{"id":47,"date":"2023-12-19T14:54:11","date_gmt":"2023-12-19T14:54:11","guid":{"rendered":"https:\/\/flatplanplus.io\/mojo\/?p=47"},"modified":"2024-01-15T10:40:06","modified_gmt":"2024-01-15T10:40:06","slug":"bill-ryder-jones","status":"publish","type":"post","link":"https:\/\/flatplanplus.io\/mojo\/2023\/12\/19\/bill-ryder-jones\/","title":{"rendered":"Bill Ryder-Jones Test 001"},"content":{"rendered":"\n[et_pb_section fb_built=”1″ _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_row _builder_version=”4.20.4″ _module_preset=”default” width=”100%” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_code module_class=”custom-cat” _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]
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\t\tMojo<\/pee>\t<\/div>\t
\t\tPresents<\/pee>\t<\/div><\/div>[\/et_pb_code][et_pb_text module_class=”article-title” _builder_version=”4.20.4″ _module_preset=”default” header_font=”||||||||” header_text_align=”center” header_text_color=”#E69573″ header_font_size=”68px” custom_margin=”40px||||false|false” global_colors_info=”{}”]

Bill Ryder-Jones<\/b><\/h1>[\/et_pb_text][et_pb_text module_class=”intro-text” _builder_version=”4.20.4″ _module_preset=”default” text_orientation=”center” global_colors_info=”{}”]

From teenage guitar prodigy in The Coral, to master singer-songwriter, via shifts for Arctic Monkeys and production for Michael Head, Bill Ryder-Jones<\/span> has packed a lot into his 40 years. But there\u2019s a lot more to unpack, too, beginning with the childhood tragedy that\u2019s defined his life and music ever since. \u201cI\u2019d spent years screaming into the void,\u201d he tells Dorian Lynskey<\/span>.<\/p>[\/et_pb_text][et_pb_text module_class=”credit-main” _builder_version=”4.20.4″ _module_preset=”default” text_font=”||||||||” text_font_size=”16px” text_orientation=”center” global_colors_info=”{}”]

Photography by <\/span>Marieke Macklon<\/span><\/p>[\/et_pb_text][et_pb_image src=”https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/7\/2023\/12\/hero-image.jpg” title_text=”hero-image” _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][et_pb_text module_class=”image-gallery-caption” _builder_version=”4.20.4″ _module_preset=”default” text_font=”|300|||||||” text_font_size=”16px” text_line_height=”1.2em” custom_margin=”-10px||||false|false” global_colors_info=”{}”]

Something on his mind: Bill Ryder-Jones at home in West Kirby, Wirral, 2023.<\/p>[\/et_pb_text][et_pb_text module_class=”text-with-dropcap” _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]

THE 2020 LOCKDOWN WAS NO PICNIC FOR ANYBODY, BUT FOR BILL RYDER-JONES it was \u201cfucking unbearable\u201d. His girlfriend of three months was meant to be stopping over with him in West Kirby before moving to Los Angeles but they were thrown together indefinitely. His mental health, already precarious, went downhill fast. Bad habits escalated. The relationship did not last. \u201cWe were both mad,\u201d he says now. \u201cThe whole thing was a blur. I was taking so much Valium just to deal with the news. I\u2019m unquestionably a different person since the pandemic.\u201d<\/p>[\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]

Ryder-Jones\u2019s only lifeline was writing songs with titles such as This Can\u2019t Go On and Nothing To Be Done. From that horrendous period was born Iechyd Da<\/i>, the most expansive and (surprisingly) hopeful record of his career. Since leaving psychedelic urchins The Coral in 2008, his tuneful late-night confessions have taken different forms \u2013 a Wirral Bill Callahan on 2013\u2019s A Bad Wind Blows In My Heart<\/i>, skewed indie-rock frontman on 2015\u2019s West Kirby County Primary<\/i>, king of pain on 2018\u2019s Yawn<\/i> \u2013 but never one so abundantly beautiful. Three years in the making, the album has the grand cosmic ache of Mercury Rev\u2019s Deserter\u2019s Songs<\/i>: big-sky music for introverts.<\/p>[\/et_pb_text][et_pb_image src=”https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/7\/2023\/12\/image00.jpg” title_text=”image00″ _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][et_pb_text module_class=”image-gallery-caption” _builder_version=”4.20.4″ _module_preset=”default” text_font=”|300|||||||” text_font_size=”16px” text_line_height=”1.2em” custom_margin=”-10px||||false|false” global_colors_info=”{}”]

William, it was really something: The Coral take the Hoylake air, 2002 (from left) Ian Skelly, Paul Duffy, Lee Southall, James Skelly, Nick Power, Bill Ryder-Jones.<\/p>[\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]

\u201cMaking the record becomes your life,\u201d he says. \u201cIt\u2019s a million miles away from when a group is three albums in and says, \u2018We\u2019ve got to get a synth.\u2019 It was like, How the fuck am I going to get through this next two weeks? To write about myself and make it sound pretty just consumed me. Because I had so much time I just kept going. Like Forrest Gump.\u201d He gives a rich, rueful laugh. \u201cKeep running.\u201d<\/p>[\/et_pb_text][et_pb_text module_class=”pull-quote” _builder_version=”4.20.4″ _module_preset=”default” header_2_text_align=”center” header_2_font_size=”46px” header_2_line_height=”1.2em” custom_margin=”||0px||false|false” global_colors_info=”{}”]

\u201cThe early Coral years were mad, fun, Lawless.<\/b><\/span> I was very fucking young and I was mad as fuck.\u201d<\/b><\/span><\/h2>[\/et_pb_text][et_pb_text module_class=”pullquote-name” _builder_version=”4.20.4″ _module_preset=”default” header_2_text_align=”center” header_2_font_size=”46px” header_2_line_height=”1.2em” header_3_text_align=”center” header_3_text_color=”#E69573″ header_3_font_size=”38px” global_colors_info=”{}”]

Bill Ryder-Jones<\/b><\/h3>[\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]

To meet Ryder-Jones on home turf, you would never guess that he finds life a struggle. Still boyish and tousled, the 40-year-old is quick-witted, charming, an instant hit. His new girlfriend, up from London for the day, is clearly smitten when we later adjourn to the pub where he plays quizmaster every Monday night. In The Coral, his musical home between the ages of 13 and 25, Ryder-Jones\u2019s ability to conceal his problems was itself a problem. Because he was mute in interviews and not yet a lyricist, nobody outside the band knew what he thought. Inside the band, his feelings were too easily occluded by skunk fumes. Only after he had left, in a state of psychic crisis, did he learn to stare his troubles in the eye.<\/p>\n

\u201cAfter my breakdown I thought it\u2019s too much pressure pretending you\u2019re fine,\u201d he says. \u201cI started being honest about myself and I couldn\u2019t shut up.\u201d He laughs at his own expense. \u201cI\u2019d spent years screaming into the void \u2013 someone pay attention! \u2013 but without actually saying anything, so I thought, Fuck it, I\u2019ll do it.\u201d<\/p>[\/et_pb_text][et_pb_text module_class=”text-with-dropcap” _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]

RYDER-JONES\u2019S YAWN STUDIO IS A SHORT WALK from West Kirby station, but then everywhere is a short walk in West Kirby, a small coastal town at the tip of the Wirral peninsula. Take the train from Liverpool, it\u2019s the end of the line. He can\u2019t move away as long as his studio and his mother are here, but he doesn\u2019t particularly want to. \u201cIt\u2019s a stunning place. Quiet, calm. Nobody bothers their arse with me.\u201d<\/p>\n

Yawn is on the humble side, too, crammed with amps, guitars, keyboards, pedals and a piano in a state of preposterous disrepair. A picture of Goodison Park, Everton\u2019s home ground, takes pride of place on the wall. This is where Ryder-Jones has been blossoming as a producer for the past few years: Dear Scott<\/i>, by Scouse-rock elder Michael Head and his Red Elastic Band, was MOJO\u2019s favourite album of 2022. \u201cThat\u2019s how I live,\u201d Ryder-Jones says with a shrug, igniting a CBD roll-up in the control room. \u201cI don\u2019t make money off my records.\u201d He does love it, though, helping musicians to manifest their ideas and communicate better than his old band ever could.<\/p>[\/et_pb_text][et_pb_gallery gallery_ids=”57,56″ fullwidth=”on” module_class=”fp-gallery” _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_gallery][et_pb_text module_class=”image-gallery-caption” _builder_version=”4.20.4″ _module_preset=”default” text_font=”|300|||||||” text_font_size=”16px” text_line_height=”1.2em” custom_margin=”-10px||||false|false” global_colors_info=”{}”]

From Left: On the waterfront: Ryder-Jones in 2013; backstage with The Coral, Brixton Academy, 2003.<\/p>[\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]

Ryder-Jones has learned to acknowledge Daniel \u2013 an eponymous song on West Kirby County Primary<\/i>, a snapshot on the cover of Yawn<\/i> \u2013 but for years that felt impossible. Eating pizza with The Coral one night, their eccentric manager Alan Wills (who died in 2014) said Daniel\u2019s name for the first time. \u201cHe threw it out like it was nothing. That name at home was hushed if it was said at all. It was a massive moment in my life \u2013 a huge amount of relief.\u201d<\/p>\n

On the studio wall, opposite Goodison Park, hangs a framed photograph of the nascent Coral, lined up against a brick wall. They look startlingly young, and Ryder-Jones was the youngest of the lot: just 16 when they signed to Wills\u2019 label Deltasonic and 18 when they released their debut album. \u201cI was just a pothead who played guitar,\u201d he says. \u201cThe early Coral years were mad, fun, lawless.\u201d He was a riveting guitarist, attracting praise from Noel Gallagher and Paul Weller. \u201cI don\u2019t even think I was the best guitarist in The Coral,\u201d he demurs, \u201cbut I was very fucking young and I was mad as fuck.\u201d<\/p>\n

Among other things, Ryder-Jones had undiagnosed ADHD, complex PTSD and stage fright that caused him to vomit before shows: \u201cThat\u2019s why I was so thin.\u201d Looking back, he sees his mental health problems as an unexploded bomb that everybody was studiously ignoring, himself included. During the recording of The Coral\u2019s fourth album, The Invisible Invasion<\/i>, in 2005, panic attacks and night terrors precipitated his first breakdown and temporary departure. \u201cI think the term was \u2018go and get your head sorted.\u2019 That was how it was back then.\u201d Lured back too soon, for 2007\u2019s Roots & Echoes<\/i>, Ryder-Jones crashed again, much harder: agoraphobia, monophobia, dissociative disorder, total retreat from the world.<\/p>\n

Ryder-Jones still has unresolved issues with The Coral but allows, \u201cWe were kids. I\u2019m not angry at them for anything that happened to me. We all had to eat a bit of shit. A spoonful now and then doesn\u2019t do you any harm.\u201d He still sees the members who live in West Kirby, including regular pints with drummer Ian Skelly and a monthly coffee with frontman James Skelly, who experienced his own breakdown a few years after Ryder-Jones. \u201cJames was always very good at hiding that, as we all were. I\u2019m without question the sanest member of that band.\u201d He chuckles. \u201cBut certain members are tougher than I am. I was built a bit more crumbly: a Wensleydale as opposed to their Red Leicester.\u201d<\/p>\n

For a while, Ryder-Jones thought he was done with music forever. \u201cI didn\u2019t like it. It wasn\u2019t making me happy.\u201d He opted to study the social and economic history of Liverpool at the University of Liverpool (\u201cthe most Liverpudlian course!\u201d) but could only manage three months. Eventually he returned to music because he didn\u2019t know how else to live. \u201cI had no money,\u201d he says flatly. \u201cI left The Coral with seven grand.\u201d<\/p>\n

Laurence Bell from Domino Records offered him a deal on the strength of his stark MySpace demos but Ryder-Jones\u2019s first release, If<\/i>\u2026, was a form of concealment: an instrumental suite for the Royal Liverpool Philharmonic based on Italo Calvino\u2019s cult novel If On A Winter\u2019s Night A Traveller. Due to his dissociative disorder, not yet medicated, Ryder-Jones can barely remember making it, but the warm reception was a pleasant shock: \u201cI\u2019d never really thought of myself as particularly talented.\u201d Opening up in interviews encouraged him to do likewise in song, starting with the croaky, tentative folk-rock of 2013\u2019s A Bad Wind Blows In My Heart<\/i>.<\/p>[\/et_pb_text][et_pb_gallery gallery_ids=”55,54″ fullwidth=”on” _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_gallery][et_pb_text module_class=”image-gallery-caption” _builder_version=”4.20.4″ _module_preset=”default” text_font=”|300|||||||” text_font_size=”16px” text_line_height=”1.2em” custom_margin=”-10px||||false|false” global_colors_info=”{}”]

From Left: On-stage in Liverpool, 2019; Bill the producer with satisfied customer Mick Head, 2023.<\/p>[\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]

If it seems extraordinary that Ryder-Jones was psychologically fit enough to play guitar on Arctic Monkeys\u2019 2013 stadium tour, then he\u2019s as surprised as you are: \u201cHonestly it kills me when I think back. I don\u2019t know how I did it. It doesn\u2019t feel like me.\u201d The tour gave him a glimpse of the road not taken. \u201cIt was mad. Massive shows with people screaming all the time. And at the same time they\u2019re just northern divvies like The Coral. I really enjoyed it. But I wouldn\u2019t want to do it for a living. It\u2019s not real life, that.\u201d<\/p>\n

Ryder-Jones\u2019s love of ill-starred Americana has long been evident, but his new prowess in the producer\u2019s chair enabled him to tap into two of his foundational influences, The Beatles and the Wu-Tang Clan. \u201cThere\u2019s so much information in those records,\u201d he gushes. \u201cI wanted to make a record that had a lot going on.\u201d In the case of the soaring, yearning Iechyd Da<\/i>, \u201ca lot\u201d includes a children\u2019s choir, a ghostly Gal Costa sample, disco strings, Easter-egg callbacks to his older songs and Mick Head reciting a passage from Ulysses.<\/p>\n

It\u2019s the first album that Ryder-Jones can listen to with unalloyed pleasure. With Yawn<\/i>\u2019s post-grunge requiem, he says, \u201cThe hope had completely fallen out of it.\u201d This time, the most daring thing he could try was optimism, of a kind. \u201cThere\u2019s something great about life,\u201d he croons with dazed wonder on It\u2019s Today Again. \u201cBut there\u2019s something not quite right.\u201d The house on the front cover and the collage of family photographs on the back are invitations to \u201ca brighter world,\u201d he says. \u201cThe idea is you open up and go in.\u201d<\/p>[\/et_pb_text][et_pb_image src=”https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/7\/2023\/12\/image07.jpg” title_text=”image07″ _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][et_pb_text module_class=”image-gallery-caption” _builder_version=”4.20.4″ _module_preset=”default” text_font=”|300|||||||” text_font_size=”16px” text_line_height=”1.2em” custom_margin=”-10px||||false|false” global_colors_info=”{}”]

\u201cYou open up and go in\u201d: Ryder-Jones amid the splendour of Yawn Studio, West Kirby, 2023.<\/p>[\/et_pb_text][et_pb_text module_class=”text-with-dropcap” _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]

RYDER-JONES TURNED 40 last August and he wasn\u2019t at all happy about it. The milestone brought home all the things he would love to do \u2013 learn to drive, have kids \u2013 but doesn\u2019t feel able to. \u201cYou think, Oh, have I missed something quite cool here? I don\u2019t think about it a lot but when I do I think, Fucking hell\u2026 But at least I only look like I\u2019m 37. Sadly my testicles are a bit like Dorian Gray \u2013 they\u2019re picking up the weight.\u201d<\/p>[\/et_pb_text][et_pb_text module_class=”pull-quote” _builder_version=”4.20.4″ _module_preset=”default” header_2_text_align=”center” header_2_font_size=”46px” header_2_line_height=”1.2em” custom_margin=”||0px||false|false” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

\u201cWithout drink or drugs<\/b><\/span> I have not been calm or carefree for any period of time.\u201d<\/b><\/h2>[\/et_pb_text][et_pb_text module_class=”pullquote-name” _builder_version=”4.20.4″ _module_preset=”default” header_2_text_align=”center” header_2_font_size=”46px” header_2_line_height=”1.2em” header_3_text_align=”center” header_3_text_color=”#E69573″ header_3_font_size=”38px” global_colors_info=”{}”]

Bill Ryder-Jones<\/b><\/h3>[\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]

He has a great therapist these days, he forces himself to exercise, and he\u2019s delighted that mental health is no longer taboo, but nothing is easy. \u201cIt never goes away,\u201d he says with an exhausted sigh. \u201cI\u2019ve just been managing. That\u2019s how I live \u2013 just managing from one day to the next. Without drink or drugs I have not been calm or carefree for any period of time. I pretty much don\u2019t leave West Kirby \u2013 certainly not on my own. It\u2019s fucking shit but what are you going to do?\u201d<\/p>\n

Does he think it all comes back to that day in Wales in 1991?<\/p>[\/et_pb_text][et_pb_image src=”https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/7\/2023\/12\/image08.jpg” title_text=”image08″ _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]

\u201cMy family definitely has a genetic predisposition to mental ill health but my problems are very specific,\u201d he says carefully. \u201cIt\u2019s sort of textbook the way I\u2019ve reacted to an event like that.\u201d He clears his throat. \u201cI can\u2019t picture myself without Daniel\u2019s death. Everything I have\u2026 When he died I started wearing his clothes. I started to play the violin and piano because he did \u2013 filling a hole for my mother. That took me on that journey and now I\u2019m here and I\u2019ve got a studio and it\u2019s great.\u201d<\/p>\n

Ryder-Jones looks around the control room and falls silent, unsure what to do with the insoluble fact that the worst thing that ever happened to him is the reason why he is here.<\/p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ module_class=”custom-boxout” _builder_version=”4.20.4″ _module_preset=”default” background_color=”#DFC0AE” custom_padding=”40px|0px|40px|0px|true|true” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″][et_pb_row _builder_version=”4.20.4″ _module_preset=”default” width=”100%” custom_padding=”0px|20px|0px|20px|true|true” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_text module_class=”boxout-title” _builder_version=”4.20.4″ _module_preset=”default” header_2_text_align=”center” header_2_font_size=”46px” header_2_line_height=”1.2em” header_3_font=”|||on|||||” header_3_text_align=”center” header_3_text_color=”#E69573″ header_3_font_size=”38px” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

Ryder’s on the storm<\/span><\/b><\/span><\/h3>[\/et_pb_text][et_pb_text module_class=”boxout-intro” _builder_version=”4.20.4″ _module_preset=”default” text_font_size=”24px” text_orientation=”center” global_colors_info=”{}”]

Four key Bill Ryder-Jones<\/strong> albums on the path to Iechyd Da<\/i>.<\/p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row module_class=”details-group” _builder_version=”4.20.4″ _module_preset=”default” width=”100%” custom_padding=”0px|20px|0px|20px|true|true” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_text module_class=”writer-name” _builder_version=”4.20.4″ _module_preset=”default” text_font=”|700||on|||||” text_text_color=”#F4F4F4″ text_font_size=”24px” custom_margin=”50px||5px||false|false” global_colors_info=”{}”]

The Coral<\/p>[\/et_pb_text][et_pb_text module_class=”album-name” _builder_version=”4.20.4″ _module_preset=”default” text_font=”|700|||||||” text_text_color=”#111111″ text_font_size=”24px” custom_margin=”||5px||false|false” global_colors_info=”{}”]

The Invisible Invasion<\/b><\/p>[\/et_pb_text][et_pb_text module_class=”record-label” _builder_version=”4.20.4″ _module_preset=”default” text_font=”||||||||” text_text_color=”#111111″ text_font_size=”24px” global_colors_info=”{}”]

(Deltasonic, 2005)<\/em><\/p>[\/et_pb_text][et_pb_text module_class=”text-with-image” _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]

\"\"Songwriting credits alone are a poor indicator of Ryder-Jones\u2019s importance to The Coral, but he peaked with three on their Portishead-produced last album before his forced sabbatical, including the ghostly A Warning To The Curious and the unbridled guitar mayhem of Come Home. A band growing up yet falling apart.<\/p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row module_class=”details-group” _builder_version=”4.20.4″ _module_preset=”default” width=”100%” custom_padding=”0px|20px|0px|20px|true|true” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_text module_class=”writer-name” _builder_version=”4.20.4″ _module_preset=”default” text_font=”|700||on|||||” text_text_color=”#F4F4F4″ text_font_size=”24px” custom_margin=”50px||5px||false|false” global_colors_info=”{}”]

Bill Ryder-Jones<\/p>[\/et_pb_text][et_pb_text module_class=”album-name” _builder_version=”4.20.4″ _module_preset=”default” text_font=”|700|||||||” text_text_color=”#111111″ text_font_size=”24px” custom_margin=”||5px||false|false” global_colors_info=”{}”]

A Bad Wind Blows In My Heart<\/b><\/p>[\/et_pb_text][et_pb_text module_class=”record-label” _builder_version=”4.20.4″ _module_preset=”default” text_font=”||||||||” text_text_color=”#111111″ text_font_size=”24px” global_colors_info=”{}”]

(Domino, 2013)<\/em><\/p>[\/et_pb_text][et_pb_text module_class=”text-with-image” _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]

\"\"After the wholly instrumental If<\/i>\u2026, Ryder-Jones emerged as a singer-songwriter like someone waking from a long slumber and getting used to his own voice. \u201cSometimes I feel I don\u2019t exist,\u201d he rasps on Christina That\u2019s The Saddest Thing. Like Bill Callahan or Elliott Smith, he excavates his troubles via delicate folk rock.<\/p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row module_class=”details-group” _builder_version=”4.20.4″ _module_preset=”default” width=”100%” custom_padding=”0px|20px|0px|20px|true|true” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_text module_class=”writer-name” _builder_version=”4.20.4″ _module_preset=”default” text_font=”|700||on|||||” text_text_color=”#F4F4F4″ text_font_size=”24px” custom_margin=”50px||5px||false|false” global_colors_info=”{}”]

Bill Ryder-Jones<\/p>[\/et_pb_text][et_pb_text module_class=”album-name” _builder_version=”4.20.4″ _module_preset=”default” text_font=”|700|||||||” text_text_color=”#111111″ text_font_size=”24px” custom_margin=”||5px||false|false” global_colors_info=”{}”]

West Kirby County Primary<\/b><\/p>[\/et_pb_text][et_pb_text module_class=”record-label” _builder_version=”4.20.4″ _module_preset=”default” text_font=”||||||||” text_text_color=”#111111″ text_font_size=”24px” global_colors_info=”{}”]

(Domino, 2015<\/em>)<\/em><\/p>[\/et_pb_text][et_pb_text module_class=”text-with-image” _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]

A\"\"fter junking a whole album with producer James Ford, Ryder-Jones turned up the amps on the post-Coral release that sounds most like a full-blown rock band, with thick shades of Pavement and Gorky\u2019s Zygotic Mynci, his \u201cfavourite group of all time\u201d. Satellites and Daniel are the two soul-baring cornerstones.<\/p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row module_class=”details-group” _builder_version=”4.20.4″ _module_preset=”default” width=”100%” custom_padding=”0px|20px|0px|20px|true|true” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_text module_class=”writer-name” _builder_version=”4.20.4″ _module_preset=”default” text_font=”|700||on|||||” text_text_color=”#F4F4F4″ text_font_size=”24px” custom_margin=”50px||5px||false|false” global_colors_info=”{}”]

Bill Ryder-Jones<\/p>[\/et_pb_text][et_pb_text module_class=”album-name” _builder_version=”4.20.4″ _module_preset=”default” text_font=”|700|||||||” text_text_color=”#111111″ text_font_size=”24px” custom_margin=”||5px||false|false” global_colors_info=”{}”]

Yawn<\/b><\/p>[\/et_pb_text][et_pb_text module_class=”record-label” _builder_version=”4.20.4″ _module_preset=”default” text_font=”||||||||” text_text_color=”#111111″ text_font_size=”24px” global_colors_info=”{}”]

(Domino, 2018<\/em>)<\/em><\/p>[\/et_pb_text][et_pb_text module_class=”text-with-image” _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]

\u201c\"\"It was me doubling down on being fucking sad,\u201d Ryder-Jones says of his noisiest, most desperate album. Heavily influenced by Red House Painters, this beautifully produced slowcore lament moves like a black freighter: majestic but oppressive. The following year, he rearranged the whole thing for piano as Yawny Yawn<\/i>.<\/p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.20.4″ _module_preset=”default” custom_margin=”0px||||false|false” custom_padding=”0px||||false|false” global_colors_info=”{}”][et_pb_row _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_divider color=”#111111″ module_class=”custom-divider” _builder_version=”4.20.4″ _module_preset=”default” custom_margin=”||0px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}”][\/et_pb_divider][et_pb_text module_class=”credit-names” _builder_version=”4.20.4″ _module_preset=”default” text_font_size=”14px” text_orientation=”center” global_colors_info=”{}”]

Marieke Macklon(2); Howard Barlow\/Getty; Ian Whent, Chris Lever\/Shutterstock, Matt Thomas, John Johnson<\/p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]\n","protected":false},"excerpt":{"rendered":"

Bill Ryder-JonesFrom teenage guitar prodigy in The Coral, to master singer-songwriter, via shifts for Arctic Monkeys and production for Michael Head, Bill Ryder-Jones has packed a lot into his 40 years. But there\u2019s a lot more to unpack, too, beginning with the childhood tragedy that\u2019s defined his life and music ever since. \u201cI\u2019d spent years […]<\/p>\n","protected":false},"author":3,"featured_media":61,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","_lmt_disableupdate":"","_lmt_disable":"","footnotes":""},"categories":[7],"tags":[],"class_list":["post-47","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-mojo-presents"],"acf":[],"modified_by":"jgerardo","_links":{"self":[{"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/posts\/47","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/comments?post=47"}],"version-history":[{"count":10,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/posts\/47\/revisions"}],"predecessor-version":[{"id":527,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/posts\/47\/revisions\/527"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/media\/61"}],"wp:attachment":[{"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/media?parent=47"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/categories?post=47"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/tags?post=47"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}