To this day he calls O’Rourke’s 1997 instrumental album, Bad Timing, an all-time favorite-its constantly transforming four-part suite, though rooted in a Fahey-esque fingerstyle approach, adds brass fantasias, drones, tape-music disruptions, and marches, among other things. While in high school in his native Rockford, Walker discovered the polyglot music of former Chicagoan Jim O’Rourke. On Evidence he plays impressive albeit slightly derivative John Fahey-esque fingerstyle guitar, but if you went to one of his gigs at the time, you’d be more likely to find him strangling the strings of an electric at one of Myopic Books‘ improv sessions or using it to whip up an unholy din at underground space Mortville-he did most of his acoustic playing in private. When I first wrote about Walker for the Reader in May 2011, he’d just released The Evidence of Things Unseen via local cassette label Plustapes, which had earlier put out a tape of blown-out noise called Tiny Cancer that Walker made with Tiger Hatchery bassist Andrew Scott Young (under the name Wyoming).
Now, he resolved, it was time to start focusing. “Luckily, I was still on my parents’ health insurance.” As he recuperated at home after a couple days in Illinois Masonic, he made a decision: Though he’d been throwing himself into music since he was a teenager, his ravenous, equal-opportunity ears had made it tough for him to stick to any one sound, instead leading him by turns into punk rock, noise, folk, free jazz, and anything else that caught his interest.
#Ryley walker chords cracked#
“I cracked my skull, and I’m pretty much deaf in my left ear,” Walker, 25, says with equanimity. In July 2012, as Wicker Park Fest wound down, Chicago guitarist Ryley Walker was riding his bike south on Damen below Division when a hit-and-run driver clipped him from behind. Sommelier Series (paid sponsored content).
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