Ryley Walker - A timeless songwriter

After moving to New York, a suicide attempt and the long period of physical and mental rehabilitation that followed, plus the creation of his own label Husky Pants Records, the Illinois singer/guitarist has finally returned to make his voice heard and record a new album with a veteran of the Chicago scene, John McEntire, behind the mixing desk. “Course In Fable” came out on April 2nd. With a mix of happiness and emotion, we got in touch with Ryley Walker for a lovely exclusive interview that touched on a great many topics: from the evolution of his sound to his stylistic references, through the genesis of the new album and his future plans.

Hi Ryley, first of all we have to say we're especially happy about your return to the scene. You've always been a hard worker, and we imagine it wasn't easy for you to take such a long break to rebuild yourself. What was the spark that pushed you to start working on a new album?

I'm happy to say I'm back, and I think my new music is the best I've ever made. I've worked a lot on myself, digging deep into my soul, and I've managed to find a lot of joy in everyday life. That's a great inspiration for me to keep creating new sounds.

Your music has two faces, and I've always found that approach really exciting and fascinating. Is it a natural process for you to create such an incredible, adventurous balance between experimentation and classic structure?

All my favourite records always push past the limits. I love breaking the rules. I think it's essential to never do the same thing twice.

From folk to Derek Bailey, by way of the Chicago scene of the 90s and all its ideas: the improv-jazz and post-rock scene. Did you choose John McEntire as producer specifically to capture that atmosphere?

John was without a doubt one of the architects behind that "Chicago sound", with Tortoise, Sea And Cake and countless other projects. I've been a fan of John's work for many years. For him, producing this record is a dream come true. He was really approachable and friendly, and right away we created an atmosphere geared towards an accurate, clean sound. We were completely in sync on that, because I really wanted this record to sound as bright and clean as possible.

What percentage of the new album reflects your experiences of the last few years, and why did you move to New York?

I moved to New York City three years ago. I'm really happy to be here. I love huge cities that smell bad. So I feel completely at home here. This record was mainly inspired by being trapped in New York, since lately, like everyone else, I haven't been able to go anywhere!

How do you see your musical journey and the shifts in stylistic direction from your first album to your latest? I've noticed real progress in your vocal performances - it seems like you're more confident as a singer now. Am I wrong?

You're right, I think my singing has improved a lot. But, you know, I never had any professional training in music or performance, and I learned everything I know just by playing live and practising at home. I've been doing this for 10 years, so I hope I've really improved. Compared to when I started, I think my singing now is much more natural and relaxed. I probably should quit smoking too - maybe that would help as well.

Many people think of you as a songwriter tied to the British folk scene of the 70s, but I think that's a very superficial view, because your music is always evolving. Was your goal from the start to turn your old musical passions into something deeply personal and unconventional?

I'm a huge fan of British folk music, but it's important to always have the drive to move forward artistically. I'm someone who gets bored very easily, so I always have to find ways to challenge myself. I hope every record and every phase of my life is different. I can't just sit around doing nothing! These days, believe it or not, I'm obsessed with British and Italian progressive rock. There's some absolutely brilliant work there.

You've always loved working with other musicians, and collaboration between musicians was at the heart of the Chicago scene in the 90s. Tell me about your current collaboration with David Grubbs. He's one of my musical idols, and he's another artist who's known how to change, moving from Bitch Magnet to Gastr Del Sol, by way of jazz giants like Rob Mazurek and Mats Gustafsson. Are you planning to record an album with him after playing together at Café OTO, London's temple of improvisation?

Improvising with other musicians is without a doubt my favourite way of making music, and it's true that it's still a great tradition of the Chicago sound. I'm happy to have witnessed it firsthand in the past, and later on to have managed, in my own small way, to make a personal contribution too. Playing with David Grubbs is another dream come true. He's not just an extraordinary artist, but also a dear friend. We recorded an album together, which I plan to release this autumn. It's an honour for me.

What are your inspirations when writing lyrics? Your lyrics are always deeply layered, sometimes abstract and cryptic, but often with a dose of dark humour, and it's not always easy to grasp their meaning, maybe because they're so personal. How has your writing changed on the new album?

I'm always inspired by a stream of consciousness tied to paranoia. City life, cold walks, depression and drugs. It's all very personal, but I think other people can relate to what I write too.

The new record is only easier on the surface - it's something of a challenge for the listener, who has to pay close attention to catch every single detail. I found it very emotional and different from your other work, even though, at the same time, it's still marked by your distinctive style. What was your goal in writing "Course In Fable"? And how does it differ from its predecessors?

With this record, what I wanted above all was authenticity and honesty, and I think I hit that mark dead-on. It's my sound and my style, and I'm very proud of it. My goal was to create something as guitar-driven as possible, inspired by progressive rock. I'm a huge fan of the Genesis. I wanted an album that, from start to finish, had an overarching narrative tied to paranoia. All the songs were written on acoustic guitar, but I imagined them as big, epic rock pieces. Every track was rehearsed many times and recorded as a demo, so we knew exactly what to do once we got into the studio, something that never happened while making the previous albums.

I've always associated your music with a few indie labels you know very well, like Drag City or Thrill Jockey. Is the goal of your own label, Husky Pants, to become something like them, or did you create it to have full artistic freedom and to launch new artists?

I'm really happy to have my own label. It's small, but running it is extremely rewarding. I like the creative control and the chance to put out music by my friends. In the past I got a lot of help from record labels, but now I want to work on my own terms and my own timeline.

I've always been curious about musicians' own tastes. Sometimes I've been surprised to find they like music very different from what they actually make. In your case, I never would have imagined you'd put out a record like "The Lillywhite Sessions", dedicated to the production of the Dave Matthews Band. You've said yourself that you love progressive rock and the Genesis. But do you also love the Phil Collins-era Genesis? And which are your favorite bands, the ones you're still a diehard fan of?

Genesis are my favorite band of all time, and I love both the Peter Gabriel era and the Phil Collins era. I love everything about them. Does that make me crazy? Then I'm truly proud to be crazy. Besides Genesis, my favorite bands are: Sonic Youth, Sonny Sharrock, Thinking Fellers Union Local 282, electric-era Miles Davis, Gastr Del Sol, Papa M, Led Zeppelin and Pink Floyd.

What do you think of American politics, especially after this turbulent year marked by racial unrest, Trump's fall, and the pandemic?

I won't mince words. I think we're a deeply sick nation. God help us.

On your previous albums I loved the work of LeRoy Bach and Cooper Crain (also because I'm a fan of Wilco and Nick Cave). You've already worked with your current musicians before (Bill MacKay on guitar, Ryan Jewell on drums, and Andrew Scott Young on bass), and you can tell you're extremely in sync. Do you feel you've found the perfect partners in crime? And how did the idea of adding a small string section come about?

Yes, all the members of the band are old friends I love dearly. We have a great working relationship built on trust and musical harmony. I wouldn't have wanted anyone else on this record. They were my first choice from the start. Adding the strings was John's idea, and it was a very smart choice. They added tones of dramatic beauty to the music.

What are your plans for the future?

Working on more noise- and improvisation-related recordings, and learning to play better guitar solos.

Thank you so much for your patience and availability.

Thank you.

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