Finally, our chance to share the music produced in-studio every day – to keep our fans up-to-date about what happens during the apparent lulls between landmark postings announcing albumreleases on the Day For Night imprintandweb site launches.

Our decision to post new work and MP3s as they happen is the culmination of a long-drawn out inner monologue about why Day For Night went online in the first place.

>> Day 082 "NIGHTBLOG"

Yes, we could try togenrifyourselves. Internally, we have derived three principal classifications, hopefully to exercise no further limitations upon our ears and minds.

1. Electronica / Avant-Rock
   Instrumental, experimental, leftfield and ambient work.
2. New Music / Modern Composition
   Avant-garde, jazz-classical and modern composition for keyboards and/or ensemble players.
3. Songs and archival works
   Indie pop and post-80s.

More and more artist-drivenimprintshave sought to replace the ubiquitous termlabel.

Departing from the traditional image of major-label domination as a business model, the indie web models represent theartist’s ability to produce and distribute music of a professional caliber, using affordable mastering equipment, while yielding a greater return on investment and a direct payment to theartists.

Independent projects,as a term, better describes our output when compared to the methodology of conventional record labels.

Our development costs are often absorbed internally, and fuel future commercial projects and commissions, resulting in a continuous
workflow, where artists and label can move
at a comfortable pace and in harmony.

Decisions about anartist’s fit are based
singly upon relevance of the work (often in-progress) to the whole of the Day For Night catalogue.

Day For Nightoriginated in 1991 as a recording imprint and independent-projects label, based in Santa Monica, CA. Promoting multimedia, while emphasizing a lightly-branded, personalized design style, Day For Night CD releases to date include works in contemporary music and new media released on CD, CD-R, DVD and the web.

In nearly-equal parts, the Day For Night Catalogue continues to offer an esoteric mix of creations – combining music, art, typography, design and literature. This imprint is not a traditional record label– its commercial releases will be limited, over a course of time, to 100 total, while its push for to recruit newartistsfrom the outside world is often shadowed by inner development goals – first, to release the full schedule of projects scheduled at this time, many of them still in the works. For this,Eric Scottoccasionally reaches critical mass as Creative Director; every day, he shifts gears in his capacities as composer, producer, recording artist, designer, typographer, and author.

These endeavors include software releases from sub-brand digital type foundry NIGHTfonts, which is currently designing experimental typefaces – as seen in some of Day For Night business communications – and for distribution via commercial outlets, for application in desktop publishing.

Day for nightoriginates in the filmmakers’ lexicon, and means the created illusion of nighttime in broad daylight by employing special lens filters. Within this term creative or technical misdirection is implicit – like any special effect that conceals or subverts reality. Eric refers to this, throughout his discussions of Internet Theater, oneDay For Night’s key conceits – as well as a personal design focus. One primary example of this is the self-initiatedNIGHTlink Railinternet project, which first launched in 1997, and continues to evolve, slowly, as the Day For Night catalogue grows.

From its early marketing campaign (“Take An Internet Journey By Rail – It Still Beats Walking.”) and the mock
train stations, NIGHTlink Rail becomes an emblematic parody of the label’s catalogue: CD project titles are also often referred to by name and, interchangeably, by catalogue number (“Day 001” through “Day 100”). This cryptic emphasis upon cataloguing and order also informs the schematic design of theNIGHTlink Rail Travel Planner– one that might easily be mistaken for a real subway map. The station-stops along this network also share into, and cross-brand, the Day For Night catalogue projects amidst playful marketing hype banner ads that cover railway station walls like fly-bills.

Another similarity shadows the 1973 film of the same name, furthering a personal authoring style, as did the œuvre of late director Francois Truffaut. Where Day For Night the film represented the filmmaker as the bemused subject of the same director's own fiction, Eric compares this to his own continually “being at the heart of Day For Night's big picture, and living inside many of the details as well.”

Real-world clients have approached Day For Night, requesting the finest in this brand of creative misdirection... from Imagine Television, Disney Online, Touchstone Television, to its inner Artist Projects network,Day For Night Multimediahas consulted and delivered when even the most daunting levels of creative misdirection is in the design brief.

The sum of the label and its multimedia endeavors represent this artist’s vision – one that is largely self-contained, and occasionally self-referential – and one which Eric describes as part of his “personal search for an absolute truth about New Media.”

Creating a lexicon of sounds, textures and graphic possibilities, Day For Night consciously articulates its own subjective experience, as well as its own beautiful flaws.