Tag Archive: “TW Walsh”


Sometimes life is a struggle, and usually it’s about the smallest thing! First and foremost, I’m a fan of art and if I hear or see something that doesn’t fit my own view of what art is, I can do that. It’s an opinion and it’s my own. I mean, someone else I’m sure would have a different opinion on Lil Yacty, believing that his music is the next best thing. How he has over one million twitter follower I just don’t know. Even Charlamagne The God (Breakfast Club Morning Show) told him, “You are the poster child for wack rappers.” Do I digress? I usually do. But with that said, let’s get to the issue at hand.

For those that don’t know TW Walsh, it’s possibly one of the greatest disservices he would receive because Walsh’s volume of work speaks for itself. What is it, 6 albums now, not including his work with David Bazan’s Pedro The Lion or Headphones? Sounds about right. He’s released a new album today which is something I’ve been able to soak in, rotation after countless rotation. Terrible Freedom (Tower Of Song) is the name of the new album. Off the bat, the album takes a mid-tempo approach with the opener “My Generation.” His lyricism seems to show an observation on the culture of modern society in America. It could have turned into a depressingly dark opus but the tone of the music never let’s it dwell in a somber alleyway of despair. He pretty much nails what’s wrong with society today on that track, and gives you an idea that there are more problems than we think there are. But I’m getting lost here, and I’m not focusing much on his lyricism as I am soaking up the rhythms and beauty that’s created within the tracks here. “Dropout” is packed with metaphors but the track distracts, not letting me dissect the words, instead forcing me to soak up the summer magic that lies within it. I’m trying Walsh, I’m really trying but…that beat tho’.


If I’m overstepping boundaries, I apologize. But this album is cleverly tinged with 80s influences I can’t seem to grasp onto. His own press release reads, “The first two records TW Walsh ever bought with his own crumpled cash were Michael Jackson’s Thriller and Van Halen’s 1984. His dad’s vinyl collection was full of albums by The Stones, Zeppelin, and Neil Young, but young Timmy was watching Music Television the day it came on the air, and over the years MTV probably shaped him more than any other single cultural influence.” Yes, seems about right as “Dead Landmines”  circles around big sounds in small spaces. The guitar work strikes me that way while the underlying drifting keyboard adds to that feel. But I’m constantly rushing back to “High Numbers,” and just like “Dropout” it mixes in some classic sounds for 2017, depending on your interpretation of what ‘classic’ may be. But really though, TW Walsh isn’t out to change the world but to just give you interesting and amazing music at the same time with Terrible Freedom. This isn’t coming from a writer’s point of view but from a music fan’s perspective. Walsh should, without a doubt, go down into musical history as an artist that was worth listening to.


TW Walsh: Facebook // Twitter // Instagram

With a release date of 4/28/17, TW Walsh’s new album Terrible Freedom is set to make its mark.  Terrible Freedom is an album about fear and liberation, space and time, the self and the mind. Its themes are existential and broad, but they also characterize the cultural and political dumpster fire in which we find ourselves engulfed today. Walsh grew up in Reagan’s America (The New Cold War, the AIDS crisis, trickle-down economics, The War on Drugs), so Trump’s chaotic presidency is familiar territory.

If Terrible Freedom has a message, it’s to cultivate compassion and courage. If you can muster the strength, simply lean into the fear. All things must pass. Whatever comes, just let it arrive. He gives listeners a preview of the album with the thoughtful “My Generation.”

Website: http://twwalsh.com
Facebook: http://facebook.com/twilliamwalsh
Soundcloud: http://soundcloud.com/twwalsh
Bandcamp: http://twwalsh.bandcamp.com


Who doesn’t like TW Walsh? Well if you don’t I’m not sure what to tell you really. For years we’ve heard his name thrown around, most notably when he joined Dave Bazan’s Pedro The Lion before striking out on his own projects. But this isn’t a history lesson.

After providing musical and production assistance for a number of artists (Sufjan Stevens, Crystal Skulls, Starflyer 59, etc.) he’s finally releasing his full-length follow-up to 2011’s Songs Of Pain And Leisure entitled Fruitless Research on Graveface Records on February 12, 2016. The first single released is “Young Rebels” which has that classic indie rock sound before it became corrupted by mainstream outlets. But is it good? Yeah, to say the least. Walsh can hold his own with the best of them and this track is the evidence.

The Casket Girls EP

The Casket Girls, a three-piece band hailing from Savannah, GA comprised of Ryan Graveface (Black Moth Super Rainbow, The Marshmallow Ghosts, Dreamend) and newcomers, Elsa and Phaedra Greene made serious waves with their debut, Sleepwalking, came out in November and was well received for its dark, poppy and dreamy sensibilities.

Less than six months after The Casket Girls’ debut album, Sleepwalking, comes a brand new, five song self-titled EP due this Record Store Day (April 20). The songs pick up where they left off on Sleepwalking but there’s a sense of urgency that was not there previously. Perhaps a nod to the songs that will be on their second full-length album coming at the end of 2013.

Ghettoblaster caught up with vocalist Elsa Greene to discuss the EP.  This is what she said about it…

When did you begin writing the material for your most recent EP?

Some of the material on the EP was written at the very beginning of our collaboration. “Bloodstone” was the first song written in our band, while “Universal Language” was written very recently, so the EP sprawls and lounges across the bed of our existence.

What was the most difficult song to take from the initial writing stage through recording and mixing? Why was it so troublesome?

I wouldn’t say troublesome, as we have yet to run into trouble…well depending on your perspective I suppose…perhaps we have caused some trouble… Anyhow, “Shadow of a Shadow” was written in one of our initial writing sessions, but after touring and playing it live, the song took on a life of its own, so it was a challenge in a good way to reconcile it’s conception with its full grown self.

Did you have any guest musicians play or sing on the record? ?

TW Walsh played drums! He played drums on our debut album “Sleepwalking,” and we are somewhat married to not fixing the unbroken. He seems to be able to read our minds, though my sister, nor I have ever met him.

Who produced the record? What input did that person have that changed the face of the record?

I would say the record was self-produced. So it’s a fairly pure instinct from within. However, it was mixed by Andy LeMaster, and his vision really shaped the tone in a magical way. Though my sister nor I have ever met him either, we look forward to recording the vocals with him for our second full length at the end of the month. We admire his work, and it’s an honor.

Is there an overarching concept behind your new album that ties the record together?

There is an overarching concept above the sum of our current works: Reconciling several worlds, realities, and dreams, and somehow bridging the gaps so that we can travel with grace from the mind to the dream to the soul to the body, from human to human, and place to place.

Have you begun playing these songs live and which songs have elicited the strongest reaction from your fans?

The only song we have included in our current live show so far, is “Shadow of a Shadow,” which we usually do as our closer, and fans have really taken to it, so we are so happy to feed the monster.

(Check out some tracks from the record here: https://soundcloud.com/graveface/01-universal-language and here https://soundcloud.com/graveface/the-casket-girls-heartless.)