Wednesday, February 22, 2017

Productions016, part three DARKBEATS

downers. came to an end last year with our best album (my opinion, I'm def biased). Ether Noir manages to be a total expansion of the high points of our more song oriented material on Low Informant. SIMNs tape effects mutate things in very subtle interesting ways throughout, his free form way of working always brought new things to the record. There's dark dance material on here coexisting with blaring industrial noise. This album stays true to the original context of it as a noise project, but pushed itself incorporate newer things like techno and Hyperdub electronic sounds. It's a dark and chaotic album, it manages to sample Madonna on "Crawl to Creep" before tumbling into an eight plus minute ambient tape loop on the next track. I'm proud of it, tremendously.

Clone Operators is noisy, analog leaning techno, made from live jams I started doing with my rhythm wolf drum machine in the studio. I lean about as heavily on my Trogotronics 666 as the wolf, and there's definitely still some Electribe influence here as well. Something about this project feels very punk to me, perhaps in the just "live angry jams" type sense at least. This is def the most aggressive project I have worked on in quite a while. But live demos can be rejuvenating as a recording engineer, and doing something in a new way can be very helpful.

Monday, February 20, 2017

Productions 016, part two Cosmic Tides

Seeing the Sights has been an off and on again project I have worked on since the days just after Roman Photos ending. My friend Jaye, who I knew from the UNCA music department, sent me some synthesizer recordings she had been dabbling with after giving up the violin. After a couple emails, we decided to start a spacey synthesizer duo, and we began to trade tapes. After a few years making recordings as a duo, we also started to bring in friends on the occasional track. So this album features some great percussion and noise guitar additions. Between Avalon & Harbour was definitely us stretching our wings to fly as a production duo. Our earlier albums had been lo-fi and self consciously minimal, this new album felt more like an epic post-rock production. Jaye kept referring to it as a shoegaze album, there's probably some truth in that.

Distant Hymns is a Seeing the Sights side project with just me and Jaye working on a pure aesthetic: synthesizers and effects recorded on tapes, then those tapes edited in crazy ways in our home studios. This album is filled with so many cascading synth textures and heavy tape drones. Living far away, we decided to email our tape recordings back and forth, layering as we went. In some ways it's similar to the first two Seeing the Sights albums when it was just Jaye and I, but really, this is probably a big maturation of that as a sound and idea. There are so many wide open spaces in this production. The amount of layers we did on this was pretty off the wall, but it truly is a space album in every sense of that word. Jaye also reduxed an old Warning Light track through her absurd tape setup and it came out great. THE EPIC EVERDAY COULD BE EVERY DAY.

Snowbride's follow up to Fateful 808s finally came together last summer, it was a great thing to be able to round out our Southern Trilogy. Small Town Synthetics really swirls together all the sounds we dabbled with in our initial big bang as a band, we actually finished several older tracks in the completion. Production-wise we were attempting a fairly airy palette on this album, but with some spacious synthesizer and minimal metronomic beatwork.  The most difficult track on here to get mixed was probably "Mary Beth on the Mezzanine" (those levels!!!) and the easiest was probably "Seafoam in Her Hair" (it was one of those moments that just kind of happened :) _). "Sun Vitality" became one of my favorite Snowbride tracks after we got it done, I finally felt like we wrote a sequel to "Breathing Neon, My Sweet" (if that was Snowbride taking on Italo disco then perhaps "Sun Vitality" was us somehow taking on ambient house). I was lucky to make this one with Rachel, she's a constant inspiration. There are several things on this record she did that I would have never though of, and Rachel has a great ear.

sincerely yours, DH

Monday, December 19, 2016

A winter single

This is dedicated to all my friends and acquaintances who for whatever reason are not with their friends/family/sweethearts for the holiday season. 

You are not alone, much love to you all. 

Thursday, December 1, 2016

2016, the year that was (no matter how you felt about it)

Persistentmidnight Productions this year:
downers. "Ether Noir" cassette
Warning Light "Life/Death EP" cassette
Seeing the Sights "Between Avalon & Harbour" CDr
Distant Hymns "Dreaming Left Free" CDr
Outer Gods "Dismal Rift" CD
Snowbride "Small Town Synthetics" CDr
Warning Light "Inland Empires Disregard the Sea" CD
Sareth Den "Into the Glacial Unknown" 2xCDr
Clone Operators "Clone My Operator" demo

and Warning Light appeared on the following compilations:
Culottes Vol II: Yuki Joro by WUSSY MAG
Mango Heist Mixtape by Clandestine Ritual, LLC
DKA Tape Programme #1 by DKA

Saturday, October 29, 2016

Monday, October 24, 2016

PM Scary Movie MIX

Persistentmidnight has put up a new mix in honor of our current season, enjoy. I do have a downloadable version too, just reach out if you're interested. This time it's not so much a mix of tracks playing around the PM office, so much as it is a soundtrack to darker, cooler nights of the season.

Tuesday, October 18, 2016

Productions 016, part one Keep It Dark

So, I'm going to post a couple "round ups" of my production jobs this year, each post will be collecting a different aspect of my work here at Persistentmidnight.

The Dark Ones:

Outer Gods Dismal Rift
A pretty unique transitional record, Dismal Rift straddles several music making approaches while maintaining a unified aesthetic. It took about a year and a half to finish Dismal Rift, which isn't too long for some bands, but seemed to be an eternity in Outer Gods time. The tracks have a certain quilt-like element, which gives the album an eclecticism that probably wasn't present on earlier OG recordings. It's an album of deep, open spaces and dark low frequencies. But it's a genre defying piece, certainly not metal in its sonics like the three other OG albums. It is the longest OG album, certainly the most diverse, and the only time I've done promotional edits for drone music. It's possibly the most non-metal metal album I've produced yet.

Released June 24th on Stickfigure Recordings.

Sareth Den Into the Glacial Unknown
As Dismal came together, I slowly took note of Into the Glacial Unknown, from some raw alchemical inspiration in the mists of the mind that I didn't completely understand. Unknown is certainly the sister-record, a different type of exploration of similar sonics. There are a lot of wide open spaces on this album as well, but the overall palette is a strange one, with little claustrophobic moments to break up too much placidity. The B-side takes a long dark ambient turn, which is meant to bring the listener down after the noisy strangeness of the A-side. If Outer Gods exist as ex-communicated monks living solitarily in an ancient library, toiling away in their research of dark unfathomable forces, Sareth Den exists as a mournful woodland witch who has left society to wander the darker reaches of her desolate forest domain forever.

Released October 14th on Persistentmidnight.