Remastered version of this long OOP cassette classic. Please note that the original track order has changed. AAD
This is a WHOLENESS RECORDINGS release: WHOLE032025
released October 31, 2025
The Implicit Order: Soundtools, Sampler, Synth, Cassette Recorder, 4-Track Tape Machine, Digital Signal Processor. These tracks were all recorded on a Tascam 4-Track Cassette Machine, no DAW or modern effects were used. A DAW was used to transport them into the digital domain. Original limited cassette issued in 1997. Reissued as a MP3 digital download by Vuzh Music in 2011.
Hot on the heels of the 4th Volume of FORMICA TRIFECTA, Two thirds of that trio ( C.P. McDill & {AN} EeL re-emerge to join forces on another duet outing –
C.P. McDill = cpmcdill.bandcamp.com
Sounds & Noises = C.P. McDill / {AN} EeL Text & Image = {AN} EeL
This is a soundtrack to the short film about the very strange case of a French woman in the 19th-century known only as Mme X…
“DR. JULES COTARD had to be surprised and confused by the female patient (known only as brought to his office at the Pitié-Salpêtrière University Hospital in Paris one afternoon in 1882. The 43-year-old described a peculiar set of symptoms: she claimed she had “no brain, no nerves, no chest, no stomach, no bowels — that there was nothing left of her but the skin and bones. Also, she claimed she had no soul, that there was no God and no devil, and that overall she was nothing but ‘a disorganized body’ with no internal organs and because of that she claimed to not need to eat anymore. Further, she expressed her belief in her own immortality, noting that she could not die a natural death, but ‘will live forever unless she is burnt, fire being her only possible end.’ Sadly she starved herself to death…”
This soundtrack, beyond the story of Mme X is also influenced by other 19th-century eccentrics (and brilliant artists) of her time such as Marcel Proust and Erik Satie. credits released October 5, 2025
Future Children are C C Sheehan and Kevin Coral Additional vocals by Darrian Dawnstar Additional guitar by Malcolm X Abram Additional Drums/Percussion by Ty Landrum
All tracks recorded and mixed at Strawberry MIDI, Kent, OH Mastered by Adam Boose @Cauliflower Audio
Additional synthesizers recorded at Vintage Synthesizer Museum, Los Angeles, CA
Special Thanks to Josh, Jason, Ella, Bernard, Nicolas, Jessica, JED
Some of the synthesizers used on this album include: Moog Polymoog 203a EMS Synthi AKS Sequential Circuits Prophet 5 Oberheim 4-Voice Roland Jupiter 8 Korg PS-3100 Korg Trident MkII Gleeman Pentaphonic Elka Synthex Yamaha CS-70m Yamaha CS-80 PPG Wave 2.2 Roland Juno 60 Korg MS-20 Jen Synthtone SX-100…
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.
Scraped from the digital domain, here are the last recordings I ever did on my 4-track tape machine. It was murder cutting up PLU and some other parts of tracks on tape. I hope you like this “lost classic”, but it was never really lost as it was available from Vuzh Music for many, many years. This is a WHOLENESS RECORDINGS release: WHOLE022025 credits released October 1, 2025
Many thanks to Nigel Ayers whom I wrote asking permission. He said it was up to the record company. And thanks to Vicki Bennett of People Like Us, whom I didn’t ask as I didn’t know her address. Cover art by longtime friend and cohort C. Reider who runs Vuzh Music.
Music For The Rest Of Us 