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 bandâs studio/practice space was under nearly a foot of water. Heavy rains had caused the buildingâs 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 wasnât 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 theyâd 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 âOne More Timeâ, âOctoberâ and âThe Measureâ quickly formed from rough one–minute sketches by Summers, while the down tempo âHarvester of Soulsâ was completely improvised musically and lyrically in a single take.
Tempering the free form approach to writing was Summers and Weikelâs 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. âOpen Letter,â âSilence on Silence,â âDownward Spiralâ and the title track – some of the spacier, mesmerizing songs on Negotiations – came together in this way. Summersâ 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 Sinatraâs Capitol era âSuicide Albumsâ, imparting a more introspective and personal tone. âI used to view a lyric as a statement,â he says, âNow, I see it more as a letter youâre writing to yourself or a conversation with your subconscious.â
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, itâs a record that serves as a testament to the beauty, blessing, and excitement of a fresh start.
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 wasnât 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 theyâd 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 âOne More Timeâ, âOctoberâ and âThe Measureâ quickly formed from rough one–minute sketches by Summers, while the down tempo âHarvester of Soulsâ was completely improvised musically and lyrically in a single take.
Tempering the free form approach to writing was Summers and Weikelâs 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. âOpen Letter,â âSilence on Silence,â âDownward Spiralâ and the title track – some of the spacier, mesmerizing songs on Negotiations – came together in this way. Summersâ 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 Sinatraâs Capitol era âSuicide Albumsâ, imparting a more introspective and personal tone. âI used to view a lyric as a statement,â he says, âNow, I see it more as a letter youâre writing to yourself or a conversation with your subconscious.â
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, itâs a record that serves as a testament to the beauty, blessing, and excitement of a fresh start.
