Morgan Geist ‎– Double Night Time

Environ ‎– ENVCD007
CD, Album, Digipak

Tracklist Hide Credits

1 Detroit
Strings – Kelley Polar
2 The Shore 3:59
3 Nocebo
Guitar – Jeremy GreenspanVocals – Kelley Polar
4 Most Of All 5:59
5 Skyblue Pink
Guitar – Craig Hillelson
6 Ruthless City 5:56
7 Palace Life
Vocals – Kelley Polar
8 City Of Smoke And Flame 5:06
9 Lullaby
Trumpet – James Duncan

Companies, etc.



"This album goes out to everyone who got me through it."

The copyright in this sound recording and artwork is owned by Environ LLC.
℗+© 2008 Environ LLC. Made in the USA.
All songs published By Hydroelectric Music
(ASCAP) administered by Bug Music Inc.
exc. track 8 published By Hydroelectric Music
(ASCAP) administered by Bug Music Inc. and Domino Music Publishing Co. Limited.

Barcode and Other Identifiers

  • Barcode (Text): 8 23780 20072 5
  • Matrix / Runout: arvato digital services BERTELSMANN 52711524/P_ENVCD007 21
  • Mastering SID Code: IFPI LP73
  • Mould SID Code: IFPI 0780

Other Versions (1 of 1) View All

Cat# Artist Title (Format) Label Cat# Country Year
ENVCD007 Morgan Geist Double Night Time(CD, Album, Promo) Environ ENVCD007 US 2008 Sell This Version


Reviews Show All 3 Reviews

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April 17, 2016

8 years later (actually fewer than that, but I've been busy) I take most of what I wrote down there back. Is there any doubt that this is an excellent LP? Highly refined, perhaps overproduced and not exactly throwing off vibes of spontaneity, but those have become more peripheral criticisms as time has passed. I still enjoy listening to this album. Nuff said.


April 27, 2013

Morgan Geist's DOUBLE NIGHT TIME starts off like most of his work: quirky, plucky electronics -- but then Geist introduces a new element: vocals. And while there's nothing inherently wrong with the vocals, they don't add muc1h to Geist's compositions. Indeed, it makes "The Shore" sound overly poppy and "Most of All" slight. In contrast, the instrumental "Nocebo" actually feels more full, and the final track, "Lullaby" has the spry joyousness we're more familiar with. A new direction, but you can still hear the good ol' Geist in there too.


February 2, 2010

When people start bandying about adjectives like 'mature' and phrases like 'grown-up' about an album, it's either time to be afraid, maybe very afraid, or perhaps to rub your hands together in greedy anticipation instead.

Sadly, for me neither of those extremes actually applies to Geist's much-laboured-over proto magnum opus.

I like it quite some, and I suspect that if like me you are a fan of Metro Area, then you will too. But there's also a danger, you will, like I was, be left with a lingering air of disappointment.

Yep it's that beautiful Metro Area albatross, for me, I'm afraid. So sweet. So camp. So fragile. So buy it? Well, I didn't quite, alas.

Cute to a fault, it seems the tenderness of that Environ vibe, wasn't tough enough to survive. Or rather, it was based on too many mysterious ethereal elements relying on too much barely-palpable mysticism. It had to fade into the night, although it will always be remembered with a great deal of affection.

The problem is we don't know why it really worked and now, we don't really know why - at least the more recent stuff - doesn't seem to work so well.

This is the LP that somehow was made whilst Geist and co were crafting those amazing 12's of the early 00's, and the fact is, it's pretty clear that the LP doesn't reach the standards of intrigue, glamour, romance, and all those other barely quantifiable qualities, of the EPs.

The temptation is to think there has been more concentration on making the records excellent, to the detriment of the LP.

Not to mention all the suspicions which can apply to an LP which has been too long in the making, according to Geist's own admissions. In places it shows, in a cleanliness which can come about from too many passes through audio-clean-up software. In other places, to my ears, there is a certain over-programmed-feel and signs of an over-rehearsed stiffness, in the sung and played parts.

Unfortunately, this is one of those LPs that if you try to get to know it well, you can begin to perceive things like over fastidious micro-takes, and fancy compression settings which sound like they're defying the laws of physics. Some people like that sort of thing. But if such technical minutiae start to seep over the threshold of my own particular consciousness, I get a bit worried.

These songs ought to soar, in that controlled way which we know Geist's tracks can, but few do, I think. Ironically, the inclusion of the magnificent sonorous electro track, 'Lullaby', formerly an instrumental on the B side of an EP released by Geist in 2001 ('Super', Environ, 2001) merely underlines how lacking in idiosyncratic edge most of the rest of these pieces are, because 'Lullaby' doesn't try too hard to be perfect.

I liked a few of the other of instrumentals too, especially 'Skyblue Pink', despite or because of it having shades of Legowelt with its plodding bass and being smeared with resonant analogue shapes.

And 'Palace Life' is a great lesson in subtle use of 303 bass line, albeit the production inevitably evolves into a New York disco house track replete with smart harmonising and sass.

But as an experiment in song-making by an experienced electronic music maker, this album doesn't quite work.

Jeremy Greenspan from Junior Boys, intoning over much of this LP, doesn't help much, in my view, albeit the arch-sophistication of the lyrics crumpled in just the right places and stained by good acrid New York coffee, is a highlight.

Still, I couldn't help but worry that Greenspan's style might be rather too far on the cool and deadpan side, to really match the instrumentation. The quirky words could have done with a quirky voice, in other words.

In the end then, for me, messed-up implementation of an eagerly awaited idea. Maybe next time.