Quicksand visuals facebook
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These features sound cleaner and tamer than the jagged intensity of their first two albums. Songs like “Katakana” and “EDMR” bear Quicksand’s signature sour guitars and sneaking basslines. Distant Populations is merely a continuation of said mood. Instead, they’ve relaxed, showing they are not afraid to play what feels good to them. They haven’t completely abandoned their roots. Their new music isn’t a rehashing of their old music, which is logical but isn’t too far removed from it either. developed a brooding post-grunge tone with Interiors. Gone are the down-tuned, chugging guitar progressions, which now seem like a symbol of their youthful angst. Schreifels dropped his angsty screeches for smooth, tenuous melodies. They’ve shed their metallic aggression for a pensive demeanor. Quicksand’s music has softened but still excites. Each member has had different experiences in different musical projects that have changed their tastes and approaches to the writing process. They sound less intense and angry, granted they are all in their 50s. The band, consisting of post-hardcore stalwart Walter Schreifels, drummer Alan Cage, and bassist Sergio Vega, made a comeback in 2017 with Interiors, their first album together in 22 years. Sonically, Quicksand’s recent works carry a lighter temperament compared to their music from the early 1990s. Distant Populations by Quicksand Distant Populations by Quicksand And as dispassionate as the lyrics appear to be on the page, they become endearing when sung. Perhaps these can be the observations and insights of the caped character, a traveler burdened by their past, attempting to make sense of what they see.
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They read like resigned observations about the lack of meaning in the way people relate to each other. Although vague and fragmented, the lyrics ruminate over lost relationships and feelings of isolation. They may also help us understand the themes revolving around social disconnection and the inability to return to the past. These images add an extra dynamic to the experience of Distant Populations. Bodies float in membrane bubbles, and faces morph in and out of themselves. The staff-wielding caped character with a spiky head from the album art repeatedly appears in colorful jagged landscapes along with one-eyed, sharp-toothed monsters. Psychedelic and beastly, Tetsunori’s art is expanded in a YouTube playlist posted by Epitaph to stream the entire album.Įach song is accompanied by animated sci-fi fantasy visuals taken from Tetsunori’s art. The album art, created by artist Tetsunori Tawaraya, proves a distant, exploratory, otherworldly nature to the album. Based on the visual art that the band and their label, Epitaph Records, has been promoting, this isn’t quite true, but it isn’t entirely false either. You can stream Jacques Greene’s Quicksand here.The name of Quicksand’s latest LP, Distant Populations, makes me think of a science fiction concept album, maybe an observation of an alien society similar to an Ursula K. It’s a one of a kind track that brings up happy memories. Hasteful 909s and a synth that rockets through the rest of the track like a quiet mouse, make up this simple tune – but it outshines most music released from the 2013 era. Quicksand is an odd one really, but it grows on you after every play. He only indulged in a few edits that he just released through the LuckyMe newsletter, but he played one track that stuck with me. This made for one of the best live shows I had seen in months.Īmongst the music he played from his new album, he didn’t stray far from his new material. Village Underground has always had a reputation behind its doors of being a fantastic musical space, with its handy location in Shoreditch and fantastic lighting being some of it’s biggest positives. With visuals leaning as high as the Sistine Chapel, and as much ambience than you can shake a stick at, Jacques Greene really fought hard to bring in a revolutionary crowd in London. On Wednesday, I was subjected to a life-changing event.