After making some bump music for the first season, I decided to try making something more coherent for future episodes.
I’m still not great at ableton but I learned a lot doing this one. The two tribute tracks involved attempts to reproduce music that inspired me as a means of learning the software better.
EDEN GREY’S SYNTH SAMPLE PACK INCLUDED WITH EVERY DOWNLOAD
Modular synth expert and creative force behind the CV-Freqs modular community Eden Grey returns to Triplicate Records with her fourth release entitled “Timewarp”. 10 certified bangers. Cool & slick with classic electronic grit.
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INTERVIEW __________
George Ernst (Triplicate Records): It’s been a while, so I’ll simply ask, how are you and what have you been up to?
Dr. Chelsea Bruno (Eden Grey): Been pretty good, thanks.. working on a lot of projects, the CV FREQS events, teaching, writing articles, modular synth workshops and composing. I released my last album in August of 2025 called “In the Forest of Fangorn” with EC Underground. I’ve also been working on my doll project quite a bit, making and showing my handmade dolls, and some of them have found new homes. I love the doll project because it is another place where I find peace in their stillness and silence, where I find a different kind of sound meditation in exploring sounds I create with my modular synth.
GE: How did the Nomadic collaborations come about? They’re excellent! I hope you two can work together again!
CB: Nomadic is an old friend who played one of the first electro shows I ever booked, and he resurfaced again in my sphere after more than a decade. I suggested he should send some drums, which he did with a few synth sounds mixed in and I just spent a lot of time adding to them and making a nice arrangement for both of the tracks that he is featured on. It gives another personality to my work to collab, to see what comes out, collabs often work out really nicely, so I am sure we will be working together again.
GE: Seeing Space in the Finite is a real trippy and heavy title. Can you talk about what that sentence entails to you, and the broader musical themes of Timewarp?
CB: This track I made with the intention for it to represent a Boards of Canada style beat. I made the beat very much inspired by their tracks and then I wanted it to sound like the other synth themes were also familiar too. Coincidentally they have resurfaced this year, when I made this track in the holiday season to also give it some of that nostalgic feel. Space is forever, and what is finite, is not forever. Phosphorescent also reminds me of my early inspiration from Boards of Canada. I am interested in the ways we experience time differently as individuals in our environments. It is a somewhat mysterious concept.
GE: Do you think an elephant would stand and politely sway their trunk to Timewarp? I reckon they would.
CB: Yes, I do think, and a manatee would swim with it underwater too…
GE: Night Tripper is one of my favorite things I’ve heard you make, or heard in general in fact. Can you talk about that one and the effort that went into making it? I’m being selfish I realize but whatever, I like this song a lot and I wanna hear more about it!
CB: I’m so glad you like it.. yes, it is a special song, its evolution, I like the way it changes but keeps you in the same space. Also, sometimes, oftentimes I stay up late at night working on music to get the vibe I am after. And then it has a whole new type of magic when you hear it during the day. To me, it has an equal mixture of dark and light.
Written & Produced by Dr. Chelsea Bruno Mastered by Michael Southard Artwork by Ned Rush
Wave Frequency is a collection of songs written across 2023 and 2024 that attempt to capture a variety of moods that shift seasonally throughout the year. An Energetic summer leading to an Indulgent fall harvest season, then into the Anxieties of the winter months and finally into a Regenerative spring, and repeating all over again. This is the first release as SANFORD that Daniel Sanford has made, though you might be familiar with his older work as Douibyorthst.
Written, performed, and produced by SANFORD Cover art by SANFORD
There isn’t much known about Crystal Voyager & UFOm, the two musicians that created “Universe People.” We do know that it’s an album of deep ambience and weirdo sonic exploration; simultaneously harnessing lulling sounds and celestial vibrations alongside more visceral sonic encounters that exist somewhere else entirely.
As previously reported from last year’s “Aliens Are Real” by UFOm, the artist has ties to a low-profile religious organization which necessitates their secrecy. Thankfully, we do have a message from the duo to accompany this release: “From the far recesses of deep space, messages have been telepathically received and interpreted into aural vibrations used to open the pathways of communication between mankind and beings that exist outside our observable universe.” Due to the privacy requested by these two artists, this is all we are able to share with you for now, so continue to widen your mind, open your ears and keep watching the skies.
Music by Crystal Voyager & UFOm Produced by Myles Byrne-Dunhill Recorded West of the Mississippi River, USA, Earth
Chaircrusher has found his way back onto the main stage of the Triplicate roadhouse. He’s exhaling more beautifully bizarre and mesmerizing compositions for your listening pleasure with the same laid back yet experimental vigour that made last year’s 3Phase such a rewarding listen. Pick up Stars have Fallen right the heck now. It’s every bit as grandiose and fascinating to listen to as the heaviness of the title implies.
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.
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.
The Space Between Worlds marks the fourth release on the label, from the label’s own Major Axis. Exploring the invisible threads that connect nature’s atmospheres, the EP drifts through shifting skies, distant horizons, and spaces suspended in dusk light.
Breaks move like weather systems, textures breathe like open landscapes, and low end rolls in like a far-off tide. It’s immersive, elemental, and transportive – less a collection of tracks, more an entry point into the spaces where worlds overlap.
Major Axis – Production Tormund – Mixing & Mastering Lykos – Artwork
Music For The Rest Of Us 