– featured image courtesy of daniel dorsa –
“album of the fortnight” is a bi-weekly feature that digs into a recent release of note. the articles will run roughly during the middle and at the end of each month, always on a friday; the album or body of work in question will have been released at some point during that two-week span. this column focuses on art that resonates deeply, on pieces that necessitate more than just a knee-jerk reaction. next up: quiet friend.
Dissecting a moniker can often prove frivolous, but occasionally the exercise warrants undertaking. take quiet friend: an adjective and a noun paired together, perhaps an offhand expression used to identify someone in conversation. perhaps this person has a closely-guarded exterior, but beneath the surface lies a compelling narrative, and the implied friendship makes said narrative that much more intimate and forthcoming.
this carefully-constructed hypothetical of a quiet friend is purposefully analogous to quiet friend the band, and by extension, their self-titled debut album. though the ensemble features a cast of nearly a dozen core members and contributors, quiet friend succeeds in feeling like a singular, fully-realized character; the nine tracks that populate their full-length are defined by lyrics both vulnerable and tender that are often wrapped up in disarming moments of wittiness and winking absurdities. combined with an affinity for early ambient music and saturated, majestic 1980s pop that emanates from project leaders steven rogers and nick zanca, quiet friend checks all the boxes for an audiophile in search of nocturnal mood music.
opening track “bath” feels like taking one in the literal sense – resonant, brassy textures slowly submerge the listener into the central tenets of the album’s soundscapes. vestiges of this introduction can certainly be felt in “safe” and “breathplay,” a pair of pop pillars that prop up the album’s front half, but its direct descendants are tracks like “basements” and the sprawling centerpiece “name all the animals,” cinematic, orchestral turns at which quiet friend equally excels. subsequent instrumentals “thorn from paw” and “seance” feel less like interludes and more like grounding forces, reaffirming quiet friend’s sonic identity throughout.
the lushness that pervades quiet friend cannot be underscored enough. chalk it up to zanca and fellow producer alex thompson, who tinkered with arrangements for over two years and enlisted a host of contributors for auxiliary parts, vocal harmonies, and counter-melodic textures, intricate cogs integral to a machine committed to exploring the vast depths of its sonic palette.
this fastidiousness pays off in spades, particularly throughout the album’s back half. quiet friend are confident enough to let standout cut “playgrounds” marinate in a metronomic dance beat and an alarm-like synth lead for over a minute, laying down a persistent framework into which subsequent textures meld seamlessly. ditto for the finale, “avalanche,” whose murky ambiance percolates for nearly half the track’s duration before secondary elements commandeer the vessel and push blown-out synth lines to their limits. taken as a whole, quiet friend’s debut is a remarkable, cohesive construction that abandons any semblance of pretense in favor of an honest overarching artistic statement.
quiet friend is out now via elestial sound; listen to the album in full below.