Imaginary Eyes by Maxx McGathey

Maxx McGathey
Imaginary Eyes
Independent

Maxx McGathey should know more than anyone (well, maybe everyone except Mahler or Grieg) how silence and isolation plays an important role in opening up the imagination. Composing original tracks to silent films is part of his curriculum vitae and a small component that immersed himself in the Chicago arts scene. With Imaginary Eyes, McGathey returns into periods of isolation that allow him an unrestricted view of creativity. His first solo effort is one of the most amazing aural experiences to come out of the Chicago scene in quite a while.

What started as a personal experience revisiting his childhood upright piano turned into a massive musical landscape fueled by some of the best artists in Chicago’s rock, jazz, and classical scenes. This multi-genre approach built an orchestra that is versatile to McGathey’s musical approach, synthesizing emotion, drama and mystery into these songs.

Even when it’s just McGathey intimately opening up with a song like “Midnight,” he ponders notes like Satie and builds vulnerability in his compositions. You get lost in tempos and fall hypnotized to the way he naturally builds momentum or fall into introspection. What this does is make his orchestration even that much more powerful. The excitement emanating from the orchestra burns into exciting artful emotion (the anxiety in the bustling track of “The Staircase”) to subtle ‘70s cop funk of “The Keyhole.” Being part of doom funk band, Gramps the Vamp, helps. It feels like there is a dominant influence of ‘70s cinematic film score that inspired Imaginary Eyes.

The album has layers that need peeled back and pieces of music structure that need dissection. However, the most important advice I can give is to just sit down and listen to what McGathey can convey in his musicianship. It’s truly a talent that opens up into a new world of possibilities.