Label Description: Collects works from 2025 and 2026. If they’re named for a saint, they were made on or around that saint’s feast day.
FANFARE: Everyone needs a fanfare. This is the Fanfare Of Slant Tales. One synth, one chord sequence. Welcome to the fair.
Jungular: A breakbeat broken. A bassline that refuses to sit still. Clouds of harmony modulated by industrial noise.
St Nestor: His saint day is October 27th. The Emperor Maximinian had him killed for killing the emperor’s favored gladiator. The sounds each run in their own time, colliding and mingling.
Andromedy: Tragedy? Comedy? Andromedy! While my melodica gently weeps.
North Face: named for Autechre’s iconic preferred outerwear brand.
Taschen: German For “bags.” A dance for the rhythmless.
St Rose: Her Saint Day is August 23. She wore a heavy silver crown of thorns. Halfway between baroque and chaos.
St Venturino: His Saint Day is March 28th. A charismatic leader, he led a pilgrimage to Rome and was imprisoned by Pope Benedict XII for 8 years. Sounds like an underwater harpsichord playing several songs at the same time.
XGiving: It is a holiday. Solve For X. A mixed meter breakbeat, like climbing stairs on uneven stilts, but the harmony still rises.
St. Athanasius: His Saint Day is May 2nd. He was exiled 5 times over the question of Christ’s divinity. The music is an edgeless cloud of shifting harmony.
Composition & Realization: Kent Williams/Chaircrusher Mastered by Michael Southard music@rumortone.com Cover art: @laraianuzzi.bsky.social Album Title: Inspired by Larry Baker, author of “Tell It Slant,” inspired in turn by Emily Dickinson. Dedicated to Richard Williams(RIP).
Label Description: The Seven Dogs serves up an astonishing excursion through deeply hypnotic melodies and idiosyncratic grooves, courtesy of an iconic link-up between Rteph88 aka Robin Taylor-Firth and Steve Cobby.
Taylor-Firth and Cobby are musicians whose careers are so richly storied, broad-ranging, and impactful that it’s difficult to summarise their output and impact in so few words. Both Taylor-Firth and Cobby firmly established themselves in the 90s, being involved in some of the era’s most prominent and celebrated groups and for releasing some truly era-defining records. As such, their discographies reach far and wide, from house and techno cuts through to downtempo, drum’n’bass and leftfield, there is little that is left uncovered, and this spirit remains with them both as they continue to explore the outer parameters of their sounds.
Taylor-Firth, a songwriter, arranger, and producer, is perhaps best known for his long association with Warp Records and its sublabel Nucleus, and for his work as a member of Nightmares on Wax, where his signature keyboard playing style became a staple of the group’s legendary sound. Alongside this, he has hundreds of songwriting and arranging credits on a dizzying array of records, and was a member of house music group Anon and Pio Bo alongside Richard Barratt – to name but a few selected highlights of his extraordinary career. Cobby’s career is distinguished by his multitude of releases under a variety of aliases, along with his helming of a number of imprints, including Pork Recordings and his most recent label Déclassé. Experimenting with a wide variety of genres and sounds, perhaps his best-known work was with the duo Fila Brazillia alongside Dave McSherry, who released a plethora of immersive and innovative records in the 90s and beyond.
‘Seven Dogs’ represents a shared passion, vision, and musicality, two languages borne of similar spaces but reaching through time, space, and existence in creating a richly veiled musical experience that draws from lifetimes spent within the nucleus of music’s soul. The EP speaks of the present as such as the past and indeed future, hinting with motifs that feel right at home within sun-kissed skies and within the walls of the chill out rooms. ‘Early Doors’, the EP’s opener, displays the core fundamentals of the unfolding experience, namely the intrinsic relationship between keys and drums and how they express tone and mood. The piano gently caresses, ethereally floating with space to grow, as the drums lightly swing into life, providing an engrossing and rhythmically diverse groove that nods as much as it dives. The title track lands next and leads with a more driving feel. Sonically, the track leads with an oozing bass sequence that worms through the mid range before retreating under an array of compelling piano chords. The drums once again provide a strong backbone, allowing the melodic elements up top to fully express themselves – in a myriad of ways, murmuring and clamouring all at once.
‘Visiting Hobo’ brings the groove down a few notches. Slightly sombre in its delivery, the piano and bass interchange above a sparse yet hard-hitting groove, with as much emphasis placed on the emptiness as on the melodically full sections. The piano has a certain tonality here, with the notes containing a large amount of textural reverb that helps the track feel alive, almost growing out of the speakers. Wrapping things up is ‘Titled’, which begins with the keys and an array of whimsical features. The drums allow themselves time to grow into being, but when they do, they simmer within an enriching melange. It’s a fitting end to a record that abounds with sonic consideration, environmental and emotive feeling, where two technicians bring their best and serve up four tracks of such sublimeness and thoughtfulness. One to drift deep within, on those hot summer days….
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.
((PLEASE MAKE SURE YOU INCLUDE YOUR PHONE NUMBER ON YOUR ORDERS> CUSTOMS REQUIRES IT.))
<< A Sky So Close >>
In these times of anxiety and deprivation, journey to a place of sensual attainment on A Sky So Close, the elegantly erotic new album from producer Eric Hilton.
A Sky So Close delivers classic trip-hop sounds over 12 tracks of pure sensory indulgence. “This record is an atmosphere, a state of mind. I indulge myself by making music that I want to listen to,” says Hilton. “It’s a more solitary record than some of my other work, there is not a big list of guest performers on this one. It’s really like my stream of consciousness.”
Hilton’s luxurious production skills are on full display here, as well as the deep grooves that he’s been delivering since the early days of Thievery Corporation, the legendary downtempo combo he co-founded in the mid-90’s. But on A Sky So Close, there is a hedonic weightlessness to this music that verges on the tantric, with no climactic finish to bring the listener back down to earth. Hilton keeps you floating in an extended, delicious haze.
The album opener “Akasha” at first sounds like a band coming onstage to perform, with tentative bass licks and distant synth that quickly morph into a percolating sidewalk rhythm. The yearning whispers of the follow up track “The Dharma Lovers” make it clear that the destination is an assignation. “Breathe Me In” chases the dragon into a smoke-filled room, bathed in pink light.
A Sky So Close follows Hilton’s well-honed production methodology of layering samples and live playing to deliver a more organic sound, with the added punch and feel that only a performance can bring. “I’m really a bassline designer,” says Hilton. “I mean, I’m a passable bass player, but if a lick is a little too tricky for me, I’ll bring in a friend to play it. And I also really like to weave bass samples and live playing together, so you can get new kinds of grooves that one person couldn’t really play.” Drop the needle on “Kali” or “Ghatam” to settle into two of the album’s deepest bass grooves.
“Lalita” is a truly standout track on A Sky So Close, a passive-pop concoction of sitar and Hindi chanting delivered by longtime Hilton and Thievery Corporation vocal collaborator Natalia Clavier. “Natalia is so special – she understands what I’m trying to do, understands my influences and can translate that into a beautiful performance every time,” enthuses Hilton. “She’s Brazilian, but she dialed in a totally different voice for this track. She also sings on “Kali” – she is endlessly talented.”
The title track “A Sky So Close” delivers the album’s most widescreen elegance. Finger tipped tabla hits, string flourishes, wah guitar and a cooking bassline create an empyrean expanse filled with exotic birds, ancient aliens, and beckoning goddesses. Perhaps the most surprising piece on the album is “The Emerald Door”, a desi-meets-drum and bass exploration that sounds somewhat adjacent to the Asian Underground music scene of the late 1990’s.
For the final two tracks on the album, Hilton gently leads the listener back out of the haze. “Behind My Eyes (reprise)” has a laid back but tough groove; the goddess slides your jacket on, kisses your cheek and gently pushes you out her door, back on to the street. “The Lotus Gate” is a mysterious closer, with Ipcress File dramatics that seem to be leading somewhere explosive……..but where to next? Eric Hilton is full of musical surprises.
In the meantime, let go, and fall into the sky. It is…..so…..close.
A Sky So Close by Eric Hilton will be released by Monserrat House on February 20th, 2026 on vinyl, CD, download and streaming platforms.
Beyond Sensory Experience announce “In This Our Life”, a new album that extends and deepens the austere, melancholic sound they have refined since their formation in 2001. The duo continue to balance sparse, cinematic atmospheres with richly layered textures and haunting melodic motifs.
“In This Our Life” follows a sequence of records that critics have described as immersive, melancholic and beautifully unsettling, works which place the duo among the most discreetly consistent voices in contemporary dark ambient. Previous releases were praised for their ability to create vast emotional registers from minimal material, a characteristic the new album amplifies while exploring more expansive song-forms and dynamic contrasts.
Stylistically, the album keeps the trademark BSE touch: low-frequency washes, distant vocal fragments, analogue warmth and crystalline, slowly unfolding harmonies. Where earlier records often emphasized brooding stasis, “In This Our Life” moves the project into more narrative territory, allowing passages of melancholic catharsis to emerge from dense, claustrophobic beds of sound. Reviewers of earlier records noted the group’s talent for making the sparse feel monumental, a sensibility that informs this new collection.
The production embraces both analogue textures and carefully balanced percussive elements. Tracks shift between shadowed ambience and melodic refrains that linger, and the sequencing creates a discreet arc, from intimate, near-silent openings to more emphatic, emotionally charged culminations. Fans of the project’s prior work will recognize the continuity, while new listeners will find entry points in the album’s stronger melodic hooks and cinematic pacing.
CD Edition of 300 copies in 6 panel Digipak. 11 Tracks. Running Time 48:16
OF ONE is the latest vehicle for Dublin’s Alan O’Boyle, who has been prominent in electronic music since the ’90s with Decal, Decoy, Legion of Two (with David Lacey) and Legion Of One. His work in various guises has appeared on labels such as Planet Mu, Rotters Golf Club, D1 Recordings, Satamile, Leaf, Law & Auder and Sabrettes.
“Textures” is the fourth OF ONE album and the first for Cruel Nature Records.
Start with a static texture – a drone, some feedback, a noise loop – and then build. Sometimes the texture that seeded the composition survives the process intact and part of a bigger picture (“Please Answer. Please.”), sometimes it appears briefly as a reminder of the beginnings (“To Exceed On A Full Moon”) and sometimes it becomes the entire composition (“Into The Process”).
Written, recorded, compiled and edited by Alan O’Boyle from a week of experiments in July 2025. Photos of Cruagh Woods, Dublin (2024) by Alan O’Boyle Artwork by Barry Murphy.
Label Description: Celebrating the 50th release on Body Musick with a colossal compilation of tracks by artists from Colombia and around the world who submitted to the open call in early 2025. Special thanks to everyone involved.
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.
