14 July 2026: Arabs in Aspic, “Madness and Magic”; Andreas Tilliander, “Lava”. QD51

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                                               Arabs in Aspic. “Madness and Magic”

https://arabs.bandcamp.com/album/madness-and-magic

Collaborators/Experts Reviews

Review by TCat
SPECIAL COLLABORATOR Honorary Collaborator / Retired Admin

 This is Arabs in Aspic's 6th full length album. "Madness and Magic" is really the perfect name for this album as, when I listen to it, it sounds like an excellent progressive sound (which is the Magic), yet it also sounds almost like it is going to fall apart at any time (the Madness). This combination makes for an intriguing listen, not only on the first listen, but also on subsequent listens. I recognize that saying something sounds like "it is going to fall apart at any time" might seem negative, but in this sense, it gives the music a feeling of unpredictability, which to me, is a great thing. But, along with this, the Magic side of the album is that it sounds authentically progressive, borrowing sounds and shades of classic progressive bands while still sound quite relevant and fresh. It is this mix that keeps me coming back to this excellent and well-constructed album. 

But, unfortunately, there are some issues here, which, from reading the previous reviewer's comments, is an issue that the band has had in the past. This problem stems with the odd lyrics that are sometimes embarrassingly bad. For those listeners that don't put a lot of weight on the lyrics, this might slip by unnoticed, but since lyrics and vocals are quite an important part of the band's music here, it is hard to imagine that the listener would just not notice that. Looking at past ratings for the band's previous albums, each one of them has managed to average at 4 stars. Honestly, this is the first time I have heard this band, though I have heard of them before. The fact that they haven't raised or lowered that score among fellow Archive raters, does concern me a bit, but listening to this album does make me want to explore deeper into their music.

The 6 songs on this album are all "fused" together, each one flowing into the next, almost making this entire endeavor sound like a suite. However, it's obviously not that as each song (except for the two part "Lullaby for Modern Kids") is it's own entity. But through these songs, one things remains constant, excellent composition and well-constructed progressive music, which flows along quite smoothly from drifting, psychedelic passages to melodic sections to heavy and solid riffs. The album definitely has something for everyone, but also seems focused to deliver high-quality music. But it is the instrumental portions of the album that are the best and that stand out the most in the first several listens, and the vocal complexities soon become a more appreciated part of the music as both your ear and mind adjust to the style. 

This is an album that will impress most progressive listeners right at the outset. Of course the track that will garner the most interest from the progressive crowd will be the 16+ minute "Heaven in Your Eye", which again is almost perfect, but seems to end a bit lackluster and abruptly, like the song is ready to move on to another section, but instead just quickly fades out. There are a few minor issues like that that seem to keep this album from reaching a 5 star status, but hopefully that doesn't keep anyone from at least giving this album a try. It's not a masterpiece, but it is still quite enjoyable and worthy of 4 stars.

Credits:
Music by Andreas Tilliander
Mastered by Alex at quiet details studios
Artwork by quiet details in collaboration with Andreas Tilliander
Design by quiet details
© quiet details 2026 all rights reserved

Extremely pleased to say that next in the quiet details series, with an interpretation of immense breadth, is the eminent Swedish producer, Andreas Tilliander, with Lava.

Andreas has been established in the highest echelons of electronica since the late nineties - amassing a vast discography across many leading labels and multiple aliases. Wide-ranging productions under his own name, Morika, TM404, Rechord and many more - on the likes of Kontra Musik, Mille Plateaux, Raster-Noton, Acid Test and his own Repeatle - has proven him time and again to be one of the most important and influential artists of recent years. Essential live performances have served to enforce this legacy.

Lava is Andreas Tilliander at his finest - endlessly experimental and wildly creative expressions, shaped into a sonic excursion of mind-expanding distinction.

As he says, this is “An exploration of southern Sweden - light, memory, and open landscapes.” And we can feel this from the very first second.

Deeply atmospheric from the start, submerged locational recordings intertwine with gradually evolving synths - creating an introduction that lays out the beginning of the path into this beautifully constructed album.

Trademark acidic pulses emerge through the clouds as the music continues on unabated, and from there we’re led by the hand through the emotions Andreas elicits from his surroundings.

His mastery of his machines is total - analogue richness, digital grunge - recordings from many sources manipulated into fascinating collages - all meld into a cohesive whole by the immense creative vision he possesses.

At times vivid and luminescent, and others dark and meditative - always profoundly reflective - this is an album of vast contemplation, perfectly executed by a master of his form.

As Andreas says:

Recorded primarily with samplers, some shitty synthesizers, field recordings from Hässleholm, old VHS tapes, and the quiet electricity of Skåne.

Special thanks to the fields and roads of Vinslöv, Vankiva, and Hässleholm. To the shores of Åhusfältet and the streets that shaped everything. Thank you for the crystal clarity, the glow, the light, and the stillness.

Street Wise. Vinslöv. Vankiva. Hässleholm.

I feel crystal clear.

Huge thanks to Andreas, a stunning addition to the series.

The artwork was made as always influenced by the music and idea behind the album - originating from a photo from Andreas which was then captured with analogue photography and processed here at quiet details studios.

As usual, the album is presented on the physical edition, a custom six-panel digipack with a separate fine art print too.

The CD also has a special long-form continuous mix of the album, unique and representing the music in its purest form.

repeatle.bandcamp.com  

credits

released July 1, 2026

ambientsweden

02 July 2024: Jethro Tull, Thick as a Brick (Steven Wilson Remix); quiet details 20: Plant43, The Unfading Spark

 
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Thick as a Brick is the fifth studio album by the British rock band Jethro Tull, released on 3 March 1972. The album contains one continuous piece of music, split over two sides of an LP record, and is intended as a parody of the concept album genre. The original packaging, designed as a 12-page newspaper, claims the album to be a musical adaptation of an epic poem by fictional eight-year-old genius Gerald Bostock, though the lyrics were actually written by the band's frontman, Ian Anderson.

The album was recorded in late 1971, featuring music composed by Anderson and arranged with the contribution of all band members. The album was the band's first to include drummer Barrie "Barriemore" Barlow, replacing the band's previous drummer Clive Bunker. The live show promoting the album included the playing of the full suite, with various comic interludes. Thick as a Brick is considered by critics to be the first Jethro Tull release to entirely consist of progressive rock music. It received mixed reviews upon its release, but was a commercial success and topped various charts in 1972. Today it is regarded as a classic of progressive rock, and has received several accolades. Anderson produced a follow-up to the album in 2012, focusing on the adult life of the fictional Gerald Bostock, and being released as Anderson's solo album instead of as Jethro Tull's album.

quiet details 20 - Plant43 - The Unfading Spark 

(our thanks to alex at quiet details for a copy of this release)

 

 Very happy to say that next up in the quiet details series is the wonderful producer and live performer of everything from the deepest ambience to true dance-floor electro, Emile Facey, otherwise known as Plant43.

Resident of the legendary Berlin club and cultural institution, Tresor, with nearly twenty years of cutting-edge releases across genres, and untouchable international live performances of pure energy - Plant43 is one of the leaders at bringing authentic electronic music culture to our ears in the most genuine way possible.
He also runs and does the graphic design for his label Plant43 Recordings and is a co-founder of the Bleep43 crew who, originating from techno/electro sessions with regulars such as Surgeon and Convextion/ERP, now regularly put on some of the best and most wide-ranging deep-listening events around.

The Unfading Spark shows this immense and honest experience realised to stunning effect. An instant post-club classic, his innate melodic and textural understanding mixes perfectly with a sense of build and release, the album moving through its own indelible world of space-time to completely immerse the listener in its expanding beauty.

Influenced directly by his experiences at Tresor, with the first half of the album made as he went through the timeline of the experience playing there, here we see the impeccable marriage of widescreen synths, elastic bass and minimal syncopated percussion nodding to classic electro sound-design, with vast and polychromatic atmospheres, sparkling digital synthesis and ever-shifting distant landscapes - emotionally the quiet moments are as important as the loud and he finds the spaces between in a way that everyone who has experienced such moments can relate to.

The album feels like watching your favourite film, each track being a distinct scene with a story to tell, moving seamlessly from moment-to-moment, keeping you fully engaged for the duration and leaving you with an almost indescribable after-glow when it’s over. An example of thoughtful and mesmerising parts somehow creating something even more beautiful when combined so skilfully.

In Plant43’s own words:
Carried on soft strings this unfading spark takes hold. Like wisps of vapour carrying spells on the wind, we move and listen, together. Voices from high above fill the air and cradled by love from afar, we keep the spark alive.
Thanks to Paul Ćinske and all of the caring staff at Tresor, Berlin. To Jo, Alex and Mike for your support and love.

This album is wonderful example of an artist taking the quiet details idea and making it their own - there are no limits to people that can be involved or the styles that can be incorporated, just musicians we love and their unique take on the idea.

Huge thanks to Plant43 for everything, a fantastic and evolutionary addition to the series.

Mastered at quiet details studio.

The artwork was made as always influenced by the music and idea behind the album - originating from a photo from Emile which was then captured with analogue photography and processed here at quiet details studios. 

As usual, the album is presented on the physical edition, a custom 6-panel digipack with a separate fine art print too.
The CD also has a special long-form continuous mix of the album, representing the music in its purest form.

As a label we support the Cancer Centre - Milton Keynes University Hospital and all their wonderful NHS staff.

18 January 2022: The Samurai of Prog; Wobbler; Steven Wilson

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Tonight we feature progressive rock from Finland and Norway and instrumental game music from Steven Wilson.

Article by: Jez Rowden

This review is a little overdue after the 2014 release of this third album from the extravagantly named The Samurai of Prog, but it is certainly well worth investigating. Whereas the multinational collective that make up The Samurai have concentrated on cover versions and reinterpretations of classic Prog pieces for their previous releases, The Imperial Hotel sees them make a move towards original material.

Also responsible for the production, the core band of Marco Bernard (bass), Steve Unruh (vocals, violin, flute, acoustic guitar) and Kimmo Porsti (drums and percussion) are assisted by a variety of guests including keyboardists Robert Webb (England), Robert Myers (The Musical Box) and Linus Kåse (Änglagård) plus guitarists Kamran Alan Shikoh (Glass Hammer) and Yoshitisa Shimizu (Kenso).

Housed in sumptuous sleeve packaging with wonderful artwork from Ed Unitsky, it really is a delightful object. But we’re mainly here for the music…

Despite being more than accomplished composers in their own right – Unruh’s work should certainly be familiar to many through his solo work, Resistor and other projects – the core trio took the decision to approach outside composers to provide the material. Possibly a strange choice but the result is that the five tracks come from four independent writers. To the credit of the band their arrangements mean that the finished product does not sound fragmented.

Their previous releases have a kind of novelty tag (and the band name does not help them much there!) but this album marks a new dawn. The opener After The Echoes, written by and featuring keyboardist Octavio Stampalia of Jinetes Negros, is a strident and uplifting number carried aloft on Steve Unruh’s high pitched vocals and Yes-like harmonies. The main melody is central but it is the additional sections that make it work, the various keyboards adding different textures with Unruh’s flute and violin increasing the variety. It is at times tricksy and chocolate boxy but never gets too schmaltzy and makes for an expansive piece of Prog to set the scene, the piano and violin outro being just beautiful.

The bright and breezy Limoncello was written by Robert Webb and he also adds keys and vocals here. A different version of it apparently appeared on the second part of the Colossus Project’s Decameron album. I am not familiar with it but as the core band also featured on that album they are sort of covering themselves this time. Suffice to say that it is a fun piece, lovely staccato piano intertwining with other keyboard lines to build the piece organically to Shimizu’s guitar solo which really cuts through. Unruh’s violin again makes a difference and the harmony vocals are delightful. At its heart is a very simple song that has been expanded and inflated but it all works and the extended instrumental section at the end is simply superb.

The gorgeous piano melody of Victoria’s Summer Home, written and performed by David Myers, deserves attention on its own merits and it is almost a shame that here it acts as a prelude to the album’s main event, the title track. That said, it works perfectly in the role, the culmination of birdsong and a car pulling up on a gravel driveway leading us beautifully into The Imperial Hotel itself. An unreleased song co-written by Robert Webb and England it certainly deserves to be heard and the trio have done a fine job with it. Webb again adds keys and vocals and the guitar of Kamran Alan Shikoh is excellent. An extended and self-contained story shot through with the kind of theatrical Victoriana that Genesis used to do so well, it is a great centrepiece and the highpoint of the album. I won’t spoil the story but it is is witty and well realised with a lovely surprise ending. The music takes you through the ups and downs of the story and it is all beautifully realised and played with enthusiastic passion. This is a half hour epic with not much in the way of excess flab and keeps you hooked throughout, it doesn’t move far from the England original recorded in 1975 (which you can find Here) but extends some of the instrumental passages. There is nothing “new” here, so to speak, but it is engaging and a great lost song from the ’70s that The Samurai have done full justice to.

After all that we get Into The Lake by Linus Kåse to finish, another full-on Prog extravaganza of excess to finish things off. Very much influenced by Gentle Giant, it’s one for the fans of that style of music to enjoy. It is dense and intricate, the complex music harking back to the classic era of Prog with hints of Genesis again, but it is all beautifully done and a resounding way to finish off an album such as this.

Steeped in what you might call “traditional” Prog stylings and performances it is bound to be disregarded by many as a pointless exercise of rehashing but that is to miss the quality of the performances and arrangements which are what makes it all work. If you are looking for the future and new avenues – turn back. If, on the other hand, you’re looking for interesting music packed with melodic hooks and wonderfully warm playing then this might well be for you.

The Imperial Hotel is a quite beautifully crafted work that deserves to be heard more widely. Some of the passages are simply breathtaking and the title track is a wonderfully conceived extended work in the grand traditions of High Prog to which The Samurai have added their own stamp. 

Wobbler´s fifth offering is an exciting blend of carefully planned and jammed material that encompasses everything the band has done up to now. Dwellers of the Deep consists of four distinctive pieces and is a broad looking glass into Wobbler´s creative whims and playful exuberance. The album showcases the band´s mastery of dynamics and flow, with passages and themes veering from the scenic and serene to the downright rocking.

The lyrical themes on the album deals with human emotion, and the ongoing struggle between juxtaposed forces within the psyche. An introspective voyage among the realms of memories, feelings and instincts, where the light is brighter, and the dark is darker.
The concepts of wonder, longing and desperation permeates the histories told, and the currents from the deep are ever present.

released October 23, 2020  

progressive rock rock classic rock prog rock symphonic rock vintage rock Oslo

Last Day of June is an interactive tale about love and loss, from an all-star team of creators - including critically acclaimed director Massimo Guarini (Murasaki Baby, Shadows of the Damned) & award-winning musician and record producer Steven Wilson, and featuring a collaboration with writer/director/animator Jess Cope (animator on “Frankenweenie”, director for Metallica’s “Here Comes Revenge” music video).

Steven Wilson (born Steven John Wilson on November 3, 1967, in Hemel Hempstead, Hertfordshire, England) is an English musician, singer, songwriter and record producer, most closely associated with the progressive rock genre. Currently a solo artist, he became known as the founder, lead guitarist, lead vocalist and songwriter of the British rock band Porcupine Tree, as well as being a member of several other bands.

Wilson is self-taught as a producer, audio engineer, multi-instrumentalist and singer-songwriter. Under his own name, he has released the albums Insurgentes (2008), Grace for Drowning (2011), The Raven That Refused to Sing (and Other Stories) (2013), Hand. Cannot. Erase. (2015), To the Bone (2017), and The Future Bites (2021). He also released a EP, 4 ½ (2016), as well as a series of singles titled Cover Version (released online between 2003 and 2010; released worldwide as a compilation in 2014). His other solo projects can also be found attributed to monikers of his, such as Bass Communion and Incredible Expanding Mindfuck.

He is perhaps best known as the frontman for progressive rock band, Porcupine Tree, for whom he was the sole member during the 1980s and early 1990s. His projects are numerous however, including collaboration with Aviv Geffen as Blackfield; a long-running partnership with Tim Bowness, known as No-Man; teaming up with Dirk Serries in Continuum; as well as a joint album with Opeth's frontman, Mikael Åkerfeldt in Storm Corrosion.

Wilson employs synthesizers and programmed music along with live instruments to create a unique atmosphere for each song he works on, including otherwise-simple pop tunes. In addition to his prolific musical output, Steven has crafted a reputation for the high production quality of his music, and has undertaken production duties with such high-profile artists as Opeth, Dream Theater, Jim Matheos of Fates Warning, Anathema, Orphaned Land, Marillion, Fish, Pendulum, Yoko Ono, and friend Robert Fripp. He is also part way through remixing the albums of King Crimson and other classic artists' back catalogues into surround sound and new stereo mixes.