American sound artist and composer Tyler Bradley Walker’s music explores the cross-pollination of popular, rock, and concert music. In 2004, Tyler Bradley Walker and Matt Heim formed the rock-electronic duo Gone to Color, who have since earned acclaim from outlets like NPR, Paste Magazine, Stereogum, BrooklynVegan, Under the Radar, and beyond.

Learn More In His Recent Interview With Musicology Magazine

“For Tyler Bradley Walker, the time to step out from his collective work and bring his own signature blend of compositions and electronica to the fore is now. The solo work of Walker has produced the incredible debut The Sun The Moon The Earth and Me. Originating from his extensive time within the music industry and time spent in one of his most notable outfits Gone to Color with campatriot Matt Heim, the pair have produced some startling records. Filled iwth exquistie tracks and complete with a long and enviable list of collaborators.”

Following in the footsteps of the high art-meets-popular culture aesthetic composer Tyler Bradley Walker balances his classical roots with decades of experience as a recording engineer, producer, and studio director. Walker says, “I’m interested in balancing classical craftsmanship and technique with things as disparate as the fury and sound of rock, lyrics distilled from 19th century English poetry or contemporary cosmology/science, the vernacular discontent of grunge, and a passion for sonic exploration in the recording studio. Being deeply versed in the classical tradition while being a non-traditionalist is a necessary friction for an expressive urgency. I feel right at home as an outsider in-between the two impasses of ‘classical’ expectation and the sacred, binding expectations of popular music.”

While formal training at the Cincinnati Conservatory of Music may have been his artistic incubator, it was in the recording studios of Atlanta, Chicago, and Nashville with some of the best producers in the world that stoked a passion for exploring recording and production techniques that compliment Walker’s imagination and striking aesthetic. As a producer, audio engineer, assistant, and studio director over the last 15 years, Walker has supported a long list of familiar bands and producers, including assisting on two records that received GRAMMY awards, not limited to The Doobie Brothers, Elton John, Larkin Poe, Megadeth, String Cheese Incident, and The Zac Brown Band—the latter of which he managed a recording studio for from 2010–2016.  

Walker was raised just outside of Atlanta by a potter and a high-school principal. His father's boombox played for hours outside as he glazed and fired pottery with his electric and salt-fire kilns. The result was a childhood atmosphere full of diffused John Prine, Mussorgsky, and Dylan echoing among the hills. An early love of film from the 80s and 90s was just as influential as music; particularly, the immersive aspects and surround sound of the movie theater which contributed to an early interest in technology. Walker’s work is stylistically different from those early formative musical experiences he grew up with, and one can’t draw a hard line to any genre as his work transcends categorization and resists the urge to join compositional tribes or genres. Walker is equally at home writing electroacoustic music, using rock instrumentation, or working with an orchestra.

Walker’s new album, The Sun The Moon The Earth and Me, was released on June 20th, 2025, with positive reviews. The record features contributions by several heavy hitters, including vocals by composer Mikel Rouse on “In Between The Shadow of Myself,” indie experimental rock legend Tim Rutili of Califone, who plays guitar and sings on the track "Moon Broke Quiet," soprano Lydia Adelle Brown, Alex Games, and a video produced by Carson Cox best known as the front man for the band Merchandise. Alex Games, the moniker of an established Irish composer, sings on the track “Stowaway”. The record was co-produced by indie-rock legend Brian Deck known for his work with Modest Mouse and Counting Crows.

"A spacious, evocative soundscape which seems to sit at an angle to reality, everything a little stark and surreal and strange. Tim Rutili of Califone fame adds his distinctive vocals, and the result occupies that nocturnal liminal space between waking life and dreams."

- Various Small Flames

"['Moon Broke Quiet'] The poetic lyrics are sung in a rich and raw way, delivering an introspective and deeply evocative performance. Tyler Bradley Walker crafts immersive soundscapes that invite repeat listens."

- Earmilk

 

"If your summer is set to be more introspective, and you’re down for some more long-format releases to chew on with a warm cup of tea by your side, then look no further than Tyler Bradley Walker‘s solo project."

- Ladygunn

 

"Walker is ready to soundtrack your quieter summer moments—the ones spent watching stars or untangling thoughts you’ve been avoiding."

- Kaltblut Magazine

 

"The record feels like both a personal catharsis and a collaborative force field of analog warmth."

- We Found New Music

 

“On “Moon Broke Quiet,” there is a ghostly fusion of analog synths and kick drums and the video features “a wintry cityscape interwoven with the shifting phases of the moon – a hypnotic reflection on time and change.”

- WildFire Music + News

 

"His single 'Moon Broke Quiet,' featuring Califone’s Tim Rutili, feels like a lucid dream you don’t want to wake up from—ethereal, sparse, and emotionally charged."

- Too Much Love

 

In 2004, Tyler Bradley Walker and Matt Heim formed the rock-electronic duo Gone to Color, who have since earned acclaim from outlets like NPR, Paste Magazine, Stereogum, BrooklynVegan, Under the Radar, and beyond.

 

“Gone to Color, the duo of Tyler Bradley Walker and Matt Heim, are American but make a decidedly European brand of chilled-out but engaging electronic music that uses vintage analogue synths, drum machines and organs alongside real drums, guitar and bass.”

- BrooklynVegan

 

“[‘The 606’] ...a more easygoing, melancholy spin on Radiohead’s ‘Idioteque’ beat before evolving into something like Stereolab meets Yumi Zouma, its chilled-out vibes backed by burbling synths, crackling digital drums, and an ocean of gorgeous melodic sounds.”

 - Stereogum

 

“[Gone to Color] put their talents to use, crafting songs with refreshingly original chord progressions, intricately-layered synth voicings and deeply resonant moods.”

 - American Songwriter

 

“Crafting a supreme fusion of instrumental works and electronica with an impeccable pedigree of vocalists, the Cincinnati natives [Gone to Color] have coalesced a wide array of genres and lyricists into an exquisitely refined self-titled album.”

 - Musicology 

 

An engaged and imaginative collaborator, Walker has worked both through Gone to Color and on solo projects with a stunning list of world-class artists and ensembles as diverse as Alex Dowling, Answer Code Request, the Atlanta Percussion Trio, Axel Willner (The Field), Angus Andrew (Liars), Ade Blackburn (Clinic), the Cincinnati Art Museum (Sol LeWitt Exhibit), Chris Connelly (Ministry), Carson Cox (Merchandise), Daniel Myer (Hautjob), the Detroit Symphony Orchestra, Gros Ngolle Pokossi, Jessie Stein (The Luyas), John McEntire (Tortoise), Louis Resto (Eminem), Luke Reynolds (Guster), Lydia Adelle Brown, Markus Popp (Oval), Mikel Rouse, Pat Sansone (Wilco), percussionist Patti Cudd, Plaid, Richard Devine, Tarwater, Tim Rutili (Califone), Martina Topley-Bird, Kurt Wagner (Lambchop) and many others.

 

Friday (June 20), 2025 Tyler Bradley Walker, one half of the experimental rock-electronic group Gone to Color, released his debut solo album The Sun The Moon The Earth and Me. Co-produced by indie rock legend Brian Deck (Modest Mouse, Counting Crows, Iron & Wine), the genre-transcending album composed by Walker was created using a hardware MIDI sequencer, a dozen analog synths developed through DSP and layered in acoustic instruments and vocals. 

The result is seven tracks bathed in an electronic soundscape, bringing forth elements of shoegaze, rock, and analog synthesizers, with the album acting as a subtle response to cynicism, loss, and some of the obstacles we face in the world today.

“What do Bertrand Russell, minimalism, indie-rock producer Brian Deck, and myself have in common? The track ‘Because of the Many,’ which is a moral injunction,” Walker says. “It’s not so important that the listener knows how I thought about the lyrics, but the loss of liberty in the US along with our abhorrent healthcare system were on my mind when the lyrics were conceived.”

Walker says, “There are a few lines on this record that take a knife edge to intellectual dishonesty. It wasn’t my intention to make a dark, reflective record but perhaps that’s what I ended up with. However you see it, I hope the expressive urgency is clear throughout.”

“Because of the Many.” The album’s bold opening track – featuring longtime collaborator Brian Deck – unfolds like a sonic protest, as moments of minimalism infused with shoegaze and rock are supported by a powerfully incriminating vocal utterance. The track is paired with a surreal, explosive video featuring hand-made puppets, chaos, and all, as Walker reflects on the unraveling of personal and political freedom.

On “Moon Broke Quiet,” Califone legend Tim Rutili delivers an evocative vocal and guitar performance supported by an ethereal and ghostly-like fusion of analog synths and pulsing kick drums. The result is a soundscape that feels both intimate and otherworldly. The accompanying video mirrors the track’s eerie calm, unfolding a wintry cityscape interwoven with the shifting phases of the moon – a hypnotic reflection on time and change.

“In Between the Shadow of Myself,” features vocals by composer Mikel Rouse. The track features an eerily infectious synthetic drum loop, with lyrics loosely inspired by poems that Walker’s father had written during the Vietnam war. Rouse’s vocals bring forth comparisons of John Cale and Bowie's Blackstar, as Walker’s instrumentals and Deck’s drums nod to Thom Yorke’s solo work.”

“Individual and idiosyncractic, disturbing and thrilling, moody and compelling, Nobody Wants To is midway between a sci-fi soundtrack, a fever dream and a nervous breakdown — and unlike anything else you’re likely to hear.”

Tyler Bradley Walker's Single "Nobody Wants To" Is Out Now

Tyler Bradley Walker: My favorite piece of gear I can’t do without is the Prophet 5 synthesizer. This is the sound of my youth. It’s Tears for Fears, Peter Gabriel, John Carpenter, Radiohead, and more. It has a large sweet spot, does a lot of things well and some things extraordinarily well.

MUSIC CONNECTION MAGAZINE

Shadowy silhouette of a person with text 'Nobody wants to Tyler Bradley Walker'.
Dark portrait album cover with text "In Between the Shadow of Myself" and "Tyler Bradley Walker."
Tyler Bradley Walker Producer
Tyler Bradley Walker is a composer
Abstract red artwork with text "Gone to Color" and names of remix artists, featuring vertical black and white lines.
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“[Gone to Color] put their talents to use, crafting songs with refreshingly original chord progressions, intricately-layered synth voicings and deeply resonant moods.” – American Songwriter

“[Gone to Color] put their talents to use, crafting songs with refreshingly original chord progressions, intricately-layered synth voicings and deeply resonant moods.” – American Songwriter

“Crafting a supreme fusion of instrumental works and electronica with an impeccable pedigree of vocalists, the Cincinnati natives [Gone to Color] have coalesced a wide array of genres and lyricists into an exquisitely refined self-titled album.” – Musicology

“Crafting a supreme fusion of instrumental works and electronica with an impeccable pedigree of vocalists, the Cincinnati natives [Gone to Color] have coalesced a wide array of genres and lyricists into an exquisitely refined self-titled album.” – Musicology

“Gone to Color, the duo of Tyler Bradley Walker and Matt Heim, are American but make a decidedly European brand of chilled-out but engaging electronic music that uses vintage analogue synths, drum machines and organs alongside real drums, guitar and bass.” – BrooklynVegan

“Gone to Color, the duo of Tyler Bradley Walker and Matt Heim, are American but make a decidedly European brand of chilled-out but engaging electronic music that uses vintage analogue synths, drum machines and organs alongside real drums, guitar and bass.” – BrooklynVegan

Mannequin head with red hair next to wine glasses and bottles on a countertop, viewed through a window, with "THE 606" and "GONE TO COLOR" text.
Album cover featuring a dimly lit bedroom with a glowing TV, open window showing buildings, text "Dissolved" and "Gone to Color" in bold yellow letters.
Black and white image with green text "ILLUSIONS" and "GONE TO COLOR." A person's face is visible through a partially open door, with diagonal green lines above.
Album cover for Gone to Color's "Just Smile" featuring Kurt Wagner, depicts a black-and-white photograph of a hallway with exit signs, a man standing, and vertical lines on the left.
Black and white photo of two old payphones on a pole with a cup on top, on a textured wall background. Text reads 'SUICIDE' and 'GONE TO COLOR' in bold red letters.
Cover art for Gone to Color's "Voyeur Nation" featuring a person standing near a "Do Not Enter" sign and shadows on a wall.
Street mural featuring various black and white abstract designs and symbols on a building facade.
Room with stacked drums, cardboard boxes, and equipment cases near an exit sign.
Recording studio control room with engineer at mixing console, large monitor, speakers, and view into live room.
Recording studio mixing console with speakers, computer screen, audio equipment and control panel.
A man wearing headphones playing drums in a recording studio with musical instruments and equipment in the background.
Black and white abstract portrait with fragmented facial features combined into one face, including glasses on one side.
Man in a dimly lit parking garage wearing a leather jacket standing next to a classic car.
Stylized pop art image featuring two male figures; one wearing a cowboy hat, with blue and yellow accents.
Abstract design with overlapping triangles and the words "Color Gone" in various orientations.
Stylized lowercase text "gtc" in white on a black background.
White sound wave oscillating on a black background
Storefront window display at night with mannequin head wearing a red wig, wine bottle, wine glasses, and cleaning spray bottle on a shelf.
A woman illuminated by red and blue lighting poses beside an old television displaying a distorted image. The TV screen emits blue light, contrasting with the room's dark ambiance.
Close-up of an eye with glowing neon lines reflected on the cornea, under a red light.
Close-up of lips with abstract light trails in warm tones
A woman with her head tilted back, eyes closed, in a dark setting with red and orange lighting, wearing large linked earrings and a fuzzy collar top.
Vintage television displaying a blurred face in blue tones with horizontal light lines.
Recording studio with musicians behind glass, one playing drums and another wearing headphones, speakers in the foreground.
People working on a large modular synthesizer setup with cables and control panels in a music studio.
Vintage guitar amplifiers stacked with control knobs and speaker grille
Vintage accordion with a decorative design on the front and a keyboard with black and white keys, resting on a wooden surface.
Inside view of an upright piano showing strings and hammers
Evening city skyline with illuminated buildings, a glowing moon, snow on the ground, and a road leading into the distance.
Abstract painting of a figure with sunglasses and dark clothing, standing outdoors with trees and buildings in the background.
Close-up of a sign with the word "LEFT" in bold black letters on a yellow-bordered background.
Two boys playing musical instruments; one with a toy guitar and the other with a toy drum set.
Close-up of a vintage audio effects unit labeled "Super Phasing," with knobs and switches for sweep generators and phasors.
Close-up of a Korg Trident synthesizer control panel with knobs and labels related to sound settings.
Close-up of a vintage synthesizer with sliders and colored buttons, labeled 'Jupiter-8.'
Close-up of a Casio Casiotone 101 electronic keyboard, showing keys and labeled sound options like organ, flute, clarinet, and guitar.
Close-up of a vintage Casio keyboard with power switch, orange buttons, and black and white keys.
Blurred image of a Yamaha keyboard with visible text reading "Yamaha Automatic Bass Chord System."
abstract bokeh lights on a dark background
Close-up of a Roland SH-101 synthesizer keyboard with sliders and controls, lit with purple and orange lighting.
Close-up of a Manley audio equipment with knobs and a VU meter, showing controls for gain, reduction, and bypass.
Close-up of a glass with "Hiram Walker's Ten High Straight Bourbon Whiskey" logo and emblem.
Close-up of a mounted drum tom with a wooden finish and chrome hardware, part of a drum set in a room.
Recording studio microphones and preamplifiers
Two electric bass guitars hanging on a wooden wall, one white and one black.
Sovtek MIG-50 guitar amplifier head placed on top of a Hiwatt speaker cabinet.
Stack of snare drums with a drumstick and napkin on top, placed on a patterned rug.
LED "OPEN" sign with red lights and a vintage Coca-Cola cooler
Vintage radio with wooden design and ornate speaker grill, placed on top of an old book with decorative carvings nearby.
Vintage wooden cathedral-style radio with decorative speakers, flanked by a donkey sculpture on the left and a buffalo sculpture on the right, all placed on top of leather-bound books.
Vintage Studer reel-to-reel tape recorder with Quantegy GP9 tape reels, control buttons, and VU meters.
Close-up of Hammond organ keyboard and controls.
Front panel of VM1 pure cardioid device with power button and screws.
Close-up of a burlap coffee sack labeled 'EXPORTCAFE S.A', 'CLEAN COFFEE', 'PRODUCT OF GUATEMALA', and 'CROP 2011-2012' against a wooden wall backdrop.
African-style wooden mask with black and white paint, resembling an abstract animal, mounted on a beige wooden wall.
Close-up of the name "Dolly Parton" printed in stylized text on a vintage poster.
Microphone on stand recording audio from an Ampeg speaker cabinet.
Close-up of a violin's bridge and strings against a wooden body with an f-hole.
Close-up of a microphone in a recording studio with blurred guitars in the background.
Close-up of a Rickenbacker guitar headstock with tuning pegs and strings.
Two electric guitars, one cream and one red, leaning against each other on a wooden floor.
Gibson amplifier and vintage audio equipment on a wooden floor
Close-up of a vintage-style microphone with a metal mesh grille in front of a blurred background.
Close-up of the control panel on a vintage Gemini I guitar amplifier with knobs and input jacks.
Close-up of a Roland Space Echo RE-201, showcasing control knobs and switches.
Close-up of a Gibson Les Paul Deluxe guitar headstock, with tuning pegs and strings, in front of a blurred keyboard instrument in the background.

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