New Noise Magazine is thrilled to be hosting the full stream of Basilisk by Brian Rothenbeck & The Adventuring Party. The record is an adventure itself, full of vivacious melodies and heart on your sleeve style lyrics. The record pulses with a unique vigor, like life can never give up as long as this record continues to spin. It’s ever familiar, constantly growing on you and being left in your head; especially with a song so delicate and bouncy as “The Complete Guide To The Fucking Obvious” being the first full song to hear. “Life Is A Highway To The Danger Zone” is eclectic with its fast tempo, riding a more high soaring vibe with a punk aesthetic. Yet still, pianos crawl in the background and make it a full dance party of fun. Basilisk is out on January 19th via Black Numbers.
“Basilisk is the record I’ve always wanted to make, though I didn’t know it at the time. When I was done writing, my plan was to record it in my friend’s basement studio and more or less play all the instruments myself. I had intended to self release it quietly, and have it be just an account of some songs I’d written. During that time, I had been playing at a bar called Thatcher McGhee’s, and was on a bill with an Irish band that was comprised of musicians from various bands that ranged from punk to bizarre jazz fusion. That was the night we all decided to play Dungeons & Dragons together, and would eventually lead to the formation of the Adventuring Party.
Fast forward a few months, and I had been asked to play drums for my friend Steve Burks’ recording at a place called North End Recording in Passaic, New Jersey. From the moment I walked into the studio and met Ed Auletta, I knew I had to make my record there. Ed and I vibed perfectly, and it turns out we had been circling each other with the same friends for years without having ever met. After two days working on Steve’s record, I contacted him immediately to start booking time for myself, and like that, the record had become one step bigger. At this point, we were already over a year into our D&D campaign, and we had been playing a ton of shows together with our respective projects, so I asked my Rory, Matt, and Jay if they would help me make my record. The next weekend, I was teaching them songs.
We had been playing together for only about four months by the time we went into the studio, and in that time alone, the simple little songs that I had written had taken on new life and become more fleshed out and grander. We spread the recording out over the next nine months, and with each session, we would bring new ideas we had come up during our continued practices and shows together, and the songs just kept getting bigger and better. We would sit in the control room with Ed and have long conversations over pizza about “You know what would be cool is if we did this,” and run into the live room to try it out. We didn’t always stick the landing, but it was always incredibly fun to try every hair-brained idea that crossed our minds. We finished mixing nearly a year to the day of our first session, 24 hours before Ed moved away to Arizona for the next year. When we done, we decided to name it after the last monster we fought: a basilisk.
It’s hard for me to pick a favorite song on the record. Each of them is special to me in their own way, and each carries a fond memory with it. I will, however, share some of my favorite moments: the jazzy piano on the last chorus of ‘Sacred Brothers’, when the harmonies kick in after the pause in ‘The Light at the End of the Tunnel is a Train’, the way the drums on ‘I Was In Love with Eight Chinese Concubines’ build throughout the song and then retreat at the end, the amazing pedal steel by Brandon Bankes, getting to sing with Renee Maskin, and walking into the studio to make a record with a band, and walking out with the record I’ve always wanted to make and some of the best friends of my life.” – Brian Rothenbeck