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Before I started to take playing music very seriously, I was captivated by a quote I heard (that I later learned was attributed to Paul Stanley of Kiss): “Any song that doesn’t sound good on an acoustic guitar is not a good song“. As I grew into a musician in a day and age of MTV Unplugged, and as music became more of an important role in my life, I thought of that quote and how it works with various styles of music.

I thought that any good song could/should START on an acoustic. I even remember sometime in 2004 watching or listening to an interview with Andre 3000 talking about writing the song Hey Ya on an acoustic, further proving to me the power of writing with an acoustic guitar at the start.

As I progressed in my music career, I always wrote songs on an acoustic. For the 2000s through the early 2010s, any punk or hardcore/metal songs I wrote were on an acoustic. For me, this proved to be an effective writing tool and methodology. Tempo, accompaniment, vocal stylings – THESE are what differentiated the genre; but they could all START on an acoustic. A song wasn’t metal until it was at 220BPM with high gain on the guitar and angry shouted vocals; but take that same song and play it at 120BPM with light palm muting on an un-distorted electric guitar and softer vocals and you have indie rock gold. Of course, neither of those work if you don’t have a good song.

Although I was still playing in my post hardcore band at the time, in 2008 I decided to start to formulate the idea of what music I wanted Proof and Proving to be. In thinking through it, I realized that I wanted the music to be more, I don’t know, “timeless” than say a genre that can by commonly associated with age or period of my life (logic that is not without its flaws, I associated punk and youth; hardcore and young adulthood; indie rock with adults in denial and young adults trying to be double-counter culture; etc). I didn’t want to be any one of those genres, though I didn’t want to be excluded from them either.

Let’s shelf this idea and point-in-the-story to shift gears for a moment.

When I started to take Proof and Proving more seriously, around 2009-2010 – when my post hardcore band stopped playing out and started its still-continuing hiatus, I wanted to keep it as a solo act. I saw the difficulties of trying to coordinate multiple members’ schedules, talents, and lives; and I wanted to avoid all of it. Full disclosure, I did not say this as elegantly when I was in-the-moment of the band slowing down. Here’s a funny interview I did with a Temple University writer in October 2010 (pages 9 and 12): http://temple-news.com/files/2010/10/Oct.-12-Edition.pdf

With all of the above in mind, when I started to write albums and play out, I wanted them to be one-in-the-same. While I could play things like bass and drums on a recording, I wanted the album to sound like how I could perform it live (with the only deviations perhaps being back up vocals). Humility In The First Person was the first album where this was a conscious idea; to keep all of the songs to just an acoustic and vocals.

After some US touring, comps, smaller EPs, EU touring, split 7″, and countless cheeseburgers, it came time to write another full length album. With Proof and Proving still being a solo outfit, I mostly stuck to the same concept as I did with Humility for this next album, The Lineage Of The Recluse. I did decide that, aligning with the concept of the album, I would include others to accompany a song here or there; but for the most part nearly all songs were still acoustic and vocal centric. With two songs in particular, I decided to expand even a bit more. I had played drums, bass, acoustic, electric guitar, vocals, backing vocals, and had my extremely talent friend Michael Anticoli play grand piano. While these songs fit with the storyline of the concept album, they stood out on their own. I enjoyed working with them, but at the same time felt guilty as it broke from the mentality I set into years ago – acoustic and vocals only, since that’s all you can do live.

Fast forward to now. I realize that I was working with flawed logic. Thinking that I should leave a song acoustic-and-vocals-only because it could be perceived as style agnostic – or that I should restrict the outcome of an album by what I can perform live – is stupid. There were ideas for Humility and Lineage that I avoided because I didn’t want to add too much to shape the songs, but it really did a dis-service to the end goal, and the end piece of work.

This is what makes the next phase of Proof and Proving exciting. I give zero fucks whether or not I can perform a song live as I record it. If I record drums but don’t have a drummer at a show, no one will care, so why should I? I want to keep writing-a-good-album and performing as two items that are not mutually exclusive. I am going to use all the tools in my toolbox to make the best piece of work that I can, both with albums and with my live show.

So with all of that in mind, here is a glimpse into what’s in the works for Proof and Proving. No working title (“blah blah blah” was Maria‘s idea). All the songs were recorded on an iPad with the built-in microphone. I initially recorded these as scratch demos, but had too much fun with them and decided to share here. I’ve broke out of the limited tool set of only-acoustic-and-vocals, and in addition now use on this: mandolin, electric guitars, piano, drums, bass, and some effects that I’ve denied myself for years (tremolo, etc). Happy listening!

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Ingenuity and creativity were born out of necessity for me in my youth. Like many, my family did not have much when I was growing up, and whenever we seemingly did run into good times, they were both short lived and squandered. In fact, before my teens, I had learned how to drain the hot water tank in our house when we no longer had running water being supplied to it.

My socioeconomic status growing up was what attracted me to DIY culture, which was finely intertwined with the punk rock music scene in my area. Sure, there may have been times where I had a safety pin that was not absolutely necessary, in terms of utility or functionality, but I was a young teenager still trying to find where he fit in this world. For the most part, though, the times where I had what looked part of a punk rock uniform was actually entirely for purpose: like my blue JanSport backpack hand-me-down from my older sister, which was, indeed, falling apart, and safety pins were the only way I knew to hold it together.

[Disclaimer: This is before pop-punk, bright colored shirt Brian – a time in which the start corresponds to my friends’ and my immersion into the pop-punk/punk-ska scene. This was simultaneous to the fortune of me having my first job, which lead to my choice of thrift store and skate-brand clothing to be purchased with my own earned income. This is an entirely different story altogether. Unfortunately, the term “fruity booter” is also part of that same story.]

This ingenuity has come in handy in the nearly two decades since I first felt sheepish about needing creativity in lieu of spending money. When on tour somewhere near the east coast with my dirt poor punk/hardcore band, our guitarist, Ryan, had a handle break on his guitar case. Sure, a handle could be a $20 part, but finding a music shop that sold it, derailing a planned route and day (this was road-atlas-touring and MapQuest-touring days, not GPS-touring days), and shitting $20 is not something a DIY band member can easily do. We did, however, have a roll of duct tape, so I fashioned a guitar case handle out it. And it was not a sub-par handle, either. I put a great deal of thought into it, and found a way to make it nearly as functional and comfortable as one that could be bought for $20; all while sitting at a venue before a show. That handle finally broke in 2014 in LA: nine years and countless shows through many US tours and three or four Europe tours after my repair job; and four years after our band last played a show together.


Over the years, I have kept the DIY creativity and ingenuity close to me, as well as a keen eye on things like reuse, recycle, up-cycle, and waste. I keep these characteristics close out of both the habit of them as well as the consciousness of my impact on this world (which itself is a byproduct justification of growing up without).

Aside from cathartic release, I mention all of this with purpose.

You know how people attach water bottles to their backpack? The other day I saw a hipster who took a glass Smuckers jam jar and affixed it to his empty-looking messenger bag by intertwined wire. He also fashioned a metal electrical socket into it as a patch on the same bag.

16 year old Brian may have thought this hipster guy in his mid 30s was cool, innovative, and clever. “Fuck the man…AND soap!” is what I would agree with, in thought.

32 year old Brian thought he was an attention-seeking “Oh, look at me and how eco I can be” ass.

It’s slightly unnerving to see something that is born out of necessity turned upside-down into some level of fashion. Case in point: 1) If one can afford an expensive messenger bag they can likely afford a BPA-free water bottle with carabiner from a dollar store; 2) If one were concerned with reuse and not-needed extra expense, why wouldn’t they place their up-cycled jam jar inside of their empty bag?

It’s not the first time I’ve been simultaneously perplexed and angered by fashionable faux thriftiness. I see it in distressed jeans. I see it in “road worn” or “aged” or “distressed” guitars. I see it in fake vintage aged throwback tee shirts. “Pawn Shop Series” guitars. Trucker hats. A culture of pretending to be something it’s not.

Or maybe I’m overanalyzing it, and I need to lighten up. Maybe creativity, ingenuity, thriftiness – maybe it’s over?

At any rate: I can’t wait until Urban Outfitters copies this hipster’s unnecessary fashion; and the shelves of plastic faux mason jar water bottles are replaced by faux repurposed jam jar water bottles.


Not Water Bottles
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