Press
July 9th, 2004: Second Shifters Radio
Our listeners can't get enough of the the music from The Quantum Dots. Eric has the greatest musical talent and when you add the dark sexy sound of Dean, who's voice sounds to the ear like the feeling of the air before a thunderstorm; you end up with an amazing sensual melody for the ears that plays well, no matter the audience. I look forward to their longlasting talents being shared with the globe on Secondshifters for a very long time in the future.
July 1, 2004: Grave Concerns eZine
This record is sort of a prog rock amalgam of various musical influences while still coming across quite experimental w/ faint traces of a folk inspired trance somewhere out in desolate space. W/out following any particular trends, Eric Sterling & Dean Blair have created fourteen chapters of bleakness & gloom but not w/out it's eclectic moments of surrealism that crawls soothingly like a thick cloud of smog w/ stand out's like the opening "Center of Gravity", "Seratonin", "In the Walls", the almost Depeche Mode vibe of "Where I am Nothing", The Auction", "Spores", "System of Belief", & others. This sounds like a disenchanted alien race conducting an equally haunting film score complete w/ dry ice; highly recommended!
March 15, 2004: Starvox
The Quantum Dots, like another esoteric band that may or may not be a partial namesake, are most interesting when they're least structured. Like The Legendary Pink Dots, their songs lose a certain integrity when they adhere too strongly to conventional verse-chorus structure, but when the centre no longer holds and musical anarchy is loosed upon the world, they are entrancing...
January 21, 2004: Gothic Beauty Magazine
The Quantum Dots were a pleasing surprise, sounding much darker and more complex than expected. Don't mistake them for one of those bands which is just one guy, his keyboard, and a computer. Inventing Reality is an almost eighty-minute maze of dark psychedelia, featuring stormy, grinding guitars, room-filling atmosphere, sweeping synth and noise backdrops, and real drumming, with guest musicians filling in some fine details (flute, acoustic guitar, electric violin, and didgeridoo). Vocalist Dean Blair's low, downcast voice reminded me of Judgement of Paris; the music is harder and often unfortunately murkier, but the voice has the same lonely, deliberate resignation in it, moody but not melodramatic. Longer tracks such as "Serotonin" give the band space to work with the expressionistic guitar and vocal effects that seethe and boil in the background of the more elevating ethereal tracks.