The journey begins in a state of restlessness, searching late nights for answers to the greater truths. The spark is born from an inner knowing that is flickering but weak, something soon to surface and bloom through the divinity that is music. Neverending White Lights becomes an outlet of spiritual exploration and creative expression for Daniel Victor, a Canadian artist who feels something larger was calling him forward; perhaps the push of angels, or the need to quell the human attachment to missing everything all the time. It manifests as an endless longing for some place or something beyond time that isn't really there. Or maybe it is. 

An album was written to cope, a bedside journal which became the sketches that would lead to ACT I: Goodbye Friends Of The Heavenly Bodies. As a multi-instrumentalist, writing, recording, and performing this body of work would be a way to safely channel the energy. The album questioned existence and the human experience to find our truth beyond the veil, a place we were before birth and perhaps still exist in. The music plays out in a stream of consciousness where each song connects to the other, no space in between. A decision was made to bring various guest artists to lend their vocals to give the listener diversity in the voice allowing for more range of expression. The singers were the "actors" bringing the script to life on a musical screen. 

The sophtmore album ACT II: The Blood And The Life Eternal ventured into esoteric terrains of eternal life, the supernatural, and vampire love stories. What does love feel like in the everlasting? Would we want to live forever? Turns out we do. 

The third album ACT III: Love Will Ruin dealt with themes of heartbreak, divorce, and tragic love. It was straighter and a more rock-oriented effort, mainly as a result of pressure from outside sources that seeped into Victor's process. It was a confusing time and this was reflected in an unfinished album that was hurried out to avoid defaulting on grant money. While a sort of scar at first, it led Victor on a path to reconnect with his reason for making music in the first place. 

The hiatus that followed lasted a decade and a half. It's impossible to explain what happened during these lost years because the otherworldly part of it isn't to be understood, it's to be trusted. As Victor was pulling away from the world, things continued to get dark and in this breakdown there was nowhere left to turn but inward. Making music became foriegn, even painful. There was another mission to explore; one of awakening and ascension. Victor continued to write on and off during this time and the songs piled up yet remained unfinished and unreleased. There was no collaboration, no team, no inspiration or foreseeable direction. Releasing music again would require a new way of seeing things, a new reason and place of connection.  

What can be gathered about Neverending White Lights is as follows: Textural sounds and cinematic production bring melancholic songwriting to life in an emotional and atmospheric‐blending of genres. Argualby the most notable single of the catalogue is  "The Grace ft. Dallas Green" which landed at number 1 on radio and video in Canada, eventually becoming a certified gold record. Victor had previously reached platinum status as a songwriter when he co-wrote on an album by California rock band Switchfoot entitled The Beautiful Letdown. NWL was nominated for seven Much Music Video Awards, evetnually winning for Best Independant Video in 2013. NWL also won Best New Group at the Radio Music Awards 2006, and Best Rock Band at the Indie Awards in 2007. Victor was later nominated for a Juno Award for Best New Artist, losing to "major label politics." Victor's road to the Juno Awards was televised nationally on the Star TV network for a show called Making It, which perfectly captured the moment Victor's despise of musical competition was amplified.   

Victor has worked with dozens of notable artists, including: City & Colour, Shawn Mendes, Catherine Wheel, The Raveonettes, Aqualung, Shudder to Think, Hum, Starflyer 59, The Velvet Teen, Auf der Maur (Hole / Smashing Pumpkins), Mogwai, Ours, Pilot Speed, The Watchmen, Mobile, Age of Electric, Magneta Lane, Black Maria, Lights, Hot Hot Heat, and others. 

Victor has also contributed his writing to film and television, including features on hit shows such as Grey’s Anatomy, Las Vegas, American Idol, The Guard, Continuum, and Degrassi. In 2015 he wrote the theme song for the Canadian Football League  which aired at games and on ESPN.

Daniel Victor remains a devoted fan and lover of the musical craft as a divine expression of creation. He continues to run his own studio and record label independently developing new projects in an "artist-safe" environment where artists are encouraged to follow their dreams and share their talents with the world for the pure essence of being authentic and true to the self. In recent years Victor has become an advocate for mental health awareness and consciousness expansion, having written a book to help people overcome depression and anxiety and align with their higher purpose.

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