-Back in Time was written and recorded by Seance Crasher's Kevin Rafn and Scott Harlan. 

-The song combines thumping drum machine and synth textures with cameos of mournful guitar notes, bending towards the skyline. 

-Rafn's lyrics begin with candor and longing: "I wish we could go back in time".

-The song conveys yearning for a return to shared spaces, physical proximity and the magic of the dance floor. 

-The single is released simultaneously with an NFT and a short music video.

-Mixed by Cam Spies. 

-Mastered by Kelly Hibbert at Almachrome Mastering.

-Video by New Move Media.

Back in Time

I Think You Got It (Sneak Peek)

Starfish

Second single from the forthcoming album called "The Plague of Fantasies".

Written by Bryson Hansen.
Arranged by Fog Father.
Produced by David Rosman.

MoonRay

"Destination Nightmare" is the debut single from Bryson Cone.

*Written and Produced by Bryson Cone.
*Mixed by Josh Powell and Bryson Cone at the Map Room.
*Mastered by Sarah Register.
*Recorded and Engineered by Knate Carter and Bryson Cone at the Constellation Recording Room and Bryson Cone's home studio.
*All instruments by Bryson Cone, except drums by Thomas Mabus, saxophones by Andy Rayborn & Chris Hoganson, and spoken word by Cat Hoch.

Destination Nightmare

The newest single from Séance Crasher (the recording alias of Portland musician, Kevin Rafn) is about the stranger on the other end of the crisis line. “Charlie” is the disembodied voice we cling to when we’re lost, like a flashlight sweeping the dark. 

It’s also an extremely catchy, danceable homage to 1980s pop, complete with three synthesizers and a heavily reverbed tom solo. These elements might seem incongruous on first blush, but they’re situated in a tradition. Think: Tears for Fears meets Purple Rain. 
“I appreciate that kind of contrast,” says Rafn. “Serious subject, upbeat backtrack.” 

The song’s producer, Cam Spies, (Reptaliens, The Shivas, Radiation City), acknowledges the full-on throwback of the sound. This is not a daylight track. It’s midnight. “There’s steam coming from a sewer grate. There’s a sax player in a tunnel.” But as closely as “Charlie” hues to that sound, the high-stakes narrative delivered by Rafn’s dreamy vocals (backed by Lia Gist) produces a kind of interior dissonance that restrains the song from all-out kitsch. 

“It’s autobiographical,” Rafn says. “It’s about the narrator's perceived intimacy with that stranger on the other end.” One lyric goes, I hear his voice / though I know he didn’t have a choice, and therein lies the rub. For the archetypal “Charlie,” answering the phone might be a calling, but at the end of the day it’s also a job.

The cover art by Kevin’s brother, Daniel Rafn bears an oblique resemblance to the Betamax sleeve for Miami Vice, but was in fact directly lifted from the most recent edition of the Diagnostic Statistical Manual, a corresponding ‘80s nostalgia tying the music to its theme (while inadvertently commenting on the state of psychiatry). Other contributors include Alexander Thomas on percussion, and photos by Todd Walberg.

“Charlie” signals a shift from the psychedelic rock riffs of Séance Crasher’s previous records, toward more focused instrumentation with a solidly 1980s sound. This song will be lodged in your ear long after you’ve stopped listening.   
-Lisa Wells 


Charlie was written and performed by Seance Crasher. Produced, engineered and mixed at Gold Brick Studios by Cameron Spies. Percussion by Alexander Thomas. Mastering by Timothy Stollenwerk.

Charlie

Written by Maria Maita-Keppeler
Engineered by Bart Budwig at The Ok Theatre in Enterprise, Oregon, and Matthew Zeltzer at Room 13 in Portland, Oregon
Produced by Maria Maita-Keppeler & Matthew Zeltzer
Mixed by John Askew at Scenic Burrows
Mastered by JJ Golden at Golden Mastering

Back in Time

Seance Crasher

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