About Me:

Quinn Walker is a sound artist living and working in Daegu, South Korea. Using mostly acoustic instruments, his laptop as well as field recordings, he attempts to weave together slow moving washes of sound that slowly augment and mutate themselves over time.


Extended Play

Split (w/ Pleq) - Cassette - Edition of 100 (Constellation Tatsu) 10.4.12

Dead Bird Sing - 3-inch CDR. Edition of 100 (Hibernate Records) 12.23.11.

Track A/Track B with Danny Clay - Digital Download (Audio Gourmet) 6.11.11.

Kwichon - 3-inch CDR. Edition of 75 (Heat Death Records) 4.11.11.

The Weight of Care - 3-inch CDR. Edition of 50 (Rural Colours) 3.25.11.

The City Rides the Sea - 3-inch CDR. Edition of 20 (Heat Death Records) 2.1.11.


Hidden Landscapes 2 - CD. Edition of 250. (Hibernate/Audio Gourmet) March 2012.

Five Pieces - 3-inch CDR. Edition of 50. (Rural Colours) 4.4.12.

Just a Moment - Digital Download. (Audio Gourmet) 7.29.11.


Constellation Tatsu has had a busy year; but among a number of interesting works, this split C30 cassette by Pleq (Bartosz Dziadosz) and Quinn Walker stands out.

Starting off with a somewhat standard drone on ‘Inner Structure’, the album quickly gains a hazy patina, with static and surface noises gaining the foreground over slowly evolving harmonies. ‘Continuum’, again starting with straight-forward chord structure, begins to unsettle itself as contrasting harmonic elements vie for control towards the end of the piece. Minor tape effects add to a slightly woozy ending. This palette is extended in ‘Shoreline Drones’, giving the listener the idea of melody, but never stating it clearly enough to sound strictly pleasing – definitely the highlight of the 30 minute EP/album.

‘Unearthing The Past”s soft bitrot, which would normally be a bit gut-wrenching, at that volume and in that context becomes almost pretty. The album closes where it started, with a somewhat generic, if palatable, ambiance.

While parallels can be drawn to drone-heavyweights like Tim Hecker or Jefre Cantu-Ledesma (who also has a recent release on Constellation Tatsu), those two tend to blunt their traditional aesthetics through over-compression and moderate distortion. Pleq and Quinn Walker instead balance their melodies with conflicting chords, pitch modulations and unrelated pink noise – turning what would otherwise be monolithic songs into multi-faceted pieces.

While I try to keep my drone collection finely tuned (if I kept everything that was simply nice, I wouldn’t have room left on my laptop, or in my house, for anything else), this split is worth keeping.

by vehscle (Cut and Run) http://furiousgreencloud.whsites.net

Quinn Walker’s Dead Bird Sing is the sixteenth release in Hibernate’s consistently impressive Postcard Series. Each tiny CD-r is limited to just 100 copies, making them all massively collectable and – for goofs like me – especially covetable. The combination of slipcase, sparely designed postcard and unmarked white disc arouses something within me that shall forever be unfathomable to anyone other than my closest record-collecting buddies (most of whom write for this very site), but to the uninitiated it’s something akin to the feeling you get when you open a new book over your face and inhale deeply. Or is that just me as well?

As it happens, Quinn Walker’s first release for Hibernate is one of the most satisfying in the series so far. The six short pieces here are all based around gentle drones and tones, with additional glitches and knocks scattered throughout to add depth and resonance. Nothing imposes itself too heavily and the general air is sedate, soothing and uplifting. ‘II’ is probably the most atypical track on the record, being based around a series of electronic pulses and creaks that sound like new leather being worn-in, but — a shrill ring at the start of ‘IV’ aside — the music tends to wash across the listener and never really approaches anything like a crescendo.

Repeated listens will reap rewards. Going back through Dead Bird Sing will reveal further textures that were seemingly shy of discovery first time around. Now they emerge nervously like nocturnal animals at sundown. ‘V’, for example, crackles around the edges like burning papyrus and ‘III’ gives up myriad ticks and cracks when you seek beyond its harmonies.  As the record nears its end strings are introduced, pianos play cautiously and eventually a guitar emerges from the haze to provide the only tenebrous tone across the six pieces. An ambiguous ambience on which to end maybe, but an intriguing one nonetheless

Steve Dewhurst (foxydigitalis.com)

Consisting of six mostly short pieces, Quinn Walker’s ‘Dead Bird Sing’ is the latest in the post card series released through the ever consistent Hibernate Records…

With previous releases on labels such as Heat Death, Rural Colours and Audio Gourmet, you immediately get a sense of artistic growth and confidence from the artist’s work within this new project. The album begins with a mid pitched drone which is shortly joined by a range of other pitches both high and low in frequency, whilst the background is filled with mechanical undertones. Restrained Violin structures then slowly blend into the piece offering up tranquil harmonies that perfectly set the scene for the rest of the album.

The second track brings with it a selection of glitchy electronic elements, as well as guitar structures that draw out the acoustics perfectly sounding somewhat similar to some of Autistici’s earlier work. Things then slowly return to a more sedate mood consisting of soft drones, shifting harmonies and lightly distorted effects. This is the longest track on the disc running in at almost five minutes. The fourth piece is based around a repeated melodic phrase played on piano creating rich atmospherics. The sound space is well saturated with a static chord sounding almost like tremolando strings. In track five, the sound of a mid pitched horn is used to good effect, creating the illusion of distance while the more intimate dry compressed electric piano improvises right in the centre. As the track builds a sense of space is created that’s full of detail, drama and emotional resonance leaving enough space for listening reflection.

The last track starts in a far darker place harmonically and you are initially fooled into thinking this will last. In fact once the electric guitar makes its entrance it starts to resemble previous tracks more closely bringing with it a familiar feel before ending quite suddenly. All in all this is a great piece of work on many levels and the quality of compositional skills that Quinn possesses blend well giving the album enough variety to sustain interest.

- Joe Evans for Fluid Radio

Consisting of five relatively short ambient pieces, The Weight Of Care can be compared with works by artists such as Pawn and Chihei Hatakeyama, with its gently manipulated soft tones and glass chimes blending into a softly rolling soundscape awash with digital static. Though there are indeed a few other artists working along similar lines at the moment, the multiple ideas of such high quality which are shoehorned into these brief tracks mark Walker out as a very worthwhile addition to the scene. Closing number The Weight Of Care is perhaps the strongest track and sees the artist employ a simple and evocative piano refrain, performed in a manner which has been attempted before but seldom executed in a way quite so moving as here.

  1. -Adam Williams for Fluid Radio

Korean based artist Quinn Walker has already had a release on Heat Death Records this year. 'The City Rides the Sea' was just two short tracks of zen like guitar playing over processed field recordings and electronic ambient sounds. 'The Weight of Care' steps towards the later, making bolder use of electronic drones, and field recordings in counter point.

'In At The Death' and 'Natural Action' both centre around worn static drones, panning around the listener with a lightness, as though evaporating before our eyes. 'Decline', 'Going Home' and final track 'The Weight of Care' are warmer affairs. The bass heavy piano on the title track is old, as if recorded 50 years ago - sampled here in a repeating loop. Sounds of birds, and air across a microphone accompany to create a highly evocative track, of what is a beautifully touching release.

  1. -Futuresequence

Quinn Walker’s The Weight of Care (Rural Colours) opens with “In At The Death”, its sounds ebbing from ear to ear and glitches slightly crackling. And then the second track’s first 20 seconds is utterly beautiful static-y noise till the tones begin to wash in and build up to a dronish delight that weathers quickly and silently away. This dichotomy of tones and glitch is what Walker moves us through in The Weight of Care, a strong addition to Rural Colours amazing ambient/experimental catalog — I mean is there a bad album in the bunch?

With the last track Quinn pushes us outside the framework of the first four tracks as the piano chords drive in. Though normally, this sudden change would hamper an album, I found that the track “The Weight of Care” with its piano and vibraphone brings the album to a beautiful conclusion. Absolutely splendid.

And, if you are looking for more work by Quinn Walker, you could download his most collaboration with Danny Clay, Track A / Track B on Audio Gourmet.

- Acts of Silence