« Hôtel Costes presents... » is a collection of exclusive music recorded at STUDIO HC, the hotel’s studio, and here we see the series deliver its second album from Midiminuit, the outfit made up of pianist Julien Quentin, bass player Yonatan Levi and electronic musicians Cesar Merveille & Adrien de Maublanc (Masomenos).

Following on from the ‘Round The Clock’ LP back in September 2019, Midiminuit return with more of their atmospheric electronic twist on modern classical and contemporary jazz. Across the project they deliver hazy jazz jams like the bass noodle, wandering keys and metallic percussion fuelled ‘Kitchen Table’, the baroquely unfolding improvised feel of ‘Loop’ and the snaking dynamic groove of ‘Why Is The Bass So Low’.

The collective also veers into more abstract realms with contributions like ‘Welcome’, which features the ethereal stylings of vocalist Hani, the psychedelic opening piece ‘Do This Thing’ and the minimal modulating feel of ‘Barrio Acido’.

The album also presents some more new age aesthetics via the slowly blooming synthesis of ‘Deep In’ and the cinematic soundscapes of ‘Kindness’ which flutter amidst an intricately crafted rhythmic pulse.
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Release on November 20, 2020

Hotel Costes presents...The Key Boost

A3 - Why Is The Bass So Low

-> https://soundcloud.com/icoz-609030086 <-

.colliding contrasts.
.searching for permeabilities.
.art is one huge manifold.

Come and visit the Northern Rivers. 
Beaches and rainforests

Born in Berlin, raised in Paris @hotelcostes, and now expanding beyond borders.
STUDIO HC ORCHESTRA is a hybrid entity -part studio, part label, part ever-evolving ensemble founded by Joan Costes and 
Adrien de Maublanc (Masomenos)...A living orchestra without fixed form, shaped by collaborations, textures, light, and places.
It started in Berlin, then disappeared behind the construction dust of Hôtel Costes, where everything  grew quietly, in the in-between.
A studio carved into a building in transformation.
Music composed among unfinished walls, flickering bulbs, and dichroic filtered shadows. Private sessions in a space not yet meant to be seen — or heard. That’s where the orchestra found its voice.
Where silence, texture, and light became instruments in their own right layered not only with sound and silence, but with voices:
Terence McKenna, Aldous Huxley, Graham Hancock thinkers who challenge perception, decode the dream, the orchestra doesn’t just play.It listens, samples, reinterprets, and invites.
In the future: live conversations, unscripted dialogues with minds that bend the frame. This is not a genre. It’s a frequency. An invitation to tune in. Every contributor - sonic, visual, intellectual- part of the composition.