If there’s a place where that self-consciousness falls away and Walker roams (almost) free, it’s in the authentic present of his music. Whether it’s in interviews, onstage chat or his Twitter feed, Walker is always ready with a pin, to prick truth’s painful swelling or any hint of pretentiousness. It’s a slyly humorous detail that speaks volumes most obviously, about his deep, oft-declared love for that music, which has a role here, but also his habit of self-mocking. So if you ever do find yourself swept into space (hey, who knows?), I just hope these tunes are on your playlist.Load a promotional copy of Ryley Walker’s fifth solo album into iTunes and the descriptor “prog fucking rock” appears beneath the title and his name. They continue to expand their personal universe with Sweep It Into Space, without ever losing their central core. They have a signature sound as sure as the Stooges or Sonic Youth or Discharge ever did. And there are anomalies, like “Take It Back,” which starts with a blue-beat rhythm putting one in mind of Keith Richards' Jamaican explorations (at least for a little bit.)īut there are very few moments where you wouldn't know you were hearing Dinosaur Jr. Some are power ballads, like “And Me,” its lyrics atomized in a manner invented by Mascis, then famously borrowed by Kurt Cobain. Some are guitar howlers, like “I Met the Stones,” with a string sound midway between Hendrix and Asheton. J's tracks flow and flower in the different directions he often follows. And the album's closer, “You Wonder,” is a strangely excellent answer to the question - “How would Blue Oyster Cult handle a country tune?” “Garden” is a mid-paced ballad with genteel guitar filigree giving it a '60 Brit feel in spots. Lou's songs here are as elegant as always. As is typical, Lou Barlow writes and sings two of the album's dozen tunes and Murph's pure-Flinstonian drumming drives the record like a go cart from Hell. Indeed, Sweep It Into Space is a very cool album.
But when the Lock Down happened in March, that meant I was on my own. Like the mini digital mellotron on 'Take It Back.' Originally I'd thought I'd have Ken Mauri (who has done keyboard work for Dino in the past) come in and play piano. So I just ended up doing more things by myself. “But the recording session was pretty well finished by the time things really hit the fan. I was listening to a lot of Thin Lizzy, so I was trying to get some of that dueling twin lead sound. J Mascis says, “Kurt played little lead things, like 12 string one at the beginning of 'I Ran Away.' Then I ended up just mimicking a few things he'd done. The only extra musician used this time with Kurt Vile. Recorded, as usual, at Amherst's Biquiteen, the sessions for Sweep It Into Space began in the late Autumn of 2019, following a West Coast/South East tour. produces is nothing but a beautiful new version of the rock continuum - riff, power, beat and longing, created with an eye on the infinite future. The subsequent generations of bands who grew up breathing Dino's fumes managed to tinker around with the edges of their original post-hardcore song-forms enough for listeners to realize there had always been melodies at the center of everything they did. In the decades since the release of Dinosaur Jr.'s original triptych of foundational albums, it has become clear that their sound - once hailed as a sort of almost-tamed noise - is/was/always-has-been fully functioning pop music of a sort. And Sweep It Into Space is a masterpiece of zoned dialing. But it would take more than a mere Plague to tamp down the exquisite fury of this trio when they are fully dialed-in. Originally scheduled for issue in mid 2020, this record's temporal trajectory was thwarted by the coming of the Plague. Here is Sweep It Into Space, the fifth new studio album cut by Dinosaur Jr.
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