Before You Turn Out the Lights - A Few Thoughts
I’m still recovering from the flu, but I wanted to take a few moments to talk about my new record, Before You Turn Out the Lights due May 2, 2025. I’ll put the official press release down below that will give you all the “official” information, but mostly, I wanted to speak from the heart here.
Every part of this process has been different and providential. I don’t know why I decided to make a full-length album after releasing EPs for the last three years, other than, I’m old school and I believe in it. I don’t know why, really, I decided to forgo my process of writing in Logic, building things, tearing them down and building them again to return to my roots of writing down words and strumming an acoustic guitar. I really don’t even know why I decided now, of all the times in my life, to really invest the time and money to do things as best as I could, other than, if not now, when?
I just kept following my gut. Which, I think, is nothing more than my subconscious being guided by past knowledge and experience in light of current stimuli.
First things first, I asked my friend Mark to produce. He didn’t immediately commit, but we talked about the process a lot and ended up working on one song as a co-write. I asked him because I knew he would hold me to the highest of standards and I needed a second set of ears to do that. I figured we might have conflict, and as friends, I wasn’t looking forward to that, but I trusted us both to know that it was all about making the best art and it wouldn’t have to do with our personal feelings. As time went on and I got closer to locking down musicians, and I even visited studios in East Nashville, he realized his plate was too full to do a full-length record. I admire him for saying that because, if the shoe was on the other foot, it would’ve been hard for me to do, but it was the right thing for both of us and he handled it like both a brother and a professional.
At this point, as I say below, I just thought about Paul Mahern. After meeting him, I’d followed up by asking about his mix and master rates, thinking that would be a way to have the opportunity to work with him, but now, I was asking him about producing. We got on the phone, had a few chats, got on the same page and talked about the budget as well as musicians and reference tracks. He changed my direction a lot, but if I wanted him to produce, I had to trust him to lead this project with me, so unless I was dead set against something, I always said “yes” throughout the whole process. Whenever we did have a crossroads, I usually ended up seeing he was right before too long.
When it came to the recording itself, most of that is covered below, but I will say, to borrow a word from Paul, it was magical. I spent a few minutes the night before getting to know Shannon when she got to the house, but Heidi got in late and Devon didn’t stay with us, so when we all plugged in the next morning at Primary Sounds, it was the first time we were sitting down together. Yes, those three had played together before, but it had been some time. One song at a time, we’d sit together in the control room, I’d play the song on the acoustic guitar and either they’d make notes, or the five of us would discuss arrangements. Once we thought we’d made all the necessary notes and adjustments, the three of them went to the live room and I went to the booth. We might start the song a couple of times together, getting to the chorus or so, just making sure everything felt right and transitions were timed right. Then Paul would ask us if we were ready to go and hit record. With one exception (out of eleven songs), we only ever played each song twice all the way through. I’ve been in bands that played songs live for years that needed more than two takes in the studio. After that, we’d do an overdub or two and move onto the next song. And, we didn’t keep any of my vocals from the live sessions. I was focused on nailing guitar parts when they nailed their parts and just sang in order to keep people aware of the vocal melody and where we were at in the song.
Now, the record is done and we’re moving into the promotional phase of things, it’s actually becoming hard for the first time. Not that I didn’t work hard up to this point, quite the contrary, but working hard was primarily a self-motivated activity that included only Paul and his opinion. Now, it’s about everyone else’s opinion, and, quite frankly, I don’t care about other people’s opinions. Yes, I want people to like the record, of course. But, I know what I have, I know what we’ve created, and I know who really cares about me and who doesn’t.
To all my fellow artists, there are people who should care about your work, if for no other reason than you think they care about you; but they don’t. They show you this because they don’t even take the time to lie to you. I’ve sent the record to dozens of friends, family members and former bandmates, and I’ve either gotten “cool man, I’ll check it out” and then no response, or no response at all. I think there are varying reasons for this, some legitimate, I know because my friends send me their music and it sometimes takes me a minute to listen to it, but I always stay in touch and listen eventually. I also know that for the most part, it has to do with them and not me. As I told someone yesterday, I take a lot of heat for taking my art as seriously as I do at my age. “Friends” will make smartass comments about my attire, about posting photos of myself to Instagram (which solely exists to promote my music) and other, really pathetic reasons. Never be ashamed to create. They are the ones who are ashamed. They have some kind of talent that they have wasted or given up on and they are jealous. I may never be able to quit my day job, but they will never be able to take my songs or experiences away from me. I’d rather have songs and experiences than conditional love. Conditional love isn’t worth the letters it takes to spell it. Don’t waste your heart on the opinions of losers.
Well, I hope you all have a fraction of the fun listening to it that I had making it. Truly a great moment in my life and I am pleased to share it with all who want to share in it.
Thank you.
Mountain Climer is back with Before You Turn Out the Lights, their highly anticipated follow-up to 2022's I’m Not Enough & That’s Okay. The new LP, recorded in Bloomington, Indiana, marks a fresh chapter for the project, with a dynamic cast of musicians and a new sonic direction that blends meticulous songwriting with a raw, collaborative energy.
Produced and engineered by the legendary Paul Mahern (John Mellencamp, Iggy Pop, The Fray, Lily & Madeleine), Before You Turn Out the Lights is the product of both carefully planned vision and spontaneous, real-time creativity. The album was primarily recorded at Primary Sound Studios in July 2024, with vocals captured in November at Mahern Audio. A final round of synthesizer, guitar, and vocal overdubs were completed at Ten Boats Studio in Broomfield, Colorado. With Mahern at the helm, the process was fast-paced but precise: ten of the twelve tracks were recorded from scratch in just three days, with the team completing the record on a tight deadline and a relentless sense of purpose.
The record features an incredible ensemble of musicians chosen not only for their instrumental prowess, but for their songwriting acumen. Devon Ashley (The Lemonheads, Margot & the Nuclear So and Sos) brings his innovative drumming and percussion to the table, alongside Shannon Hayden’s electric cello and mandolin, and Heidi Gluck (Some Girls, Carrie Newcomer, Margot & the Nuclear So and Sos) who handles bass, piano, and a wide range of other instruments. The team’s collective experience spans decades, and their encyclopedic knowledge of popular music is evident throughout the album’s intricate arrangements.
The story behind the album’s creation is as serendipitous as the music itself. It began with Jeremy Climer, the creative force behind Mountain Climer, embarking on a journey to write a book about the underground music scene in Indiana. His first interview was with Paul Mahern, and when the original producer for the record had to back out, Jeremy, without hesitation, reached out to Mahern to step in. The collaboration quickly took shape, and Mahern recruited Ashley, Hayden, and Gluck to form the core of the band.
The creative process for Before You Turn Out the Lights was equally unconventional. Jeremy had initially prepared nearly fifty songs, eventually narrowing them down to twelve. Working remotely with Mahern, they deconstructed each song to its bare essence, crafting a foundation that would allow the musicians to build each track from the ground up. The band recorded with no reference to the original compositions, relying instead on a playlist of reference tracks that provided a mood and vibe for the sessions. This spontaneous, organic approach resulted in a collection of songs that feel both tightly structured and deeply alive.
One of the most interesting moments during the recording process came near the end, when Mahern suggested recording “A Bedroom in Denver”—a track from dbcooper, Jeremy’s electronic alter ego. With only 45 minutes to spare, the band quickly set up and recorded the song, rounding out the album in unexpected yet satisfying fashion.
Before You Turn Out the Lights reflects a new chapter for Mountain Climer: a celebration of musical chemistry, instinct, and trust. The album weaves together intricate arrangements, lush instrumentation, and emotionally resonant lyrics that speak to both personal introspection and universal experience.
With its carefully constructed yet free-spirited feel, the record is a testament to the power of collaboration, a journey of mutual respect and shared creativity, and a bold step forward for Mountain Climer as they continue to push musical boundaries.
Paul Mahern - Producer & Engineer (+ Mixing & Mastering)
Jeremy Climer - Vocals, Acoustic & Electric guitars, B3, Harpsichord, Synthesizers
Heidi Lynne Gluck - Bass, Piano, Wurlitzer, B3, Lap Steel, Acoustic & Electric Guitars, Vocals
Shannon Hayden - Electric Cello, Electric Guitar, Mandolin
Devon Ashley - Drums & Percussion
Dave England - Electric Guitar
Primary Sound Studios (Bloomington, IN) - July & August 2024
Mahern Audio (Bloomington, IN) - October & November 2024
Ten Boats Studio (Broomfield, CO) - Synthesizer, guitar and vocal overdubs