Deafman Glance Out May 18th On Dead Oceans
Ryley Walker is sharing the second single, ‘Opposite Middle,’ from his forthcoming album, Deafman Glance, out May 18th on Dead Oceans. Premiering via Noisey, it follows the previously released single ‘Telluride Speed’ and marks the expansion of Ryley’s world tour in support of Deafman Glance.
“‘Opposite Middle’ was the last tune written for the record,” says Ryley. “At first it was slow. Like crawling pace. What a bummer that would have been, yeah? Somehow it worked itself out to become the only bonafide fast jammer on the record. I was thinking a lot about making my brain work better and the guitar playing of David Grubbs and Steve Hackett. I can’t play as well as either of them but I was thinking about it. Thank you for scoping this out. Really appreciate it. This one is fun to play live. Really can’t wait for the gigs.”
Listen To Ryley Walker’s ‘Opposite Middle’:
“Walker moves with fluid assurance, harnessing his fresh influences to find a vivid new focus.” – Pitchfork
“Deafman Glance sounds like his masterpiece.” – Stereogum
Deafman Glance is the second Ryley Walker album produced by LeRoy Bach and Walker himself. It was largely recorded at the Minbal (now JAMDEK) Studios in Chicago. Some later sessions also took place at USA Studios and in LeRoy’s kitchen. Cooper Crain (Bitchin’ Bajas, Cave) recorded and mixed the album, as well as adding his shimmering synths all over it. Ryley plays electric & acoustic guitars and was joined by long-time 6-string sparring partners, Brian J Sulpizio and Bill Mackay, who both play electric. LeRoy Bach also plays some electric guitar, whilst adding all piano and other keys. Andrew Scott Young and Matt Lux play bass – Andrew supplying some double-bass, both of them played electric. Drums / percussion are handled by Mikel Avery and Quin Kirchner. Topping off this list of notorious Chi-Town players is Nate Lepine, who added a lot of flute and a little saxophone too.
Deafman Glance will be available digitally, on CD and on LP, which was cut by Miles Showell at Abbey Road Studios in London, using his half-speed mastering method for the greatest possible audio detail and fidelity.
Listen:
