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In many ways, both Boddy and Rimbaud operate in different sound worlds, but such diversity is often the catalyst for the best form of musical collaboration. The nine tracks on the album gently oscillate between hypnotic cycling patterns and nebulous, ambient soundscapes. The music plays as a continuous suite of tracks, which segue into each other and create a dream-like journey that constantly shifts the listener’s focus. Interspersed with field recordings from old houses and reverberant cellars, as well as Rimbaud’s signature radio chatter, the music is both abstract and emotive. The concept of deep listening is well known to the electronic music fraternity, and certainly, this album will benefit greatly from such an approach, as this will unveil its delicate beauty and hidden depths.
Over the course of the DiN label’s extensive catalogue, Boddy has collaborated with many diverse musicians. With this release, once again, such musical connections between different sonic voices has produced an album of outstanding quality.
credits
FreeForm Radio thanks Ian Boddy for a complimentary copy of this release.
All music composed, recorded and produced by
Mixed and mastered by Ian Boddy (January 2026).
Ian Boddy:
Serge, Roland System 100-M & Eurorack modular systems
Analogue Systems French Connection
Make Noise O-Coast
Moog Matriarch & Voyager
Soniccouture Polarity Modular
Spectrasonics Omnisphere
Folktek Resonant Garden
Field Recordings
Robin Rimbaud:
1010 Music Bento and Blackbox
Eurorack modular system
Elektron Digitakt
Erica Synths Zen Delay
Novation Bass Station
Roland TR-6S
Ableton Live 12
UVI Falcon
Shortwave Radio
ambient em electronic electronic music electronica experimental electronic modular synth Sunderland
For the next in the quiet details series, we are pleased to present a collaboration between Craig Tattersall, the humble bee, and Alex Gold, fields we found - here as the shallow margins, with tule.
Inspired by a mutual love of ecology and fragments of sound, and the margins of our lives - shaped into musical form.
Quiet
and textural - these pieces are a view through misted glass, clouded
and suggesting a reflection on the layers found within. Emotions
conveyed through hand-played instruments, magnetic tape and the patina
of many generations of recording.
Sharing sounds back-and-forth -
piano, harmonium, field recordings, long free-form experiments from
collections of instruments and more. Recorded and looped on multiple
tape machines and old samplers - coaxing out the underlying sonic
remnants, and bringing those traces into view.
Endless thanks to Craig for this, and his constant inspiration.
The
artwork was made as always influenced by the music and idea behind the
album - originating from a photo from the humble bee 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.
Credits:
FreeForm Radio thanks Alex for a complimentary copy of this release.
Music by the shallow margins (the humble bee & fields we found)
Mastered by Alex at quiet details studios
Artwork by quiet details in collaboration with the shallow margins
Design by quiet details
© quiet details 2026 all rights reserved
There is no settled name for this particular style of music. It has no genre, though it can be described in terms of adjacencies: the more abrasive moments of Ben Frost, the looping decay of William Basinski, the layered distortion of some Tim Hecker pieces. When I put together the call for submissions for what became The Kinetic Void, I felt as if I was throwing a dart while blindfolded, hoping that I hit a target that I could not fully articulate. It was a leap of faith that the artists who answered the call would understand what I intended – that the void of the title was not a space to be preserved but a vacancy to be intentionally overloaded by the compositional act. I was not disappointed. The ten tracks of this album take these notions in different and even surprising directions. The densities of these pieces vary along compositional, textural, and emotional axes. Some artists, such as Nihil Impvlse and Soloi Sounds, develop intricate, overlapping strata. Others explore the capacity of a single instrument, as in the guitar work of Gianluca Becuzzi and Robert Thurman.
Richard Bégin presents a work based around a three-note pattern that builds to a crescendo before falling back into quietude. Browning Mummery explores patterns of percussion in combination with feedback and swirling noise. Rumore and William St. Hugh’s contributions are two sides of the same coin, the former focused on sculpted distortion, the latter on a haunting soundscape that uses tension to fill space. Similarly, Mario Lino Stancati employs echoes and processing as load bearing elements. Autistici closes the album with dissonant fragments drawn from instruments, field recordings, and synthetic sources. I am grateful to these artists who answered the call. What began as a question about how silence might be populated has become, across these ten pieces, a set of answers. The void has been filled for now, and in ways that I had not considered.
Mike Borella
Avant Music News (www.avantmusicnews.com)
April 2026
REVIEWS
Weird Bones
This is an album that asks us to consider what ambient is, but it’s an album that also asks us to consider what music itself is, why we enjoy what we enjoy. Sometimes it’s okay to listen to something that doesn’t initially make a lot of sense, because if you give it the time it needs, it might end up telling you something you didn’t realise you needed to hear.
weirdbones.co.uk/ambient-music-and-the-strange-business-of-paying-attention
Bad Alchemy
The oxymoron of Kinetic Void (USG122) reads like an attempt to build the photographic negative of 'Ambient Techno', reversing it entirely. Background and atmosphere become a complex, restless, blindfolded approach. Together with Mike Borealla from Avant Music News, Raffaele Pezzella has gathered ten attempts to touch the desert and the void, in the microcosm and in the macrocosm: Prof. Richard Bégin in Montreal with 'Ubik' as a cryonic lullaby. His countryman Nihil Impvlse with 'Malignant Accretion' as a surrendering, grinding surf. Gianluca Becuzzi in Rome with the fatally surrendering 'Liturgy of Void'. Soloi Sounds in Tokyo with 'Ordinary' as a melancholic postscript, a tender what if not? Browning Mummery in Terra Australis with distorted pain and merciless loop in 'Persistence in Absence'. Mario Lino Stancati from Mesagne with 'The short distance between two deserts' as a wistful 'from dust to dust'. Robert Thurman in Tennessee, in electric guitar driven, turbulent drama with 'Convergence'. Rumore (?) with a plaintive guitar and sawtooth rough drones in 'Mustang'. William St Hugh in Fairhaven with 'Andromeda', which after a touchingly monotonous beginning drifts anxiously toward doomsday. And Autistici in Sheffield with 'Recoverse 79S', guitar waves and guitar farts in stereophonic minor key. Soundtrack for sleepwalking into chaos? [BA 135 rbd]
DaMusic
damusic.be/cd/various-artists-kinetic-void
Curated by Mike Borella and Raffaele Pezzella.
Mastered by Raffaele Pezzella.
Layout by Matteo Mariano.
Published by Unexplained Sounds Group in collaboration with Avant Music News. (Cat. Num. USG122).
© 2026 All rights reserved.
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. 
This is without a doubt the best album FAR EAST FAMILY BAND has ever
done. Unlike other albums where the band focused mainly on ballads
influenced by PINK FLOYD, on "Parallel World" they decided to merge the
prog rock style of the time with electronic music in the vein of Klaus
SCHULZE. And just like their previous album, "Nipponjin", this album was
also produced by SCHULZE, and you could swear he actually played on the
album (he didn't). All the synth duties here are Fumio Miya[&*!#]a
(who also played guitar and sang), Akira Ito, and Masanori Takasaki (who
we all know as the future New Age star of the '80s and '90s, that is
KITARO). 
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