Shake Don't Shatter

[shakedontshatter]

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I’m posting this to tell you that we can get quite obsessive about the details in the QH camp. This is something I’ve always admired from these gentlemen I have the pleasure of collaborating with year after year. This means that we try a lot of different things and sometimes those things just don’t make the cut.

Commuter, as you may have heard in the original version, has an outro that never made the release... There were many variations of that outro, all of which never made the final version. This one is likely one of my favorite outros we ever recorded. I believe the charm and ultimately its downfall was the genre bending turn it takes the song. Its the siamese twin brother that got surgically removed and laid to rest. Anyway, you must hear it.

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The timestamp on this file reads July 26th, 2012. I know that’s not accurate because I recall the end of 2011, a New Years Eve in Asheville, N.C. spent trying to lock up the kick in this rough drum take that was never meant to be used. 

It was largely this repetitive, jangly acoustic guitar pattern that seemed rather addicting at the time and inspired the original version of this song. I recall long commutes to and from work at the time. Those quiet times in the car meant for reflection before you got to where you were going. Where was I going? I forget. Doesn’t matter, I was stuck in the car and forced to make the most of it, so commuter was born. And Commuter it was so appropriately called.

It would never see the light of day until DHound and MHound dug it up from the archives a few years later and turned it into what you’re hearing today. My how far we’ve come.

[shakedontshatter]

Revisiting

Commuter

Wow! Almost 5 years ago, around April of 2011, we were recording Commuter. We hadn’t even named the band yet. We hadn’t even written any of the songs from our first album (Southern Charm). Commuter was actually the 3rd song we ever worked on together. It had this country/honky tonk feeling that was kind of awkward for a bunch of guys that had been playing in rock bands. But this was the beginning of Quiet Hounds, the start of exploring what we could do together as musicians and writers. I had the idea of doing a simple live recording to support the country vibe. We all had a very uninhibited approach to working on music at that time. We were pumping out ideas so fast back then we weren’t questioning if they “fit with anything. This was one of the pavers that set us on our way and I‘m very fond of this song. We recorded it with very minimal resources, 8 tracks live and then overdubbed lap steel and vocals thru an old fender vibrochamp guitar amp. When i pulled the session back up to remix and master it I added some harmonies and a shaker. Everything else is original. 

Like Animals

LIke Animals was born in between Megaphona and The Wild Hunt. It was actually slated to be on The Wild Hunt but it didn’t seem to quite fit with the collection very well. We first performed this acoustically on the balcony of the Swan House during Swans and Embers. What a wonderful memory that is! I’m really glad its out in the world for people to hear now. Looking back on these songs has shown me just how far we’ve come and also gotten me excited for the new songs we are writing now...

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These are Remnants

There are songs that occupy our minds for periods of time that represent something so peculiar about the way we see the world in that moment. Those sounds that conjure images of bounding reflections off glass buildings, the smell of exhaust in the air on a hot summer day. Some of these things get stashed away. We forget about them. That window of time bundled up into a time capsule made of digital artifacts. Today, we dig up some of those capsules and open them up.  

These are some of our first collaborative efforts as a fledgling band. These are Remnants.

[shakedontshatter]

Shake Don't Shatter

When we were originally concepting the theme of Shake Don't Shatter, we talked a lot about the distance that inspired these songs. So when set out to design the cover art, we looked to embody that idea, tossing around a lot celestial imagery and lots of canyon filled landscapes. After a ton of exploration, we thought we’d start from scratch and try the idea of transmission, trading files, and building songs. 

So I borrowed a camera from a good friend and drove south on the 101, 30min towards LA after work one day. Perched myself on some access road up in the hills until the sun started to set. There are these power lines as far as you can see. It was pretty spiritual just sitting there watching the light change, quiet breeze pushing the tall grass around… hoping nobody would pull over and shoot me. I tried catching the lines bouncing in and around the hills… only a few came out right.   

In the end, it felt like the power line thing wasn’t translating…  It felt too static, too literal. So I abandoned the idea after a cop pulled over and told me I wasn’t supposed to be there. I drove back up north and just as the sun was about to set, some pylon forms caught my eye. Veering off the highway, I drove up to some structure that was being built right across the street from my apartment complex.   

I shot with what day light I had left and ended up mirroring the final image so that it mimicked the form of a sound wave... sound waves under construction if you will. The final version framed in a thick white border holding the title and band name has a lovely vibration about it. And although far from the original intention, seemed to fit just right.

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It’s not everyday you meet someone who wants to dedicate their time and expertise to help you fulfill your vision. Quiet Hounds has been lucky in this regard. Since the release of our first album Southern Charm in 2011 we’ve been embraced and uplifted by fans, supporters and colleagues alike. If it weren’t for all of you, we’d be hard pressed to execute on many of our lofty ideas.

Our earliest supporter was there before we even had a band name. Scott Lansing, the director of our Gigantic and Beacon Sun videos has been behind the scenes with a camera, encouraging words and his own artistic eye, helping propel the Quiet Hounds from the very beginning. Thank you Scott, our friend and comrade. See Scott’s work at sabotagefilmgroup.com

Where would we be without the Arias family? From the grounds of Andersonville Prison to the telling of Quiet Hounds Origin Zack Arias has been capturing our best angle with film & photography for the past 4 years. Then there’s Meghan Arias, our resident Hound-ette. We could write a month’s worth of blogs on all the things she’s done for us and the many hats she wears at any given time for the band. As the Phoenix of Swans & Embers to the writer and choreographer of The Last Days of Snake Nation, Meghan has always been elevating our art with her own and we are ever grateful. Their 4 amazing kids and their greater circle of friends have been invaluable to us. See the Arias perspectives at zackarias.com | meghanarias.com | dedpxl.com

You’ll rarely hear a Quiet Hounds set without the rich, melodic tones of brass. All we wanted to do was something different in the bridge of “I Get Up”. But afterwards we just couldn’t get these guys to leave… They keep sticking around making our music better with their writing, performing and friendship. Dave Daly, Russ Sauve & Umcollisi Terrell, thank you and we look forward to many more shows with you guys.

If you ever google Quiet Hounds, chances are you’ll stumble upon the writings of a one Krissie Callahan, known on the internet only as JrzyGyrl. Sounds like a superhero right? For the first time in our musical careers, which are quite long, someone finally put in to words what we’ve always wanted to read about our art. But not only does she get it and so beautifully narrate our history, Krissie has also been an unmatchable asset to spreading the word about Quiet Hounds. Thank you for all that you do. Read Krissie’s writings at: jrzygyrl.com

Our performances have been riddled with live acting. David Rogers and Michael Trotter have been pivotal in that endeavor. We’re always trying to to engage our fans in something more than song. Something that connects them to the story. These men have made that happen time and time again. Looking forward to the next one boys!

There are so many amazing people and communities that have helped bring Quiet Hounds to life over the past 4 years. To scratch the surface, our deepest appreciation goes out to: Anthony Harper & the Goat Farm, The IndieATL crew, Jake Rothschild, Jamie Kohns, David W. Prasse, Kevin Abeyta, Greg Ashley, Bobbo Jetmundson, Ben Holst, Phillip Aitken, Tiago Velho, Darin Basile, Matt Steadman, Nick Niespodziani & AM1690, Jonathan Baker & Monday Night Brewing, Perrine’s Wine Shop. We thank you for your support and look forward to the future with each and every one of you!

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“I’m just here to do whatever you guys need me to do!” Countless times we have heard this phrase from Matt Rowles.

Just after the release of Megaphona in the summer of 2012, I ran into a guy on the grounds of the Goat Farm Arts Center. Literally… we ran in to each other. You see, Rowles and I are both always going at full speed which sometimes equates to a collision. And in our case that collision turned out to be destiny.

The band had been filming Beacon Sun and designing the concepts for what was soon to to be An Ode to Lost Souls. We knew we were on to something special and we wanted it to reach as many people as possible. After briefly meeting Rowles we exchanged contacts and agreed to reconnect. Our first phone call was about 2 hours long and by the end we both knew we were about to do something inspiring and it was going to sound really good! As it turns out it looked pretty awesome as well. Matt and his IndieATL crew of college students filmed, recorded and live broadcasted the entire event to great success. This was the first of many collaborations we would soon undertake.

I later remixed the audio from the show and Rowles did a video edit from the raw camera footage. You can watch I Get Up live from the Goat Farm here. While you’re there check out the great work Matt’s been doing with IndieATL for the past several years.

While celebrating the success of Ode, Rowles told me he had went to school for audio engineering and was a trained “Tape Op”. This was really exciting to me, I am always looking for new avenues to learn about my own craft. The idea of using analog machines and elevating the recording process to a new level was exactly what i wanted for the band. After more inspired discussion we decided he would be a part of the next QH recording process. That process became The Wild Hunt. I learned so much during the time we spent recording that album. From building an entire studio in an old farm house to live tracking in Southern Tracks to actually cutting the lacquers for our vinyl, Rowles has been there every step of the way.

Shake Don’t Shatter is no exception. Once again he and I built a studio in my house and pushed ourselves to make the best recordings we could make.

Matt we are so happy to have you as a colleague, a mentor and as a friend. Thank you for all that you do!

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This is a picture of my father taken at the very first Quiet Hounds show by Zack Arias. It completely exemplifies him. Standing in the back. Quietly observing, looking deep for the truth of the matter while everyone else scuttles about. 

My family comes from music. My grandfather was a trumpeter in big bands his entire life. My father had a rock band in the 60’s in New Orleans. My brother is arguably one of the best drummers of his time. Music has defined me since I was to young to remember. And it all starts with my family. 

My father taught me all I know about the show. The performance. The connection with the fans. He instilled in us the notion that great music can change a person. A moment. Even a culture. 

He showed us that music and the performance of it were to be taken seriously. It was a responsibility, a job. He showed my brother and I what a true artist must take on to actually sell that truth. 

He showed us the back-bone of pop music. All the greats. The essence of what songwriting and performing are all about. 

He saw in my brother and I a great talent and he let it grow. He never stifled us. Never judged us. He allowed us to find our own path in our art. And most of all, he did and continues to, support us. Christmas mornings always entail new instruments. Letters written to our bands about new songs, performances, and next steps. Being at every show he possibly can. 

You see, for me music comes from within. Within my childhood and my family. Our music room we had in our home. The family band we formed when we were younger. My grandfather blowing his horn on the back porch when he came to visit. 

I wouldn’t be here without them. And this band would not have the knowledge my father has and continues to grace us with. 

When I see him in the back of the room, watching us play, I know I need to be at my best. I know that he wants to see that knowledge come to life. And quietly, as he stands in the shadows, I know our biggest fan is smiling. And I know it’s going to be a good show.

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Mansions

Deep rows, these mansions Screaming of ransoms So far away I try… why

Gold palms before us sad songs implore us I’m never satisfied.. why

Oh won't you come and join me here someday In artificial structures we can play

I sold my new years resolution to the dark Obsessing won’t bring me solution oh my heart

Oh won't you come and join me here someday In artificial structures we can play

These echo halls can guide the path we walk what we can’t pay we fill with all the talk No we can’t help it...

Oh no, I lost my vision Beyond the great expansion What’s with the indecision So can you see me wandering Great halls and vaulted ceilings Am I so undeserving

Behold, my dawn My love, my mansion

We gave, our souls Our lives, to ransoms

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My skill set for musicianship is quite peculiar. I have been playing guitar since I was 9 years old. I understand that instrument better than I understand myself. It’s an extension of me.

But when I dabble with other instruments, strange things occur. My drumming is horrific, if even conceived enough to critique it. My bass playing is ridiculously stupid. My vocals could be used in military training exercises.

But piano has always intrigued me. I grew up with pianos in my house. I never took lessons, save the ones my father taught me, but I always tried to play it. I love the physicality of the piano. The big wooden box and ivory keys triggering soft-laden hammers on thick metal strings. It’s a beast of an instrument, but not one to be taken lightly.

I often write our songs on a piano. Which has been a comical inside joke between us bandmates when they hear the way I play. Until now:

Here is the original demo I recorded to my phone of me writing Mansions. Enjoy but don’t judge.

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In terms of drumming, Mansions is the simplest playing I have ever committed to tape. I would argue that it's also the most musical.

I've always been envious of drummers who write parts that are hooks within the song. The kind as a listener, you remember without trying.

MHound brought us the formative piano parts, and I could tell he was nodding to the swing style of the 50's and 60's. I wanted to maintain the straight forward-ness of what he had prepared, and add to it with a solid backbeat and fun accents.

The drums are very dry and very controlled. We even used a toy snare drum we had stashed in a closet and you can hear every nuance.

This one is all about the feel, the interplay of simple guitar, bass, drums - and making a standard pattern somehow feel new again.

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Q: What do Billy Joel, Queen, The Beatles & Quiet Hounds all have in common? 

A: Harmonies!

At every oppurtunity I'm looking for a way to put some classic sauce on the songs. Mansions was the perfect candidate for a classic background vocal. The harmonies you hear in the background of this track are 3 voices making a chord and moving with the changes of the song. 

oooh....1st, 3rd, 5th over F  / oooh...1st, Minor 3rd, 5th over Am / oooh...1st, 3rd, 5th over Bflat... and that’s the verse “BGV”. 

Hmmmm...now just to figure out how to sing these live...

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I have to admire the simplicity of this track and its nod to our more playful sonic past. M mentioned that this was inspired by some beach town that he wished he could afford to live in. Envy goes great with warm and sunny chord progressions!

Regardless, I can totally relate. I am surrounded by a level of materialism that I never thought would be common place. A Ferrari, a Lamborghini, a 10 million dollar house on a hill. It’s so foreign to me. And it’s everywhere. It permeates the air and distorts our vision of simple living. All these fancy things...  as empty as what I imagine a mansion to be. 

JK, I want a mansion so bad.

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I am often asked how we compose our music. Where does it start? And who with? How long does it take to write a song? A whole group of songs?

For me it starts and ends with E. He is our voice. No matter what we write and how many times we rearrange it, if E doesn’t have something to say on top, nothing else matters.

I was interviewed by our friend M Rowles to discuss this past year’s distance between us and E. This is a very personal look into my process, my fears, and missing my friend. I hope you enjoy.

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Lyric and melody writing has always been a cerebral exercise done in some form of isolation from the guys even when we were in the same building. Once the song structures started to take shape, I was usually looking for a quiet corner to hash things out. So in a way, a lot of this process felt somewhat familiar. 

At the same time, it’s been a challenge being so far away and trying to communicate exactly what it is that you’re wanting your friends to hear. I’d say the biggest difference is missing the art of spontaneity. A spontaneous energy that’s impossible to re-create... An energy from this rare group of gentlemen that inspire parts that you would have never discovered on your own. In a car. By yourself. 

So we got good at capturing fledgling ideas and quickly sharing them to collectively build momentum. The guys would send me brilliant pieces. I’d chew on them for a few days, digging through old notebook scribbles, and capturing as many melodic variations as I could. I’d pick through these melodies, throwing out the ones that didn’t stick in my head for more than a week... boiling it down to the ones I felt were the strongest. 

I'd explore chord changes, play with string arrangements, add keys and guitar parts. Then I’d send it back for the guys to add their magic to the mix. We’d build the track, take it apart and put it back together until it felt right. 

This is our process. And its a story rooted in a tradition that goes back more than 10+ years. A group of friends making music together and capturing sounds so we could share it with the world every week, every month, every year since early 2000. 

… So this distance is a departure from a long-time pattern for us. A departure from what we’ve known for so long. A departure from old habits, so that we might find a new perspective in all of this. In this departure, we continue the journey of collaboration to once again arrive at a complete thought. 

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Shake Don't Shatter quite literally translates to perseverance. This notion was already long engrained in each of us on the day we met. 

Quiet Hounds was designed to be the bubble. The haven. A sanctuary free of rules where time stops and only imagination and implementation thrive. This is a world we created to share with everyone. You don't need to be cool or hip or young or brave or old or wise. You just need to care about the way your world feels, sounds and evolves. This is the story line we believe in.

The harsh realities of time came crashing down last year when E had to leave. Though we quickly put together a game plan for rehearsals and writing, this sea change was creeping into our minds and into the bubble. How could we really go on like this? Him being 3000 miles away wasn't even the worst part. It was having to realize our own perseverance again. The realization that our beautiful view of the world still hadn't aligned with the truth of reality, when we all felt it should.

Making this record wasn’t too different from the way we made the first three. We’ve always built everything ourselves from the ground up. Except this time our singer was recording ideas in a car on a laptop on the other side of the country. Oddly enough thats more relatable to musicians today than going into a proper studio to make a record. 

I believe art isn’t about the tools you use to create it but the composition you present at the end. And this time we used our perseverance as a tool. When the world gives you lemons…go plant a garden and grow a fruit you actually enjoy. 

Shake Don't Shatter is a positive defiance. It's a year of life. It's the sacrifices we all make to dream. And it's Quiet Hounds.

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A long time ago, a friend said to me, "to survive in music is to wage a war of attrition. The winner is the one with greater resources.”

Writing a record over email and hashing through creative ideas on skype, at times felt more like work than I'd care to admit. Recording an album in the cloud obviously isn't ideal. But these are the tools and the landscape that allowed Shake Don't Shatter to be born. These are the keys to our survival.

Every day is a fight to endure the loss of personnel and to be isolated from a comrade.

Looking back now, Shake Don't Shatter is our triumph over attrition.