Blow the Brakes Out (EP)

by Emily Bezar

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Sven B. Schreiber
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Sven B. Schreiber This EP celebrates 20 years "Four Walls Bending" - one of Emily Bezar's best albums ever. It includes some highly interesting archive material from the same era, plus one outtake from her latest work. Thus the pair of vocal tracks spans around 20 years of immense creativity. The remaining instrumentals, which sound unusually bizarre, are related to "The Rococo B-Sides" EP, since they complete the release of Emily Bezar's "Grit to the Wire" trilogy, partly found on the latter. Favorite track: The Empire Bloom (Live).
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1.
I decided against including "Blow the Brakes Out" on "Out of the Moment", mostly because I felt that in the ebb and flow of the album's tone, "Nonstop Flight" worked better as the album's big Act II almost-pop-aria moment. But here it is, and maybe you can find the right spot to place it and its full-speed outro among OOTM's other 15 songs.... LYRICS: in his book of arrangements, a chapter was turning over he knew his lucky days were sliding to an end into the cruelest months of the long, hot summer into the blue expanse again november freeze down and the lights change and the days grow shorter his derby roller girl slipped on ice again he picked a cruising speed for the long, long skate she was already miles ahead, crashing through the gate he was her cloud nine plan, end of the incline she was only a narrow band on his radio she’s getting ready to love him, like he’s never loved before but he glides so slow, like every ending is impending she says you don’t don’t know how the road ahead is bending so come on and blow the brakes out and let her roll windy city lightning spiked like dendrites on the lake that evening he slipped inside before the atmosphere began to glow ‘round every ruined life, angels hover waiting he moves to shield his eyes from the radiating he was her cloud nine plan, end of the incline she was only a narrow band on his radio she’s getting ready to love him, like he’s never loved before but he glides so slow, like every ending is impending she says you don’t don’t know how the road ahead is bending so come on and blow the brakes out and let her roll on the skin of your knee, in the palm of your hand a revelation, all unplanned like fluid moving through you she’s ready to love, he’s ready to lose but you take your time and you never choose and this life, this life goes on without you, goes on without you blow the brakes out come on and blow the brakes out let her roll Music and Lyrics by Emily Bezar Copyright 2019 Blue Countess Music, BMI MUSICIANS: Emily Bezar Voice, keyboards Brian Mesko Guitar www.brianmesko.com Andrew Waldeck Electric bass www.killerdeluxe.com Nathan Brown Drums www.killerdeluxe.com Produced by Emily Bezar Recorded and Mixed by Andrew Waldeck at Ravensworth Studios, Scottsville, VA www.ravensworthstudios.com Mastered by Greg Abate at Neon Audio, Lawrence, MA www.neonaudio.pro
2.
This is the studio recording of "Circus Ponies" from the 1999 "Four Walls Bending" sessions. I released a 1997 live performance of this instrumental piece in 2005, on "The Rococo B-Sides" EP. I hope you enjoy hearing this more structurally compact version, in which the Ponies were confined to 2 out of 3 Circus rings and were not allowed to drink from the bowls of purple-colored water before the show. :) Music by Emily Bezar Copyright 1999 Blue Countess Music, BMI MUSICIANS: Emily Bezar Keyboards Morris Acevedo Guitar www.morrisacevedo.com Andrew Higgins Electric bass Steve Rossi Drums Produced by Emily Bezar Recorded by Justin Phelps at Coast Recorders, San Francisco, CA www.justinphelpsrecording.com Mixed by Greg Abate at Neon Audio, Lawrence, MA www.neonaudio.pro Mastered by Greg Abate at Neon Audio, Lawrence, MA www.neonaudio.pro
3.
Blinkers Off 03:44
It's race time....and they're out, blinkers off! This 1999 studio recording, recovered along with "Circus Ponies" from the "Four Walls Bending" analog multitrack tapes and mixed in 2019, is the third movement of "Grit to the Wire", my equine fantasy for rock band and electronics. The first movement, "Circus Ponies", exists as both a studio version (track 2 on this EP) and as a live version (track 4 on "The Rococo B-Sides" from 2005.) The second movement, "Aerial at the Gate", can be found as track 2 on "The Rococo B-Sides". Sorry for the confusing timeline...as in life I guess, art never follows a linear progression! But now "Grit to the Wire" is finally complete. Music by Emily Bezar Copyright 1999 Blue Countess Music, BMI MUSICIANS: Emily Bezar Keyboards Morris Acevedo Guitar www.morrisacevedo.com Andrew Higgins Electric bass Steve Rossi Drums Produced by Emily Bezar Recorded by Justin Phelps at Coast Recorders, San Francisco, CA www.justinphelpsrecording.com Mixed by Greg Abate at Neon Audio, Lawrence, MA www.neonaudio.pro Mastered by Greg Abate at Neon Audio, Lawrence, MA www.neonaudio.pro
4.
In July of 2019, as I gathered the "Four Walls Bending" tapes to be transferred to digital files, I was excited to find that we had actually recorded two full takes of my long-forgotten song, “The Empire Bloom”. But the studio tracks, marred by a wan vocal, constrained by a slow click-track and missing guitar, proved unworthy of resuscitation. After an exhaustive search of very old hard drives, I finally found a live version of "The Empire Bloom" from the late 1990s that deserves to be unveiled, as I'm sure that this song could have made the cut for "Four Walls Bending" had I ditched the click track and pressed on in the studio through takes 3, 4, 5...... Two decades on, I'm struck by the ominous vibe of the lyrics, which reveal the pre-millennial anxiety I can now clearly read in all my darkest images from "Four Walls Bending" with its falling engines, tumbleweed in flames and underwater cities. LYRICS: when steel meets sky beautiful steam rise on the hill grace my dark eyes aluminum and chlorophyll if everything green grows in pattern then why do the things we build all scatter? two grey planes glide onto this hazy afternoon I stand bayside watching the aging Empire bloom a fisherman craves what he catches so why do I dream in oil and matches? I’d follow poison rivers to the great sea if you, you would swallow the open water I would flow like blood through mercury hey, an omen of omens an omen came down in a honey bee flash of rain a storm drain and as he came down he said "don’t believe what you can’t see" over the earth last coat of glaze is drying I will return my brushes when they have stopped all their crying I’d follow poison rivers to the great sea if you, you would swallow the open water I would flow like blood through mercury Music and Lyrics by Emily Bezar Copyright 1999 Blue Countess Music, BMI MUSICIANS: Emily Bezar Voice and Keyboards Morris Acevedo Guitar www.morrisacevedo.com Andrew Higgins Electric bass Steve Rossi Drums Produced by Emily Bezar Recorded live in San Francisco, late 1990s Mixed by Greg Abate at Neon Audio, Lawrence, MA www.neonaudio.pro Mastered by Greg Abate at Neon Audio, Lawrence, MA www.neonaudio.pro

about

As 2019 comes to a close, I want to commemorate the 20-year anniversary of my album "Four Walls Bending", which I released in the Fall of 1999. Here are three discoveries I made last summer during the process of digitizing my old analog tapes from the FWB recording sessions (tracks 2, 3 and 4).

And to mark "Out of the Moment's" first year, I want to open with "Blow the Brakes Out", a recording that I decided not to include on the album, but one that I know will remain important to me as the years go on.

I don't know if you'll find any revelatory musical comparisons between old and new here, but I wanted to present these tracks together on the threshold of 2020, as a reminder to me (and anyone else who needs to hear it again) to navigate the next decade of life and art without fear, brakes out and blinkers off.

You can find more information about each track on the individual track pages. Thank you for listening!

credits

released December 20, 2019

All music and lyrics by Emily Bezar
copyright 2019 and 1999

MUSICIANS:

Emily Bezar
Vocals and Keyboards

Brian Mesko (track 1)
Guitar
www.brianmesko.com

Morris Acevedo (tracks 2, 3, 4)
Guitar
www.morrisacevedo.com

Andrew Waldeck (track 1)
Electric bass
www.killerdeluxe.com

Andrew Higgins (tracks 2, 3, 4)
Electric bass

Nathan Brown (track 1)
Drums
www.killerdeluxe.com

Steve Rossi (tracks 2, 3, 4)
Drums

Produced by Emily Bezar

Recorded and Mixed by Andrew Waldeck (track 1)
at Ravensworth Studios, Scottsville, VA
www.ravensworthstudios.com

Recorded by Justin Phelps (tracks 2, 3)
at Coast Recorders, San Francisco, CA
www.justinphelpsrecording.com

Mixed by Greg Abate (tracks 2, 3, 4)
at Neon Audio, Lawrence, MA
www.neonaudio.pro

Mastered by Greg Abate
at Neon Audio, Lawrence, MA
www.neonaudio.pro

Analog multitrack tape restored and digitized by Mitch Easter
at Fidelitorium Recordings, Kernersville, NC
www.fidelitorium.com

Cover Photo by Christina Shook
1999, Tilden Park Steam Train, Berkeley, California
www.christinashook.com

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about

Emily Bezar Roanoke, Virginia

Singer, composer and keyboardist
Emily Bezar creates intricate, uncategorizable music, drawing freely from classical, jazz, rock, pop and electronic genres to create an enchanting, dynamic sound world.

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