At Dusk | Heights

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by At Dusk

Indie rock trio from Portland, OR making music inspired in equal measure by the best of 80s underground America, 60s England, Brazil, Gypsies everywhere, and Northern nostalgia for Southern summer sun.
Genre: Rock: Modern Rock
Release Date: 

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  Song Share Time Download
1. Come Too Far
4:34 $0.99
2. We Could Do Anything
4:19 $0.99
3. You Make Me Worry
5:12 $0.99
4. Farewell Joel Dean
3:59 $0.99
5. PS
4:57 $0.99
6. Act Of Violence
7:05 $0.99
7. The Face Is That Of An Angel
3:44 $0.99
8. Tired Eyes
6:52 $0.99
9. Welcome Home
6:54 $0.99
Downloads are available as MP3-320 files.


Album Notes
by Valusint Borble

We are At Dusk, a rock band composed of 3 friends who attended high school with one another in Los Angeles. We played music together during those golden, bygone days and went our separate ways for college (2 to Reed, 1 to Yale). This distance, oddly, kicked off an era of tremendous productivity for us. Over the course of those 4 years, we regularly sent each other tapes of song fragments to work on while apart, and would lock ourselves in one of our garages when at home together for breaks to write and document what we wrote. Having graduated in the Spring of '02, we reconvened in Portland, OR to make music - cruel mistress that she is - a fulltime enterprise. Since our fateful arrival, we have released 2 albums - "The Summer of Promises Kept" (2003) and "Heights" (2004) - helped to organize the PDXPOP Now! Portland music festival and compilation CD, and toured the whole wide world.

Our music falls somewhere on the new and exciting "Indie Rock" spectrum, influenced equally by Philip Glass, Sonic Youth, Romanian Gypsy Music (not a joke), Pavement, and The Byrds. For your amusement, we shall now compare ourselves (somewhat seriously) to Mission of Burma, had they been from the West Coast, fronted by a confused Colin Blunstone and Brian Wilson, with Jorge Ben, Nusrat Fateh Ali Khan and the Pace Twins go-go dancing, clapping out a beat, and cheering from the wings of the stage. Beyond these semi-truths, however, is the sound of a band comprised of 3 friends-from-childhood who know each other - as people, and as musicians - very, very well.

At Dusk is;
Greg Borenstein - Bass, Guitar, Vocals / Cary Clarke - Guitar, Bass, Vocals / Will Hattman - Drums, Vocals


This is our second record. It is called Heights. Were anyone to have heard it yet, they would most likely think it quite executive! Don't would you? We think that there is audible growth on this record in all respects - songwriting, musicianship, track length and bone density. If two aspects of At Dusk presented themselves alternately on The Summer of Promises Kept without ever really being fused - the melodic indie popitude (e.g. Starman) vs. playful angular madness (e.g. Seventeen Fever Dreams) - then we'd like to believe that Heights showcases the synthesis of those two At Dusks on every song. Contiguous made continuous.

Heights was recorded under the skillful, patient, and sometimes unintelligible, guidance of Chris Anderson in two discrete bursts. Having lived with us during The Summer of Promises Kept, Chris chose to move back to his hometown of Austin, TX as we began to write new material. Consequently, our recording time was largely dictated by his ability to get sufficient time and funds. We're bad a making decisions, so it's just as well that some temporal order was imposed on us. Might I suggest a game such as you might find in Highlights magazine? See if you can guess which songs were recorded together, and which set came when.

The first set of 5 tracks were recorded in a room in our practice space at NWRS in Portland's Northwest Industrial District in November 2003. The room in question is not the one we rent, but was vacant at the time and less regularly shaped. We set up in there for a weekend and knocked out what we'd written over the summer since pressing SoPK. The weather was cold and the sun absent, leading us to lovingly working-dub this series of tunes The Blizzard of Forgotten Hope in answer to our bygone youthful optimism.
Chris then departed, leaving us to mull over the basic tracks and strategize a bit how best to augment them. We'd never before had this kind of schedulish luxury. We would hole up in the practice space (our own room this time) for entire nights and knock out overdubs that, by and large, worked out pretty well and made it onto the final album. In some cases, we even went so far as to replace old parts with new ones - a Wilsonian decadence we wouldn't have dreamed of but a year ago. Meanwhile, we spent our Spring '04 touring for the first time (a two-week jaunt around the Northwest), writing the second set of Heights songs, completing our music thesis, and co-organizing the PDXPOP Now!

We lured Chris to Portland with hyper-compressed recordings of our new songs recorded on our camcorder, as well as with grossly-inflated legends of acquiring some spending money. Chris came for the two final weeks of may to accomplish a Herculean labor with us - record basic tracks for our 4 new songs, record overdubs for them, record vocals for everything and mix the whole mess. Much sleep was not had. Much fun was, as Chris knows that putting killing in animals is what animals is liking. Figure that out, cuz we're 2/3 vegetarian.

As fate would have it, destiny made luck go our way, to our good fortune. That is to say, the good will of our friends and colleagues made this madness possible. Having acquired some new gear, we borrowed amazing monitors from our friend and master-man, Jon Cohrs, and semi-secretly recorded our basic tracks in the amazingly non-parallel band room at Gregory Heights Middle School on NE Portland, where our roommate and friend Ethan Chessin was marshalling the school band, the State of Oregon having failed to do so itself. We were well cared for by the after school staff - SUNfolk, janitors, passing vagrants - and knocked out a track a day. Then, somehow, in a fit of delirium, we recorded all our vocals, all of our overdubs and mixed the album over the course of the second week. Chris had so much fun, he's moving back! That's just the kind of fun time you can expect from us.

And that brings us to now: Friday, June 18 2004. We'll be turning over our Cohrsified master to Cravedog tomorrow, and we'll have 1,000 of these bad boys to figure out what to do with. Likely, we will try and sell them to you. We will bring them on tour with us across the nation. We shall send them to the far corners of the earth to be written about - Khabarovsk, Ouagadougou, Yellow Knife, and The Sydney Opera House. We will find you. We hope you're not too sad about that.



to write a review

Music Liberation Project (ET)

A Solid Second Release from At Dusk
At Dusk was a band for 2 years before they played their first show. That alone should tell you something about this band. Meticulous. That’s the best word that comes to mind. Here’s an anecdote to illustrate: I was working with Chris Anderson (who recorded and mixed Heights) in their house, and Greg and Cary were about to start recording Heights. Each was tracing an internet trail to find some compressing phantom Z73 1200 Ptube sustainer module or some other thing I’d never heard of. Asking what exactly it “did” just ended with me more confused, but I watched as they called store after store, repeating the same specifications, writing down prices, comparing with websites and shipping costs. Their methodical precision and care in music- down to the last bolt- is reflected in their songs. Everything is tight, sometimes too tight. Their musicianship is flawless, but Heights distinguishes itself from its predecessor, The Summer of Promises Kept in that it’s much less indulgent in its virtuosity. In particular, “Come to Far” is a perfect example of the best of directions At Dusk is taking. In the pounding melodic crescendo of the chorus “Have we come too far?” you want to yell back, “No! No! Keep going!” Still, some very strange flights of fancy will certainly catch an unaccustomed listener off guard. Sudden bursts of Gregorian chants, for example (You Make Me Worry), the grinding off-kilter leers of guitars doped up on frequency-analyzers, etc. The record is nicely kept on the ground with solid, dreamy melodic tracks like “Farewell Joel Dean” and “The Face is That of an Angel” juxtaposed with the solid math-rock of “PS” or “Tired Eyes.” The vocals are still a bit flat and a bit self-conscious (“Welcome Home”), the songs still incredibly complex, but here all these At Dusk trademarks are moving toward a defining stamp, rather than a distraction.


From primordial ooze comes evolved rock for new century.
When you want more than mud from the sounds in your head, this CD keeps you happy and high. It soars with thunderheads of rhythm, pounds out crystals of rain without acid or rust. It flashes like lightening bolts from grey northwest skies, providing ozone freshness. The sensations stay with you like dreams of rainstorms.