Brian John McBrearty Releases First Single "Believing" Today on Love Beyond Measure Records

""Believing"، د Remembering Repeating، Brian John McBrearty د انډول د انډول د انډول د انډول د انډول په شمول د McBrearty په synthesizers، saxophonist Matt Douglas (The Mountain Goats) او ډرامینر Ryan Jewell (Woods، Chris Forsyth) دی، د روح لپاره یو بڼه او د غږ د قدرت لپاره یو تصدیق. د John Coltrane "Central Park West" او د بټلز "Sun King" په تړانګه کې، د آواز د درملنې ځواک وړاندې کوي چې په ریکارډ شوي موسیقۍ کې نږدې نږدې نږدې شتون لري. د McBrearty د جعلي ساده دوه-کورډ synth progression او د تکرار موډی چې لوم

Known for his rich, ruminative guitar-and-voice-forward music which Aquarium Drunkard د د یو حیرانتیا لړ په لټه کې وه. Zuma, Marquee Moon and The Days of Wine and Roses,” Brian John McBrearty is an artist and a seeker and, with his latest album Remembering Repeating, he continues to expand his lush and diverse musical palette. Remembering Repeating په لومړي بشپړ اوږدوالی ریکارډ دی چې د 44 کاله فلادلفیا کورني جوړ شوی دی چې د ګیتار په بشپړه توګه ناست - او په تقریبا د ده کلونو کې د هغه لومړي انټرنټ انټرنټ. د ریکارډ په عوض د ښکلا synthesizer پروګرامونو، لګښت ساکس، او مستطیل، roiling ریتمونو په اړه جوړ شوی دی. په ټولیزه توګه، دا ځینې وختونه د Tortoise or Natural Information Society یا د Another Green World. But despite a sense of familiarity and these few touchstones, Remembering Repeating is simply too personal to be anything but unique.

“There are emotions and life circumstances,” McBrearty says, “that are beyond words, that language is terribly inadequate to describe.” McBrearty began the process of recording Remembering Repeating in the wake of the unexpected deaths of his parents and it is, above all, a means to healing and was a way for McBrearty to bolster his spirit.

In a cycling sense, it is both all of this and none of it. Remembering Repeating has no words, but it is a poem. (This is both figurative and literal, as the track titles, read in succession, in fact comprise a poem.) It is overflowing with saxophone melodies –– played beautifully by The Mountain Goats' Matt Douglas –– but it is not quite a jazz record. At its center are warm waterfalls of David Sylvian-esque synth، مګر دا د چاپیریال نندارتون نه ده. په خپل اصل او هدف کې، دا د درملنې موسیقۍ ده، د پای ته د وسایلو لپاره، مګر په خپل وړاندیز کې، دا په ځان کې د پایلو ده. "موسيقي له اصل هدف لري،" McBrearty وايي. "موسيقي نندارتون نندارتون لري مګر په عمیق ډول مواصلیت لري؛ او د نامتو حقیقت کولی شي د موسیقۍ له لارې 'غورل' شي. که دا روحاني وي، نو دا ځکه چې دا دی. McBrearty د موسیقۍ سره د اړیکو په غیرقانوني توګه، په عمیق ډول روحاني دی او حتی د نندارتون په کوم ډول کې ریکارډ شوی ښکاري چې دا راځي. Drummer</ Ryan Jewell largely tracked drums after the synthesizers and bass were recorded. This effectively inside-out process demands some leaps of faith and a sense of intuition which all the players clearly rely on.

Album opener “Remembering” was, appropriately, the first track McBrearty composed. “I had no intention of making an album when I began recording the synth tracks that would become the basis for this record. I simply wanted to learn how to better use a synthesizer I had purchased years before (a Roland Boutique JU-06).” Opening with sustained synth chord clusters that ring out while sax and drums lightly explore the resonant space, “Remembering” then pivots to an Alice Coltrane-esque theme on the synthesizer, with the saxophone stating a lilting melody before launching into improvised territory.

“Repeating” follows and demonstrates McBrearty’s uncanny ability to exploit foundational concepts for maximum effect. “First and foremost, I consider myself a composer; whatever instruments I play are in service of the tune,” McBrearty explains. Opening with a bass solo drenched in tape echo, “Repeating” coalesces around a simple half-note saxophone melody played over a jaunty beat and McBrearty’s descending, syncopated synth lines that sound straight out of a Tangerine Dream ډیوټراپ. په داسې حال کې چې د اصل مینوډیا تکرار کیږي، د مینوډیا وروسته دوبله کیږي او د کټګورۍ نوټ لخوا بدل کیږي؛ د ساکسفون خپل ځان کڅوړه کوي. په حقیقت کې په واقعي وخت کې "د تکرار" کوي، ډګلیس مفهوم واخلئ او د دې سره کار کوي - د ساکس او فلیټ لګولو او د تکرار موضوع په خپل تصدیق کې وده ورکوي.

Collaboration is a key part of McBrearty’s musical practice and Remembering Repeating د دوو مختصر interlude ټریټونه شامل دي چې د ټولو درې موسيقيانو ته اعتبار شوي دي. "Burning" د ډګلیس لخوا لیکل شوي مخنیوی ټیم، د جیل څخه د ټرم ګرامې چې د فلزي پاڼهونو کې کمښت شوي دي، او atonal synth چڼاسکه چې په ټیټ پای کې تمرکز ته وده ورکوي. "Floating" په داسې حال کې، د غیرقانوني سرچینه له خوا اغیزمن شوی. "په دې ټونۍ کې ما هڅه وکړه چې زما د چای کټل له امله چې دا د حرارت کولو په وخت کې جوړ شوي غږونه تکرار کړي،" McBrearty ښودل. د پایلې synth ټونونو پر بنسټ چې په اصل کې د C او C# نوټونو ترمنځ ښودل

In contrast to the short interludes, “Unfolding” is Remembering Repeating’s extended centerpiece, and a mission statement summarizing McBrearty’s compositional interests and achievements. Cinematic, beautiful, and patient, “Unfolding” slowly reveals layer-after-layer over the course of 9+ minutes. Beginning with interlocking synth lines repeating a cluster of notes within the same octave, McBrearty deftly adds and subtracts harmonic and melodic elements on synthesizer throughout the first half of the tune, creating a heady stew that fans of Bitchin’ Bajas’ د نندارتون explorations، یا د Bing & Ruth, will surely appreciate. “I was coming up with idea after idea after writing the initial riff that provided the foundation for ‘Unfolding,’” McBrearty says. “It was stream of consciousness, pure creation, but the real songwriting came months later when I arranged and mixed the various parts to form a cohesive whole.” Nearly 5 minutes in, a cymbal swell anticipates the entry of Douglas’ tenor sax, drenched in warm reverb and floating over a laid-back and absurdly in-the-pocket groove courtesy of Jewell’s drumming and McBrearty’s bass playing.

د Remembering Repeating both close with tender, heartrending pieces to conclude their respective journeys. Side A closer “Believing” is a balm for the soul and a testament to the power of sound. At the intersection of John Coltrane’s “Central Park West” and د بیلټلونو د “Sun King,” د آهنگ د درملنې ځواک وړاندې کوي چې په ریکارډ شوي موسیقۍ کې نږدې نږدې شتون لري. په داسې حال کې، د آلبوم په پایله کې، "Receiving" - او یوازې د McBrearty (لوري-لوري) غږونو سره سمون لري - د غم د ویسیسر انځور دی چې د Jewell د ټرمونو او Douglas د ټینور ساکس په پایله لحظو کې چټک او پوښل کیږي.

Though Remembering Repeating is flawlessly executed, McBrearty notes that as the years go by, he is “less and less concerned with technical proficiency.” Not to say the music lacks either technicality or proficiency. Rather, McBrearty’s relationship to the music reflects an internal shift of emphasis to “taking a more expansive view, getting out of the way and allowing intuition to guide you.” “My music is about expressing and achieving spirituality, a sort of sacrament, communion with the eternal … there are many ways to phrase it,” he says.

د ځینې لارو، دا به ښودل شي، د هر څه په هر ډول پرته.

McBrearty دی یو ختیځ DIY موسیقۍ او په سمه توګه د څو ګروپونو او، په دې وروستيو کې، د خپل نوم له خوا د مختلفو لخوا د نندارتونونو په لټه کې راټول شوی دی. "م زه د ډیوډ بوی د 'پاس اډیټیټ' په ریموډ کې د ماشومانو په وخت کې په ریموډ کې ونیسئ،" McBrearty یادونه کوي، "او زما پدرم د شاکو سره بیان کړ چې بوی یو شکل بدلون جوړونکي دی چې د موسیقۍ او شخصي ډول د کلونو په اوږدو کې بدلون لري. نو، دا نظریات چې په دوامداره توګه هڅه کوي، هڅه کوي چې زما ځان یو څه بدلون وکړي، دا یو مفهوم دی چې زه لومړی مخکې یو انټرنېټ ترلاسه کړ."

McBrearty’s musical journey began in earnest as a student in NYU’s esteemed jazz studies program. There he met Remembering Repeating contributor, Matt Douglas, as well as Love Beyond Measure Records co-founder Anthony Pirog (DC-based cellist Janel Leppin- او د McBrearty په وروستیو الوتکو کې همکار - هم د لیبل یو شریک جوړونکي دی). د Pirog او McBrearty تر منځ د sympatico په لومړي ملاقات کې ښودل شو او د فارغونې وروسته دوی د bombastic او ډیری ډیر مختصر ژوند لرونکي انډولر روک بانډ یو شریک جوړ کړ. New Electric, which issued only one EP in 2005, toured extensively in the mid-Atlantic, and could be considered the spiritual antecedent of Pirog’s current jazz-punk outfit The Messthetics featuring Fugazi’s Brendan Canty and Joe Lally.

In all of McBrearty’s musical endeavors, improvisation is the through-line. From a month-long weekly residency at Lower Manhattan’s Knitting Factory in the early aughts to participating in a guitar ensemble rendition of Julius Eastman’s “Gay Guerilla” (part of Bowerbird’s first of its kind Eastman retrospective) to the interlacing, angular dual-guitar attack of now-defunct Philadelphia jammers Mesmeric Haze to the panoramic and kaleidoscopic synthesizers of Remembering Repeating, McBrearty has consistently demonstrated an affinity for exploration on the fly. “I take a broad view of improvisation,” McBrearty explains. “It’s not just jamming and soloing. I’m often improvising when I’m composing, which is largely how the building blocks of Remembering Repeating were formed. I can improvise when I’m arranging or mixing a song. For me, it’s all about listening to what I hear within myself as well as outside of myself and synthesizing the two.”

From synthesis to synthesizers. A repeating, cycling of sound.

McBrearty’s expansive view of improvisation takes center stage on his twice-monthly radio show Improvised Solutions، چې په شمالي ختیځ فیلی کې د Germantown Community Radio. د فیلی موسيقي سټینټ کې د 20 کلونو څخه زیات کار کولو سره، د رایو نندارتون McBrearty سره د موسیقي ټولنې سره اړیکه ونیسئ کله چې د Kinloch Nelson, Elkhorn, One Eleven Heavy, and even د مخدره موادو د جګړې (که دوی هنوز د کوچني کلبونو لوبوي).

Love Beyond Measure Records is a label founded by life partners and musicians Janel Leppin and Anthony Pirog د دوی ترټولو غوره هنرمندانو او همدارنګه د خپل ځان کار لپاره د کور په توګه. دوی فخر دي چې د Brian John McBrearty, Remembering Repeating, as the inaugural release on Love Beyond Measure Records.