FLESH AND FREQUENCIES

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  Flesh And Frequencies was recorded by Nick Caceres, at a home studio he designed in a family member’s house while given access to it for over a year. The songs had been written over the previous six years. Caceres received help from Ben Olsen on the drums. Drums were performed by Olsen on seven of the tracks, by Caceres on two, and recorded by Caceres on all. The bass, synth, additional percussion, harmonica, mandolin, electric guitar, acoustic guitar, and vocals were performed by Nick Caceres. All mixing was done by Nick Caceres. The album was mastered by Justin Phelps.  

     The title ‘Flesh And Frequencies’ is inspired by the idea that our experiences are simply made up of the flesh we inhabit, and the frequencies that tie us together. Many of these songs came from bad breakups, others from infatuation or love, but the common theme throughout the album is that we are bound by our bodies and the energy that runs between us, for better or for worse. 

 

LIVING EP

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     Living EP has a relatively simple origin story. It began with 'When I Was A Young Man', which I honestly recorded in an attempt to make a crappy sounding song in either 2007 or 08'. At the time I'd felt I'd put a of effort into my songs again and again to have it not be fully recognized.

     That recording was the definition of self deprecating. But the funny thing was, after really listening to it, I realized there was something special about it. There was this subtle voice that seemed to come through between the peaking vocals and jumbled aesthetic.

     This led me to record a few other songs in a similar process. At last I realized in 2017 that I needed to add one more song and call it the EP that it was. The idea of it somehow becoming a short album had been in the back of my mind from the beginning. 

     'Subway Harp' was literally made up and recorded on the spot. I was drunk and living in a basement room and a party was going on upstairs when I recorded it. I dubbed a field recording I took in Singapore at a subway station while visiting my brother in 08' onto the song as well. The wild thing about it was there was an old man playing a harmonica in the subway station at the time, and by chance, his harp was in the same key as the song. You can hear it beneath my harmonica in the distance at the beginning and the end of the song. 

     Sentiments was recorded while traveling as well, when I visited friends in Montreal and Toronto. All in all the album spans about nine years of exploration and discovery.   

 

AFTER ABERNETHY 

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  After Abernethy was made over the course of nine years. Caceres began writing these songs his freshman year of college. After attending music school for one year, the songs were partially recorded in Eugene Oregon by Billy Barnett at Gung Ho Studios. Ben Olsen first teamed up with Caceres then, and played drums on this album. 

     After this Caceres gigged these songs, and moved onto a handful of other projects. Eventually Wild One’s Max Stein, who had attended music school with him, prompted Caceres to let him add string arrangements to the then five year old recordings. This helped catalyze Caceres’ age old vision of self producing the album. Caleb Baker recorded the strings, and Adam Murray played violin, while Jessie Detwiller tackled the cello lines. 

     Caceres’ big brother Joe happened to purchase a house which was to serve as a place for family to gather in Portland OR, Caceres’ home town for a year or more before it would be rented. This was the perfect opportunity for Nick, as he was able to occupy and take care of the space for two years while setting up a studio where he completed After Abernethy, as well as Flesh And Frequencies. 

     Max Stein played bass on Manifest Destiny and Cats And Rabbits. Mark McIntire, who had played for years with Caceres in his side project Gratitillium, stepped in to do the rest of the bass lines. A traveling friend, Melissa Gail Klein, synchronistically added a flute line onto Manifest Destiny that Caceres had not known who to turn to for. Banjo was played by Scott Neidig, while Sam Cooper joined to play violin on songs other than those with the string arrangements. Acoustic guitar, electric guitar, vocals, backing vocals, keys, mandolin, harmonica, melodica, and additional percussion was all performed by Caceres. The album was mixed by Caceres and mastered by Justin Phelps. The album artwork was done by Wayne Curry using a historical Vandyke red printing process. 

 

HOURS OF LIFE

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     Hours Of Life was Caceres’ first professionally recorded album. Until this time he had been teaching himself how to write, as well as how to step into the recording process. It contains some particular gems, as it was written Nick's senior year of high school. The songs represent Caceres’ opening perspective of reality, as he and his friends were just beginning to see the world for what it really was. 

     Caceres met friends via the internet on myspace music at the time, who lead him to the underground recording studio of Shay Scott, a daytime lawyer nighttime recording guru. Shay had invested years of his life and money into a professional studio he constructed in his basement, known as Klickitat Band Camp.

     It was here, at the end of his senior year, with money Caceres made on the boardwalk of Ocean City Maryland during his summer breaks- while busking with his cousin Zach- that Caceres made Hours Of Life. He teamed up with musicians Kelly Mckenzie, who played drums on the album, as well as Danny Delegato who performed bass on all songs other than Hours of Life and Kukulcan. Caceres played bass on hours of life, and Amara Dreamer, a classmate and friend of Nick’s, joined Caceres to cowrite and sing on Kukulcan. The cover art was made by Charles Spitzack. Caceres officially released the album while attending music school half a year later.