If you’re following our label output, you would have noticed a debut album by Quiet Places released last month. Alongside Dennis White and Dave Gardner, the UK-based production trio is yet another milestone in the esteemed Charlie May’s career - one that has brought us some of the most revered and innovative music of the past thirty(!) or so years, through the likes of the duo, Spooky, as Sasha’s engineer and producer, or more recently on stage with Sasha, Dave and Dennis as part of the Refracted Live Shows. To say I’m honored to have Charlie a part of the label alongside Dennis and Dave is an understatement, let alone having him provide us with this stunning isolatedmix.Of course, by me holding back any potential royalty payments until he agreed ;-) I was able to persuade Charlie to go deep with this one - taking the time to answer a few questions, provide a meticulously detailed track list (for the diggers) and a journey that will battle for your very favorite mix of the entire 100+ series so far. Charlie warned me at the beginning of this; his mixes are rare in this shape and form and if he’s doing it, he’s going to put everything into it. He didn’t disappoint. Thank you Charlie for the time and effort gone into this one. You can grab the last few copies of the Quiet Places record here, (or digital) featuring one third of the man himself. Interview with Charlie MayASIP: You're no stranger to production partnerships over the years, of course, but how did Quiet Places come about? CM: Dave Gardner, Dennis White and myself were an integral part of the Sasha Refracted Live shows. I think we spent 6 months building this technical monster with 16 musicians on stage and over 2hrs of material all of which had to be meticulously planned and executed. It was like putting a man into space. No room for error and of course we wanted to do it the hard way... without laptops on stage. It was a beast. So Quiet Places came about by necessary accident. The three of us were programming and rehearsing all the time and of course we would continually come up with these little jams which we always recorded one way or another. As an antidote to the stress and structure we were under the Quiet Places project fell together very loosely, and that looseness and need to relax musically became a template for the album. Only 2 rules : no beats and no grid. Once you step away from those two constraints you are in a different world sonically. It's a very loose jam with laptops .. playing all the weird and wonderful nuggets we've each been hoarding over the past months. So what began as purely therapeutic became a rewarding record making experience. Pictured - behind the scenes with some of the Refracted Live crew What do each of you bring to the studio and process when making a Quiet Places record? CM: Whisky, plenty of sci-fi both new and old, books and movies and a particular strain of humour that few can grasp / tolerate ... Dennis is a first rate engineer as well as an accomplished drummer. He's about the only one who can play anything in time and also remember what to play immediately. Plus he gets saddled with a lot of the arranging and mixing .. all the grunt work which on a seamless ambient record can get fairly hefty.Dave is a bit of an encyclopedia of just about anything as long as it's weird and no one makes a sandwich quite like he does, so we always eat well. He has this amazing knowledge of electronic music and its production .. who did what when and how. He's the one who will turn around and say 'that's shit' or 'take half of that out and it's great'. He gives me crap for liking Def Leppard but it's only because he hasn't seen the light yet.I have no idea what I do .. play some bits and find weird sounds and samples .. bitch and moan about everything and try to understand their contraband humour. We'll probably hate eac