SCENES FROM THE FLOOD (2019)

 


CLICK HERE to order “Scenes From The Flood” on 2CD, 2LP 180-gram vinyl, or digital! 

What do we keep, and what do we let go?

Bassist/composer Bryan Beller (The Aristocrats, Joe Satriani, Dethklok, Steve Vai) presents a sweeping, epic-scale modern progressive double concept album that asks the question: When the storm comes for us, the big one after which things will not be the same, who are we and what do we become in those defining moments? Scenes From The Flood explores themes of ambition and loss, intentionality and reality, hope and disillusionment, and uses every second of its 18-song, 88-minute running order to tell an emotionally consuming and unforgettable musical story.

Available in 2CD (with two 20-page deluxe booklets) and 2LP vinyl (with one full-size 24-page deluxe booklet) formats, as well as high-res and standard digital. 

Featuring an all-star cast of 26 musicians including (in alphabetical order):

GUITAR
Nili Brosh (Michael Jackson ONE, Tony MacAlpine, solo artist)
Darran Charles (Godsticks, The Pineapple Thief)
Mike Dawes (solo artist)
Janet Feder (solo artist, Fred Frith)
Guthrie Govan (The Aristocrats, Hans Zimmer, Steven Wilson)
Mike Keneally (Frank Zappa, Joe Satriani, Steve Vai, solo artist)
Jamie Kime (Zappa Plays Zappa, Jewel, Dr. John)
Teddy Kumpel (Joe Jackson, solo artist)
Jake Howsam Lowe (Plini, The Helix Nebula)
Rick Musallam (Mike Keneally, Ben Taylor)
Mike Olekshy (Max Morgan, Alison Ray)
Griff Peters (Mike Keneally, Billie Myers)
John Petrucci (Dream Theater)
Joe Satriani (Joe Satriani!)

DRUMS
Ray Hearne (Haken)
Gene Hoglan (Dethklok, Strapping Young Lad, Testament, Death)
Nate Morton (Cher, The Voice, American Idol house band)
Joe Travers (Joe Satriani, Eric Johnson, Zappa Plays Zappa)

KEYS, STRINGS, ACCORDION, SITAR, PERCUSSION, AND MORE
Christopher Allis (Deana Carter, Denny Laine)
Paul Cartwright (Portugal The Man, Cee Lo Green, Mary J. Blige)
Julian Coryell (Alanis Morrissette, Jewel, Aimee Mann)
Fred Kron (Colin Hay, Donna Summer, Anchorman 2)
Evan Mazunik (Carla Bley, Anthony Braxton, solo artist)
Matt Rohde (Christina Aguilera, Jane’s Addiction)
Rishabh Seen (Arijit Singh, Mute The Saint, solo artist)
Leah Zeger (Stevie Wonder, Annie Lennox, Hans Zimmer)

and Bryan Beller on bass, keyboards, guitars and lead vocals.

Produced and composed by Bryan Beller 
(* one song written by Janet Feder)
Mixed and mastered by Forrester Savell 

Check out “Volunteer State” featuring Joe Satriani on guitars and Joe Travers on drums.

Check out “The Storm” featuring Gene Hoglan on drums; and Mike Dawes, Jamie Kime/Darran Charles and Jake Howsam Lowe on guitars.

VINYL SEQUENCE TRACK LISTING

PART ONE
The Scouring Of Three & Seventeen
Volunteer State
Everything And Nothing
A Quickening
Steiner In Ellipses

PART TWO
Always Worth it
Lookout Mountain
The Storm
The Flood

PART THREE
Bunkistan
As Advertised
Army Of The Black Rectangles
The Outer Boundary
Angles & Exits *

PART FOUR
The Inner Boundary
World Class
Sweet Water
Let Go Of Everything

SCENES FROM THE FLOOD
(the long version)

What do we keep, and what do we let go?

As a bassist and composer, Bryan Beller (The Aristocrats, Joe Satriani, Dethklok, Steve Vai) has never been accused of being insufficiently driven. But nothing he’s done before can truly prepare you for his newest release, the massively ambitious and unapologetically progressive double concept album Scenes From The Flood.

A work so sweeping in scale that it took Beller nearly a decade to conceive, compose, and now fully realize, the album grapples with an existential question: When the storm comes for us, the big one after which things will not be the same, who are we and what do we become in those defining moments? Scenes From The Flood employs an all-star cast of 26 musicians to explore themes of ambition and loss, intentionality and reality, hope and disillusionment, and uses every second of its 18-song, 88-minute running order to tell an emotionally consuming and unforgettable musical story.

Presented in the classic format of four vinyl sides (or four “parts” on two CD’s), Scenes From The Flood was inspired by hallowed progressive double-albums like Pink Floyd’s The Wall and Yes’ Tales From Topographic Oceans, as well as more modern expanded works, such as Nine Inch Nails’ The Fragile. Several melodies and themes interweave and interact throughout the course of the album, a connective tissue through 88 minutes of emotional peaks and valleys. The deluxe packaging (two 20-page double-CD booklets, and a 24-page full-size LP booklet) reveals not just album artwork, but unique cover-style artwork for each of the eighteen songs, or “scenes”. The resulting sense of story urgency and dramatic narrative presents like a soundtrack to a movie suspense thriller as much as it does a double album.

The Wall was the very first album I ever owned. It was a gift from my grandparents for my ninth birthday,” says Beller, now 47. “I completely absorbed the story, the visuals, the long form double-vinyl structure, and the repeating themes that defined it as a concept album. Ever since, my favorite albums always felt like they were telling a story. So when I realized I had that much music in my head, and something to say along with it, I got over my initial fear of tackling something so conceptually audacious, and finally just said, yeah, I’m actually doing this.”

“Doing this” meant enlisting 26 musicians, three visual artists, and three key engineers – all spread across four continents – to bring Scenes From The Flood to life. Special guests on guitar include legends Joe Satriani (on the optimistic, “road trip” vibed opening track “Volunteer State”), John Petrucci (who lays down a screaming lead on the 9-minute story-climactic progressive epic “World Class”), Guthrie Govan (taking the lead on the album’s closing ballad “Sweet Water”), and Mike Keneally (going from layered acoustics on one track to furious metal riffing on another), just four of fourteen total guitarists who appear on the album. Drummers include veterans Joe Travers (Zappa Plays Zappa, Joe Satriani), Gene Hoglan (Dethklok, Strapping Young Lad, Death), Ray Hearne (Haken), and Nate Morton (Cher, The Voice). Los Angeles TV/film scene insiders Matt Rohde (Prince, Alanis Morrisette, American Idol) and Fred Kron (Colin Hay, Donna Summer, When We First Met) contribute on keys and sound design. Paul Cartwright (Portugal The Man, Cee Lo Green) and Leah Zeger (Stevie Wonder, Annie Lennox) provide an orchestra’s worth of live strings. The combined experience of the musicians involved is dizzying to even contemplate. But with such stylistic diversity from song to song – including straight ahead rock, extreme metal, layered ambient interludes, extended progressive rock and metal, dance/electronica, acoustic showpieces, solo piano, and more – it’s just what was needed in order to pull it all off.

So, what is Bryan Beller’s first solo album in ten years really about, specifically? Beller demurs. “I’m fairly convinced that, at the detail level, it doesn’t matter. Like, when I listen to the late period Roger Waters/Pink Floyd stuff, am I really sitting there thinking about how his father died in that plane crash in World War II? Is it really necessary for me to know exactly what’s pissing off Trent Reznor at any particular moment to have an emotional connection to that music? Or to know the true spiritual philosophy behind all of Yes’ lyrics to feel those grandiose arrangements in my own way? Not for me, and I’m going to guess, that’s not how most people process this stuff. It’s there for them to have their own personal emotional journey – that’s what I’d hope, anyway. Are there specifics in terms of what originally inspired what? And are there some intended thematic messages throughout the work? Of course there are. But me going into them bit by bloody bit would only devalue the experience. I’d rather a careful listener enjoy finding the common threads and repeated themes throughout the record upon repeated listens. Because there’s plenty of that, and it won’t all show up at once. That’s the key to truly ‘getting’ the record at a deeper level – which is my hope for anyone who wants to go there, on their own, in their own way, so they can have their own emotional experience with it, not mine.

That said, if you listen closely, and take in the song titles, and the lyrics on the few songs that have them, and the music itself…it’s all there, waiting to be uncovered.”

* * * * * * * *

Beller also takes a surprising turn himself on guitar on several tracks, contributing foundational rhythm guitars throughout the album, and even leads on two songs: A clean, melodic solo on the sweet, light groove of “Bunkistan”, and a time-warped, overdriven scorcher on the meticulously layered “As Advertised”. Going further out of his comfort zone, Beller performs spoken word on the hypnotic dance track “Everything And Nothing”; a lead vocal of barely controlled rage on “Army Of The Black Rectangles”; and a vulnerable, exposed vocal on the album’s only cover: Janet Feder’s dark and surreal ballad, “Angles & Exits”. Feder’s T H I S C L O S E [Brainbox, 2015] was a cornerstone influence on this album, with Feder herself appearing on the sparse, haunting track “The Flood”. Other key influences include the extreme metal of Strapping Young Lad’s short but hyper-powerful Alien, and Hans Zimmer’s brooding motion picture soundtrack for The Dark Knight Rises.

With such an ambitious and diverse production at hand, Beller knew he would need a first-class sonic shepherd. He found one from the most remote city on earth, by way of a random event in America’s heartland. “In 2013 I walked into a music store in Kansas City, for a bass clinic. They had music playing over the P.A., and this song came on that stopped me dead in my tracks. It was the hugest overdriven bass and drum sound I think I’d ever heard. Just amazing.” The band was Karnivool, a modern prog-minded vocal hard rock outfit from Perth, Australia, and the album was 2009’s Sound Awake. Three years later, Beller found himself in Perth on tour with Joe Satriani, and met the band’s bassist Jon Stockman. One conversation led to another, and soon Beller was in direct contact with that album’s engineer, Forrester Savell. “We had a quick talk about concept albums, and going deep into mix details, and it quickly became clear that he was the man.”

A Perth native now based on Australia’s Gold Coast, Savell – whose additional mix/mastering credits include Animals As Leaders, Twelve Foot Ninja, and The Butterfly Effect – took on the gargantuan task sonically unifying this disparate collection of arrangements and styles with considerable relish. Still, Beller combined the new blood with veterans of his past productions. Nashville’s Mark Niemiec, who mixed Beller’s previous two solo releases (as well as the first two Aristocrats studio albums), played an essential role in editing and managing the myriad performances from around the globe that comprised the album. “Without Mark Niemiec,” Beller insists, “this record wouldn’t exist, period.” And L.A.’s Erich Gobel, who mixed The Aristocrats’ Tres Caballeros, was a key album tracking engineer as well.

And as Beller remembered from his youth, no double concept album is truly complete without artwork and packaging to match the scale of the music. Beller commissioned the unique artwork for each of the 18 song “scenes” from graphic designer Daniel Wagner (through Nightowl Studios LTD), who had previously done album covers for Intervals and Tesseract. “It’s not every day that you’re talking to a graphic artist and you’re like, ‘Ok, I want to do eighteen album covers, what do you think?’ But I dug his vibe, and we worked through them in detail, one by one, until we had this amazing collection of artwork that I thought could fill a nice booklet for the listener to absorb while taking in all the music.” Another key contribution was the photography and design treatment of Manuela Hauessler. A native of eastern Germany, Hauessler employed a combination of digital and analog pictures (including shots taken on a vintage film camera from the GDR era), to provide some of the artwork’s most striking images. To bring the entire artwork concept together, Beller once again brought on industry veteran Mike Mesker (Frank Zappa, Steve Vai) to guide, refine, and finalize the elegant, ultra-deluxe 2CD and 2LP packages – a fitting physical form for such a massive work.

“Some people will absolutely have to have the full deluxe physical versions, and god bless those folks! But I also know that it’s not 1995 anymore. I’m all for people finding out about this work on streaming services, and listening to it and enjoying it on their own time, in their own way. I think that plays a key role in the ‘everything right now’ world in which we live, and that’s fine. I’m not here to tell anyone that’s wrong. I would just say, if you get into it that way, and you find that it moves you, I invite you to consider taking the extra step of actually owning this album, setting aside some time, and absorbing it the way that the people who inspired this work would do when they got new albums. We were limited in how we could do that twenty and thirty years ago, but that limitation also provided a kind of freedom. That’s still available to us – freedom from distraction, devices, and modern life, even just for 90 minutes at a time – if we choose it.”

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2 hours ago

Bryan Beller

BEHIND THE SCENES FROM THE FLOOD - SWEET WATER: For those of you who noticed that “Sweet Water” sounded like something from an earlier album of mine, you were right! There’s a certain archetype of song that served as the title track to my two previous records. “View” and “Thanks In Advance” are both slow, sensitive guitar ballads, and the closing chapters to the stories of those albums. So I thought that, considering “Sweet Water” is about being on a long plane ride at the end of an even longer journey, and daydreaming about a) a wistful vision of finally going home again, and what a relief and how awesome it will be; b) a deeply reflective look back on the events that brought it all to this point, and perhaps even further back than that… I thought it would be interesting to evoke the sound of those earlier songs, now over ten or even fifteen years old. That’s why the artwork is literally a postcard of that vision, the peaceful return to home after an epic voyage. But can you really go home again after something like that?

This will be a bit a long, but we’re at the moment of truth here, so I hope you’ll indulge me.

I’ve talked a lot in previous posts about Guthrie Govan (Official)’s incredible performance on this song, and how hard we worked to get it (ICYMI: it took months!). The only thing I’d add in terms of why it had to be him: Who else could rise to the challenge of being the sole melodic instrument to follow the massiveness of “World Class”? Or using a sports analogy, it’s the NBA Finals and you’ve got one shot to win it all. And you’ve got Michael Jordan. Do you give him the ball or not? ¯\_(ツ)_/¯

But let’s not forget about Joe Travers’ incredible groove and emotionally charged fills on this song, especially in the ending (we’ll get to that in a bit), and Mike Keneally’s double-tracked acoustic guitars. I wrote those parts on keyboard (we actually kept them as a second layer in the background), and sometimes it takes a virtuoso to track something that sounds simple, but actually isn’t.

And yes, that’s me on the lead guitar in the ending. At first I was embarrassed to follow up Guthrie with climactic lead guitar bits, but it turned out that the shift in the song’s final minute actually wanted a different lead voice to help change the scene, so to speak. And it worked emotionally as well (more on that crucial bit below). So I got used to it and ended up keeping it. Thanks again to Forrester Savell for skillfully re-amping those tracks - they needed every ounce of love, I can assure you!

Now, let’s talk about this song’s ending, because it’s where the whole album has been leading to from the very first minute. As I said to Forrester more than once about this part: These 30 seconds are the whole ballgame.

I knew from early on that, eventually, the end of the album would reprise the melody of the very first track, “The Scouring Of Three & Seventeen”. And I had the song “Sweet Water” in my back pocket from early on as well. I even had most of “Let Go Of Everything” (the last track) in advance. What I didn’t know was exactly how it would find its way from where the “Scouring” reprise comes in (at 6:41) to the start of “Let Go”. The total duration of this key bit is 30 seconds. I purposefully saved it for the final move of the writing process, and it was the very last thing I composed for the album in any harmonic detail. I even almost made those 30 seconds a separate track, but I thought that would be giving the game away, so I thought better of it.

I know I’ve been talking a lot about Pink Floyd’s “The Wall”, but at this crucial point, in terms of album structure, I was thinking deeply about Yes’ “Tales From Topographic Oceans”. For those who missed it, I’m a big fan of that album’s massive scale - four songs, 20 minutes each - but felt very deeply that Yes did not compositionally stick the landing in the album’s final minute. I get what they were going for at the end of the final song, “Ritual”. It’s a twisting series of chords that builds to a massive climax, one that doesn’t go where you think it will, and instead ends on a minor chord, and leaves you feeling disquieted. But the chords in the buildup, to me, were a strange random harmonic jumble, and the come-down just dissolves into an anti-climactic nothing. With a bit more cohesion and care, it could have worked, but somehow it just didn’t. And quite arrogantly, I always thought to myself: I wish I could have heard the “right” version. As crazy as it sounds, that was my goal as I sat down to write the climax of my entire double concept album - to make mine work by honoring the spirit of what I thought the end of TFTO should have been!

So I reached back to the very beginning of my musical training - classical piano - and imagined what it would feel like to have a feeling of “ascension while twisting”, as if you were being lifted up into the heavens by a whirlwind, experiencing euphoria, but also while blinded and disoriented. This would symbolize the protagonist’s internal feeling of almost reaching home, at long last, where everything is Right Once Again.

I sat at the keyboard with a C3 organ patch dialed up, started where the “Scouring” melody ended, plunked my left hand down onto a low octave, and began constructing voicing after voicing, one by one, with the bass note ascending and the upper chord changing and twisting each time, knowing that I somehow needed to get to B minor in the end, and that the final twist should feel like a traumatic shock, not a letdown.

It took four days of hours-long sessions, walking away, coming back, waling away, coming back...and finally, I felt I had it. Then I arranged everything else around the organ part - the acoustic guitar arpeggios, the high choral chords, the lead guitar breaks (kept from this original demo writing session), the higher melody guitars pinging the octaves, and then the drum part, which I programmed in exacting detail (god bless Joe Travers for playing it hit for bloody hit).

And finally, in one last nod to “The Wall”, I threw an explosion effect on the song’s final massive downbeat, the connection between the end of “Sweet Water” and the start of “Let Go Of Everything”. Because why the hell not.

What does this massive crestfalling mean for the story of the album? And for the more meta-meaning of the listener’s experience of hearing a progressive double concept album make this hard screeching turn in the 85th minute? I’ll address that in the explainer for the final song.
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22 hours ago

Bryan Beller

Super fun hang with Scott Devine of ScottsBassLessons.com this morning in Manchester! At some point we’ll share our fun with the interwebz. 👍🤘 ... See MoreSee Less

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1 day ago

Bryan Beller

Well, will you look at this... 😉

(I didn't get a chance to scribble "this is magenta now --->" on my goatee for this graphic, but you get the idea.)Hi ASIA! We’re coming back to you this June-July 2020! Stay tuned for more news / dates in a couple of weeks.
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2 days ago

Bryan Beller

EDIN-BRAH: Thanks for a great show last night in your fine city. You are very loud. I think my ears are still ringing just from the crowd response! We're currently driving in the Aristo-van (yes, a van) from Edinburgh to Manchester, and we're all fans of the beautiful green rolling Scottish hillsides on the road out of town. The sheep seem to like it as well. There are many of them.

So it's on to Manchester, then. Is it appropriate to say that we're mad for it? (Guthrie says yes. Who am I to disagree?) Hope to see you there.

Cheers,
BB

(crossposted from The Aristocrats page)
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4 days ago

Bryan Beller

I've woken to the terrible news that Lloyd Schwartz of Tech 21 NYC passed away, apparently unexpectedly and suddenly just after the NAMM Show concluded. Lloyd and Dale Krevens were two of the very first people I ever worked with in the industry regarding artist arrangements for gear, and they helped me get an original rackmount SansAmp PSA-1 in 1994, which I *still* have and use! One of my favorite moments of every NAMM Show would be coming over to Tech 21's booth, seeing Lloyd's smile through that huge beard of his, and checking out the latest fun stuff. Recently it was the dUg Pinnick signature amp, and I played the intro to "Out Of The Silent Planet" like a giddy fool while Lloyd watched and grinned.

I know many folks literally *just* saw and hung with him at NAMM. For all of the reasons I'm sad to have missed NAMM this year, this is the biggest. RIP, Lloyd.With heavy hearts, we regret to inform you our beloved colleague, friend and music industry legend, Lloyd Schwartz, passed away last night. At this time, we do not have information regarding funeral or memorial arrangements. Kindly understand we will be unable to answer any questions. Lloyd was an integral part of our family for 27 years and we are devastated.
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BEHIND THE SCENES FROM THE FLOOD - "SWEET WATER": The record's penultimate track & final complete "song" ties the 85th min. of this progressive double concept album back to its 1st, & then takes a hard screeching turn at the last moment. Words: (top post) https://t.co/W0IOfDDsyy

Super fun hang with Scott Devine of https://t.co/s0YaVE84tz this morning in Manchester! At some point we’ll share our fun with the interwebz. 👍🤘

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