Quicksand band1/25/2024 ![]() Everyone's so stressed out and afraid of everything. We kind of started out with Sergio - he had this idea of this monster type of theme with a 1960s motif, which I think is actually pretty on point for our world right now because there are monsters everywhere. We had mutual friends and I just love his work. And I was just a really big fan of Tetsunori Tawaraya's artwork. That aside, like we wanted to say something different and say something kind of exciting and fun. The reference point was Manic Compression in some ways because it's an illustration, and you're kind of creating this other world where your imagination can roam. IT SEEMS VERY ATYPICAL TO THE QUICKSAND STYLE. I WAS JUST ABOUT TO ASK ABOUT THE ARTWORK. The artwork too - we took our time to do it. And so we just took our time with that, made sure that we were all happy with it. And I would say it's really this sort of bigness that he somehow brought into it. We were just really stoked to work with him and he kind of was that cliche of "fresh ears" in that he really heard something in it that we weren't hearing. We were very lucky to get Josh Wilbur to do the mixes. So we were able to build the concept beyond the songs and really take our time with the mixes. Mixing and mastering was our activity during COVID. So it was kind of awesome to slide into home plate before everything got complicated. We recorded it in February 2020, so it was right before COVID lockdown - we finished tracking on my birthday on March 10th. We felt comfortable to take the necessary risks to expand and grow as a band. So when it came time to do another record we chose to take the path of, "Let's expand this creative relationship with someone that we had such a positive experience working with." That worked out really well for us. He's just a trusted creative force as well as a fun guy to hang with and a very talented engineer and producer/songwriter. I worked with Will to produce the Title Fight record and when I was thinking who we could bring into our little closed loop that is Quicksand that the other guys would be comfortable with - I thought he would be a great choice. We had such a good experience on Interiors working with Will Yip. ![]() WAS IT GOOD TO BE BACK IN THE STUDIO WITH HIM? YOU TEAMED UP WITH PRODUCER WILL YIP, WHO ALSO WORKED WITH YOU ON INTERIORS. However, "Fire This Time," off Interiors, has the low E string dropped to A, creating unison between the neck-top two strings-something he absorbed after seeing Baroness in concert.Video of Quicksand - " Brushed" Typically, all of Walter's guitars take Ernie Ball Slinkys (.010–.046) and he usually lives in standard or drop-D tunings. He's had the guitar for nearly 10 years, and beyond Quicksand he's used it in the studio for Dead Heavens and Vanishing Life. "Another cool thing about the Harmony is, even though I'm not a lead player, it's really comfortable and easy for me to get around the fretboard and sound like I'm doing something," admits Schreifels. While speaking with PG in 2018, he mentioned that the above mid-'60s Harmony and a Fender Kurt Cobain Jag were the heavy hitters for 2017's Interiors, but the forthcoming Distant Populations saw it paired with a Fender Player Lead III (which we'll meet in a minute). "The gold-foils in this Harmony Holiday Bobkat have a muddy, spooky, ghostly quality that really complements and fills out around the Fenders I typically use in the studio and onstage," says Schreifels. Yet they still influenced the Deftones (where Sergio now splits time playing bass), Thursday, Glassjaw, At the Drive-In, Torche, and many others. But as quickly as they rose, the band dissolved into the time capsule of N.Y.C.'s once-rich alternative music scene. Then the quartet moved to Island to release 1995's Manic Compression, an album unrelenting as a sledgehammer. (It even landed in Decibel's Hall of Fame.) Both recordings are equally abrasive and melodic. A self-titled four-song EP scored them a major-label deal with Polydor, where they released the seminal 1993 classic Slip. The Quicksand quartet rose from the ashes of New York City's late '80s hardcore scene, featuring guitarist/singer Schreifels (Gorilla Biscuits and Youth of Today), Vega (Absolution and Carnage), Capone (Beyond and Bold), and drummer Alan Cage (who was in Burn with Capone, and Beyond). "Both our bassist Sergio Vega and other guitarist Tom Capone were adding in pedals, so I earthed the band playing the straight man and opted for the more direct tone." ![]() "Originally in Quicksand, my background was coming into music through a straightforward hardcore perspective, so I took on that simplified aesthetic, similar to Fugazi," says Schreifels.
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