Menomena, The Helio Sequence

"There's nothing quite like trying to capture the spirit of art rock in a series of painstakingly tuned paragraphs without coming off as pretentious or verbose. Especially when you're writing about your own band. We probably should have hired someone to draft this for us, if only to give the illusion of an objective third party saying flattering things about our new record, instead of having to take personal ownership of every sentiment voiced here. No one wants to sound self indulgent, on top of it all. But that's what any home-recorded band comes down to. What's more indulgent than spending every day listening to your own voice isolated in headphones for two years straight? That's pretty much what I've been doing lately.

It's been three-and-a-half years since the release of our last album. Roughly two of those years were spent touring and working on the music contained on Mines, and the rest was spent continuing to work on the new music and on arguing over it. On one hand, it seems like forever. On the other hand...well no, it still seems like forever. Nothing holds up a process like an indispensable band member being both a perfectionist and a control freak. Especially when your band features three of these types. And we certainly haven't gotten any more agreeable in our old age – quite the opposite.

However, in the wake of brutal disagreements, unrelenting grudges and failed marriages (not to mention a world full of modern terrorism, natural disasters and economic collapse) somehow this band is still standing.

Mines was constructed the same way we've always made music: We jammed and recorded hundreds of loops spontaneously, using the same ol' trusty software program Brent wrote as a college assignment back in the day. We individually pieced the resulting loops together like jigsaw puzzles, adding in voices and sentimentality. We made big strides building skeletal song structures, and did a decent job collaborating as the ideas began to take shape. But just when a song became familiar to one of us, the other two members broke it apart again, breaking each others' hearts along the way. We rerecorded, rebuilt, and ultimately resented each other. And believe it or not, we're all proud of the results.

I should have started this thing off with a catchy headline. Something like, "Mines will blow off your limbs like an Italian VS-50!" or, "Get ready to strike gold in the mineral-rich soil of Mines!" But again, I can't speak too smugly here. So then, Mines. Land mines, ore mines, plural possessive "mines"? All of the above, I guess... But mostly the latter. I'm just realizing now that I've already illustrated the possessive by choosing to write this myself.

As usual, the end somehow justifies the means. It's done, and it's the best record we could make at this time in our lives. Thank you for listening.


Danny / Menomena"

Menomena, the Portland, OR, based trio, will release their fourth full-length record, Mines, July 27th on Barsuk Records. Danny Seim, Justin Harris, and Brent Knopf perform, sing, arrange, and create Menomena songs. On stage, Danny usually plays drums and sings. Justin usually plays bass, saxophone, MOOG, electric guitar, and sings. Brent usually plays keyboards, bells, guitar, and sings.

The Helio Sequence

Negotiations, the fifth full-length album written, recorded, and produced by The Helio Sequence, would sound different had it not been for a flood. In 2009, while touring in support of Keep Your Eyes Ahead, singer-guitarist Brandon Summers got an unexpected phone call in the middle of the night. Back home in Portland, OR, the band's studio/practice space was under nearly a foot of water. Heavy rains had caused the building's plumbing to overflow like a geyser. But Summers and drummer-keyboardist, Benjamin Weikel, were lucky: All of their best equipment was either on tour with them, or racked high enough off the studio floor to be spared.

Still, the band needed a new home. After three months of searching, Summers and Weikel settled into a 1500-square-foot, former breakroom-cafeteria in an old warehouse. They no longer had to work their recording schedule around loud rehearsals by neighboring bands, but were free to create late into the night in uninterrupted seclusion. With twice the square footage, the space also had room for more gear, a lot more gear. They decided to use this opportunity to try something different.

Summers and Weikel, who started playing together in 1996 and self-produced their first EP in 1999, have always been gearheads. But it wasn't until the success of Keep Your Eyes Ahead that they could afford to step things up: The duo spent months (and many hard-earned dollars) retooling their studio. They left behind much of the cleaner-sounding modern digital studio equipment and instruments they'd always relied on, and embraced vintage gear that would color their recordings with a warmer, deeper sound: Tape and analog delays, spring and plate reverbs, tube preamps, ribbon microphones, and analog synths.

As the new studio came together, so did the songwriting. It proved to be the most spontaneous, open, and varied writing process they had ever experienced. Weikel, who was listening to minimalist/ambient composers like Roedelius and Manuel Goettsching, had created dozens of abstract synth loops of chord progressions and arpeggios. The two would put a loop on and improvise together with Summers on guitar and Weikel on drums, recording one take of each jam. Other songs like "One More Time", "October" and "The Measure" quickly formed from rough one-minute sketches by Summers, while the down tempo "Harvester of Souls" was completely improvised musically and lyrically in a single take.

Tempering the free form approach to writing was Summers and Weikel's meticulous attention to production and arrangement. Taking cues from the spaciousness, subtlety, and detail of Brian Eno and late-era Talk Talk records, they moved forward. Listening to the recorded live jam sessions, they set to work transforming the ditties into actual songs. "Open Letter," "Silence on Silence," "Downward Spiral" and the title track — some of the spacier, mesmerizing songs on Negotiations — came together in this way. Summers' one-minute demos were brought to life in collaboration by Weikel spending weeks working on sound treatments and synth landscapes to enhance the songs.

Lyrically, Summers affirmed the improvised ethos, working deep into the night ad-libbing alone in front of the mic, abandoning pre-written lyrics and instead preferring to create in the moment. His delivery was largely inspired by the starkness and understated romanticism of Sinatra's Capitol era "Suicide Albums", imparting a more introspective and personal tone. "I used to view a lyric as a statement," he says, "Now, I see it more as a letter you're writing to yourself or a conversation with your subconscious."

This collection of shimmering, reverb-heavy songs is a meditation on those inner dialogues (hence, Negotiations) with solitude, memory, misgivings, loss, atonement, acceptance and hope. Most of all, it's a record that serves as a testament to the beauty, blessing, and excitement of a fresh start.

$16.00 - $17.00


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