Label Description: There isn’t one song on here that stands out as a single: Howcha Magowcha is very much an album, and a discordant, noisy one at that. There’s no time to settle into any of the songs: mellow moments are torn in half with propulsive drumming and low-slung bass, while the guitars fire off in all directions. It’s music that keeps you on edge, engaged, exhilarated. And however big the 90s revival gets, they’ll never make ‘em quite like this again. Aural Aggravation (auralaggravation.com/tag/turkish-delight/)
Video review from Celebutant / Mario Epstein > bit.ly/2uL5FQz
Label Description: “The meeting of two personalities is like the contact of two chemical substances: if there is a reaction, both are transformed.” CG Jung
Such a great bulk of my life, spent muffling the tender inner voice, in maybe-understandable, certainly misguided attempt to shield myself from further feelings of loss. I believe we are all susceptible to this tendency. Turns out it only sublimates the pain, causing it to erupt in greater violence still, jutting out in all directions in fits of hollowed impotence, thorny, as failing, tangled canes.
We outsource the difficult imperative of the conscience to reaction, to the rage and hopelessness proffered by the digital half-world, to charlatan-shepherds of collapsing pretense. We listen for it in the emotional labor of the hurting, merrily excusing ourselves over the darling cliff of claimed helplessness, siblings in tow.
I have been working at listening for it a might bit better. These tunes are meditations on my novice’s effort at the same. They are an apology and appreciation to Augustine, decades gone, for being held as object and unwitting surrogate to my own inner voice. Apology for this too-usual offloading of emotional work, work I should ought to have been doing myself, projected onto a mythologized, magical “other”. Gratitude for the borrowed “Nah, Pelon” that stood in for my conscience such a number of years and spared so many along the way some of my very worst ideas.
I have come to know my conscience as a tiny, sometimes intruding guest, an insectile dragon, often annoying, as it pollinates this inverted flower, this fig, my clumsy devotion.
Self-congratulations hangs around all day, every day, a constant histamine crackle, as I clod-hopper my way along, trying not to break every single thing I come across. Still, volcanic consequence slices clean through my Chuck’s, describing old desolation, enriching future soil under these weeping feet.
The ration is bitter with the sap of old choices, but it nourishes well, across a tongue, plump and honeyed with gratitude.
Turns out his first name wasn’t Solamente, after all. He has only ever had one name. I just didn’t have the language yet to know any different.
But I am working to understand.
Enjoy,
Clayton aka c.soûle
Written, recorded, and produced by c.soûle Mastered by Thomas Ragsdale
Label Description: “It felt like it had been such a long time since I’d released anything that felt aligned with that sound I was exploring back in the early days of the Kahn project, and whilst I naturally wanted to bring something contemporary to the table with this record it was nice to allow myself to fall back into that older version of my musical identity. My past life, if you like.”
Mastering : Lewis @ Star Delta Artwork : Joshua Hughes-Games Manufacture : Intakt! Berlin
Label Description: Museums and galleries collect, catalogue and curate objects deemed culturally and historically important. A Wunderkammer has no such pretensions. All it hopes to do is present objects that the owner thinks are beautiful or interesting. By doing so, they create a multi-faceted mirror. So come inside and know me better…
Some review excerpts
“There’s a real warmth to Mark’s sound, the synths here in particular come on rich and deep. Nice work in a catalogue of work that sits, as we’ve said before, very much on the right side of 80s retro pop.” Neil Mason Moonbuilding
“pigeonhole Mark James Heffernan at your peril – for this really is a work of art in its own right and is a remarkable release by an ever increasingly interesting musician” Loz Etheridge God is in the TV Zine
“If you’re the type of person who loves to sit down with a record and really listen to the details, this is for you. It’s officially out as of June 26th, 2026, and you can grab it on CD via Bandcamp or find it on all the usual streaming sites. It’s a great piece of work, and I think it’s going to be in heavy rotation for me for a while. ” Moby Tanner Rebirth of Cool Blog
“Wunderkammer is an outstanding album from Pocket Lint, full of impressive production, heartfelt performances, and a sound world that feels both unusual and deeply human. It confirms Mark Heffernan’s ability to build not just songs, but whole spaces for listeners to step into.” Loop Solitaire
“It is a surprising way to end an album of this kind but Mark is full of surprises and it allows the work to float ethereally into the distance, rounding off another well-conceived and accomplished album.” Neil March Trust the Doc Media
“Far removed from the standardized formats dictated by algorithms, Pocket Lint delivers a visceral, captivating record that invites the listener to get lost in it in order to fully appreciate its richness.” Iggy Magazine
“The artist allows the objects—the songs, whether real, imagined, or impossible—to construct that “multifaceted mirror.” Eleven songs to contemplate, listen to, savor, and discover.” Revista Soundloop
“The charm of “Wunderkammer” lies in its refusal to choose between craftsmanship and literature. Many concept albums get bogged down in their own instructions. Here, the concept, on the contrary, makes you want to delve deeper. Pocket Lint isn’t selling a grand, pretentious epic; it’s offering a private collection, slightly dusty, wonderfully suspicious.
We go in to look at the objects.
We leave with the impression that they took notes on us.” Extravefrench
“Plenty of records promise to take you somewhere; few bother to build the doorway first. This one does, and you believe you have stepped through it before the first chorus arrives.” Indie Dock Music Blog
“[the album] presents a thoughtful continuation of Pocket Lint’s evolving approach to composition and storytelling in sound-based form that rewards attentive and repeated listening sessions over time.” Melody Arena
All music by Pocket Lint Mixed, mastered and Co-produced by Adam at Deluxe Mixing
Saxophone on Clockwork Boy: Jonny Perl, who is a star. Vocals on Fernery: Julia Indelicate, who is a star. Vocals on Fernery: Monaz Parry, who is a star Vibrophone and Fender Rhodes on Heartbreak’s First Teardrop: Adam Knight, who is a star.
Label Description: Recorded live at Valvulab during 2025.
Tube Tentacles have been making noise for about 25 years. He did a lot of collaborations, with Government Alpha, Guilty Connector, Witches of Malibu… This recording explores how to face the fear of life.
—- Enregistré live à Valvulab pendant l’année 2025.
Tube Tentacles produit sa musique noise depuis environ 25 ans. Il a collaboré avec de nombreux artistes, dont Government Alpha, Guilty Connector, Witches of Malibu, etc… Cet enregistrement explore comment il est possible d’affronter la peur de l’existence.
Mix + Mastering by Trogotronic / Studio A-No.1 @ Big Sur, California 2026.
Thanks to Vice de Forme, W T Nelson, Garazi Gorostiaga and Miguel A. Garcia (R.I.P.)
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.
Label Description: Rapoon’s new album brings ten premiere tracks. Over an hour of pulsating ambient music, bathed in a somewhat dreamlike aura, from which lazily emerge snatches of melody, sonic nuances of an ethereal nature. We still encounter the Brit’s signature sound, but above all, we experience music with a slightly more meditative, reflective quality than usual. With each passing minute, images unfold, intricately woven like clichés of memory, vaguely recalled in our minds…
Music For The Rest Of Us 