Marisa Cerio
Chris Matheson
Peter Smith

As with a lot of great bands, when you really listen to Big Quiet, you understand the depth of its
attendant members’ music fanship. These three know their source material, whether it’s Athens, GA in
1982, Scotland in 1988, or New York right now. The Brooklyn trio's knowledge of jangle rock and
post-punk history is real, and they’ll talk your ear off about it if you ever ask. But what Big Quiet plays
isn’t just some kind of stoic record-collector rock. In a live setting, you’re struck by their sheer viscerality
and volume. Marisa Cerio’s Rickenbacker can scorch faces, dousing her rapid-fire strumming in treble
and reverb. She belts out a song so emphatically; you’d think she’s trying to sing to the next room over.
Chris Matheson’s steady, propulsive bass erupts in a gnarl at just the moments. Stephen Perry’s drum
beats are all manic, percolating, tom-thumping bounce. You don’t take bathroom breaks during Big
Quiet’s set. They’ll be onto the next song and the next idea before you get back.
Big Quiet’s debut, self titled full-length takes the melodic, post-punk power-trio impact of the band’s live
set and expands into a rewarding “headphone experience.” Aided by legendary producer Mitch Easter
(R.E.M., Let’s Active, Pavement, Ex Hex, The dBs) the band folded into the record some subtle but
compelling flourishes, extra layers of vocal and instrumental melody and harmony. In the context of the
record, Big Quiet’s pop chops are clear — the sound is ever so slightly sweetened
Artist biography from Discogs