Quicksand
Slip

THE REVIEW

12 (October 1995). The artistic career of one of the most inspired formations in the diverse chaos surrounding the idea of hardcore comes to an end. In just two albums, Quicksand has created a compact sound, extraordinarily characterized, an epiphany.

The debut is called Slip, it's 1993.

As actors in the enlightened New York scene, the magnificent four bring brilliant experiences to the band; just consider singer Walter Schreifels' involvement with Gorilla Biscuits, or the immense Tom Capone on guitar with Bold. The result is impressive, the 13 tracks of Slip provide hardcore dealers with a once-in-a-lifetime event.
This is exactly the sensation of both the first and the thousandth listen: uniqueness. While it is true that the references to Helmet and Fugazi are quite intelligible, you soon realize that they hit much harder than the latter, chiseling the concept of the most intense EMOtional-hardCORE, forcing the listener to frequent exclamations of disbelief. As for the Helmet fathers, Quicksand adopts their noble practice of the syncopated riff, with the option that here the guitar can start and never stop again. Yes, the guitar riffs of Quicksand, an icon, a nightmare, the overwhelming element, at times skilfully cadenced, at other times furiously unleashed, always marked by ethereal levity.

The rhythm section boasts two other thoroughbreds, Alan Cage on drums and especially bassist Sergio Vega, who define a real canon, branding with fire a sound that is granite and uncompromising. Schreifels' post-atomic voice fits in marvelously, saturating a noise already incredibly dense, imbued with despair yet always solemn and rigorous.

13 (years later). Lovers of Quicksand understand each other by gestures, like carbonari. They all rejoice that the four Icaruses broke up before they melted down.