Union Transfer

1026 SPRING GARDEN STREET, PHILADELPHIA, PA 19123 Ι 215-232-2100

Quicksand

Quicksand

Cymbals Eat Guitars

Mon, January 28, 2013

Doors: 8:00 pm / Show: 8:30 pm

Union Transfer

Philadelphia, PA

$25.00 - $27.00

Sold Out

This event is all ages

Quicksand
Quicksand
Volatile Progressive Grunge band with distinct Hardcore leanings. QUICKSAND would prove highly influential on the major Nu-Metal acts that would follow in their wake. The band was rooted in the New York Hardcore scene with vocalist Walter Schreifels credited with membership of both YOUTH OF TODAY and GORILLA BISCUITS, guitarist Tom Capone a member of BOLD, bass player Sergio Vega an ex-member of ABSOLUTION and drummer Alan Cage with BEYOND.

QUICKSAND's inaugural album would surface on the independent Revelation label. Building upon a burgeoning cult following QUICKSAND took to the road in North America performing shows with the likes of FUGAZI, WHITE ZOMBIE, RAGE AGAINST THE MACHINE and HELMET. Their growing profile soon resulted in the inking of a deal with major label Polydor Records and in 1993 the 'Slip' album arrived. Strangely, in spite of the single 'Dine Alone' gaining regular MTV and radio broadcast, hard sales were unforthcoming and Polydor let the band go. Island Records would be waiting in the wings.

The 'Manic Compression' record would emerge as a more complex beast than previous efforts. Touring to promote the record found the band trekking across America as part of the 'Vans Warped' festivals. QUICKSAND finally dissolved following a swansong performance on the 12th of October 1995 at the Hollywood Grand in Los Angeles.

Post QUICKSAND all members got back into the fray with fresh endeavours. Schreifel scored production duties with CIV and also put his energies into a project billed as WORLD'S FASTEST CAR. Capone played on the debut album from New York 'Hardcore' band HANDSOME. Cage cut a new album with SEAWEED whilst Vega created FULLY.

The band reformed in 1997 and set to work on a new album for Island Records. Announcements would be made about live reunion gigs that year too but these would fall through. QUICKSAND eventually got back into the live arena with a February 1998 tour of Japan. Their first live performance in America for over three years of absence would take place in September 1998 in Boulder, Colorado, the group performing at a snowboard movie premiere. November of 1998 saw the band out on the road with road mates SNAPCASE and the DEFTONES.

In early 1999 bassist Sergio Vega would deputize for an injured Chi Cheng for the DEFTONES American tour dates. Tom Capone would session on the inaugural 2000 demo from Nu-Metal act REACH.

In 2001 End Of The Circle Records would request submissions for a projected QUICKSAND tribute album 'Driven State - A Quicksand Tribute'. Contributing artists comprised BIOHAZARD, HELEN 55, DRAGPIPE, LEFT, GLASSJAW, FORGE and WILL HAVEN.

Walter Schreifels, returned to action in September of 2001 with a new album credited to the all star act RIVAL SCHOOLS, a band founded in alliance with drummer Sam Siegler, a veteran of GORILLA BISCUITS, GLASSJAW, CIV, SHELTER, JUDGE and YOUTH OF TODAY, former CIV and ICEBURN bass player Cache Tolman and vocalist / guitarist Ian Love, previously with DIE 116 and BURN.

Ex-QUICKSAND members united with personnel from ERRORTYPE: 11 to forge INSTRUCTION in 2004, signing to Geffen Records for the album ''God Doesn't Care'.
Cymbals Eat Guitars
Cymbals Eat Guitars
The sweat's the first thing everyone notices. It's hard not to, as salty trails drip from the pores of Joseph D'Agostino, the yelping, riff-raking frontman of Cymbals Eat Guitars.
Here's why he can't seem to stay dry: Pitchfork's 'Best New Music' tagplastered across a rave review of Cymbals' self-released debut, Why There Are Mountains, six months before its official releasewas just the beginning of the band's rise to notoriety. A calling card to toss around from time to time, sure, but not something they were about to rest their entire record on.
'We had no fucking clue what we were doing in those first few months,' admits D'Agostino, quite matter-of-factly.
'There was just this giant rush to keep up with hype that's beyond us,' adds drummer Matthew Miller, who co-founded the group in 2007, the year they found their sound through elaborate demos with the Wrens' Charles Bissel. Demoes that were developed even further during proper studio sessions with Kyle 'Slick' Johnson (Modest Mouse, The Hives). Like many other early adopters, Johnson discovered CEG on New York's Lower East Side circuit, playing the kind of caustic set that's earned the attention of ABC News, The New York Times, The Village Voice, and the Pitchforkpeople, who continue to support the group's every move. That includes a CMJ roundup with the following pull quote: 'D'Agostino was sweating profusely by the end of the first song, and spent the rest of the set contorting violently and playing his guitar like it was trying to eat him...Cymbals weren't just loud, they sounded monumental.'
Hype-raking live reviews aside, there's this important detail to consider: Why There Are Mountains is an actual album in an era of diminishing downloads an attention spans, a 'grower' that dishes out simple pleasures with every spin. Meaning everything from shades of shoegaze (the patient, feedback-bathed passages of 'Share') to subtle Motown nods (the buoyant bass lines of 'Cold Spring,' the breezy horns of 'Indiana'). Not to mention pure, unadulterated chaos, as embraced in the gate-crashing 'And the Hazy Sea,' the tension-building 'Like Blood Does,' and the throat-singeing denouement of 'Wind Phoenix.'
As for what's next, well, they're figuring that out one track at a time, as D'Agostino's carefully-cultivated cuts are complemented by Miller's Wire-y rhythms, the wobbly low-end of bassist Matthew Whipple, and the Technicolor textures of keyboardist Brian Hamilton.
'I've played in a lot of punky bands where no one cared about the final productabout the actual craft of songwritingand that was always very frustrating to me,' explains Whipple. 'I was always the guy glaring at someone else for not getting a part right.'
Not here. As D'Agostino adds, 'A song needs to raise the hairs on my neck at least three or four times before I'm happy with it. What's the point otherwise That's the whole thrill of playing and why we're doing this in the first place.'
'It's pretty simple,' says Miller. 'If something doesn't sound right, we're not gonna play it.'
Venue Information:
Union Transfer
1026 Spring Garden St.
Philadelphia, PA, 19123