Shining On by Saint Evaleen | LP Release
Photography by: Monako Davis / Big in Space at Ildefonso, Inc.
Saint Evaleen’s Shining On
Released on January 19, 2024, the third album by Saint Evaleen Shining On features 7 original tracks.
Recorded in-house at Ildefonso, Inc., the artist project called Saint Evaleen began as a collaboration between Mary Ives (Vocalist, Songwriter), Spencer Alfonso (Producer, Songwriter), and Monako Davis (Songwriter).
Saint Evaleen’s influences stretch over multiple albums and EPs released over the past 5 years. Inspired by alternative pop and neo-soul, tracks like 2019’s neon infused “Stuck on You” spotlight Ives’ exceptional vocal range blending explosive highs with a velvety low range texture.
Two years later, Saint Evaleen’s second album “Ultra” would find its percussive standout track, “Free Fall” - synced on Netflix’s exclusive rhythm and music focused game video title, Hello Kitty Happiness Parade.
Over the course of 2023, Mary Ives and Spencer Alfonso would coordinate writing the 7 tracks of Shining On with a hybrid of studio sessions and remote vocal sessions produced over Discord.
The Sonic Landscape
Through building the sonic landscape of Shining On, Spencer Alfonso’s production influences included 1960’s pop groups like The Beach Boys, The Beatles and The Mama’s and Papas. The lyrical and melodic world of vocal production leaned on Ive’s love of 1970’s folk pop a la Fleetwood Mac’s 1977 album Rumors.
“There’s something about “California Dreamin’” by The Mamas & Papas that served as an ‘aha’ moment for me. I’m really into digging through old records, CDs, tapes, whatever it is that I can find that can express my inner longing for making records that sound real. This album and this band served as that northstar for me, because when I hear “California Dreamin’” it serves as an emotional benchmark for what I wanted to accomplish with Shining On. I don’t think I’ll ever write something as catchy and important as The Mamas & The Papas, but I can still reach for that feeling that they give me, and hopefully that translates to the albums that I produce.” - Spencer Alfonso
Rooted in a healthy dose of musical nostalgia, the two main writers behind Saint Evaleen would also share their love of modern pop vocal production. Stacking multiple textures within Ives’ voice, the team would concoct unique vocal layers in the spirit of the Spanish singer-songwriter: Rosalía and dark pop American artist: Lana Del Rey.
Together Again
With the ability to collaborate together in a room, the Saint Evaleen team focused on their years of co-writing, recording, and producing original songs in a shared space.
“I know Julia Naman and Mary Ives both react really strongly to films that I’ll put on in the background as we write. For the Shining On sessions - I definitely had Ralph Bashki’s animated Lord of the Rings and the animated film The Hobbit playing while we wrote. I think those films capture a mythical feeling while also evoking a strange, eeriness. I wanted our lyrics to reflect those layered emotions.” - Spencer Alfonso
Shining On is a celebration of individuality, creative persistence, and self expression. The album touches on the lyrical themes of the natural world: the Californian deserts of Yucca Valley and Joshua Tree, the deep mystery of the pacific coast, and the tropical beauty of Hawaii. Each track stands on its own expanding the narrative of the album while serving as an essential piece of the greater work.
“As Mary and I would sit down to write, I’d often find that discussions about our travels, road trips, camping, hiking - they would lead to great results. I think in this era of our lives, we’re craving a connection to the real world. By the nature of having to collaborate over the internet for half of the time, I’d really find myself drawn to Mary’s stories of her trips to Hawaii or getting lost in the mountains of Northern California. I’m always in the studio working on some kind of creative project, so Mary served as the group’s forager of experiences. I’d then inevitably tell her what musical rabbit hole I’d been down that morning, and we’d ask ourselves how we could fuse my influences as a producer, with her experiences as a vocalist and writer.” - Spencer Alfonso
The Vocal Production Process Behind Saint Evaleen’s Shining On
Conversation Edited for Clarity
Mary Ives and Spencer Riley Alfonso break down their vocal process for Saint Evaleen. It includes a lead vocal, multiple doubles, and harmonies. The layering process evolves as the song takes shape.
IVES:
"What we intended to be a harmony becomes the lead vocal, then what was intended to just be a background thing comes to the forefront. That's my favorite part about making Saint Evaleen is how much effort we put into the vocal production. You have no idea how much work we put into the vocals, there are so many vocal tracks. I mean there's a system to the arrangements, we always want a lead and we always want some doubles to fill it out. They're always really intentional.”
ALFONSO:
"For me, I have such a short term memory, I don't remember layering all of the vocals, until you say it, and then I'm like, "wait, oh yeah there are a lot of vocals." We work so fast, for me it's so easy, but for you it's coming out of your body."
IVES:
“I'm like passing out.”
ALFONSO:
"I'm like, “Record: double, double, harmony, up one, another harmony. Because for me, it's so easy, however, for you…"“
IVES:
“I'm like, “Can you hold on for a second?””
Track Listing Liner Notes
Insights Behind Each Track From Artist Mary Ives and Producer Spencer Riley Alfonso
Track 1: Shining On
The opening track, “Shining On,” conjures the image of an ethereal ascent above the ocean. The song expresses a desire to break free, roam the world, and reach beyond.
“Eyes to the west / Deep blue / Big emptiness / Bend the spoon
Swing by the moon / Shining on /Shining on / Shining on” - Shining On, Track 1
Alfonso’s musical arrangement utilizes a 1960’s inspired array of instruments with a mellotron organ, the producer’s Fender Jaguar and Monako Davis’ acoustic Martin D-28 and Fender Telecaster. The goal being to use each instrument in service to Mary Ives’ confident yet ethereal vocal performance. The swells, and orchestral rises express a fresh yet relaxing oceanic atmosphere.
“I’ll often start with a set of chords, and maybe a few loops. Once Mary and I are able to drill down on our vision for a track, I’ll start to strip away the components that feel undercooked. Through that process, I’ll start zoning in on the unique sounds that I want to feature on the album. With Shining On, I wanted to lean on organic sound sources, and the intimacy of guitars being played really softly. I love chopping up loops and samples to create something entirely new, but there’s something really special about playing an instrument with a production mindset. Meaning, these guitars are not just instruments, but tools to be manipulated, and that’s what I love about playing on these records. The goal isn’t just to play the part, it’s to pull something new out of an instrument that I’ve played countless times before.” - Spencer Alfonso
As a vocalist and songwriter, Ives highlights her favorite production elements of the title track: "Shining On." She notes the organic hand claps recorded by Alfonso, and compares them to a live performance of “DI MI NOMBRE” by the Spanish singer, Rosalía.
In response to Spencer Alfonso’s hand claps recorded on “Shining On,” Ives tells Alfonso:
"It reminds me a lot of Rosalía. There's this performance that she did, where she had a guitarist that was going to accompany her and all of her background vocalists. Then that guitarist couldn't make it for some reason. She had all of her background vocalists still so she decided to just go out and do it acapella anyway. She was performing her song "DI MI NOMBRE," where there's a lot of yelling and so much percussion. They just did it. And she nailed it. Jake and I have a homemade sample pack, for all of our songs and I have in the folder it says “Rosalía claps” on it." - Mary Ives
Track 2: Coming Home
“Coming Home” is a “wears its heart on its sleeve” mid tempo track that highlights Ives’ exceptional vocal performance with a romantic, upbeat feel.
Mary Ives of Saint Evaleen breaks down the magic of a I to II minor chord progression in the track “Coming Home”. The sensation of ascending up with the arranged chords creates a satisfying emotion for the listener. Combine that musical theory implementation with the production of a verby-woodblock and suddenly Mary is transported to the Copacabana
"When we first started working on this song, it sounded completely different. The progression was not the same as it is now. I am a huge sucker for a I to II minor progression. It's ascending so it feels like you're going somewhere. My other favorite part is the woodblock sound that has a ton of verb on it. Because it just feels very tropical like the Copacabana. And it’s like you’re going to drink a little martini with your friends at a comedy show. That's the first place that my mind goes to. People who are listening to this are probably like, "That makes no sense." - Mary Ives
Track 3: Supersonic
Track three: “Supersonic” highlights Ives’ lyrical work originally from a demo recorded in 2019. Mary Ives and Spencer Riley Alfonso discuss the origins of Saint Evaleen's track titled, "Supersonic."
ALFONSO:
“I would catch myself thinking this was a song from your Mary Ives project because I wasn't there when you wrote the lyrics. You demoed out the song, I had to go somewhere - this was back in 2019. You fleshed out the song, it was called "Bring It On." We had it sitting in the library for four years.”
IVES:
“So long!”
ALFONSO:
“What I like to do when we're putting together an album is bring in anything with your voice on it. Maybe we hear something that we didn't hear before or maybe I've grown as a producer, where I have a new take that I want to add to it. That's what happened in this case. I try to make sure there is a through line with all of the records. So, vocals recorded in 2019, helps tie it in.”
IVES:
“Right.”
ALFONSO:
“Sometimes, you can experiment so much with a mix, production, or a voice that you get far away from home base. So having something from 2019, ground me was fun. I deleted the music track and just had your vocals soloed and a guitar reharmonized.”
Track 4: Next to You
“Next to You” reunites Mary Ives, Spencer Alfonso, and Monako Davis together in a collaboration resulting in a nostalgic fused lo-fi groove.
Mary Ives does her best to describe Spencer's reggae and alternative rock influences from the nineties. Their Saint Evaleen song, "Next to You," conjures many musical references, but to Mary it just sounds like, "the most Spencer Track in the World." The conversation is transcribed below:
IVES:
“It has you written all over it.”
ALFONSO:
“Okay, then, let's have you explain what that means. I'm super curious. I'm living in this room with guitars and bass, and all this stuff, just trying to find something that I like, so it's fun to hear your perspective.”
IVES:
“I love this song. When we were first writing this song. It sounded really different than how it ended up. It's got a very reggae vibe to it. My only knowledge of reggae is one Bob Marley song and Sublime - a little bit. It just sounds to me like Spencer was listening to a lot of nineties reggae-esque music. I don't even have the language to describe what the inspiration could have been. As soon as I heard it, I was like, "This is the most Spencer track in the world."
Track 5: Strange World
The trio’s second collaboration on Shining On results in the stand out track: :Strange World”. Mary Ives and Spencer Riley Alfonso discuss the challenges of toplining lyrics before an idea is fully developed for “Strange World”.
ALFONSO:
“What do your remember about making this song? “
IVES:
“It sounded really different when we first started working on it. There was a lot of like pop horns, I remember me, you, and Mo were working on the lyrics and I remember struggling with it. We looped this one section. There were these horns going through it.
Track 6: Slow Bloom
“Slow Bloom” leans on its honest melody with a juxtaposition of simple acoustic guitars, Mellotron horns, and trap drums.
“Slow Bloom” was one of the first songs that Mary Ives and Spencer Riley Alfonso wrote for the album: Shining On.
ALFONSO:
“Slow Bloom” for me is the song that changed the least. Because, it set the tone for all the other songs.”
IVES:
“Yeah, it totally did. It’s probably one of the first songs we wrote out of the whole album.”
ALFONSO:
“I’m really proud how it navigates all of the sections from a songcraft perspective. Because there are some weird chord progressions in there, and weird times signatures.”
Track 7: Polychrome
“Polychrome” reunites Ives with her childhood friend and co-writer: Julia Naman. Whether you’re a fan of George Harrison, the Beach Boys, Britpop or lofi - there’s a melody, a hook, or a musical texture that’s sure to grab your attention. Julia Naman (GAL) met Mary Ives when they were young, and their friendship continued through creative collaboration. Julia Naman, Mary Ives, and Spencer Alfonso co-wrote Shining On's final track “Polychrome” together which began in 2019.
ALFONSO: “So, Julia was your best friend growing up, still is...”
IVES: “Yes”
ALFONSO: “You introduced me to Julia in 2019. And then she moved to France. So she did a year abroad, we moved the studio and happened to be close to Julia. She came over for a writing session and then, I was like, "Hey while your here, let's update this old song you, me, and Mary wrote. Let's try and update it for the new vision Mary and I have for the record.” She was totally up for it.”
Shining On Album Artwork by Monako Davis / Big in Space
Listen to the Album | Shining On by Saint Evaleen
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