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Architecture (Demolition)

by Ian Marquis

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1.
Aphasia 01:45
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3.
Lay Low 03:53
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Untied 05:17
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The Proof Is 04:28
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Coming to Me 04:40
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Alter Ego 03:26

about

In 2005, I was sick and tired of writing songs "in the box" and programming everything straight into my DAW. I'd been picking at the electric guitar for a few years, but I wasn't recording it - I didn't really know how. I'd tried workarounds (including playing something on guitar, then sitting down to program it note-by-note as a piano or synth line), but it just wasn't cutting it.

That summer, I flew down to Washington, DC to spend a couple of weeks with a close cousin of mine. A day or so in, we started noodling around on an acoustic guitar, and less than an hour later we were recording (intentionally) horrible music for laughs. Then, when I flew back home, I just sort of ... started recording my guitar playing. I did some things backwards (like the time I laid down a guitar track without a click and tried to match the drums to it), but eventually I started to find my groove.

This album collects songs from three demo releases I did in 2005-2006. The first (Behind Closed Doors) was a dense, sludgy, low-fi affair using only guitar tuned to Drop-C with flatwound strings. The second (Waiting for Something Else) was where I began to rediscover my love of sparkle and texture. The third (Shiver) is when I really started to experiment with my arrangements.

Architecture: Demolition represents me finding myself as a guitarist, and discovering the ways I could integrate my playing into actual arrangements. It's by turns experimental, noisy, meandering, occasionally too drawn-out, and often unbalanced - but I think it's pretty magical all the same. I hope you enjoy this second slice of my journey.

credits

released July 29, 2020

Written, recorded, and produced by Ian Marquis.

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Ian Marquis Portland, Maine

My songs are tiny ecosystems: self-sustaining, self-contained, intricate, and densely layered. I'm captivated by found sound and immaculate production. I sample my own work. I chop up my guitars and create arrangements I could never have played. I treat my voice like an instrument, pushing and pulling it in otherworldly directions. I polish each track until, sonically, it feels like it sparkles. ... more

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