Bryan Deister | Spines of the Heart

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Rock: Experimental Rock Avant Garde: Electronic Avant-Garde Moods: Mood: Brooding
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Spines of the Heart

by Bryan Deister

Spines of the Heart is double album brooding reflection composed after 2 years at Berklee School of Music. Bernie Grundman mastered this album bringing it the professional flare. These 90 minutes will not disappoint but surprise.
Genre: Rock: Experimental Rock
Release Date: 

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  Song Share Time Download
1. All That I Have
3:30 $1.29
2. Responding Well
3:56 $1.29
3. In Her Eyes
3:01 $1.29
4. Have You
3:31 $1.29
5. Silent Screams
2:45 $1.29
6. Approaching
3:32 $1.29
7. Brighter Dawn
3:46 $1.29
8. Into the Sky
3:33 $1.29
9. Gone
3:12 $1.29
10. Come
1:31 $1.29
11. Today
4:24 $1.29
12. Nobody Angel
5:25 $1.29
13. Wait
1:54 $1.29
14. Emily
5:22 $1.29
15. What You Want
2:45 $1.29
16. The Bread
3:18 $1.29
17. Always Further
4:05 $1.29
18. Seven Eight
3:03 $1.29
19. Nothing More
4:46 $1.29
20. Sure
1:42 $1.29
21. Vacant Eyes
3:55 $1.29
22. Apart of Me
13:30 $2.99
Downloads are available as MP3-320 files.


Album Notes
Music & Lyrics by Bryan Deister
Instrumentation by Bryan Deister
Vocals by Bryan Deister
Recorded and Mixed by Bryan Deister
Cover by Bryan Deister
Mastering by Bernie Grundman

Here is a short bio from Bryan's Berklee Music Network Profile page:

I was born on International Literacy Day in Los Angeles, California. In my early youth, Math was my bread and butter, and English was my bane and burden. The preschool lesson on months baffled me to no end. How was I supposed to determine the order or day-count of the months? The memorization without utility was just waste of brain space. In Math lessons, I learned a rule and could apply it immediately after, and I could always justify the rule if I forgot it. My elementary school music classes made me realize music had similar universal rules.

My father, the biggest Chicago fan I know and a high school trumpet player, had Blood Sweat and Tears, Tower of Power, Chase and of course Chicago playing in the house frequently. And as the fan he is, he brought me to so many Chicago concerts that I can recite “Poem 58” backwards. When my cousin started to learn the piano, my house had a piano in the house and I wanted to learn the instrument as well. My two brothers also played trumpet and trombone respectively, and when they were home they’d show me a few things on the piano. I remember the time my brothers explained that melodies usually didn’t consist of only chord tones (a six-nine chord anybody). That was somewhat baffling, but it forced me to want to take lessons. My first piano teacher trained me classically, though he would always say I should be playing jazz instead, in fact he said I should also be a drummer.

Unable to stand classical music any longer, I met the person who most influenced my music and life in general. A folk guitarist made me rekindle my love of music. I started learning more modern pieces and starting writing, and in that same week I met a good friend who would give me two Radiohead albums, Ok Computer and Hail To The Thief. On first listen, I didn’t care too much for the two albums, but they came to be two of my favorites. Radiohead’s lead singer, Thom Yorke sings like a non-vocalist by deemphasizing the words and instead putting emphasis on other elements of voice. The two albums really brought me into the world of alternative rock.

When I moved back to Los Angeles, I changed piano teachers. This new teacher was a crazy wild man. In one of the more intense lessons we ran three miles to the beach and played Frisbee in the dark on the beach. At one point during the lesson he bolted towards the ocean and I followed behind him only to find him running into the water in a jacket and jeans. But in most lessons we would spend the hour improvising, either together or separately. Once we improvised a radio play as the whole lesson. I learned with this teacher jazz, blues, progressive rock, but mostly how to play with clarity and purpose.

After that I ended up learning classical music from a sane tame man. Very slowly I gained appreciation for classical music and I am deeply influenced by it. Hearing my teacher play Arvo Pärt’s “Tabula Rasa” was a metaphysical earthquake. And after experiencing jazz and classical, while appreciating both for the differences and similarities, I couldn’t get over the Radiohead albums I heard so long ago. Along with Nirvana, Weezer, Voltaire, My Bloody Valentine, I felt like dark thoughtful laid back well written music is what I really wanted to be a part of, so I decided to take writing music seriously and venture off into all of the 20th century style composition techniques from John Cage to John Lennon.

When it came to senior year, I knew I wanted to be in a school were I could write modern music and improve my piano technique. But challenged myself further by applying to at least three different overarching types of music schools: jazz, classical, and modern. Though the styles overlap wherever music is taught. I learned almost ten jazz tunes, even though I ended up only using about five for auditions. I attempted to learn many classical pieces: a Bach prelude and fugue, a movement of a Beethoven sonata, two Chopin etudes, and a Mompou prelude. I came somewhat close to learning all that music, but I would say that much of it was too rushed. I ended up using one of the five jazz tunes, “Take The A Train,” and the Bach prelude for my Berklee audition.

Simply put I want to write music regardless of in a band setting, for film, for TV, for video games, or anything else desiring new music. I don’t think I can reinvent the piano technique but I think how I play is crucial to my writing. Still playing is secondary to writing for me. Now that I’ve grown in height somewhat, my bread and butter is still math, but my toast is my music and my jam is playing ability. Hopefully after Berklee I will continue to improve in all facets and be able to write interesting music without starving.



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