Hey so. About 5 years ago this week we released AFTER THE LIGHTS FAILED and to celebrate that, Abe snuck around behind Mike's back and coordinated with a bunch of artists to do an arrangement album of all of the songs.
Each band or musician took one song and made it theirs.
It's a work of art, and Mike cried a lot while listening to it. You might too.
Full lineup:
Travis Hayes, Petriform, Dogcatcher, [MONO]Stereo, Alexis Blair of El Gato Dice (and so many more), Ace Waters, Zen Zenith (of August Brings, Please Do Not Fight + more), Matthew Joseph Payne, and Gnarboots.
Because they're sneaky bastards, our drummer Joey, violinist Alan and bassist Josh feature on several of these covers but NOT playing their corresponding parts because I mean, why not.
Anyway - here it is. Style ranges from solo acoustic folk to elaborate analog synthtronica and banjo-driven horn sections. Listen to it. It's beautiful.
https://curiousquail.bandcamp.com/album/five-years-after-the-lights-failed
Green Room at Erin’s Last Show | SLG Art Boutiki, San Jose CA // November 2015
When Erin left the band formally (she’s still on our albums / has played like 5-6 shows with us since) we had a big farewell show for her and I don’t think in all my posts about the bands that played that night I ever shared this behind the scenes stuff.
Throwback Thursday | The Quailcave - Various Dates from 2015-2017
I have a habit of bringing my camera to rehearsals and I realized I’ve got a neat little gallery of various different times in our band over the last few years, from when Erin was on bass, to when Joyce was with us etc. Plus the Street Fighter Halloween one gets me every time.
Hack the Multiverse was a blast - got to do a fun set of some songs we’ve not done in ages, some stuff from the new album and I threw together the most barebones chiptune + guitar / vocals cover of Die Anywhere Else from the Night in the Woods soundtrack! For right now though, it’s nice to be back at the Desert Art Colony to get back to work on finishing Empty Victories.
We’re heading back to LA on July 13th, full band this time, and we have a bunch more west coast shows that we’ll hopefully get to announce on Monday. Have a great weekend everyone!
Hey so in a few weeks I’ll be joining the lineup for @8bitla and Play It Loud Records’ second annual HACK THE MULTIVERSE E3 party doing a solo set of quail songs with my guitars and gameboys. Plus, the lineup is insanely stacked - Chibi-tech from Japan, Like Luke from Anamanaguchi and Ben Prunty, best known as the composer for the game FTL! Plus our amazing chipfriends Slime Girls, Clover & Sealife, Paladin Shield, Neon Death Cat and Viami...so while I’m stoked to be playing I’m more stoked just to be able to see all the other artists in one place. And yes; I’ll be doing photos + gifs of the others. :D
- MSD
Details / tickets / etc can be found HERE
It’s $10, ($7 with E3 badge) and venue is strictly 18+.
Hey! It's been a while. I've mostly been using the blog proper instead of the front page of our site but here's an important read on why we've removed all of our music from Spotify
Let's dive into the behind the scenes on this record and why it took ten years lmao:
ATLF is a very special record to us as a band and to me as an artist - we were a bunch of little shits making nerd music and thought 'hey what if we tried to use kickstarter' and had no idea how successful that would be.
Once the record was released we pretty much immediately started work on what was going to become the follow-up. If you saw us perform live between 2016-2019, you may have even heard a few of these songs in their early iterations. Hell, our Tiny Desk TWENTY SIXTEEN entry was the title track.
Joyce tracking her solo in Empty Victories - a parting gift to the band before she left the country to join the Queen Musical 'We Will Rock You' as the lead guitarist (hand-picked by Sir. Brian May because of course she was).
Principal tracking for the record began in 2016 at Rhythm Academy - a drum school where Joey taught - they had given us permission to use the place after-hours. Most of the photos throughout this piece are from these sessions.
Getting ready for Drum preproduction at our rehearsal studio in San José. I lost this Life is Strange shirt in 2017 when I moved to the Coachella Valley. No idea what happened to it.
For a story about the future and time shenanigans at the end of the world(s) I think it's fitting that part of this new record was recorded over the span of ten years in between other projects. Some of the songs have drums from 2016 with percussion from 2019 or gameboys added in 2021, Erin or I harmonizing vocal takes with ourselves from nearly a decade ago - Empty Victories has been a process and we're proud to get it out to you now.
Group vocal session - we also recorded group vocals for a Petriform song that night.
Most of the band proper lived in the Bay Area until about 2016; Erin moved to the PNW, in 2017 I relocated to the Coachella Valley and we continued working on music remotely as well as syncing up for live shows when schedules allowed.
Nobody puts Joey in a corner
Except Joey, I guess
In 2018/2019 we put out Twelve Months, a songwriting/video exercise where each month we'd get random restrictions assigned and write a song / film a performance video of it before the month was out - the idea was it would be a smaller, more rapid fire release approach while we worked on Empty Victories in earnest. Rarely were any of us in the same room for these sessions but there was hope that we'd get to do more shows of those songs live - again, while working on Empty Victories on the side.
I was hilariously bad at remembering to turn the fan off during acoustic takes and having to start over
I can't say that we had a bunch of concrete plans (in fact the two concerts we had locked in for 2019 - MAGFest in Maryland and a PDNF reunion in San Francisco - I missed for health reasons, and the band performed with recordings of my vocals) but in my heart, in January of 2020 I put out into the universe that this was going to be the year we finished Empty Victories and got back on the road.
but it turned out both the hard drive with all of the mixing session files for the record and the backup drive....had died.
and then Covid hit.
Lol, lmao
Josh's energy is always infections (on stage or in the studio)
but hey! In 2021 I found an external USB drive that had all of the raw audio tracks from the recording sessions. No mixing, no processing, just the straight-from-the-microphone takes from the various recording sessions we did throughout 2016
The seagate USB drive of hope (sponsor us you cowards)
So while it wasn't quite starting back at zero with everyone needing to re-track their parts, it was a massive step back towards actually having a finished product. A lot of work needed to go into it getting cohesive.
Listen, if you get the mic's for the violin positioned correctly and you have a violinist who is incredibly expressive and a talented dancer, you have to put down some fucken ground rules
Michael "Gunther" Chiang, the engineer who worked with us at Dirt Room on ATLF reprised his role and came up from Santa Cruz to help with tracking
We had a fair amount of our own gear but Gunther brought his rig (again, a bunch of which we used on ATLF)
And there were some omissions - things that weren't on the drive that caused some panic. Most notably, Joyce had tracked for three of the songs before she left for her Queen journey and the only thing that survived was her guitar solo from the title track.
ERIN WAVEFORMS
At this point she'd moved out of the Bay Area already and so scheduling her time in the studio was tricky but absolutely worth it.
There were fevered calls to members of the band "Hey uhh can you re-track this part" or "I need drums for track 3, we didn't do that in the first session". Everyone was a real sport about the whole thing - and I wasn't entirely on-top of it because we were working on other music or other projects or life was happening.
For frame of reference on how all over the place this was, I had to do Gameboy retracks in 2023, and Erin wrapped her final vocal parts for the record this month - so when I say there are times when she's harmonizing with herself from a decade ago I'm not fucking around.
I don't remember why we had so much New York Seltzer - I think I was bringing it but it became this like ongoing joke. (Sponsor us you cowards).
Since After the Lights Failed, we've put out some music that I'm super proud of - Twelve Months and Branching Paths were a LOT of fun - but due to the incredibly hostile nature of streaming services, most of these have not made it outside of Bandcamp or Itch.io - I don't know if that'll change, but it did feel wrong to not push for this sequel to ATLF to be as available as its predecessor was so it will be. (Just most likely not on release date)
That said, the best way to financially support any artist is to buy from them directly when available, and in most cases Bandcamp is as good as that can get (though Mirlo looks really promising). Streaming a song earns an artist fractions of a cent. I'm not gonna make a 1:1 comparison but I can say if we had more financial stability in 2016/2017 we likely would have finished and released this record much sooner (and hopefully before the drive failures).
Anyway, thank you for reading this far, and for supporting the band even though it's been a weird trajectory for us. This won't be the final Curious Quail release but we are saying goodbye to an era and heading toward the future.
A future that - despite the lyrics of track six - will hopefully come.
