![]() Mistakes didn’t matter, and second chances didn’t exist. In time, they returned to each fragment, broadcasting it over the studio PA, jamming and recording the results. Summers and Weikel didn’t discuss what they were making or the reference points that informed it, though such discussions had once been central to The Helio Sequence’s more self-conscious process. ![]() One piece documented, they quickly advanced to the next idea. ![]() They began exploring and capturing, recording guitar riffs and keyboard loops, drum patterns and bass lines. In May of 2014, inspired by the “20-Song Game”, they began arriving each morning in their Portland space-housed in the cafeteria and break room of an old warehouse- with the mission of making as much music as possible in one month. Summers and Weikel discovered just how adaptable and powerful their studio could be. As producers, they’d remixed Shabazz Palaces, picked up mixing sessions with Portland acts and earned representation from Global Positioning Services. In 2013, the pair took on their first full-scale production project, the Brazilian rock band Quarto Negro, after the group inquired about their space and availability through Facebook. They’d sunk entire recording advances into studio purchases, collaborating with local engineers to build custom gear and a space where they could blend high fidelity with kaleidoscopic sound. In a sense, The Helio Sequence had spent their whole career preparing for this record. That’s how we tend to work, but we wanted to try something new, open and immediate.” “We shut ourselves off from the world and disappeared down the rabbit hole. “Negotiations was a very long, introspective process,” remembers Summers of the band’s 2012 Sub Pop LP. Brandon Summers and Benjamin Weikel took the spirit of the “The 20-Song Game” to heart, and forged ahead writing a new record. When they were finished, they’d have a party, listen to the results and talk about the process-of taking the good with the bad, of letting creativity push past constraint, of simply making music in the moment. Several of the duo’s friends within the Portland, Oregon music scene had been playing “The 20-Song Game.” The rules were simple, playful and ambitious: Songwriters would arrive in their studios at prearranged times and spend all day recording 20 complete songs. The self-titled sixth album by The Helio Sequence began with a friendly competition. In his review of the album for AllMusic, Richie Unterberger says the Helio Sequence combine "dense electric textures in which the voice is just another hazy element with atmospheric keyboards, guitar, and electronic effects", but that the songs eventually blur "together into similar overall moods as the disc progresses.20:30 23:30:00 38 TUES Oct 18 - The Helio Sequence at The Fox Theatre The Helio Sequence (Official) with Special GuestsĪll 21+ Tickets MUST be accompanied by a Valid Photo ID. ![]() Reception Professional ratings Review scores It is less pop-oriented than their later albums, and it features longer songs densely layered with synthesizers. It was released on October 9, 2001, by Cavity Search Records. Young Effectuals is the second release from the Portland-based band The Helio Sequence.
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