Brendan Byrnes - 2227
AVANT-GARDE GUITARIST BRENDAN BYRNES RELEASES '2227'
Guitarist Brendan Byrnes dropped his brand-new album, 2227, a few days ago. And it’s unlike anything you’ve ever heard before – a dazzling example of microtonal music.
Brendan Byrnes
Byrnes first entered the sonic realm of microtones when he heard Glenn Branca’s harmonic series, which inspired him to experiment with guitar ensembles, alternative open tunings, fretless guitars, and prepared guitars. Using more frets gave him the sound he wanted, injecting major and minor chords with new coloration, and ‘new’ notes.
The term ‘microtones’ denotes smaller intervals between notes than Western listeners are used to hearing. 2227 parades the full range of the microtonal guitar, encompassing dense arrangements, hard-hitting percussion, and layered guitars and synths on Side A, whereas Side B rides textured beats and complex guitar patterns.
The album features drummers Matt Walker (Smashing Pumpkins, Garbage, Morrisey), Mike Horick (Scott Starr, Globus), Ted Byrnes (clipping., Zola Jesus), and Michael Day (Faust), who provide a dreamlike percussive soundscape.
Byrnes started out in the music scenes of Chicago and Boston as a guitarist and composer. Now working as a sound designer and engineer for Stitcher Podcasts, as well as composing for television and film, he also works as a freelance mixer. His gift for mixing is evident in his vibrant albums.
Trickling synths imbue the harmonics with thick washes of sound, as Byrnes’ edgy, cutting guitar offers potent, elongated licks.
Comprising 10-tracks, 2227 begins with “Murmurations,” opening on a cool drum shuffle, followed by shimmering, glossy guitars exuding dreamy drifting layers of jazz savors, trembling with tight oscillating tones, at once different yet mesmerizing.
Entry points include “Roamers,” which travels on a propelling rhythm topped by Satriani-like guitars rife with the extraordinary and alluring timbres of microtones. Reminiscent of ELO, Rush, and Joe Satriani integrating their sounds and styles, “Roamers” delivers multiple surface tints.
“Sensi Cathedrals” pushes out dark, exotic hues, spinning and twirling on mystical shadows. Trickling synths imbue the harmonics with thick washes of sound, as Byrnes’ edgy, cutting guitar offers potent, elongated licks.
The tropical flavors of “Glass Islands” meander slowly, afloat on warbling guitars, sounding at once slightly out-of-tune and weirdly wonderful, as if filtered through water. The last track, “Carpenteria, Pt. 2,” glides on gentle, wafting flows of color, quivering with the off-center sonic bias of Byrnes’ microtonal guitar – similar to logarithmic spirals.
With 2227, Brendan Byrnes escorts listeners into the strange yet delightful world of microtones, opening up a new sonic world.
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