And on his newest album, his Twitter persona seems, at first, to finally overtake his musical self. We work hard to make them sound good Spotify stream sound like doo doo pie.” He is, as they say, a loose cannon. Another favorite: “Please pirate my music from a torrent website.
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“Greta Van Fleet sounds like a free mp3 download card that came with a chain wallet,” he shit-posted recently about the Michigan rock band. It’s a career that includes four albums of original songs since 2014 (including this year’s Deafman Glance), as well as studio collaborations with improvisers like MacKay and Charles Rumback, and a catalog of unofficial live recordings documenting a rapidly changing musician. With a Twitter account that reveals him as one of his generation’s sharpest collectors of folklore from what he happily calls a “low-totem-pole, indie-rock career,” his public persona is the type that sometimes distracts from the content of his music. “I don’t take myself very seriously at all,” the 29-year-old Walker says a few days later, hanging out by the South Williamsburg waterfront, speaking in a charming slacker-stoner drawl. He and Bill MacKay launch into another acoustic guitar duo, spidering and complex. Then, the guitarist gives out his home address, emphasizing that he really means it, and the laughter gets a little more nervous. Onstage at Brooklyn’s Union Pool during a flash-flood filled August Saturday, Ryley Walker invites the packed room to come visit him in Chicago and stay on his couch. He’s not trolling you: Ryley Walker takes a deep-dive into Dave Matthews Band’s lost album The Lillywhite Sessions that’s all love letter and little irony.
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