The Maghreban announces new alias and album as Mystery Tiime

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The new record features his vocals for the first time. ‘Maudlin Tales of Grief and Love’.

The Maghreban has announced the release of a new album under the moniker of Mystery Tiime. The new record features a carefully crafted assortment of lo-fi, pop, new wave and electronica which also includes his own vocals for the first time.

The album is titled ‘Maudlin Tales of Grief and Love’ and is described as drawing upon influences which include fatherhood, relationships and opiate addition.

Musically speaking, the album is diy by design and nature, very much reflective of an upbringing which was rooted in a number of stylistic and creative angles as explained.

“Approaching age 10 I got into The Cure, like everyone else. Something in the melancholy of the music spoke to me. Then I got into metal and hip hop, then rave music, and moved on. I started making jungle, then hip hop.

Around 2011 I widened my sample fodder from strictly jazz and funk to anything really, and I started to dig for new wave stuff at my favourite shop. My tastes were widening, breaking out of the stranglehold of ‘keeping it real’ dusty hip hop. I started going out, dancing a bit to 60s Ska, and then house/techno and ended up making dance music under my Maghreban alias.

I was still digging for the early 80s records wherever I could for sampling and then for playing out. Bauhaus’ ‘Satori’, Tones on Tail Dub mixes, SPK records, The Creatures, Quando Quango’s ‘Go Exciting’, Connie Plank, Ultravox, Tuxedomoon records, Swamp Children, Au Pairs and Jah Wobble.

I got married and we got pregnant and I found more connection in my life. It kind of cracked me open and I moved more into my lover. I started to feel strong feelings of connection and also grief. I ended up trying my hand at writing some songs. Mostly about my addiction – the years I was on opiates, or the messed-up way my mind was around relationships. I started refining the demos I had with me singing them. I sent some to Jonnine Standish of HTRK and she was supportive. Her and a few others said why don’t I sing them.

Now, the idea of me singing, is definitely not hip hop. I’ve always been more in the back. I cracked on. Some people said it sounded like Robert Wyatt and I got the arse as if they were saying I bit his style. I took great pains to point out that I never really listened to his stuff before I started singing. It was a compliment. I mean he can’t sing either.

It’s different when it’s my voice on it. It’s bad enough normally. I learnt to live with more imperfection. I’m not the best singer. Or bassist, or anything. And that’s ok. Fuck virtuosity in music I say. Its overrated. Throbbing Gristle had no idea or training as far as I know. This idea covers the cracks for me.

I’m obsessed with death and wrote a lot about that. And the love I feel, and the grief that I become aware of along with that. It’s quite personal music I guess. It’s a bit inward looking. Maybe there’s enough charm there to temper it. It started sounding like an album.

The title speaks for itself. Maudlin means sentimental. Tales, these songs are stories to me, about different times. Grief – there is much sadness and darkness in it, and Love – there is some light there too, a bit of Joy, to frame the shadow. Maudlin Tales of Grief and Love.”