Playing Slingshot Festival in Athens, GA this Thursday night at 8PM in the University of Georgia Lamar Dodd School of Art’s Atrium, alongside art openings for Tristan Perich, Quayola, and Kota Ezawa in the Lamar Dodd School of Art and Georgia Museum of Art galleries .
FREE SHOW!!! We’ll also have copies of our latest vinyl LP for sale.
We’ll be performing at the University of Georgia’s Lamar Dodd School of Art Atrium in Athens, Georgia on March 20th as part of the Slingshot festival kick off party. FREE SHOW!
We’re playing a show with Jason Lescalleet this Friday night!
The Big Haus - 368 Ponce de Leon Ave, Atlanta, GA.
Poster by Grant Evans.
We’re playing Saturday March 30th at Cine’s Lab with some good friends, so please come check out this show if you’re in the area. $5 at the door. RSVP on the facebook event page HERE.
Please join us for a night of experimental music:
9 pm - Rainy Taxi kicks things off with some heady free-jazz workouts.
9:30 pm - Future Ape Tapes will be celebrating the release of their new cassette, Somnambuland.
10 pm - Sparkling Wide Pressure (TN) makes his Athens debut.
"Frank Baugh (aka Sparkling Wide Pressure) carries on the tradition of outsider / asynchronous artists warping blues, rock, and folk sensibilities… What residues of Americana that reside in Baugh’s work has been forgotten, then found, then lost again, only to be crumpled up in a pair of jeans and left to soak in the chemical properties from some pot shake tossed nearby." Aquarius Records
10:30 pm - Terminals (Sam from I Come To Shanghai) will be performing new compositions for modular synthesizer.
11 pm - Quiet Evenings play their first show since the release of their new LP, Impressions.
Impressions gets reviewed in The Wire magazine! Check it out, and look for it in their May 2013 issue!
“Quiet Evenings creates the tragically beautiful album ‘Impressions’. Right from the beginning of the album the longing mood is set. Sounds are picked out and paired perfectly. The music hovers more than moves. Progression is quite different to comprehend throughout the album. What it does do is change through morphing. Transitions are near impossible to pick up on, rather it get there through a natural change in the environment. What’s especially nice is how the beginning melody is kept throughout each one of these two songs. Pieces are added, subtracted, manipulated yet there’s the underlying theme that stays. Using taste Quiet Evenings manages to keep up the elegant feeling throughout the two pieces.
“There was a time when BPM was a pretty solid indicator of genre in electronic music (or at least dance music). You set the tempo on the drum machine/sampler to 160 BPM or more and some form of drum and bass is going to come out. Between 120-130 is where house music tends to work. Go much lower than that and you’re hitting hip-hop and “downtempo” territory. These days, it’s not so clear. DJ Screw slowed down hip-hop way past where ambient music supposedly begins, and the various splinters of hardcore push BPMs above 300. Tempo in experimental music and kosmische had never really been clear anyway. Klaus Schulze clocked his sequences from as slow as they go to so fast the notes are near indistinguishable. Modular synthesists have a multitude of options for keeping time, often sequencing not just a gated pitch, but an event that ripples through patch cords to any number of other time-dependent circuits. But most of these examples involve a single person making an executive decision on tempo. When more than one person is determining tempo, each with multiple instruments, time becomes a complicated, warping fabric, its various currents meeting and diverging at intervals in a complex mathematical structure.
Quiet Evenings’ Impressions seethes with the fluctuations of interlocking tempos, its temporal anchors in constant flux yet in perfect synchronicity. Everything from the modulation to the tempo of sequences to the length of phrases vary greatly, yet all of it moves within a larger, coherent timeline. In a work where time is so flexible, it might seem that rhythm would be elusive at best. Intimate ties bind rhythm to tempo, but rhythm is an ordered structure, whereas tempo is a mere quantity. But rhythm too can bend and stretch without becoming totally lost. It’s all in how our memory handles it. When the beats finally match up, do we remember when they last hit? And did it lock in with the beat before that? Extrapolating much further proves difficult here, but therein lies the interest: when every sound is locked into time, the beats eventually always sync up. Quiet Evenings’ rhythmic prowess on Impressionsconsists in selecting tempos whose beats match one another in structures that both stretch the typical capacity of the listener’s memory and interlock in still a recognizable pattern.
It must be a happy discovery for a duo of partners Rachel and Grant Evans (of Motion Sickness of Time Travel and Nova Scotian Arms, respectively) to be so completely in sync, a true meeting of minds. Impressions works because the ideas within it are so consistent that it seems impossible to tell who is doing what. There is plenty of sonic variety, but it is as if the couple’s characters have melded together into one instrumentalist. The many layers of multi-tracking create a consistency in the sonics over the whole course of the album while at the same time avoiding any potential boredom. With so many layers, the production succeeds in capturing the dynamic ebb and flow of each phrase, privileging no instrument above another, a give and take (it turns out that after 50 releases collectively, you get pretty good at mixing a record). These tides of phrases structure other, longer rhythmic arcs, adding yet another layer of time control to the mix.
By skillfully manipulating time across multiple scales, Impressions achieves something quite difficult in the medium of music: paradoxically, by the complexity of its movement through time, it disrupts the listener’s usual sense of time. Perhaps this is the motion sickness Rachel alludes to in her solo moniker. Music must unfold in time, but rarely does it call attention to that fact. Through the constant variation of tempo, the listener’s perception of the passage of time warps, sometimes drastically. Like Coil’s Time Machines, which attempted to imitate the time dilation and contraction of various psychotropics, Impressions undermines the preconception that time is strictly ordered. As we move through time, we experience not a static sequence of seconds. Our minds move along a strand of moments, their occurrences oscillating in some pattern beyond our control. We can measure it, but then it collapses. Only through pure phenomenal experience can we feel the texture of the fabric of time.”
- Matthew Phillips / Tiny Mix Tapes