This track goes through some nice experimental waves, good foundation of etherial/unconventional-darkness, the vocal brings it together, finished off the salvia to this, crashing on some kids sofa, pissed myself because of some really horrible shit I saw sneaking around in his paintings, like what goes on with harry potter’s art but fucking 1000 times worse, I told him it was a spilled beer. This is my favorite part from the press release below “The hesitant melodies, atmosphere, and defining structure on which the first half of the song builds strength are clearly nods to the works of Erik Satie, particularly his 1888 composition “Trois Gymnopédies.” Fucking, clearly.
FREE DOWNLOAD HERE: Qurious – Gold (figure it out if you don’t get these links do)
Here’s what their business machine has to say about this release:
“Stickfigure Recordings is proud to present to you “Gold” by Qurious. “Gold” is the second single from Quriou’s new full length entitled “Void Vanishing” which will be released on Tuesday, November 20th, 2012.”
“Rubies”, the first single has received a good reception.
“Last week, Qurious unveiled “Rubies,” a brand-new song and the first look at the shape of things to come with their sophomore album, Void Vanishing, due out Tuesday, November 20 via Stickfigure Records. The hesitant melodies, atmosphere, and defining structure on which the first half of the song builds strength are clearly nods to the works of Erik Satie, particularly his 1888 composition “Trois Gymnopédies.” It’s a bit of a break from the abstract environmental studies and fluid movements of anything that Qurious has released in the past, but the tonal and compositional elegance that we’ve come to expect from the duo at the heart of it all, Catherine Quesenberry and Mike Netland, are unmistakable.
The shift that happens midway is an intriguing break that brings the group back into form, somewhat, and the underlying theme that ties it all together is the use of blank space — yet another nod to Satie’s minimal approach. Go back and give a listen to anything the group has done in the past, and there’s pronounced dose of reverb and delay strung throughout and layered on in varying degrees. It’s gone here, and in its absence the spaces between chord shifts, notes, melodies, et al. both highlight the myriad textures and effects that are at work here, without drawing too much attention to them, or relying on them to carry the mood.”