Carla Bozulich is diversely experimental, uncompromising and continues to be ceaselessly devoted to mixing art-punk ethics and creativity. Here, with Quieter, is an intensely emotive, intuitive, enchantingly cohesive collection of previously orphaned and one-off tracks where, uncharacteristically, nothing ever quite screams. Carla’s way with a fleshy edge remains sharp as ever. A couple of these are left over from the bountifully productive sessions from her brilliant and widely-acclaimed 2014 album Boy; others featuring collaborations with the likes of Marc Ribot, Sarah Lipstate (Noveller), Freddy Ruppert, Shahzad Ismaily and more.

Quieter is the result of this ceaselessly nomadic and defiantly DIY iconoclast having settled back in Los Angeles for a spell, recovering from tour-inflicted ear damage, sifting through unreleased/unfinished material, and finding herself drawn to working on the quieter stuff (relatively speaking) in her abundant archives. Ranging from the searching, searing opener "Let It Roll" - "the most honest work I've ever done" says Carla - to the chiming, deconstructed lullabies of "Glass House" (composed by Ruppert) and "Sha Sha" (from her mid-2000s project The Night Porter) and the album's sultry closing track "End Of The World"(a duet with Marc Ribot, who penned the song), Quieter is a brilliant addition to Bozulich's impressively diverse, adventurous, and unwaveringly authentic body of work.