After the 1978 exploits of Osmose, Ariel Kalma returned to the studio in 1980 to create the space-ambient library record Interfrequence, reissued here for the first time. In a continuation of Kalma's personal research into the combination of electronic machines with natural sounds and acoustic instrumentation, the French musician plays the master of ceremonies with his synths, but he diverges from the symphonic, galactic suites composed by other standard-bearers like Richard Pinhas and Klaus Schulze. One finds 18 short sound-pictures (a few of them in collaboration with M. Saclays) that emanate an unparalleled variety of ideas and ethno-cultural influences. Kalma's distinctive compositional style always returns in a crescendo of ecstatic emotions reflecting on the hidden and secret aspects of the micro- and macro-cosmos. If in Osmose the sampling from the mother Gaia was more explicit, here nature is investigated not only in terms of pure tones, but also in the dynamics of flows and movements dictated by the frequency of Moogs and organs. Complete with embellishments of hyper-space flutes, trumpets, and clarinets, Interfrequence is yet another chapter in Kalma's personal saga of sound imagery discovery.