Video Premiere Seeing Up – Dayflower

Seeing Up” is the third video from Dayflower, produced by the band as a visual companion to the song, which was originally released alongside “Neverfriend” on EDILS Recordings in September 2016. Earlier last year, on Fadeawayradiate, “Seeing Up” was portrayed as “a super spacey trip that has luscious juxtapositions of ethereal and noise and is crammed full of dreamy chords and electronic beats and other fine details  that are layered and layered and loop round and round like a psychedelic mantra… “

The video is a vivid record of dreamed trajectories and human collisions, merged with undulating swathes of colour and pattern. From the floating vantage point of the dreamer natural landscapes become abstract forms and alien textures. The sense of motion is constant, reflecting the rhythm of the music; perpetual, yet shifting – forwards or upwards, looping and glitchy or smoothly cyclical. Projections flicker, the lens immerses in honey and, as sound grows vertically, layer upon layer, our dream view gently ascends. It is hoped that this richly realised aesthetic interpretation of Seeing Up will add to the sensory experience, whether one is a familiar with the music or listening for the first time.

The song can be obtained for free here.

On the making of Seeing Up:

“Seeing Up originated as simple guitar line, layered over an electronic beat using a loop pedal. I remember playing it (beat, melody, chords and all) through a bass amp and a guitar amp simultaneously. The fullness of the frequencies, the heavy reverb and spatial immersiveness of the sound was striking. Because the looping process limited me to just a few bars, it has none of the linear complexity of Neverfriend. The whole thing is built on just a handful of chords. A kind of sonic mantra, growing vertically rather than horizontally, with textures layering themselves upon one another seemingly to breaking point. The basic demo predates Dayflower. It was one of the first things I showed to Alex, soon after we met. The band he sang in at the time was based around acoustic guitars and vocal harmonies. But even then I recall thinking that the range and tone of Alex’s voice would perfectly suit a reverb-drenched, early 90s Creation sound. As we chatted, it was not long before our shared love of My Bloody Valentine, Jesus and Mary Chain etc became apparent. So his vocal melody came very naturally. This was a chance to just absorb ourselves in the studio process and truly experiment with sound. The recording features an assortment of drum machines of different vintages, analogue and digital synths, classical woodwind, guitars that sound like household appliances and . . . actual household appliances. I found a way of combining a few guitar effects pedals to create the noise climax at the end, which sounds something like a choir of demonically possessed vacuum cleaners. One listener, interpreted the swirl differently and remarked: ‘I feel like I’m spinning down a drain. In a good way’. While Chris (Merriman, Dayflower’s guitarist) was setting up his amp and mics to record his parts, his washing machine was spinning (just down the hall from his home studio). I wandered off to check how loud it was it was and took a handheld recorder with me. It’s somewhere there in the finished mix. The trippy, wonky vocal sample running through much of the song is courtesy of longtime friend and co-conspirator Ola Szmidt. As well as being a brilliant singer, Ola is a classically trained flautist, so on the spur of the moment we put some flute in there too. There’s a purity to the instrument which cuts through the mix (‘Hoovertars’ and Chris’ laundry day notwithstanding). I love how early Mercury Rev albums had these beautiful flute melodies floating over devastating storms of noise. Delicate. A single human breath, holding its own in the midst of a hurricane. There’s a giddy sense of disorientation when sounds are merged in an unusual way. If the music I make gets me feeling a little confused, I think I’m on the right track.”

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