Showing posts with label downtempo. Show all posts
Showing posts with label downtempo. Show all posts

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
4 stars 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

14 April 2026: Gong "You" (The Radio Gnome Trilogy #3); Fields We Found "Thoughts Persist" Quiet Details 48 (QD48)

It is near the end of KMXT's annual Spring Fund Raising Drive!  Please go to www.kmxt.org and pledge your support for our local public radio station!

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You can now listen to the livestream of the show through the KMXT app; it's available through the Mac App Store or Google Play. The stream is also available at www.kmxt.org

Please support FreeForm Radio and KMXT by going to www.KMXT.org and pledging your support.

The music you hear on tonight's show is available on the artists' Bandcamp pages and websites. (links below) 

                    We urge you to support the musicians you hear on FreeForm Radio 

I am also hosting Rural Electric (Mostly Country Music) from 7-9 pm this week.

 

 

This is one of the albums I will take into the bunker when WWIII starts.

From Wikipedia:

You is the fifth studio album by the progressive rock band Gong, released by Virgin Records in October 1974. It is the last album by Daevid Allen's iteration of the group until 1992's Shapeshifter. Recorded at Virgin's Manor Studios in Oxfordshire, England, side 1 was mixed at Pye Studios, Marble Arch, London, while side 2 was mixed at The Manor. It was produced by Simon Heyworth and Gong "under the universal influence of C.O.I.T., the Compagnie d'Opera Invisible de Thibet", and also engineered by Heyworth.

You is the third of the "Radio Gnome Invisible" trilogy of albums, following Flying Teapot and Angel's Egg. The trilogy forms a central part of the Gong mythology. The structure of the album mixes short narrative pieces with long, jazzy instrumentals (such as "Master Builder", "A Sprinkling of Clouds" and "Isle of Everywhere"), building to a climax/conclusion with "You Never Blow Yr Trip Forever". 

In a retrospective review for AllMusic, Rovi Staff assessed the album as "a more sophisticated musical vision that owed as much to jazz-rock fusion as to fellow space rockers... this is Gong's most "spacy" album, full of extended, ethereal passages that would inspire future generations of space rockers. The sound was equally defined however, by the jazzy flights of saxophonist Didier Malherbe and the sinuous rhythms of bassist Mike Howlett and drummer Pierre Moerlen".[14]

Rolling Stone named You one of its "50 Greatest Prog Rock Albums Of All Time".[1]

In 1997 the recordings were subject to remixes by a variety of artists and issued as You Remixed (Gliss Records catalogue glisscd001 in Europe, Hypnotic Records catalogue CLP0118-2 in North America). Remixes include those by Moodswings, The Orb, The Shamen, Youth, Electric Skychurch, Total Eclipse, System 7, Stephen Budd, Yamataka Eye, Doof and Graham Massey.[15]

Lead guitarist Steve Hillage remade "Master Builder" as "The Glorious Om Riff" on his 1978 album Green.

Japanese psych-rock band Acid Mothers Temple also frequently cover "Master Builder", entitled "Om Riff", and have released 2 full albums dedicated to album-length renditions of the song: 2005's "IAO Chant From The Cosmic Inferno" and 2012's "IAO Chant From The Melting Paraiso Underground Freak Out".

In 2020, Vlad Nichols of Ultimate Guitar wrote: "Straight off the bat, Gong established themselves as a connoisseur's band within a connoisseur's subgenre."[16]


                                                            Thoughts Persist - Fields We Found (QD48)

Credits:
Music by fields we found
Mastered by Alex at quiet details studios
Artwork by quiet details
Design by quiet details
© quiet details 2026 all rights reserved

For the next release in the quiet details series, I’m happy to share my latest interpretation as fields we found - thoughts persist

From my early albums on labels such as Home Normal, Seil Records, Handstitched*, Ambientologist and numerous self-releases, my recent music, following my last quiet details album, has been going further into complete freedom in music making.

The resolve / relate series came directly after in your hands and continued the ideas behind it; then the rhythm structures series recalling memories of times on dance-floors and beyond; and finally the landscape series are long-form tracks originally made for my own meditation, which became a cathartic and meditative process in itself.

where in your hands was outward looking, thoughts persist is more introspective.

It’s hard to put into words, and sometimes difficult to write about my own music. This album didn’t have a concept as the starting point, was more about making music with an open mind and letting things follow their own course. The tracks feel transitional, and I’ll likely understand them more as time goes on. It’s music for deep-listening.

Each track started with an improvisation, then evolved to form a track, within the wider context of an album. Harmonic development across the whole is an important aspect.

These freeform explorations, either on a modular system or other instruments, were then sampled, re-sampled, recorded to various tape machines again and again. Old equipment has a certain quality - early samplers and reel-to-reels have a character that has always been a part of the sound palette I love, and used heavily here.

Magnetic tape shaping and natural compression; digital artefacts and aliasing; analogue filtering, saturation and mixing; parallel effect chains, delays, springs, valves and modulation - all adding their unique imprint. Deepening the subs, extending the highs, adding harmonics.

Focusing on the textural aspects as much as the compositional, and also including field recordings I’ve made in the recent months. These create a sense of time and location that is very personal, adding to the ephemeral nature of things along with their sonic patterns.

Aside from these environmental snapshots, all other sounds originated with analogue oscillators. The subsequent sampling and manipulation of these with tape and digital tools, particularly ones with a low fidelity core, gives an organic juxtaposition that deeply resonates with me.

Final takes were then recorded live to tape with effects and additional elements - intuitive and hands-on. The long-form mix was done in the same way.

Huge thanks for listening, hope you enjoy x

The artwork was made as always influenced by the music - originating from a photo I took with analogue film and processed here at quiet details studios.


fieldswefound.bandcamp.com
 

credits

Our thanks to Alex for providing us with a copy of this release. 

released April 8, 2026

license

all rights reserved

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31 March 2026: Rush - "Grace Under Pressure" 2026 Remaster; Appleblim "Liminal Tides"; Electric Dead Speak. Music inspired by the Electronic Voice Phenomenon

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You can now listen to the livestream of the show through the KMXT app; it's available through the Mac App Store or Google Play. The stream is also available at www.kmxt.org

Please support FreeForm Radio and KMXT by going to www.KMXT.org and pledging your support.

The music you hear on tonight's show is available on the artists' Bandcamp pages and websites. (links below) 

                    We urge you to support the musicians you hear on FreeForm Radio 

I am also hosting Rural Electric (Mostly Country Music) from 7-9 pm this week.


Originally produced by Peter Henderson, “Grace Under Pressure” was the first Rush album since their 1974, self-titled debut not produced by Terry Brown. The processes the band went through after leaving Terry influenced Neil Peart’s choice of album title, a quote from Ernest Hemingway, “courage is grace under pressure”. That release was remastered at Abbey Road Studios by Sean Magee and is Disc 1 of this “Super Deluxe” edition. 

Sandwiched between the albums “Signals” and “Power Windows” and coming after a run that contained classics such as  “2112”, “A Farewell to Kings”, “Hemispheres” “Permanent Waves” and “Moving Pictures” this album is a somewhat hidden gem in the expanse of the Rush discography that continues with the high standards already set and is considered by Alex Lifeson as Rush’s most satisfying album. 

Melodic pop hooks dealing with gloomy lyrics pertinent to the times abound, darkly. Opener “Distant Early Warning” and track 4, “The Enemy Within” with their Cold War fears; “Red Sector A” as Geddy refrains “Are we the last ones left alive?” as the horrors of incarceration in a nazi concentration camp are described. “Red Lenses” with Neil Peart showing his inventive, percussive class, “Afterimage” providing a eulogy to a recently departed friend of the bands’, and closer “Between the Wheels” with metal-esque guitar from Alex complete with smoking solo. 

 

                                                                Appleblim  Liminal Tides

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

For the next interpretation of quiet details, really excited to welcome a hugely influential figure in underground electronic music, Laurie Osborne, here as Appleblim.

Laurie’s been making music for over twenty years now, and along with fellow pioneer Shackleton, founded the seminal Skull Disco label. Massively important to the evolution of bass music, and leading the cross-pollination of genres with essential releases for dance-floors and beyond worldwide.

Many solo and collaborative releases with top artists across the scene on labels such as Aus Music, Tempa, BLKRTZ, his own Apple Pips, R&S Records, Sneaker Social Club and more - remixes from the likes of Torsten Pröfrock ( T++) - countless mix CDs and podcasts showing his prowess as a DJ (he was resident at the legendary FWD>> and plays at the best clubs all over the world) - Laurie’s a true stalwart of the underground and much loved by artists and fans alike.

So it’s an absolute pleasure to have him on quiet details with the incredible Liminal Tides

Drawing from all his experience creating ultra-deep sonic worlds, this album is a vast and kaleidoscopic trip through psychedelic dubwise exploration.

Billowing synthetic chords envelop the listener in the most mesmerising way - fragments of sound wash around the soundscape - melody and percussion drifts in and out - all evoking a beautiful place we can serenely inhabit and get totally lost in.

Underpinned by endless sub-bass and each track constantly shifting and evolving, this is a definitive piece of sonic art by a musician at the top of their game - a clear vision of the music, executed to perfection.

As Laurie says:

This album is a collection of places between states...

wake / asleep
self / no self
conscious / unconscious mind / no-mind

I hope you feel supported, buoyant, swirling, adrift as you visit them...

The places were all made by manipulating warm harmonic analogue chords, except Seagull which is all generated from the recording of a foghorn and a seagulls call...

Huge thanks to Laurie for this 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 Laurie 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, created by the artist and representing the music in its purest form - highly recommended.

appleblim.bandcamp.com
 

credits

released March 18, 2026

license

all rights reserved

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The new Eighth Tower Records compilation dedicated to the Electronic Voice Phenomenon (EVP) delves into one of the most fascinating and disturbing frontiers of sound and human perception. Across twelve tracks created by artists active in the post-industrial and dark ambient scene, the release investigates the mysterious intersections between technology, death, and the persistence of consciousness. The Electronic Voice Phenomenon, documented since the 1950s, refers to the capture of inexplicable voices on magnetic tape or digital media, often interpreted as messages from the dead or transmissions from other dimensions. Whether one believes in their paranormal origin or considers them the byproduct of noise and human projection, these sounds occupy a zone where the boundaries between science and mysticism, signal and hallucination, are erased. The artists involved translate that uncertainty into a dense fabric of drones, mechanical pulsations, spectral harmonics, and decomposed field recordings. Listeners are drawn into a space that feels simultaneously technological and occult, as if the recording devices themselves had become instruments of invocation.
The album functions as an aural séance, a shared act of listening where every sound could be a transmission from elsewhere. The ambiguity of these sonic traces mirrors the ambiguity of EVP itself: are we hearing external messages, or merely amplifying the hidden noise of our own minds? Faithful to the dark aesthetics that characterize Eighth Tower Records, this project extends the label’s exploration of modern mythologies and their technological manifestations. In a time when artificial intelligence and algorithmic processes increasingly mediate perception, the EVP phenomenon returns as a powerful metaphor for our relationship with the unknow, the desire to hear what is not meant to be heard. 

credits

released February 12, 2026

REVIEWS

Bad Alchemy
With Electric Dead Speak. Music Inspired by the Electronic Voice Phenomenon (ETR070), Eighth Tower turns its attention to listening to “paranormal tape voices.” Think of the pioneers, Friedrich Jürgenson and his Radio Contact with the Dead, Konstantin Raudive and Breakthrough: An Amazing Experiment in Electronic Communication with the Dead. Within sound and tape culture, this field was eagerly embraced, particularly by Michael Esposito with works such as Dead Whisper: In Search of Ghosts and the Supernatural and Paranormal Labs Presents: Ghost Asylum. The house musicians of Eighth Tower are once again involved. Pezzella himself, as RhaD, contributes Afterlife Recordings, unfolding in pixelated, droning harmonies. Mario Lino Stancati delivers distorted speech transmissions and rough buzzing textures in Instrumental Transcommunication. Nikos Sotirelis, with phAntAsma, casts a trawling net for voices amid boiling, hissing, orchestral-blurred audio atmospheres. From New York, Yousef Kawar, who has previously contributed to the ETR compilations Stalker, Drone Islands – Borealis, Solaris, and Music for Imaginary Places, presents vocal simulacra in Voices Without Bodies. Dávid Kovács, aka Kokum, previously featured on Obscured Instinct and the Pale Folklore (ETR055), offers AEA, where chants emerge from buzzing and cracking layers. Walter Abreu, aka SÍLENÍ, from Portugal, explores the “thereafter” with shimmering, rhythmic and elegiac harmonies in The Space Between Noise. His compatriot PNÉVMMA brings drone and heavy footfalls in doni-seis. In Montreal, Richard Bégin crosses the Styx in Metaphonic with creaking drones and bleating sonic textures. Wannes Kolf, aka Oubys, based in Hasselt and known for Holosphere on Unexplained Sounds Group, hums over The Empty Tower, echoing Saint-Exupéry’s final radio message. The Resa dives into cloudbursts of noise surges with Spectral Patterns in Random Noise. Nerthus, the Thuringian drone practitioner, following Love Letters via Echelon (ETR064), casts his net into radio waves with Voces Mortuorum. Finally, Joel Hinkle, aka Insectarium, the nocturnal hunter of fire spirits from Springfield, entertains hardened children with The Child’s Laugh, delivering resonant tones, deep drones and raw, repetitive impulses straight out of the Twilight Zone.
[BA 132 rbd]

Weird bones
weirdbones.co.uk/the-electric-dead-speak

Luminous Dash
luminousdash.be/internationaal/electric-dead-speak-music-inspired-by-the-electronic-voice-phenomenon-eight-tower/
FreeForm Radio thanks Raffaele Pezzella (Sonologyst) for providing a copy of this release.

Curated and mastered by Raffaele Pezzella (Sonologyst).
Published by Eighth Tower Records.
Layout by Matteo Mariano.
Cat. Number ETR070.
© 2026. All rights reserved.

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all rights reserved

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17 March 2026: d'Voxx - "Herzog: A Retrospective"; Pete Swinton & Julien Ash “Cave Dwellers”; Machinefabriek - "Lijnverkenning"

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You can now listen to the livestream of the show through the KMXT app; it's available through the Mac App Store or Google Play. The stream is also available at www.kmxt.org

Please support FreeForm Radio and KMXT by going to www.KMXT.org and pledging your support.

The music you hear on tonight's show is available on the artists' Bandcamp pages and websites. (links below) 

                    We urge you to support the musicians you hear on FreeForm Radio 

 


This bold new release by modular synth duo d’Voxx is their third on the DiN imprint, having previously released Télégraphe (DiN58) & 1984 (DiN75) to much critical acclaim. To give it its full title - HERZOG: A Retrospective by d’Voxx - sees Nino Auricchio and Paul Borg expanding their sonic horizons with musical interpretations of the five films legendary German film director Werner Herzog made between 1972 and 1987 with the mercurial actor Klaus Kinski.

Needless to say, this gives the album a very cinematic feel, where the modular systems that are at the core of their sound are still very much present but often in supporting roles around which the genre-bending five tracks rise and fall. Their ambitious sound worlds incorporate elements of prog, techno, rock, field recordings, and even a sample of a 1911 opera on, where else but the track Impossible Monolith, which references the epic film Fitzcarraldo. The duo state that these tracks do not attempt to score the films but rather to inhabit their territories: the fevered conquistador descending into megalomania; Woyzeck ground to psychological dust by institutional cruelty; Fitzcarraldo's monumental folly; Nosferatu's ancient weariness; the slave trader's trajectory through exploitation and dissolution.

This third outing from d’Voxx will delight and surprise their admirers in equal measure and once again proves that the DiN label never stands still but is constantly looking to push through the straitjacket of genre boundaries.

credits

FreeForm Radio thanks Ian Boddy & DiN for a promo copy of this release. 

released February 20, 2026

HERZOG: A Retrospective by d'Voxx

In the five films Werner Herzog made with Klaus Kinski between 1972 and 1987, we witness not collaboration but collision: two volatile temperaments locked in a creative struggle that yielded some of cinema's most unsettling meditations on power, obsession, and the dissolution of the civilised self. These are films that ask what remains when reason fails, when ambition exceeds all measure, when the jungle (literal or psychological) reclaims what we thought was ours.

HERZOG: A Retrospective does not attempt to score these films but to inhabit their territories: the fevered conquistador descending into megalomania; Woyzeck ground to psychological dust by institutional cruelty; Fitzcarraldo's monumental folly; Nosferatu's ancient weariness; the slave trader's trajectory through exploitation and dissolution. The sonic language deployed here, modular electronics meeting processed strings from the period these stories inhabit, seeks what Herzog himself called "ecstatic truth": not documentary accuracy but something deeper, achieved through what he termed "the voodoo of location."

The harmonic movement is deliberately constrained, often circling a single diminished chord as if unable to escape its own logic, a musical analogue to the closed systems of thought that trap Herzog's protagonists. Rhythms recall not just the pulse of techno but older patterns: military cadences, the regularity of scientific experiment, the measured tread of the condemned. The inclusion of a 1911 recording of Verdi's Rigoletto is no mere period decoration but a reminder that opera, that art form of impossible emotions made audible, haunts Herzog's vision as persistently as Caruso's voice haunted Fitzcarraldo's gramophone in the jungle.

What links these five films is their fascination with how civilised veneers crack under pressure: how quickly the dreamer becomes the fanatic, the man becomes the monster or the victim. Herzog's camera lingers on faces pushed to extremity, on landscapes that dwarf human ambition, on moments where only the image, only the sound, can convey what's happening to a consciousness under siege. And Kinski, for all his volatility, gave Herzog something irreplaceable: a willingness to be that extremity, to make visible the moment when the human cracks open.

This music asks for similar attention: not quick consumption but the focus Herzog demands, the willingness to sit with discomfort, to let patterns establish themselves before they mutate. From the fever dream of conquest to the ritualised violence of institutional power, from visionary grandeur to gothic isolation to the final reckoning with history's brutalities, these five pieces chart a descent that is also, somehow, an ascent into clarity. What remains is not resolution but resonance: the sound of ambitions that exceeded their means, of collaborations that survived their own volatility, of truths too ecstatic for comfortable consumption.
—Nino Auricchio and Paul Borg, 2025

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 all rights reserved



A collaboration between two dark ambient musicians, 95 minutes of dark subterranean soundscapes...
Pete Swinton is a very prolific indonesian-based british musician. 
peteswinton.bandcamp.com/music
credits
released June 10, 2022
All music written and recorded by Pete Swinton and Julien Ash June 2022. Mastering and photo by Ash, sleeve by Agent MS.
This is a joint release by Julien Ash - EDT / Pete Swinton / The Church of noisy Goat.


 
                                                    Machinefabriek - "Lijnverkenning" 
 
 
Credits:
Music by Machinefabriek
Accordion in Lijnverkenning 3 by Barbara Eva Ardenois
Vocals on Stemcassette and Lijnverkenning 4 taken from an unmarked cassette tape
Mastered by Alex at quiet details studios
Artwork by quiet details in collaboration with Rutger Zuydervelt
Design by quiet details
© quiet details 2026 all rights reserved 
FreeForm Radio thanks Alex at Quiet Details for a promo copy of this release.
For the next interpretation of quiet details, I have the pleasure of welcoming a true musical experimentalist, Rutger Zuydervelt, here as Machinefabriek.

Hailing from the Netherlands, Rutger has been active as Machinefabriek for over twenty years, releasing on highly regarded labels such as Western Vinyl, Type, Important, 12K, Entr'acte, Miasmah, Consouling Sounds, Eilean and Edition Wandelweiser. This, alongside many collaborations, music for film and dance, installations and live performances, has given him a place as one of the most admired artists working today.

Known for his ability to bring together various strands of musical exploration - from electro-acoustic, field recording, ambience, drone, sound art and minimalism - he has created something completely unique in the quiet details series

Lijnverkenning is an album of sparse and powerful textural beauty. Machinefabriek’s innate comprehension of the potential of sound to affect us in profound and unknowable ways.

This is an album where the personality of the machines dictated the direction of music - carefully and deftly guided by Rutger’s intuition and musicality.

There’s an exquisite subtlety throughout, layers of sound implying so much and the interplay creating something incredibly moving.

As Rutger says:

Of course I said yes when quiet details asked me to join their roster. I was playing Scanner’s Forces, Reactions, Deflections quite a bit at the time, and it inspired me to create my own take on the quiet details idea. I started working with cassette tapes and created a whole bunch of short, quite melodic compositions, but eventually decided they didn’t fit the label’s aesthetic, and definitely didn’t work in the long-form format that qt used for its CDs.

So I started anew, focusing on longer durations and moving toward a more free-form and intuitive direction. Taking time, letting my machines softly hum. In the process of creating the music, I think I found a strange form of intimacy within the sounds — as if eavesdropping on the ghosts inside the machines I was using.
The tracks here were mostly made by combining various layers of minimalistic improvisations with field recordings, oscillators, effect pedals, etc. I even hesitate to call these pieces “compositions,” because to me they feel more like entities that follow their own logic, rather than clearly defined and constructed songs.

Stemcassette is a different story. That track came to life after I used a short vocal sample taken from a tape I found in a second-hand memo recorder I had bought. It was filled with home recordings of rehearsals by an opera singer. A short, pitched-down snippet was used in the piece Lijnverkenning 3, but I couldn’t shake the idea of doing more with the sample. So I created the short Stemcassette from it, and felt it worked well as a mid-album “breather.”

Lijnverkenning means “line exploration.” It’s an expression I once saw marked on a public bus, presumably indicating a test of a new route. It’s a multifaceted word, with many connotations that also relate to the music. I hope listeners of this album will feel like explorers — Lijnverkenners — too.

Huge thanks to Rutger for this 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 Rutger 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, created by the artist and representing the music in its purest form - highly recommended.

machinefabriek.bandcamp.com
 

credits

released February 25, 2026

license

all rights reserved

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30 December 2025: The New Grove Project, "Epiqurium"; Shawn Rudiman, "Yesterday Sky"

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The music you hear on tonight's show is available on the artists' Bandcamp pages and websites. (links below) 

                    We urge you to support the musicians you hear on FreeForm Radio 


"This album comes with Classical and Symphonic background, some re-worked material that was released in 2001 already as a solo project, on this occasion with acoustic drums and guitar support., 

Studio Album, released in 2025


Songs / Tracks Listing

1. Epiqurium 1 (18:24)
2. Epiqurium 2 (5:07)
3. Epiqurium 3 (19:12)
4. Epiqurium 4 (4:21)
5. Epiqurium 5 (13:06)
6. Epiqurium 6 (5:04)
7. Epiqurium 7 (11:50)

Total Time 77:04

Line-up / Musicians

- Robert Webb / keyboards, Orchestral Synthesis and Webbotron
- André Schornoz / bass
- Timo Vuoppola / guitars
- Mattias Olsson / drums, percussion

Releases information

Composed by Per Sundbom
Additional compositions and arrangements by Robert Webb
Engineered by Robert Webb at Garden Shed studios, Greece
Produced by Robert Webb, Per Sundbom and Ingemar Hjertqvist

Cover: Dan Pettersson

Label: Self
Format: Vinyl, CD, Digital
June 1, 2025

yesterday sky

by Shawn Rudiman


Credits:
Music by Shawn Rudiman
Mastered by Alex at quiet details studios
Artwork by quiet details in collaboration with Shawn Rudiman
Design by quiet details
© quiet details 2025 all rights reserved

For the final release of the year, very happy to welcome one of the most tenacious and sincere artists making electronic music over the past few decades, a true believer, Shawn Rudiman.

Commitment is a word that suits Shawn perfectly - playing live and recording since the late 80s, a permanent fixture of the US electronic music underground, never wavering from his singular vision for the dance-floor and beyond.
From early industrial work to a slew of techno/electro EPs and albums on labels such as Daniel Bell’s 7th City, X-Trax, 11th Hour Recordings, ART, Detroit Techno Militia, Tresor, Pittsburgh Tracks, self-release and many more, Shawn’s proved himself as one of the most important voices we have.

Included in these releases were many stylistic diversions, including more ambient terrain - showing Shawn to be a tireless explorer and student of music in all its forms.

From the Synthdrome, his studio filled to the brim with electronic instruments from across the eras, he’s crafted an incredible interpretation of quiet details, totally unique and a true reflection of who he is as an artist.

Starting with highly textural and layered slow-mo machine rhythms, pure down-tempo funk full of syncopated synthetic melody, we’re straight into Shawn’s trademark craft from the beginning.

From there we’re locked into an album in its truest sense, a finely constructed architectural marvel - from vast deep-space ambience to propulsive swung sequences - from ethereal atmospherics to euphonic harmonies - from intricate sound shapes to hypnotic acid.

As Shawn says:

"The way I look at albums of any sort is that they're a soundtrack - ambient especially. Also of the opinion ambient can have rhythm and beats. They just have to be appropriate and work well. For me it’s feel. It has to feel right. Has to grip you and hold you. No matter what. 

I try and catch the feelings and ideas that come to me and thru me. No matter what they are or their form/genre. Their feelings and impacts are what remains for me, in order to shape the sound and emotions they carry. I simply try and transduce them for others to experience, and put the emotional words into coherent artistic sentences.

Thank you to quiet details for the chance to present this work! Thank you to Victor Labonte for the assistance and tech/computer work on "last message sent" - track wouldn't be without your help! Thanks to Nick for the connection to make this happen.
As always, thanks to my wife for understanding my obsession with music and electronics. 

Thank you all for supporting and listening. Enjoy."

Huge thanks to Shawn for being part of the series.

The artwork was made as always influenced by the music and idea behind the album - originating from a photo from Shawn 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, created by the artist and representing the music in its purest form. 

shawnrudimanmusic.bandcamp.com 
  

credits

released December 3, 2025

license



14 October 2025: The Moody Blues "Days of Future Passed"; Raica "The Absence of Being" (Quiet Details 39)

 Be sure to follow KMXT FreeForm Radio on Facebook and Bandcamp and Spotify.  

You can now listen to the livestream of the show through the KMXT app; it's available through the Mac App Store or Google Play. The stream is also available at www.kmxt.org

Please support FreeForm Radio and KMXT by going to www.KMXT.org and pledging your support.

The music you hear on tonight's show is available on the artists' Bandcamp pages and websites. (links below) 

We urge you to support the musicians you hear on FreeForm Radio. 

I will also be hosting Rural Electric (Mostly) Country Music from 7-9 pm after the Island Messenger.  

12 August 2025: Marsupilami "Marsupilami"; Brad Rose "A Life We Once Lived". Quiet Details 37; Pete Swinton "Light Green, Vol. 2"

Be sure to follow KMXT FreeForm Radio on Facebook and Bandcamp and Spotify.  

You can now listen to the livestream of the show through the KMXT app; it's available through the Mac App Store or Google Play. The stream is also available at www.kmxt.org

Please support FreeForm Radio and KMXT by going to www.KMXT.org and pledging your support.

The music you hear on tonight's show is available on the artists' Bandcamp pages and websites. (links below) 

We urge you to support the musicians you hear on FreeForm Radio. 

 I'll also be hosting Rural Electric right after the Island Messenger at  7 pm until 9 pm

 


Marsupilami were an English progressive rock band active in the early 1970s. Their name was taken from a famous Belgian comics character created by Belgian artist André Franquin.[1] In 1969, the band toured with Deep Purple, and played at the opening of the Isle of Wight Festival when King Crimson withdrew. They released two albums, Marsupilami (1970) and Arena (1971), on Transatlantic Records.[2][3] The albums were reissued on Cherry Red Records in 2007. The band briefly reunited for gigs in 2011.

Personnel

  • Mike Fouracre – Drums
  • Fred Hasson – Vocals, harmonica, words and music
  • Leary Hasson – Keyboards and music
  • Richard Lathom Hicks – Bass
  • Dave Laverock – Guitar, vocals, words and music
  • Jessica Stanley Clarke – Flute and vocals
  • Peter Bardens – Percussion and producer of Arena
  • Mandi Riedelbauch – Woodwinds on 'Arena'
  • Bob West – Vocals and words on 'Arena'
  • Paul Dunmall – Tenor and soprano saxes and flute

Discography

  • Marsupilami (Transatlantic TRA 213) 1970[4]
  • Arena (Transatlantic TRA 230) 1971[5]
  • In the beginning

    The band Marsupliami borrowed its name from the Belgian cartoonist André Franquin who created this comic character in 1952.   Marsupilami was a cross between a monkey and a cat, yellow with black spots; cute, resourceful and anti-authority.   Perhaps not an obvious choice, but the progenitors of the group, the Hasson brothers Fred (Vocals, harmonica, bongos) and Leary (Organ/piano), with their Anglo-French upbringing, had grown up with this comic character. 

    The idea was not to have a written name, and to use a drawing of the ‘animal’ to identify the group, rather than the name in letters (long time before Prince thought of Symbol) but when Transatlantic Record boss, Nat Joseph, wrote to seek permission, he neglected to mention this and clearance was given for the name only.  At that point a name change was suggested, but Nat Joseph said the name was cool and so it remained.   

    The idea for Marsupilami began in 1968 following a tour of Southern Spain, organised by Leary’s school R&B band, ‘Levitation.’  At the last minute Fred, was drafted in as a replacement for the absent lead singer, to sing standard Soul and R&B numbers. Returning to the UK the band secured gigs at the County Hotel Ballroom in its home town of Taunton (Somerset), backing both The Crazy World of Arthur Brown and Joe Cocker Band, , and who they shared a pint with in a nearby pub before the gig.  After these, Fred and Leary were completely smitten with playing live gigs but none of the other members of Levitation could make the commitment.  

    The band reformed going through numerous iterations, including a short period when a bassoon player (Johnno Packer) was featured. The eventual line up for the often called ‘eponymous first album’ was recruited from local bands.  The rhythm section of Mike Fouracre (drums) and Ricky Hicks (bass guitar) came from local blues outfit ‘Justin’s Timepiece’ and Dave Laverock (guitar) came from a semi-pro band, ‘The Sabres.’  Leary’s flute playing, art student girlfriend, Jessica Stanley Clarke (now Jekka McVicar, Britain’s foremost organic herb grower) completed the line up.  

    In a short time, most of the members of the band were living in a farmhouse with a hay barn serving as an ‘open all hours’ rehearsal studio.     Musical tastes were eclectic: Jazz, Classical, Rock and Folk records littered the place: John Coltrane, Pharoah Sanders,, Miles Davis, McCoy Tyner, Messiaen, Ravel, Debussy,  Stravinsky, Fairport Convention, Soft Machine, and Frank Zappa – (in particular Absolutely Free and ‘We’re only in it for the money’) and long sessions late into the nights were spent listening to and dissecting the music. Under these influences the music of Marsupilami soon evolved from R&B and Blues cover versions to a very particular brand of what became known as ‘progressive rock’ ; the synthesis of musical influences was the result of a lot of careful listening, inspired writing, hours of relentless practicing and some respected musicianship.  The material was eclectic and not easy with frequent rhythm changes and jazz-oriented chords. The  band never wrote the music down, all the tracks were played from memory.

    What Marsupilami needed more than anything else was a recording contract. They entered the Melody Maker ‘Find a band competition’, and a discussion about this was overheard, in the ‘Full Moon’ pub in Taunton’s High Street, by an eccentric looking barefooted and bearded guy called Julian Palmer–Hill.   ‘George’, as he became known by band members, was older and wiser, had rejected an army career and after hearing the band, proposed to be its manager and get the band the recognition he believed it deserved.   George hitch-hiked to London in his bare feet, and soon got results.

    In September 1969, Marsupilami signed with Transatlantic Records, an independent label, that the band identified with, and went into the studio soon after. [Transatlantic wanted to diversify into rock music and also signed Stray, Camel , Jody Grind and others; Their stable was mainly folk artists such as Pentangle – John Renbourne and Bert Jansch,  John Fahey, the The Humblebums (Billy Connelly and Jerry Rafferty), and also published a catalogue of stuff too weird, blasphemous,  or just too far out for most labels to take on such as  John Cage, and Frank Zappa’s ‘Uncle Meat’.] 

    Marsupilami – 1st Album

    “Marsupilami” the first album (Transatlantic TRA 213) was recorded in 1969 at the Sound Techniques Recording Studios, just off London’s King’s Road, and released in April 1970.  The studio, had been converted from an old dairy, and was just being fitted out with some new gizmo’s called Dolby’s!, when the band arrived. It is famous for the roster of artists recorded there by Joe Boyd: Nick Drake, Incredible String Band and Fairport Convention – the engineer was John Wood,  leave this out but the band got the feeling that their kind of music was not understood. 

    All 5 tracks were done in a handful of takes, virtually live. 

    The music is distinctive; complex and hardly emulated. The band did not want to create catchy tunes that finished off the same way they started – the tracks represented journeys into the mystical and subconscious  places of the mind, with changes of mood, and underpinned by strong and sublime melodies, time sequence changes, stylistic shifts and ruptures of mood following one another: passages move from light folky or jazzy ensembles, to  hard driving guitar and organ rock pumped up by the rhythm section, to slow ethereal dream sequences featuring flute, organ and chanting vocals.   The content of the album can only be described as apocalyptic, but hopeful for a better world.

    Facilis Descensus Averni, is the subject of one of the first music videos made by Jay Myrdal, who accompanied Pete Smith to do a photo shoot for the first album. https://www.youtube.com/watch?v=n2-Qti7H42U

    and ‘The eagle chased the dove to its ruin’ contain some especially gloomy lyrics to accompany the affecting? guitar. The instrumental on the album,  Ab Initio Ad Finem is a musical interpretation of an Old Testament style sermon, recounting the fall of man in the Garden of Eden, discovering new love  spoilt by waring global culture leading to nuclear holocaust written by Leary – part of the track was used by Stuart Henry DJ on Radio One, as an introduction to his show.

    Born to be Free is often cited as the best music produced by Marsupilami: with a strong melody, it features  many tempo and mood changes, and in the last vocal section a poem written by Fred when he was 16, invoking feelings provoked by the nuclear arms build up. Track 1, Dorian Deep with its slow build up and thumping rock ending, was always a good warm up at the beginning of a gig.

    ‘The eagle chased the dove to its ruin’ contain some especially gloomy lyrics to accompany the affecting guitar. The instrumental on the album,  Ab Initio Ad Finem is a musical interpretation of an Old Testament style sermon, recounting the fall of man in the Garden of Eden, discovering new love  spoilt by waring global culture leading to nuclear holocaust written by Leary – part of the track was used by Stuart Henry DJ on Radio One, as an introduction to his show.

    Born to be Free is often cited as the best music produced by Marsupilami: with a strong melody, it features  many tempo and mood changes, and in the last vocal section a poem written by Fred when he was 16, invoking feelings provoked by the nuclear arms build up. Track 1, Dorian Deep with its slow build up and thumping rock ending, was always a good warm up at the beginning of a gig.

                                                 A Life We Once Lived - Brad Rose
     

    Credits:
    Music by Brad Rose
    Mastered by Alex at quiet details studios
    Artwork by quiet details in collaboration with Brad Rose
    Design by quiet details
    © quiet details 2025 all rights reserved

    Very happy to announce that next in the quiet details series is the wildly creative and prolific multi-disciplinary artist and music writer, Brad Rose.

    Responsible for a vast archive of wonderful music projects across numerous aliases, released on his own Jewel Garden and labels such as the outstanding Room40 - his work covers a huge amount of ground and is a world all to itself.

    Alongside this, he’s active in the world of visual arts, installation, design, writing - and of course one of his most well-known projects, the incredible long-running platform for experimental music and art, Foxy Digitalis, an essential resource for independent journalism.

    A Life We Once Lived is an album of deep meaning and atmospheric beauty - born out of the subconscious making sense of the maze of life, and in the process making something of incredible scope.

    This is an album full of emotion - starting out with reflective melodics that bloom into a vast world of competitive bliss, Brad’s highly nuanced musical sensibilities take us on a trip though feelings we can all somehow relate to - his sincerity coming to the fore throughout.

    Each track turns a new corner and leads you to a unique place - the highly-refined harmonic structures matched with exquisite textural expansions. This is an artist pouring their heart and soul into their art form with spellbinding effect.

    Masterful use of synthesisers and an array of acoustic sound sources serve to create a world of singular and stunning abstraction. 
     
    As Brad says:

    There are landscapes we never walk but still carry. Lives that linger just outside memory’s reach, shaping how we move through the world without ever fully revealing themselves.

    A Life We Once Lived is an album shaped by those fragments—traces of what was almost real, or perhaps only imagined. It emerged from stillness, from the quiet textures and small details that form when thought slows and sound begins to take its place. Each piece invites a kind of soft attention. There is no resolution here, no fixed meaning. Just motion, breath, and tone, held gently enough to shift and transform.

    This is a record of almosts. Almost-places. Almost-memories. Almost-love. A Life We Once Lived gathers what’s left in the gaps: the hush between pulses, the glow that never quite fades. It leads quietly toward something larger, a dream not yet spoken aloud. This is not a story, but a signal from the margins of memory—a drift through internal weather, a gesture toward something still forming.

    For now, it offers a space to pause. To listen more closely. To feel what remains when everything else grows quiet.

    Huge thanks to Brad - a beautiful addition to the series.

    The artwork was made as always influenced by the music and idea behind the album - originating from a photo from Brad 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, created by the artist and representing the music in its purest form.
    thejewelgarden.bandcamp.com
    bradrose.bandcamp.com
     

    credits

    released July 23, 2025 


    Composed and performed by Pete Swinton
    Recorded and mixed at Studio Kaktus, Jawa Barat, Indonesia 2025
    Produced by Pete Swinton 2025
    Photo by Leo Chane on Unsplash
    Copyright 2025 Pete Swinton
    All Rights Reserved Pete Swinton 2025

    4-4-2music.com

    credits

    released July 12, 2025

    license

    all rights reserved

    tags