Everyday‘s release, in the days of Napster, and some fans preferred it to Everyday. The band’s label rejected the album and Matthews instead teamed with producer Glen Ballard to write a new album, which only took them 10 days to write and resulted in 2001’s Everyday. Below is “Busted Stuff,” followed by the album’s tracklist and cover art, as well as Walker’s upcoming tour dates.ĭave Matthews Band recorded the original The Lillywhite Sessions in 19 with producer Steve Lillywhite, as the follow-up to 1998’s Before These Crowded Streets. He has shared the album’s first single, “Busted Stuff.” The Lillywhite Sessions is due out November 16 via Dead Oceans. Instead he has taken an unreleased Dave Matthews Band album from 2001 and covered it track-for-track. Now he has already announced a new album, The Lillywhite Sessions, but it’s not your average follow-up album. On The Lillywhite Sessions, he has, in turn, created his own.Ryley Walker just released a great new album, Deafman Glance, back in May via Dead Oceans. Walker has stepped through the door long ago opened by the Dave Matthews Band to find a world teeming with musical possibilities. This end-to-end interpretation of youthful fascination is a collective reminder that we are all just kids from somewhere, reckoning with our upbringing the best we can. Walker's "Grace is Gone," the most faithful take here, is a testament to his unflagging love for the music that helped make him a musician. Emerging from a wall of distortion, "Diggin' a Ditch" becomes a power trio wallop à la Dinosaur Jr, shaking off existential malaise like twenty-something pals writing rock songs in the garage. With a delicate rhythmic latticework and vocals that ask you to lean in, "Busted Stuff" recalls Jim O' Rourke's golden Drag City days. On The Lillywhite Sessions, Ryley Walker and the similarly indebted trio of drummer Ryan Jewell and bassist Andrew Scott Young cover Dave Matthews' infamously abandoned 2001 art-rock masterpiece of the same name, a record where he and his band indulged a new adult pathos and a budding musical wanderlust.

#Ryley walker the lillywhite sessions

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dustedmagazine · 1 year

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Listed: Davide Cedolin

Davide Cedolin is a Ligurian based artist, mostly focused nowadays on guitar-oriented music, writing and painting. His latest cassette on the Island House label collects seven serene and unruffled meditations, mostly in finger picked acoustic guitar, but augmented sometimes with threads of bowed bass, lap steel and harmonica. In her review, Jennifer Kelly wrote that these compositions “open out into a kind of wide-horizoned dreaminess, an infinity pool of sound that stretches as far as you can see. Here Cedolin lists some guitar music that inspires him.

I wrote something about albums that somehow “clicked me” because of their great guitar works. Hope you’ll enjoy!

Sonic Youth — A Thousand Leaves (Geffen, 1998)

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Maybe I could pick other albums from Sonic Youth, but this is the first one I discovered in real time when I was sixteen, bought on vinyl in a great record store named Distorsioni in Varazze (the town I’ve grown up in) that is closed now. I love this album from them for the natural blend of poppy refrains and very noisy rock elements, the mood, the track list. In my opinion it’s the most textured and rich record from SY, very open and experimental in its own way. And the first of the four times I’ve seen Sonic Youth live, it was in the period of A Thousand Leaves, so I feel very sensitive with this record. One track? “Sunday.” In general, it’s thanks to Lee Ranaldo and Thurston Moore that I heard for the first time about alternative tunings.

Pelt — Ayahuasca (VHF, 2001)

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I took some time to “digest” the depth and the density of this one. It’s the record that introduced to me (in a very funny way, ha ha) to old time music and somehow to a different way to intend acoustic music and so guitar. I’ve also been captured by the contemplative and psychedelic aura of the whole album that later switched me on drone music as well. There’s not that much about Pelt live on YouTube from those years, but I’ve found an intense video that is really immersive. With Jack Rose, who already implemented the sound of the band with a more prominent acoustic guitar work, the transition from an electric-noise-drone skin to a new acoustic-mantra-folk structured one was completed. I’m still impressed about how borders in music are so vague and relative if there’s a real consciousness of what you are doing. And Pelt’s transition is the perfect case of the natural and organic evolution of a sound.

Grateful Dead — Workingman’s Dead (Warner, 1970)

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In Europe the Dead didn’t have the same wide cultural echo as in North America. Everyone here knows The Doors, Bob Dylan or Neil Young but not as many people as in the States know the Grateful Dead. I heard of Workingman’s Dead at the end of the nineties but it took until my mid-twenties before I got interested in old records. I fell in love with the warm sound of this album, which actually has one of the most brilliant track lists ever to me. Each song is an amazing hit. There’s great guitar work all over the record from both Weir and Garcia, and it’s easy to understand why the sound of this album (and with the extension on the next, American Beauty,) has been intended to be the Americana sound by several music critics and producers. The way all the traditional country, blues and folk elements melt together is so natural and the way the guitars talk to each other is masterful. Also, I’m a huge fan of Jerry on pedal steel and in this record, there are a few of the best moments in his entire career playing that.

John Fahey — Blind Joe Death (Takoma, 1959)

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I had a very nice chat with Jeff Tobias a few days ago inspired by a meme about American Primitive Guitar that at some point was ironically counterposing John Fahey lovers and haters. I totally see there’s this polarization about him, and I kind of get it. I did read How Bluegrass Destroyed My Life, watched interviews, and in my perception, his persona was seemingly contradictory and questionable on several aspects. But the guitar work itself, unquestionably, places him in a very relevant position if we think on what he triggered and how damn good he was. This album is the one I love the most and the one with which I've discovered him. I wouldn't consider Fahey as a direct and conscious influence for me but his taste for melodies and his tricks buzz in my head since the first time I heard them. Particularly “St. Louis Blues.”

Jack Rose — Kensington Blues (VHF, 2005)

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Frankly, I didn’t listened to this album immediately. It took a couple of years before I knew of it thanks to a great musician from Genova and close fellow Paolo Tortora. It was some winter evening at his place, and I remember we listened to the entire record in silence, sipping rum. It warmed my intimate part, kind of healed me. And it wasn’t the rum, it was the way Jack Rose was able to convert remote feelings into some wild stream of consciousness, that to me still is, without forgoing the obvious technical skills, the best part of his playing. The way he was heartly connecting with the instrument and how he was truly one with the instrument. In this video of “Cross the North Fork,” you can see what I’m talking about.

Ryley Walker — Primerose Green (Tompkins Square, 2015)

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Ryley is a terrific guitar player with a terrific voice. He’s simply perfect; when he plays and sings he has a unique voice. I love the sensitivity of his playing, his anarcho-prog-impro wilderness and his accuracy for harmonies and arrangements. This album is perhaps less eclectic compared to the recent ones but it has some of my prefered tracks from him, including this one.

Elizabeth Cotten — Folksongs and Instrumentals with Guitar (Folkways Records, 1958)

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Same friend, another great suggestion. Paolo introduced me to Libba by sending this video link for “Freight Train,” probably around 2009. I was touched by her uniqueness. She basically built her own grammar to express her own language with such a graceful manner. This album is the first I bought by her on Discogs a few years ago, and its pure magic all over the length. I could spin this record on loop for days without either changing the side, whichever it is.

Hobart Smith — In Sacred Trust: The 1963 Fleming Brown Tapes (Smithsonian Folkways, 2005)

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I was exploring YouTube videos of Elizabeth Cotten and I came across “Railroad Bill” with Hobart Smith on guitar. There’s an ocean of incredibly talented musicians out there, and the more I go further with this list, the more pop up in my mind. But just a very few can transport somewhere else in just a couple of seconds. His personal and fluid style of fingerpicking immediately caught me. Hobart was a master at banjo, guitar, fiddle and piano. In Sacred Trust: The 1963 Fleming Brown Tapes is an album of never-before-released work, taped by Fleming Brown back in the day. It’s a wonderful collection of hidden gems. My son who is eighteen months old already loves this CD.

Steve Gunn — Time Off (Paradise Of Bachelors, 2013)

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Steve Gunn in 2013 was a name I’d already heard of, but it’s with this album that I got more deeper into his stuff. I’m a big fan of this period. Acoustic guitars were leading both the emotional and the structured parts of the tracks. His repetitive and hypnotic patterns mesmerized me. I love the “loop feeling” you can perceive sometimes, and I even love it more when you realize that it wasn’t a loop but a block with so many details that change around the main riff which keeps circularly going. There’s a lot of stuff from Gunn on YouTube, and this take of “Trailways Ramble,” from Live at Atlantic Sound Studios, (there are also more videos from this session) kills it. Played with a beautiful twelve string Guild in trio with Justin Tripp on bass and John Truscinski on drums, if you scan your body while listening, you can feel the rise of the theme through the flesh, in a similar way of feeling subtle sensations by the body scan during meditation practices.

Daniel Bachman — The Morning Star” (Three Lobed Recordings, 2018)

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I met Daniel for the first time in 2013, so I should even name Jesus I’m A Sinner, the one I knew at first. But The Morning Star is the album that showed me other aspects of his art. This is the first recording from him where guitars slightly shift aside to give more space to the various ambient sounds and other instruments. I love how the guitar is relatively “simpler” even in the patterns somehow. It’s pensive, moody, capable to take your hand and guide you through the album; there’s an interesting sound research that matches also with the “invented” tunings. It’s brilliant how just the tuning of the instrument can influence the whole composition process. And, besides the artist that I admire and love so much, there’s even the man that is completely adorable. It’s nice to know that artists you like are sometimes great living beings as well. This set is completely acoustic. Each time I watch it, I feel as astonished by the wall of sound as the first listen.

Bola Sete — Ocean (Takoma, 1975)

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This is the only nylon strings player I’ve mentioned in this list. Bola Sete was a Brazilian guitarist, mostly involved in traditional Bossa nova and samba in the early days. At some point in the 1970s, he met and eventually became friend with John Fahey and moved to the USA. In 1975 Takoma released Ocean, later repressed as Ocean Memories, which is an extraordinary journey through Brazilian folk music and the American Primitive Guitar. This album condenses his virtuoso style and his wild stream of playing at its best, opening worlds of suggestions with its wavy and sensitive flow that colors the album as a canvas.

Yasmin Williams — Urban Driftwood (Spinster, 2021)

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This record has been rooting in my listening since it came out. I knew the previous album from Yasmin Williams but with this I got really into her work. There’s a beautiful virtuoso approach that melts into a world of tenderness; a sensitive style of playing that is both technical and emotional, alternating various methods and instruments such as acoustic guitar, harp guitar and kalimba. She’s graceful, making intricate compositions by apparent effortless gestures and moves. This piece is also inspired by the Black Lives Matter movement. Really looking forward to what will come next. I love this absolutely gorgeous video of “Juvenescence” from the New York Guitar Festival sessions.

Ledward Kaapana and Friends — Waltz Of The Wind (Dancing Cat Records, 1998)

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This guy simply blew my mind. I’ve been recently introduced to Ledward Kaapana and Hawaiian slack key guitar by Daniel. He’s been doing his thing since the 1970s at least; he has a very nurtured YouTube channel from where you can also find classes! His style is unique, and he has a terrific feel for the rhythmic parts. He’s got this joyful mood that brightens the melody patterns and generally rubs off on the atmosphere. The song “Radio Hula” is probably his most popular hit and there’s this version of it on his channel that is so cool.

Daniel Bachman — Almanac Behind (Three Lobed Recordings, 2022)

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Here I am with the last release from Daniel Bachman, who I already named. This album/film is something that elevates Daniel’s work on another peak. In my opinion, this is the most authentic and touching contemporary political and artistic statement of the last years. There’s an explicit vision of what the climate catastrophe is and how we already crossed the safety guard. This concept resonates in the folds of the sound, sculpting it with new elements such the digital post process (cut-and-pasted slide guitar, pitch drops, glitches), AM and FM radio and a horizontal view of the mix, which knocks you to the couch with ease. There’s something in this album that goes even far beyond music and arts. It’s a hub.

#dusted magazine #listed #davide cedolin #sonic youth #pelt #grateful dead #john fahey #jack rose #ryley walker #elizabeth cotten #hobart smith #steve gunn #daniel bachman #bola sete #yasmin williams #ledward kaapan

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