Very Little Daylight
Gig Seeker Pro

Very Little Daylight

Portland, Oregon, United States | SELF

Portland, Oregon, United States | SELF
Band Alternative Folk


This band has not uploaded any videos
This band has not uploaded any videos



"LEDS and Smoke Machines"

alph and Darius contacted us looking for images to represent their band “LEDs and Smoke Machines”
These two guys were so nice to work with!
Ralph so kind he could hardly keep a serious face…such a great guy!
Darius had an awesome reaction seeing the outcome of each shot…I will never forget it.
As most of you know that is always our favorite part of our job…seeing the great smiles as our clients see the image for the first time. Darius had a smile I will not forget each and every time. It was awesome watching both of them react to the outcome of our art in action!
Can’t say enough good things about these two guys, we enjoyed them and will enjoy them in the future for more shoots.
They were both so respectful pre-shoot, during the shoot, and continue to be post-shoot! - snappshot photography


this song is about sex- Single
For: Vera Lynn- Debut Album



Born out of a lasting friendship between Ralph Tinsley (multi-instrumentalist, vocalist) and Darius Frank (bassist). LED's was initially the brainchild of Ralph Tinsley. Coming out of an assortment of different projects, Ralph took his love for great songs to its conceptual limit with these recordings. "i was always known for being able to rock a stage but i clearly had a weakness inside the studio. it simply abaded me that i had no sucess inside studios and i was bitter about that reality because i knew that i would never reach my desired destination in music without the ability to enter a studio and exit with a great product.", say's Ralph.
"We were really able to organize some great songs into a record that was crafted around such a stand-alone format." The music seems to combat theorism, sex addiction, weakness, even religious complications. Lyrically, there was alot of shyness within these tracks. "i saw that they're were alot of really good instrumental tracks, but i wanted to avoid producing another instrumental record. i felt as though it was so much easier to put toghether a flat record like that. However, i felt like i wasnt talented enough to produce something as genious and relevant as NIN's "Ghost" record. Unfortunately the songs had so much "hook" quality that i had issues finding the lyricism because i didnt want to cover up the catchiness about the album. However at the end of the process i found my voice on this album. it took me time to realize that i had to keep myself from following these invisible rules that guideline what makes a great record. i figured: my studio, my tools, my money, my energies, my rules. and with that came a type of creative freedom that i could never fully explain. it allowed me to finally see myself actually being an artist that could do more than what the industry can offer. throughout the process i found myself becoming a very good musician. that in itself was something i was never truly interested in. i just want to make great music, i dont need everything else that comes with picking up a guitar. (as fun as some of it may be.)" "i wanted to give Darius my full attention over what i wanted him to do for the record. we initially began writing the album toghether in my studio. and we worked 9 to 7 everyday for the first 3 weeks. after that, i fell into a slump of not knowing where the album was going, and just a block of time where i hated everything i was writing. it was at that point that i stopped writing for about a month and started listening to the music i love. (NIN, BECK, PAVEMENT, METALLICA, LAMB OF GOD) i returned to the studio late at night (around 3am) for the next 2 months and slowly started to find the record on a 3am to 11am section of time. i actually found myself purposely ruining songs so that i could begin editing the tracks out of the worste possible position. it allowed me to see how bad the record could be, and that created my commitment to the album. at that point i was so commited to making these terrible songs into an album that i was addicted to listening to. i mean, i was listening to this thing 3-4 times per day. Towards the end of the record, Myself & Darius found ourselves unhappy with the other. This was a confusion that was created by myself. i wanted to give him so much creative freedom that i wasnt directing him. at the same time, i may have given off the idea that they're was more work for him to do. but i had found these track takes of his that sometimes would have nothing to do with the record, but were genious. so i would put them in logic and almost used them as though they were samples. so when the album was done. for darius it was a big surprise that the record was finished. most of the changes and real editing work would happen around 530 am. so, by the time he would wake up, the record was different than what he went to bed hearing. i felt bad that i couldn't include him in 100% of the record. but i felt like his donation to the album was huge. and i didnt want the world to hear his "ok" bass work. i wanted everyone to hear the tracks that gave me goosebumps hearing. if his tracks were anything less than that, i was electing to delete the track completely because i knew first-hand how groundbreaking his bass work really was. this actually kinda sucked for me because i had recorded some of the best guitars of my life. i mean just amazing guitars and solo's to die for but, they were typically on tracks where Darius wasnt happy with his bass work. the end product was eliminating these great guitar tracks. i have never found myself bitter about that idea, because i was happy that i had kept my promise to myself and darius and i had kept the project as close to a 50/50 partnership as possible with Darius . Something i have learned after doing this stuff for so long is that any more than 2 minds in the room was a terrible situation for us creatively and i had to keep on top of that idea because there were so many moments o