Label Description: “Knowledge Has No Enemies But The Ignorant” is another joint release from the British band RAPOON and the American band PAS MUSIQUE. It’s arguably their best joint effort. It features thirteen longer compositions, totaling over two hours, filled with ambient structures, a psychedelic aura, and numerous improvised fragments. It seems the two gentlemen have found a common language, one based on years of experience in experimental music and revealing their shared roots and inspirations, which can undoubtedly be found on this double-disc album.
“No knowledge of where gone from. Nor of how. Nor of whom. None of whence come to. Partly to. Nor of how. Nor of whom. None of anything. Save dimly of having come to. Partly to. With dread of being again. Partly again. Somewhere again. Somehow again. Someone again”.
From “Ceiling” (1981), by Samuel Beckett
What will you do when confronted with nothingness? On his sophomore effort “Accidental Meetings”, Evgeny Bylina meditates on this existential question. The album was created by chance while working on another record. Drawing inspiration from the prose of Samuel Beckett, this two-track tape laments the past, echoing the sound of the dance floor with its long, carefully constructed pieces.
These ambient compositions exist only as distant memories of a joyful past. The harsh reality of the morning urges you to look into the abyss hidden in the ceiling or wall. In a way, it’s a hungover record, reflecting an emotional and physical state of decadence: blurry and tranquil, it inverts the surroundings in the liminal space for a while. However, it’s not just a dream: the heaviness of the environment reminds us that the body is not an abstract concept, but part of the world. Is there any hope? Or are we barely supported by fleeting nostalgia? Listeners must find the answer for themselves.
The musicians of the WORMWOOD’S HEART project believe that time is the cyclical immensity of the self, and we are all the light that permeates this process. “Synchronous Cycles of Light” is a material born from the need to explore sounds and the information they convey, as well as from observing the subtle interrelationships between culture (the human) and nature (the non-human). WORMWOOD’S HEART is inspired by synchronicity – the interaction of many people and events that became part of the creation of this album. The musicians primarily aimed to highlight the full spectrum of experiences that make up their lives – from harmony and silence to moments of tension and uncertainty. Driven by respect for the space in which their music is to resonate, they minimize it to its essential elements. The album is an invitation to a shared experience of the multifaceted nature of life – its beauty, mystery, and contrasts. The entire album was recorded at the Cierpienie Studio and its surroundings in Smarzyków in the summer of 2025.
WORMWOOD’S HEART – SYNCHRONOUS CYCLES OF LIGHT Wormwood’s Heart are Piotr Ramlau and Marcel Gawinecki. Synchronous Cycles of Light are Karolina Karpowicz, Daniel Górny, Marceli Dziurleja, Natalia Kozłowska, Etna, Smarzykowo, and all the tiny synchronicities that made this album possible to emerge.
For a time, we looked at life — and life looked back at us. Captured and recorded at Studio Cierpienie and its surroundings in Smarzykowo, in the middle of summer ’24.
This piece deals with reflected images, sounds and ideas and the perceptions thereof and how they echo and compliment their real-life counterpoints. The album consists of two tracks, each with compositional direction from the same score but in opposite directions. These two tracks were then blended together, one forwards and one backwards for each side, to create the two finished halves. The results are sounds occurring together moving forward while their reflected sounds move backwards.
Reid Karris is an improvisor, composer and experimentalist residing in the Chicagoland area. He primarily uses prepared guitars to explore sound creation and manipulation centering on extended and invented techniques. Other than performing solo he regularly plays with his group Snek Trio and in various settings with other musicians on prepared guitar, percussion, skatchboxes and homemade instruments. As a solo artist he releases albums of conceptual composition using elements such as guitars, percussion, manipulated field recordings and noise. He has released albums on Lurker Bias, Orb Tapes, Ramble Records, Mother Brain Records, Pan Y Rosas Discos, and other independent experimental labels.
Elated to welcome one of the most enduringly creative and boundary-pushing artists of the last few decades to quiet details, Robin Rimbaud, otherwise known as Scanner.
A towering figure in the worlds of music, sonic and visual art, dance, installation and a myriad of other disciplines – Robin has covered a huge amount of artistic ground since his earliest forays into our consciousness in 1991.
From countless albums and projects as a solo artist and in many collaborations, including the likes of Brian Ferry, Michale Nyman, Steve McQueen, Stella McCartney, Laurie Anderson and Hussein Chalayan, and Pauline Oliveros; to the first Sound Art commission at the Tate Modern London; scoring a dance piece for the UK Olympics; the list of his critically-acclaimed achievements goes on and on.
At the core of his work is always a deep curiosity, the ability to make cognitive leaps into the creative unknown and fashion something beautiful – it’s with this sense of wonder he’s made something truly incredible for quiet details.
The album is a stunning sonic exploration of the world around him, another fundamental element running through his work – realising the majesty contained within structures that has always been there, now brought to life.
As Robin says:
This album is forged entirely from the resonant clangs, echoes, and whispers of a stainless steel staircase at home, transforming everyday architecture into an unexpected orchestra.
By coaxing rhythm, tone, and atmosphere from the metallic body of a staircase, the work reimagines movement between floors as a passage through sound.
No synthesisers were used in the creation, only the natural sound of the staircase using a geophone seismic microphone and the gentle assistance of the occasional resonant filter and sample software.
This has led to an album of enveloping beauty – highly textured drones meet distant pulses; metallic fragments merge with hauntingly evocative melody. Physical architecture translated to harmonic structures in the most breathtaking way imaginable.
There’s so much to admire here – from the beauty of the original recordings to the highest level of craft to turn them into something so musically engaging – a true masterpiece from one of our finest artistic minds.
Huge thanks to Robin 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 Robin 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.
HAUSMO150 – LP / CD / DIG credits released September 26, 2025
Music by Daryl Groetsch, Portland, Oregon.
Main synthesizers: Spectrasonics Omnisphere, AAS Chromaphone, Korg Wavestate, Korg Gadget, VirSyn Addictive Pro. Plus a variety of sequencers and arpeggiators. No Al.
“All the busy little creatures Chasing out their destinies Living in their pools They soon forget about the sea” -Neil Peart, “Natural Science”
Mastered by Angel Marcloid at Angel Hair Audio. Art by Max.
Label Description: Solitary, minimal and otherworldly guitar vignettes, recorded during nighttime/AM sessions throughout 1997, subsequently shelved and eventually forgotten over time due to other commitments. Recently unearthed, and mastered by JKB in 2025.
Label Description: Waxing Crescent is very happy to announce the new project from xlmxkhfi (al-makhfi, which translates to the hidden one). Based in Beirut, Sarah Huneidi is an editor and audio visual artist, and is co-founder of Shatr, a collective that aims to excite, nurture and showcase experimental modes of poetry and literature. I discovered Sarah thanks to Clair (HotGem), and listened to her EP ‘afterthought’ on VV-VA, which showcases ambient, dream pop sounds, produced through processing textures, vocals, and melodies on both hardware and software.
Persian-American ambient producer sohme joins Phantom Limb’s Spirituals imprint for debut album Palm, a study of new fatherhood and changing stages of life for synthesis, acoustic instrumentation, and field recording, integrating a practice in architecture and two distinct cultural heritages.
Saumon Oboudiyat, aka sohme, is a Persian-American sound artist, producer and architectural designer based in Philadelphia. His music is informed by a decade of work in architecture and a lifetime of musicianship. Through a careful balance of soft harmonics, Eno & Lanois-esque melodic detail, slo-mo chordal shifts, and drifting, dreamlike field recordings, the music of Palm reflects Oboudiyat’s entry into parenthood and the accompanying transformation therein. “When I began working on the album in New York, we were just starting to see the other side of the pandemic,” he writes. “Upon completing mixing in my home studio, my wife and I prepared to welcome a new life into this world.”
Opening track and first single “These Are All My Thoughts” combines monastic reflection with a swelling and sirenic pathos, employing the kind of cosmic redolence that conjures early space travel documentary or hermetic contemplation. Hues of twentieth century German ambient production glitter and enshadow its powerful sonics.
Later, “The One, The Other” is more reminiscent of Middle Eastern musics. An oud-like pluck shudders and shimmers about broken and nonlingual vocal snippets, a howz of still water amidst a desert plain of sparse and arid instrumentation. Another key moment is “Signal”, and its deceptively pop-oriented chord structure. Housing clattering steps, shooting stars of high frequency melody, and single notes of conical synthesis that resemble the Persian karna, its soundworld is warm and enveloping, safe and secure.
sohme joins A Lily, Jan Esbra, Eamon Ivri, Sachi Kobayashi, Dau, Ibukun Sunday, Beqa Ungiadze, Suso Saíz, Menhir, Francsesca Ter-Berg, Dylan Henner, and Pram of Dogs (and others) on Phantom Limb’s Spirituals imprint, a sub-label offering works of high grade, emotive ambient and experimental music from emerging artists from across the world. Palm is his debut release.
From his work with steelpan, metal percussion and EMS synthesizers to his NHK documentary scores, seasoned multi-instrumentalist Yoshio Machida’s path has been wide-ranging. He now joins Portuguese drummer Jorge Queijo, whose practice spans free jazz, experimental gamelan, theatre soundtracks and collaborations with John Zorn and Chris Corsano.
Their latest release, TOKYO, follows 2016’s LUMINANT with bassist Hiroki Chiba, and again the two reveal a natural, intuitive chemistry. Queijo handled the mixing and editing, shaping their recordings into a cohesive whole.
The result is a delicate, atmospheric portrait of the city. Machida’s acoustic palette—steelpan, gamelan and ukulele—blends with Queijo’s light percussive touch and electronic textures to create something that moves gracefully between analog and digital.
The Tokyo they evoke isn’t the hard-edged metropolis, but its shadowed backstreets: the hush of a narrow alley, the clang of temple bells cutting through LED screens, the subterranean rumble of the metro beneath the drone of the expressway.
Tokyo is an album of nuance and atmosphere, capturing the fleeting stillness that lingers alongside the city’s constant motion.
Music For The Rest Of Us 