Quentin North

12+ albums

Housejazzelectroambientcinematic

listen to works

Spotify

Listen on Spotify

Apple Music

Listen on Apple Music

YouTube Music

Listen on YouTube Music

about

Quentin North is a 30 year old musician from Athens, Greece who has been living and studying in Manchester, England for the last few years. His influences (i.e: stuff he likes listening to) consist primarily of Joe Satriani, Pat Metheny, John Scofield, John Coltrane, Miles Davis, Jazz Fusion, Aphex Twin, Boards of Canada, Arnold Schoenberg, Erik Satie, Brian Eno, David Sylvian, Deep/Prog House Labels, the Blaxploitation Era, Post-Rock and Stratos Dionusiou... Currently signed under The Sound Of Everything, the first contact with a wider audience ( that is, other than friends n family) happened through 2 CD compilations released by TSOE: Concealed Truth Vol.2 & 3 by Andrianos Papadeas. His first self-titled CD was released last December and so far has received very good reviews on pages like mypromopool, stereoworld etc. For those that thrive in this modern digital world of ours and the IMF hasn't got to them yet, Quentin's debut release is also available thru Beatport and iTunes. At this stage Quentin is working on some ideas for the second album which so far lingers around the experimental - electronica with a touch of progressive house, a teaspoon of trip-hop, electric piano sprinkles on top and a definite jazz aftertaste. A series of live shows are at a negotiating level so far but things are looking positive around late summer. For more info, updates n random sonic activity, keep in touch with: www.facebook.com/pages/The-Quentin-North-Project/156602984401324 ww

why this is interesting

# Why Quentin North Merits Attention This album represents a genuine synthesis rather than pastiche—a musician genuinely conversant in jazz fusion's technical vocabulary, electronic ambient textures, and post-rock's emotional architecture, working toward something that feels coherent rather than eclectic. North's background across instrumental jazz, experimental electronic music, and classical modernism suggests someone thinking seriously about timbre and structure rather than assembling influences. What distinguishes this is the apparent restraint: the ability to draw from Pat Metheny's harmonic sophistication or Boards of Canada's nostalgic palette without surrendering to either aesthetic wholesale. For listeners curious about contemporary instrumental music navigating between acoustic and electronic domains—between