A Qurious conversation
Catherine Quesenberry and Mike Netland talk about the narrative behind the narrative behind the narrative
Qurious play Picaflor Studio tonight (Fri., March 18) with Imagination Head and Shathouse Rats. $5. 8:30 p.m.
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"Another Language"
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Chad Radford: Tell me your names and what you play.
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My name is Catherine Quesenberry. I sing, if you want to count that as an instrument. I also play synthesizer.
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Mike Netland and I play the computer, or the computer plays me. I just kind of hit play on the computer. Everything that I do is electronic, and I used to play drums for a long time — seven years. Before I went to college. I transferred all of that over to electronic production. So mostly I do stuff in FruityLoops, which then gets put into my sampler. I do play keyboard, but not as good as this girl…
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Do you (Catherine) have some musical training in your background?
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CQ I had some piano lessons in second grade, but I quit because I was too lazy. My parents have always regretted it. But I did Atlanta young singers of Callanwolde from the summer of my 5th grade all the way through my senior year in high school. So I’ve had a lot of professional choral vocal training, which is very different from the way that I sing now, but some of the basics of projection hold true in performance.
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When I first came to college I was in a folk band called Autovine and I played accordion, xylophone, guitar and piano, and would make three-minute songs. Catchy, structured songs in C. We played a lot of gigs on Tech campus — it was with some friends that I met at the College of Architecture at Georgia Tech.
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MN: That’s pretty much my deal. I took piano lessons for a while because my parents were forcing me to, but I didn’t want to do it. When I hit middle school I started listening to a lot of hip-hop, which was my way of rebelling against my parents. Then I started getting into the production. I was playing drums as well. So that’s how I got into the electronic side of things.