Label Description: A long minimal and hypnotic piece of about 40 minutes splitted in two parts on vinyl (lathe-cut). Looped ethnographic sounds mixed with abstract delicate electronic tunes for your self-induced trance sessions…, and for your pleasure! Available in digital format and limited to 20 copies 12″ LP lathe-cut. Released by Backwards.
recorded at phlåss studio somewhere in italy, 22/06/2025 pasquale lomolino ~ samples, electronics vincenzo tattolo ~ electronics mastered by fabio orsi layout by backwards
Label Description: Written and recorded by Brad Deschamps. Mastered by James Edward Armstrong. Design by Anne-Julie Dudemaine. Artwork by Pier-Luc Tremblay. Original painting “Harvest Scene” by Abraham Bloemaert (oil on canvas, about 1625-1630).
shimmerglisten is the cinematic ambient project of Tim Rabjohns, creating immersive soundscapes for “films that don’t exist.” Drawing on film soundtrack traditions and dark ambient styles, shimmerglisten crafts deeply emotional, hypnotic compositions that serve as sonic sanctuaries for life’s most intense and quiet moments.
At the heart of shimmerglisten’s unique sound is extreme manipulation of guitar textures—transformed beyond recognition through effects pedals and experimental sound design—layered with hypnotic synths – using a mixture of old analogue and modern plugins, choral elements, and collaborations with acoustic musicians (eg gongs, singinbowls, harp, double bass and flute). This blend of organic and synthetic creates mysterious, cinematic worlds that invite listeners into a state of “yutori”—the Japanese concept of leaving space to breathe.
Tim’s background spans two decades as founder of the multi-award-winning music production company Shriek, creating sound for Sony PlayStation, BBC CBeebies, Channel 4, and UEFA. After leaving commercial music in 2017, he founded shimmerglisten in 2020 during the pandemic as a return to his experimental roots. Over ten years volunteering with environmental organisations in and around Lewes and Brighton deeply informs the project’s connection to nature and climate themes.
shimmerglisten has released two albums already: the cinematic debut Sound of Shadows (2023) and a more purely ambient LP Equanimity (2025), The latter was composed for his unborn daughter and was played as she was born in an NHS birthing room featuring various nature sounds with a spacey backing.
Live “sound-bath-concert” experiences—featuring sold-out shows at Brighton’s The Rose Hill and Lewes’ Subud Centre—invite audiences to lie down and immerse themselves in multisensory performances with dreamy lighting and nature-inspired visuals.
“Soughing of the Wild” continues shimmerglisten’s compositional journey, offering listeners a sometimes tender and sometimes troubled look at our relationship with the natural world.
Credits and track notes.
Song credits: all composition, guitars, synth and production by shimmerglisten apart from:
Holding My Smile – Vocal, lyrics and melody, Nina Luna Fridel
Moonbroch – Vocal & lyrics, Isa Howie
Soughing Of The Wild – Voice, Don Agustin Machacca Florez.
Sweet Rain – Vocal, lyrics and melody & harp, Vic Cooper
Swollen Bones – Co-writer, Marston Mortaine
Velleity – additional field recordings, Darinau
Yutori – Gongs, Jo McEwen, backing vocals, Isa Howie
Rand In The Sand, Woe’s Hollow, Parosmia, Valley Of The Rocks – 100% shimmerglisten
Some notes about the songs.
Soughing Of The Wild – featuring a message from an Andean shamanic elder called Don Agustin Machacca Florez. During a trip to the high Andes in Peru in 2024 I was spending time with Don Agustin and his family. He’s a very wise soul and so I asked him if he could send a message to those in the Western world, what would it be? He replied in Quechua (the only language he knows) and I got his son to tell what he said afterwards. In a nutshell he said we need to all start living closer to nature, and respect the natural world if we were going to have a chance of surviving. This is where I got the idea for the concept and the name of this album.
Moonbroch – featuring the voice of talented upcoming folk singer Isa Howie – known for soulful melodies, heartfelt lyrics, and a deep connection to storytelling. I first met her at a Celtic ceremony on a hill near where I live and knew I had to record her some how!
Sweet Rain – was a co – write and features the harp playing and voice of local sound healer Vic Cooper. She’s such a soulful person and I loved the story and words behind this track that I really wanted to collaborate with her. The words were written after the loss of her grandfather – I turned the song into something more ghostly – imagining her grandfather looking on.
Holding My Smile is another co-write – this time with a very talented 13 year old – Nina Luna Fridel – the daughter of a friend of mine. Her best friend moved from London to Milan and she wrote of having to ‘hold her smile’ in place when she was so utterly bereft inside. I took a performance she did with voice and piano on an iPhone and remixed it and transformed it to what you hear here. It has a beautiful naive quality, I think.
Velleity – is an Instagram collab with a Norwegian ambient duo called Darinau who do a lot of lo-fi ambient sounds and field recordings. I loved that they were very nature focussed, so I asked them to send me something.They sent me something quite minimal and I added layers onto it. The work Velleity means the lowest degree of volition, a slight wish or tendency – which really described the minimalism of what they sent me to begin with.
Yutori – a collaboration with another local sound healer – Jo McEwen. This time recordings of gongs and singing bowls, with added vocals from Isa Howie – I wanted to make this more of a track with a journey, rather than just another sound bath. The Japanese concept of “Yutori” emphasizes the importance of having enough space and time to live a balanced, stress-free life – which I thought was appropriate for a gong piece – I hope that the addition of hypnotic synth lines will allow the listener to get in to that state as well!
Label Description: The ghost was in the refrigerator…. Dormant for years. Just part of the furniture in an expensive , fashionable kitchen. An ingredient, an under taste, aftertaste. Recently departed yet undeniably present. A memory trapped in the freezing domain , jealous of the new life that developed when a slice of cheese or carton of yoghurt had been there just a little too long. The ghost had all the time in the World. Not our World .The ghost’s World… parallel with no overlap, no line of reliable communication until one ordinary day in October. That was the day when the dimensions collided and crumbled . And The family was away on vacation as the ice melted, the butter melted, the milk boiled, the carrots cooked, the cans blackened and the flames leapt. That’s when the ghost left the refrigerator….. Restless ,onwards . To the microwave. Off with the child lock, crunching the numbers. Spinning upwards as the flames spread and engulfed the expensive kitchen. And the ghost in the tv triggered Channel X, the forbidden one. As performers tumbled from the screen, fused together on a burning carpet while the alarm howled… howled with laughter. And the thermostat flashed crimson and an impossible number jumped from the display, cartwheeled to the curtains, climbed the curtains and behold… the ghosts were upstairs. Floor 2, floor 3, floor 53. A sky on fire as the frightened city dialled for help. But there was no help. Because the ghosts in the phones jammed the touchscreens, sang jingles, burned holes in the palms of impassioned believers, who prodded and prodded, and couldn’t give in.Yet they had to give in. See…This was the day the experts predicted. The was the day we knew HAD to come. And the star chambers buzzed while bad actors cried ‘blameless’.And fingers tapped buttons that beamed leafy green.. This fire raged from Seattle to Seoul, Penn State to Pyongyang, Santiago, Saskatchewan, Moscow, London, Paris ,Prague. The planet burned brightly as ghosts raised their torches. The dead took revenge on the living … until no one was living. EK
For the next in the quiet details series, pleased to present a collaboration between Craig Tattersall, the humble bee, and Alex Gold, fields we found – here as the shallow margins, with tule.
Craig is an essential part of quiet details, opening our series with qd01 lichen cloak on a white stone, and qd09 the observatories (with Ian Hawgood) frost forms – both quintessential embodiments of the label’s ethos. A legendary figure in the world of the most subtle and thoughtful music – Craig has a wonderful back catalogue on his own Cotton Goods and many other excellent labels.
I’m Alex, making music as fields we found and curating quiet details. It is my great fortune to work with Craig – we’ve know each other for a long time now and he’s a dear friend, and I consider him to be one of the most creative artists working today.
Since recovering from lymphoma a couple of years ago, my outlook on my own music shifted in a deeply positive way, more introspective and free – so the timing was perfect for us to start this project, something much discussed.
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.
Label Description: In 2023, Kraków-based composer Martyna Basta and Los Angeles-based sound artist claire rousay were invited to Poland by Unsound for a short residency, where they spent a few days trading ideas and concepts, and brainstorming their first collaboration. Initially motivated to create lengthy, expansive pieces together, they also ended up experimenting with shorter vignettes, and ‘hotel room’ expresses these two extremes, featuring three long-form tracks and three brief, euphoric songs. “It wasn’t something we specifically planned,” explains Basta. “It just unfolded that way.” The most important stage of the process, however, was the period that followed the residency, when rousay and Basta began working on their sketches in isolation, trading drafts and sculpting the sounds independently before rousay handled the final mixdown. In the comfort of their own bedrooms, they were better able to reflect their individual creative routines, organically reaching a junction where their music felt truly unified. Even while they were in Poland, the duo joked that it might have been easier if they’d been holed up in separate rooms emailing each other.
Both artists have had an energetic few years: after steadily building a reputation for her diaristic and candid concrète experiments, rousay signed to Thrill Jockey in 2023, releasing the acclaimed ‘sentiment’, ‘a little death’ and the more eaze collaboration ‘no floor’; Basta, meanwhile, followed up 2023’s hallucinatory ‘Slowly Forgetting, Barely Remembering’ and her debut for Belgium’s Stroom imprint, ‘Diaries Beneath Fragile Glass’ with a studio album on !K7’s 7K sublabel: ‘Winged in Collapse’. The title of their collaboration reflects rousay and Basta’s hectic touring schedules in the wake of these releases, the constant feeling of displacement and the emotions that emerge when the environment is in flux. “I know we aren’t the only musicians traveling and creating work at the same time,” says rousay, “but being able to speak about that experience and all the things that come with it was comforting.” And the music itself, assembled from hypnagogic field recordings, spectral voices, electronics and filtered instrumental improvisations, sounds bewitchingly unmoored, not tied to a specific location but hovering around the uncanny space in-between.
Scratchy ASMR sounds introduce us to the opening track ‘Zoom’, initially obscuring the duo’s elegiac harmonies. They are careful to let the various elements evolve at their own pace, with the fictile guitar drones melting into the foreground while Basta’s dissociated whispers and rousay’s illusory synths pick out the subtlest subliminal shades. It all builds to the piece’s dramatic third act, when layered chords ring out like organ blasts, enveloping the negative space. The shorter, more anxiety-provoking ‘Denim’ is remarkably divergent, a dismantled folk memory pieced together from skeletal piano notes, vaporous choral echoes, haunting string plucks and pulsating feedback. Where the music aligns is in the mood itself, capturing a feeling that’s neither completely abstract nor fully referential. Not ambient exactly, ‘hotel room’ is a suite of soundscapes that gesture towards structure while repeatedly folding in on themselves.
On ‘Lost and Found’, wordless Autotuned ad-libs spiral around delicate guitar plucks and washing waves, coalescing into a faded Polaroid of opiated Americana, and on ‘Where Are You Now’, operatic squeals and corroded orchestral scrapes are juxtaposed with nauseous low-end tones. Evaporating until only industrial whirrs and music box chimes remain, the latter encapsulates the entire album’s chilling liminality, smudging saturated voices with casual electro-acoustic interjections before it erupts abruptly, transforming into a dense, pitch-skewed hymn. ‘hotel room’ plays like a surreal travelogue, teasing listeners with airy familiarities as it humidifies dry, awkward spaces. More a labyrinth of catacombs than a single, fixed chamber, it’s Escher-like – cryptic and seductive – and decked out with personal asides and intimate details that reward the most patient, curious listeners.
recorded by claire rousay & martyna basta mixed by claire rousay & martyna basta mastered by stephan mathieu at schwebung mastering lacquer cut by stefan betke at scape mastering album cover painting and design / typography by karolina szwed layout by aleksandra grunholz curated by mat schulz and wannes cuypers commissioned by unsound
Asymptote’s focus defines the space where a perfect vision emerges, but remains just out of reach. It embodies a late-night meditation on closure, emergence and expectations; it’s deeply personal ambient atmosphere pulses inside reflective spaces. As listening deepens, sounds and textures emerge to reveal that our most profound truths are found not at the end, but in the eternal, atmospheric distance between the seeker and the source. ____________ INTERVIEW
Triplicate Records: What have you been up to lately?
Pollsign: Well with regards to this sphere: I want to say lots, but everything seems meticulously cared for, and then haphazardly released into the world. Behind the scenes I’m always thinking about new directions, options, or modes of working. But in the end, I don’t always have a clear plan, so that adds some internal conflict, ha.
Triplicate Records: What was the main inspiration behind “Asymptote”?
Pollsign: Asymptote is an interesting release – it’s a long form piece I’ve worked on since 2022, taking many breaks, changing things up, and frankly, shelving it for a quite a bit. It’s a shock that it actually survived a major tech failure I experienced in 2025 – I had the stems and entire contents of the project saved in an earlier form.
Originally it was inspired by a lot of early to mid 90s ambient. Stuff off Fax records and that lineage. Later on some elements of more ambient vaporwave releases wormed their way in. I really tried so many different things with this particular release, and it never felt like it was “getting there”. That’s where this idea of the asymptote came about. This form that never fully reaches a conclusive end.
It’s definitely an album about the frustration and beauty of feeling incomplete. I wanted to explore some things I go through often in creative pursuits – that deeply human feeling of getting closer and closer to a feeling, or a perfect version, while also realizing the past, present and future me might never agree on the end result.
I felt like I needed closure on it, though. So I worked to finally finish it off and gain that clarity the comes when you finally say “it’s time, this is done”.
Triplicate Records: Can you tell me about the separation between Pollsign and Survey Channel?
Pollsign: Initially pollsign was a means to work in more ambient spaces, and outside of my own expectations of my survey channel work. I’ve come to find the distinction doesn’t really make a difference, so I’ve sort of abandoned the idea of working under too many aliases. This release definitely encapsulates a lot of what I wanted to explore. I also really enjoyed working on the “jam” that ended up becoming “Resect”. I think it probably flew under the radar. I never had huge plans to market this project, so if and when I ever feel that something would benefit more from the freedom it brings, I’ll probably revisit.
Triplicate Records: When did you first become interested in creating music?
Pollsign: I grew up in a musical family in many ways – my parents both had really diverse taste. My mother tried hard to get us all interested in music with lessons. Her mother played piano and had this pretty big Hammond organ in her house that we’d mess around with as kids. As you do when you’re a kid though, you don’t have the foresight to work through things, and I struggled a lot with thoughts of inadequacy and fear, so I self-sabotaged many attempts at creating music. It wasn’t until 2019 that I really forced myself to mess around in that space. And after years of dormant creative energy, I like to think it paid off some.
Triplicate Records: What have you been listening to lately?
Pollsign: I’m bad about new music. I have my go-tos and don’t really actively seek out new music. Of course I’ve been listening to a lot of Boards of Canada since they dropped a new one. I’ve also been listened to a lot of Future Sound of London, Oval, Tetsu Inoue and Bill Laswell collabs . Also plenty of vaporwave sub-genres.
Triplicate Records: What’s next for you?
Pollsign: Not sure yet, but I have a lot of survey channel material I’m working on. Hopefully a tape release? Maybe some live shows in 2027? And I will likely continue to release under my vaporwave project in slow drips.
Composed & Produced by Pollsign Mastered by Michael Southard Artwork by Michael Southard & Pollsign
Label Description: “Listening Spaces” — A New Ambient Album Series
Listening Spaces is a series of ambient albums built for focus, rest, and background listening.
Each release runs approximately one hour, combining minimal ambient textures with natural soundscapes. The emphasis is on space, slow movement, and continuity rather than melody or structure.
All albums will be released individually on Bandcamp under a pay-what-you-want model, but suggested support: $3–$5.
City is a slow-moving urban landscape made out of drifting textures, deep tone, and patient escalation. The music feels like late-night streets, distant lights, and the low hum of a place that never fully goes quiet. Rather than rushing toward a climax, City unfolds gradually, revealing a dense, contemplative world where stillness and motion exist at the same time.
