Hopefully the High Noon Saloon will be a more accommodating venue to the band’s extended soloing and Walker’s mumbly, Midwestern doofus stage banter when Walker and band played the Frequency a couple years back, the venue awkwardly tried to cut their two-hour set short by turning the house lights and music on after the end of a song. Live, they typically turn his songs into stretched-out long-form jams, but it will be interesting to see how they tackle Walker’s new, more structured material. Walker has always had a knack for assembling bands of top-notch musicians, and his grueling tour schedule results in a very tight band. The hazy flute-driven start of “Telluride Speed” gives way to cascading guitar passages before heading into a labyrinth of ever-changing driving riffs.ĭeafman Glance by Ryley Walker Deafman Glance by Ryley Walker Darker and less free-wheeling than previous albums, it’s a raw, challenging record that veers toward progressive jazz-rock. I didn’t want to be jammy acoustic guy anymore,” Walker says in notes to his newest album, this year’s Deafman Glance. “I wanted to make something deep-fried and more me-sounding. However, as his recent collaboration with noise-rock band Running shows, there’s more to Walker than his solo releases have let on. Walker has long been compared to world-weary 1970s folkies like Michael Chapman and Bert Jansch, with albums like 2015’s Primrose Green casting him as a pastoral, Astral Weeks-ish singer-songwriter. Ryley Walker has spent much of 2018 exploring a riskier, more personal musical palate. Reid KurkerewiczįRIDAY OCTOBER 5 Ryley Walker, Health&Beauty. The town’s criminal underworld and Jeffrey’s own sexuality unravel through surreal scenes that would appear random if Lynch didn’t signpost symbolically, with allusions to Freudian power dynamics bolstering the nightmarish quest. Postmodern playfulness turns serious when Jeffrey hides in suspect Dorothy Vallens’ (Isabella Rossellini) closet, and witnesses a shocking sexual attack, committed by the terrifying kidnapper Frank Booth (Dennis Hopper).
Violins swell as the camera rests on a “Lincoln Street” sign, which serves as a subtle civil war reference, not a mind-blowing plot revelation. Sandy Williams (Laura Dern) first appears from shadows with a backing orchestra, as if for the final romantic kiss.
As the mystery begins, Lynch deploys noir tropes that are initially hilarious. This discovery awakens Jeffrey’s need to understand an irrational crime. As Jeffrey tosses stones at this symbol, bored with nostalgia, he finds a moldy, severed ear at his feet. In an early landscape shot, an unkempt field with a rotting shed hints at humanity’s perverse relationship to nature. Dressed like a 1950s Cure fan, Jeffrey plods through uncanny references to Hollywood’s golden age. The film’s protagonist, Jeffrey Beaumont (Kyle MacLachlan), is a college boy drawn home after his father’s stroke.
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