Most of this was recorded during February of 2026. Some of these songs were partially written way back when: “Unchained World” in 2006, “World of Ruin” circa 2012, and “I’m a Raging Turmoil” during 2014.
In the neon-lit margins of underground electronic music lives Acid Terminator, a shadowy audio entity that sounds less like a band and more like a malfunctioning time machine. Emerging somewhere between late-night pirate radio, forgotten warehouse raves, and the ghost circuitry of vintage drum machines, Acid Terminator operates at the intersection of acid house mythology and dystopian sci-fi.
Adrian Vale – machines Sarah L Connor – Emulator, Linn Drum, Vocoder Operator Unit 1
I know physical media and shipping is asking a lot of people just now, so I’ve included the cassette masters and j-card as bonus items with the digital purchase so you can roll your own. Just print the j-card, score the folds on the back and cut it out.
Massive thanks to Ruinbox for the track art edits of the cover and phone wallpaper: ruinbox.bandcamp.com
Shout out to the Ghost Stories for the End of The World podcast too for making me aware of all this stuff initially: www.patreon.com/GhostStoriesForTheEnd
Label Description: A double LP package from Bardo Pond, combining two of their super rare jam volumes on vinyl for the first time. A further edition in this celebrated series, ‘Volume 4’ and ‘Volume 5’ feature more freeform improvisational pieces from the hypnotic Philadelphia outfit. Capturing the raw essence of the band, whose fearless exploration blurs the lines between structure, chaos, melody and noise. Bardo Pond’s music traverses space rock, acid rock, post-rock, shoegaze, noise, Krautrock and psychedelia. ‘Volume 4’ hails from self-released sessions recorded in January 2002, its five tracks include the supremely tripped out heaviness of ‘K2’ and the balance-shifting ‘New Drunks (Revisited)’ with Isobel Sollenberger’s exquisite and, frankly, quite disturbing vocal. They’re shorter interrogations of sound by Bardo terms, almost succinct in their mesmerising riffage and off-kilter arrangements. By contrast, ‘Volume 5’ consists of two lengthy mantras recorded between 2000 and 2004 and released as the tape spool spiralled out. ‘FUFO’ sounds like Cluster unravelling with Merzbow mixing, a post-industrial slew of hypnotic proportions, while ‘Monarch’ begins as a Current 93-like neo-folk mood piece before evolving into a wailing slice of drone-drenched Americana by way of a Velvets’ jam. “We were pushing improvisations as far as we could. It was glorious having the studio. The more that our heads were spinning after a session, the better we knew that session would sound when we listened back. We were getting together two nights a week, usually three or four hours working on material and songs and the other half the time letting loose. Volumes 4 and 5 gather together some of these improvisations, and one early song that we felt like doing.” Adds Michael Gibbons of Bardo Pond.
“One of underground rock’s most extraordinary enigmas, a majestic command of sound.” The Quietus
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.
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.