Quiet! is a psychedelic rock group based in Vancouver, WA. Formed by members of Fury III, Manta, and Thee Aristocrats. The band is inspired by but not limited to, 60′s American Garage Psych, 70′s English progressive rock and German Kosmische (as well as it’s direct descendant, Post Punk). For fans of Gabriel era Genesis, early Pink Floyd, Hawkwind, David Bowie, Amon Duul II and Wire.
The band recently appeared on Progstravaganza XIX: Convergence and guitarist Chris Read answered the Progstravaganza Questionnaire.
How did you come to do what you do?
Seeing Dave Gilmour in Live at Pompeii at the midnight movie as a kid. Seeing him play that superlative solo on Echoes a midst the ruins under the hot, Mediterranean sun did it!
What is your first musical memory?
I had a little wind up stuffed animal that played Brahms lullaby (sounded like a music box), which my mom also frequently sang to me.
Where do you draw your inspiration from?
Late 60′s/ 70′s work by English and German artists like Bowie, Pretty Things, Hawkwind, Caravan, Soft Machine, and Amon Duul II (and Wire from later in that decade). I love poetic language from Peter Gabriel (The Lamb!), Blake, Shelley and random corners of the Internet. I’m trying to compile a sort of template of some particularly resonant phrases for our next project which will have a bit of a Sci-Fi theme.
What message does the song on our Progstravaganza compilation carry?
Florist is a call to reconnect w divinity or Source including, but not limited to it’s components like romantic love and what I call “completion”, when the male and female principles of the universe come together in harmonious perfection. The narrator in the song sees some of the same people each day through his/her shop window. As the seasons change, their daily lives run together like some type of time lapse video moving slowly in reverse, appearing as objects trapped in amber. He/she wonders what they dream about and if one’s own life can ever change for the better (moving closer to Source). Concurrently, Florist contains an almost Ray Davies like nostalgia for village life and time honored professions. The baker, the butcher, shop keeper, mechanic (black smith archetype) and policeman all make an appearance. These aren’t folks who make their money, impersonally on the Internet, play golf and yearn to get rich over night. I deeply love the Lamb Lies Down on Broadway and thought that it would be fun to set something epic and Jungian in LA (as a counter to Gabriel’s choice of NYC). I initially imagined a kind of Raymond Chandler take on The Lamb. Lotus Flowers ended up being set in “Anytown, USA” but I kept the line “Does the L.A River picture the sea” which I feel yearns very evocatively for Source, as does the closing line “Soon may the Distance forget our names.”
Do you tend to follow any pre-defined patterns when composing a piece?
No, I work on inspiration, taking an emotional idea and trying to hang it on a structure that sounds fresh and interesting.
What is your method of songwriting?
Striving to make an emotion take form as a great musical theme.
How do you see your music evolving?
Today’s innovative abstractions are tomorrow’s conventions.. Amon Tobin has done some very musical things w sampled field recordings (as “played” on his Continuum Fingerboard). The downside of evolving technology would be a very generic output of cookie cutter grooves produced by non-musicians w looping software. An algorithm to me is not music, and looped “beats” are not songs. It’s fine for folks to play w software and express themselves, but maybe a bit more work goes into making something that has musical value and benefits society? As the technology advances and becomes more accessible, I hope for more innovators like Amon Tobin who are able to make creative abstractions within the current musical landscapes (ones which are creative enough to change it).
What advice would you give to other musicians, trying to make inspired music and get it out in the world?
As hard as you can try, you’ll need to find a way to try 10 times harder!
What are you looking forward to?
Ecstatic musical and personal moments precipitated by delicious chemistry and a sense of adventure. Musically, I’m hoping to get close to the conceptual fire of the first Soft Machine album and to achieve the kind of interplay that Caravan had during their original lineup. We’d love to get over to do some shows in the EU and UK in the near future. Personally, I look forward to warm, languid afternoons framed by blue skies full of whimsically evocative clouds. I’m also looking forward to charmed evenings filled with sparkling conversation and intoxicants, perfectly lit by cinematic grade moon and starlight, tastefully scored by great musicians, night birds and singing insects.
Bands, send your music submissions for the Progstravaganza compilation series to email@example.com