"Soothing and intoxicating....simply gorgeous." - Sound & Silence
Photo by Philippe Bronchtein
“When my friend documentary filmmaker Adam Saewitz heard the song, he immediately tied the textural quality of the music to the ocean. Adam got the idea for a slow-mo surf video, but the day of the shoot the waves were big, and we forgot to bring fins. A lot of what you see is Adam getting pummeled, but, in a way, it was perfect. Going over the falls is inherently shitty, but slowed down, in these small, intense moments, there's beauty." - John Glouchevitch
There’s a subtle immediacy to Eyes Made Quiet’s new single “Sappy Disaster Story.” It’s one of those rare songs that embeds itself into the memory of the time and place where it’s first heard. Rich swirls of analog synths, earthy acoustic textures, and tender, delicate harmonies conjure a mood that is that is both intimate and alien.
The music of Eyes Made Quiet (the pop-ambient project of singer-songwriter John Glouchevitch) stems from a series of experiences that echo through the soundscapes he creates. After surviving cancer at 23, a year of solitary LSD-fueled introspection in Vermont, and the sudden death of his closest childhood friend, Glouchevitch moved back home to Los Angeles. He kept vigil with the few instruments left around his parent's house: a cheap Yamaha keyboard, a single delay pedal, and his first nylon-string guitar. In the following months, he channeled his grief into Eyes Made Quiet.
Leading up to the creation of “Sappy Disaster Story," Glouchevitch had been teaching screenwriting and providing narration for audiobooks from a closet. “I was reading a book on film structure while writing this song, and it made me wonder if I was in one of those "Dark Night of the Soul" moments, where the hero finds some inner strength that catalyzes the climax and resolution,” he relates. "But for me, the transition didn't happen in some big, cinematic leap - it happened in little bites." Working with multi-platinum producer Cody Tarpley, Glouchevitch layered the recordings with sounds from inanimate objects, like a coffeemaker, the hum of traffic, and the vocals playing through a cell phone, in order to ground the lilting, melodic quality of the song in the reality of everyday life.