Made a page with more info about the performance. Visit it here.

  • Published: May 24th, 2013 Author:
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  • Published: May 10th, 2013 Author:
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And has a page with more info here

There’s also a screener online. If you want to see it, ask us here: quiesthemovie (at) gmail.com

  • Published: May 10th, 2013 Author:
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We just spent three fantastic days mixing Quies the film with the great Sen Jan at Senstudio.

Now all we need to do is finalise the credits and subtitles, and the film is ready for the big bad world out there.



  • Published: Mar 30th, 2013 Author:
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I shot these slides (Fuji Provia) during the Quies shoot in December 2011 but didn’t have them developed until a couple of days ago.

Fuck, I miss the desert now.

slide 01

slide 02

slide 03

slide 04

slide 05

slide 06

slide 07


QUIES, the film, is almost finished. A few editing tweaks here and there and then at the end of March we’ll do the final mix at Senstudio.
We’re aiming to have everything finished & ready by mid-April so the film can be sent off to festivals.



Very very happy with this beautiful review by Chris Whitehead.

Original article here.

(Very Quiet Records 2013)

Review by Chris Whitehead

As a boy I remember going down with a bunch of schoolkids into one of the Blue John caverns deep beneath the Derbyshire hills. The guide said “we’re now going to turn out all the lights and I want you all to be silent, then you will experience absolute darkness and silence for the first time in your lives.” When the lights went out it was indeed absolute darkness. There was no light at all and my visual brain sensors went into shutdown. However, it didn’t work with the silence. People carried on breathing (thankfully) and clothing rustled. You could hear your own heart beating.

This experience stayed with me and influenced the way I listened to things from thence forward. It seems our brains recalibrate how we listen according to the circumstances, a kind of gain control. Maybe real silence does exist somewhere, but we can never go there to hear it. Our very presence in a place creates sound. Our intrusion destroys silence. Our recording equipment makes noise and there is always air. Whatever we do, we disturb the air.

Quies by Peter Lenaerts is not a search for silence in an academic sense. It is not an inquiry into how little can be put onto a digital recording or how thin you can spread things before they vanish altogether. It is in fact an evocation of place, albeit a very quiet, very large place. The quietness is not the kind you achieve by sticking earplugs in and closing things down, it is entirely the opposite: It is an opening up and a surrendering to the huge expansive emptiness of the desert.

As Lenaerts points out in an interview about Quies “Looking for silence was never the goal. For me it is more about the sound of the world around me, and the experiences it evokes. About developing awareness for it. We live in a world that is dominated by the visual. We are barely conscious of our own auditory perception.”

Because of the somewhat noisy nature of the domestic surroundings, I chose to listen to Quies on headphones late at night with the rest of the family in bed and just a single small light on. Lenaerts says he is interested in the CD format as a curiosity, where people are not necessarily expected to listen to the disc in its entirety. Even so, the longer these tracks go on, the more your sense of hearing becomes calibrated to the sounds and the space encoded therein. Without doubt these things take time, and then a kind of confluence takes place between your own and the artist’s wavelengths.

Suddenly you see the never ending sand stretching out to the horizon, the baked desert air and the searing sun. There is some life out here as every now and then a bird calls from a far off place or an insect buzzes close by. Lanearts chose to either carry the microphones in his hand or wear them on his head (as opposed to simply leaving them out in the field and retrieving them later). Sometimes I think I hear evidence of the artist: Maybe a rustle, maybe a click.

This placing of the artist firmly in the environment adds the human aspect. This is exactly what Peter Lenaerts wanted you to experience and not a random recording from a static microphone in a desert. He makes the different locations which constitute Quies explicit in their characteristic atmospheres, subtle differences in an environment many may think of as uniform.

Wind blows across the expanse of Lake Torrens, a dry salt lake that has only been filled with water once in the last 150 years. In the ghost town of Farina the remains of the houses stand testament to man’s vain hope. In the past a railway connected this place to civilisation, but the rains never came, the crops never grew. In Andamooka cemetery the headstones seem an integral part of the desert with only the brass plaques jarring as they glint amongst the sand and stones. In the far distance a dog barks.

These are the places we are transported to and left in. Spaces that open out and extend. Dryness can be felt as a presence. We can share Lenaerts’ uneasiness on being confronted with the frightening, unnatural quietness. We live in a society where many people feel anxious if there is no radio playing in the background, a society that has gravitated away from silence. The desert is the antithesis of modern consciousness. We fill our minds, our days, our lives with input. The seas of sand remain impassive.

I’ve just listened to Quies again and I’m in danger of becoming a bit obsessed. Also I’m drinking a lot more water than usual.

  • Published: Feb 28th, 2013 Author:
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Press release from Very Quiet Records
Original link here.

Quies by Peter Lenaerts released today


When you escape to a desert the silence shouts in your ear 
(Graham Greene)

You are confronted with yourself in these places. Silence is often seen as something soothing, but it is also frightening. It feels unnatural, especially for modern man. We constantly produce sound. In the desert there is no auditory or visual distraction. It is 40 degrees, day in day out. There is no one to talk to. You are hundreds of kilometres away from the nearest village or gas station. There is nothing romantic or idyllic about such an environment. After three days I was suffering from desert madness. You realise that the quietness you hear means that there is really nobody or nothing out there. 
(interview with Peter Lenaerts)

Recorded along the Oodnadatta Track in South Australia, December 11-21, 2011.Peter Lenaerts is a sound artist and composer in the fields of performance art, contemporary dance and film. He believes that in a culture dominated by visuals, nothing is as powerful, intense, and rewarding as simply listening.




Quies @ Beurs 1

Quies @ Beurs 2

Quies @ Beurs 3

Quies @ Beurs 4

Images © Anna Van Aerschot


Today I come to you with noisy bells & whistles, excited to announce the next Quies chapter AND a squeaky, fresh, new project called Micro. It’s all happening this coming Friday as part of Beursschouwburg’s “Private Investigations” program.

Quies will be set up as a three screen installation with headphones for ultimate listening pleasure. Let it also be known that Ezra Eeman and myself will use the next 7 weeks to keep working on Quies. Meaning that rougly every two weeks or so, we aim to “update” the installation with new material. Until it feels finished. Making a private investigations public? Yup, something like that.

Next to that, there will be Micro. What that is or will be, I’m not sure yet. All I know is that I will aim to turn the building into an instrument and then play that instrument for you from 5 to 8:30pm. It might be the start of something new, or not.

Come find out?

More info here.

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