Cities don't sleep. When night falls, the darkness may demand quiet, our bodies rest, yet the trains still rumble, and restless dissatisfaction drives us to hide in bright lights and pleasures from disturbing thoughts and memories. Apart from God, there is no peace for the inhabitants of this world, especially the city dwellers of Michael Reiser's project, Quiet City.
The twelve lush, complex, vaguely troubling pieces of mood rock this Tulsa, Oklahoma group have created explore the questions every thinking person confronts on their way to the cross. After enduring decades of now-that-you're-saved-you'll-be-happy-all-the-day contemporary Christian music, it is refreshing to hear songs like "Killing Fields," "Fly" and "Eyes of Glass" ask so honestly; why is there pain and suffering? Why must children suffer the most? How can something that briefly felt so good hold such long regrets? Does God see what is going on down here? Does He care?
Michael Reiser based the concept of Quiet City on Aaron Copland's Quiet City, incidental music originally composed for a 1940 Irwin Shaw play in which various characters reveal their feelings in the urban night. Copland wanted to express "the nostalgia and inner distress of a society, profoundly aware of its own insecurity." Reiser goes one step further than Shaw and Copland could. The song "Believing" points to ready answers outside ourselves and society:
When the tempest in the spirit hides the One that needs revealing
The open door we're looking for
Will wait until we're willing to begin
Believing.
Redemption is possible, but never cheap or easy. The final number, "Letter to a Friend" an unplugged solo guitar, has the rough work-in-progress feel of an honest relationship:
Here I am; I am spent and broken
...I am just a man
Take me as I am
Come teach me, my friend
I believe in you.
Quiet City is as deep as you want it to be. The rich, dark vocals often obscure the lyrics, but the music stands on its own merits. Michael Reiser's keyboards and vocals, guitar by Sparquis, bass by Monty Anderson and drums by Brandon Sensintaffar are combined smoothly by sound man Brian Hale into a technically superior production. The liner notes will broaden your understanding of the project. Each piece is followed by supporting quotes from such diverse sources as Pindar, Elizabeth Bowen, Milton, Socrates, Shakespeare, Ecclesiastes, and Colossians 1:9-12.
Other coverage for this album
The Lighthouse September 1995Reviewed by Robert BermanIt's been a while since any noteworthy mood rock hit the Christian music scene. The demise of Flock 14, World Theatre, and The Swoon in the late '80s left a gap, and when The Choir moved on to other sounds, there was no one left to carry that tonal torch. But everything comes around again, even Tony Bennett, so I'm pleased to introduce you to Quiet City. This foursome takes a few cues from the…Heaven's Metal #54Reviewed by Brian Vincent McGovernDon't be fooled by the mellow-looking packaging and the dreamy, relaxing first track, "Killing Fields." I almost assumed that Quiet City was indeed quiet. Not so. The rest of the CD is rather eclectic, moving smoothly from the dreamy alternative to the hard rock. As varietous as this is, I noticed one thing present throughout the album. That is a deep, passionate vocal performance. The emotion…Similar sounding releases
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