Label Description: Tracks 1 to 14 are exactly the same as the original Junkpile album (unless I accidentally uploaded the wrong version…), nothing’s been remastered or anything. Tracks 15 to 20 are songs that I finished between Junkpile and Junk Drawer, but didn’t end up on that album for whatever reason.
Label Description: Credits:
Music by Deadbeat
Mastered by Alex at quiet details studios
Artwork by quiet details in collaboration with Scott Monteith
Design by quiet details
© quiet details 2026 all rights reserved
It gives me great joy to announce that next in the quiet details series is an artist I’ve followed for a long time and have a huge amount of love for, the irrepressible Scott Monteith, here as Deadbeat.
Since the turn of the century, Scott has been at the forefront of the electronic music world, probably known best for his fathoms-deep dub, techno and house excursions. Releases on ~scape, Wagon Repair, his own BLKRTZ, Cynosure, Echochord, Visionquest and many others cemented him as a mainstay of the scene. There’s much more too – live performances, experiments across genres and collaborations with artists such as Paul St. Hilaire, The Orb and Lee Scratch Perry, Monolake, The Mole, Om Unit, Sa Pa and many more, have shown him to be as versatile as he is talented.
So it’s an honour to welcome him to quiet details, and he’s outdone himself with the next-level incredible Kansai Botanticals
Inspired during a packed tour of Japan, in his downtime Scott explored the countryside of Kyoto and the Kansai region. While there he collected the sounds and atmospheres, and this album is their musical manifestation.
A journey of hypnosis and textural bliss – vast subs meet glittering highs, held together by lush and vivid synthetics. Scott’s huge technical skill brings all these elements together in a beautifully elegant way, creating a vibrantly chromatic world that’s mesmerising at every step.
Made as a single piece, shared on the CD version in its original form, this is Deadbeat at his deepest and most psychedelic – truly a masterpiece from this revered artist.
As Scott says:
“The autumn colors were in full bloom, and the incredible serenity and beauty of the place were beyond words. Perhaps the most breathtaking of all was visiting the former studio of Yusai Okuda, which is where a great many of the photos I’ve included in the folder for potential cover ideas were taken.
In addition to his gorgeous silk dying works, the entire place uses water in various still pools to reflect the forest around it, creating some truly Lysergic scenes. The garden behind the house is filled with a collection of ceramic sculptures of diverse sizes, which you are invited to pour water into. The water then filters through several small openings and drips into the resonant ceramic body, producing a mind-blowingly complex range of rhythms and tonalities.
Needless to say, we spent a good long time recording and documenting these little wonders, and those recordings, along with ones made walking in the forest adjacent, served as the initial source material and inspiration for this work.
If it manages to effectively convey even a portion of the spirit of that wonderful place, which so enriched our souls, I couldn’t be happier.”
Huge thanks to Scott 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 Scott 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.
blkrtz.bandcamp.com
Label Description: Mutilating past musical transgressions into a slightly more powerful sounding collage of texture. Dark, industrial and experimental.
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This is the first widely distributed release for Isabel Pine after a series of self released EP’s and singles on Bandcamp. She studied classical music on viola from the age of 3 through into college, where she was on a path to be a performer in a large ensemble, but eventually left after feeling frustrated and limited in a world that did not provide much of an outlet for individual creativity. But the doors of perception really opened when she moved to British Columbia and was exposed to the raw beauty of the wilderness there.
She began recording at home using a basic audio setup along with a cello, viola, violin and double bass, and spent time making field recordings of natural sounds in BC. Her next idea was to actually move into nature to record, curious as to “how it would sound if I recorded outside entirely, with the natural reverb and sounds of the environment in the recording from the very beginning. The rustling of the leaves or a raven’s beating wings were as integral to the music as whatever I played.”
Fables is a mix of pieces that were recorded in the fall of 2024, in a small, remote cabin and outside, primarily using stringed instruments. The result is a series of stunning vignettes, meditations patiently unfurling like gentle waves, slowly advancing and retreating.
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Label Description: Bifuu_ZONE, translated loosely as “a zone of gentle breeze,” is a concept drawn from Tsudio Studio’s personal vocabulary rather than a strict linguistic equivalent. While liminal spaces are often framed through unease, Bifuu_ZONE reimagines them as sites of quiet comfort, restoration, and slow transformation. The project centers on impermanence, erosion, and the subtle ways time reshapes even the most solid structures.
The West takes its title literally, drawing inspiration from buildings and environments located west of Osaka. Each track is composed with a specific architectural space in mind, allowing tone, texture, and resonance to emerge from imagined structures rather than narrative progression. The result is a site-responsive ambient work that listens closely to stillness, weathering, and spatial openness. Saxophonist mori_de_kurasu appears on three tracks, introducing breath and human fragility into the album’s restrained sonic palette.
This perspective is deeply informed by a Japanese sensibility toward impermanence, an acceptance of loss and change not as absence, but as gentle continuation. Rather than positioning liminal space through anxiety, Bifuu_ZONE gestures toward what lingers quietly after the dream has ended.
Beyond the album itself, The West also marks a point of convergence within Tsudio Studio’s broader practice. In March, he will present an exhibition and live performance at Gallery SHUTL in Higashi-Ginza, Tokyo, centered on the idea of “post-liminal space.”
Under his primary name, Tsudio Studio has released work through Media Factory, Local Visions, and ULTRA-VYBE, with collaborations spanning Japan, Europe, and the United States. His 2022 album My Room reached #2 on Bandcamp’s global charts. The West stands as a focused ambient statement, an invitation to inhabit spaces shaped quietly by time.
Music For The Rest Of Us 