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'Wino go full Zeppelin! Inspired by a recent trip to New Orleans and the deep South, Davy & Co. wrangle sliding basses and pumping organs into 20 minute rock n' roll-on odyssey. Chugging locomotives fall into an infinite groove on the A side, while the B takes the underneath perspecitve- rattling out subdued sub bass frequencies. Full sleeve artwork by (the legend) The Germ . Mastered by the Bastard."

The EP titled "Venere pribegind" tells the two part story of Venere (Venus) and her eternal odyssey around the Sun, as we gaze upon it on our wild blue yonder. At dusk, she walks the heavens in a spirited, yet sorrow pace, a reminder of the dawn that follows.

Second Lp From French Electronic Talent Thylacine
Regardless Of Whether Or Not The Thylacine, A Species Of Marsupial With A Tiger-striped Back, Still Lives
In Tasmania Or Not, It Is In Argentina That This Young Star Of The French Electro Scene Decided To
Record His Second Album. To Create A Follow Up To Transsiberian, His Brilliant First Album That He
Recorded In 2015 Aboard The Train That Links Moscow To Vladivostok, William Rezé, Aka Thylacine,
Bought A 1972 Trailer, One Of The Famous All-aluminum Airstreams.
After Painstakingly Transforming The Trailer Into A Recording Studio, He Put His Beautiful American On
A Freighter Across The Atlantic And Got It Back A Month Later In Buenos Aires.
He Was Drawn To South America By The Pull Of The Unknown, The Absolute Absence Of Reference. He
Wanted To Immerse Himself In Desert And Lunar Landscapes, Explore Multicolored Canyons, Sand
Dunes, Giant Cacti Forests, Snow-capped Peaks... And Write, Alone, In The Intimacy Of His Nomadic
Studio.
After Making Stops In The Middle Of Nowhere, He Returned With Ten Tracks That Marvelously Combine
Moderat's Aerial Melodies, The Solar Touch Of Nicola Cruz, And The Techno Power Of Paul Kalkbrenner.
His Electronica Is Often Laden With Saxophonehis Instrument Of Choice, Which He Started Playing At
The Age Of 6 At A Conservatoryand Features Vocals From Julia Minkin (of Kid Francescoli), Clara
Trucco (a Member Of The Trio Femina), And Juana Molina, "considered The Argentinian Björk," Says
Thylacine.
Mission Accomplished: The Young Angevin's Vaporous Layers Are Tinged With Charango, A Local
Instrument, And Melodies Inspired By Traditional Argentinian Songs. "i Wanted To Go Back To A Music
With A More Acoustic Sound."
And The Tracks Follow One Another, Telling The Story Of His Extraordinary Odyssey: The Hypnotizing the
Road Expresses The Miles Of Road Traveled; The Captivating Tale Of santa Barbara Evokes The Close
Ties Between Inhabitants Of A Tiny Village In The Andes; And The Rhythm Of 4500 M, Cut By The Flow Of
The American Rapper J. Medeiros, Recalls The High Desert Where Thylacine Once Had To Sleep, Forced To
Stop For The Night By Storms Of A Rare Intensity.
Three Months And Ten Thousand Kilometers Later, This "concept Album" Is Ready; It's Called Roads Vol.
1, And Its The First Installment Of A Collection That The 26-year-old Thylacine Expects To Add To As He
Continues His Travels. His Itinerant Studio, Ingeniously Equipped With Solar Panels, Will Take Him,
Hopefully, Very Far.

With the help of the Orchestre Regional de la Réunion, Labelle opens a new chapter in the merging of classical and electronic music, and the heritage of Europe and the Indian Ocean. This third LP, composed especially for the Orchestre univers, was recorded live over the course of four concerts, performed at the four corners of the Réunion, in the island's most beautiful concert halls. A sequence of breathless trancelike moments, Post-maloya and technological experiments, the album floats between tradition and modernity, like a sonic odyssey that is only the beginning of an ongoing saga...

Following on from last year's releases by Neue Grafik and Selectors Assemble, CoOp Presents step into 2019 with a new 4-track EP courtesy of Oliver Night; a DJ, producer & singer born and raised in North London.

In addition to joining the Selectors Assemble family recently, Oliver is a member and producer of Roots Manuva's Banana Klan. He established himself as a DJ some 15 years ago, and has since played across the capital, from the Tate Modern to Boiler Room. His music has been supported in the past by the likes of Tony Humphries, Kerri Chandler & Seth Troxler,

This four-tracker illustrates Oliver's diverse range of influences, from the initial inspiration of his Jamaican uncle, musician Hughie Izachaar (who worked with Lee Scratch Perry & others), through to his passion for London's broken beat movement. Oliver's sound epitomises tru-skool UK sound-system ethics; grounded in reggae and dub production sensibilities, whilst built solidly for the bruk and house music dances of today.

The set kicks off with title track, 'Make Believe', featuring the powerhouse vocals of BB.JAMES aka Bethany Barnett Bywater, who's had previous releases with EVM128, Spoek Mathambo and Waze & Odyssey. London-based singer BB is a talent to watch in her own right, as proven on this monster of a track, which has all the ingredients to crossover & damage dancefloors underground and over. Sassy soulful vocals ride a woofer-shattering b-line and synth stabs with devastating effect - a sureshot future anthem.

Next up is 'Swing For Life', an instrumental jazz-house affair, which features the talents of Vancouver-born trumpeter, Jay Phelps - a highly-prolific, highly-acclaimed musician in the jazz world, who found his base in the capital over a decade ago and has since worked with a veritable who's who of international jazz artists, including Courtney Pine, Wynton Marsalis, Amy Winehouse, Hugh Masakela & George Benson, to name a few.

Finally, the flipside brings with it two versions of the cut 'U Got To', remixed by Selectors Assemble family, Cengiz, and label founders IG Culture (fresh from receiving a 'Lifetime Achievement Award' at the 2019 Worldwide Awards) and Alex Phountzi (formerly of Bugz In The Attic) aka NameBrandSound, delivering more of their signature bassweight business. Oliver unleashes his own vocal talents on this track, deftly demonstrating a rich, soulful Omar-esque quality to his voice, and completing a truly heavyweight debut for the label.

This record is huge. Essential business, no BS. A truly firing start to the new year for CoOp Presents.

Limited vinyl & digital available on ********

As Metronomy work on their forthcoming sixth album, they take a moment to reflect on the 10th anniversary of their breakthrough album 'Nights Out'. Metronomy's Joseph Mount has delved into the archives for 'Nights Out: 10th Anniversary Edition' which will be released on February 8th on Because Music.

It features the original critically acclaimed album alongside a second LP which expands upon Mount's vision with a set of unreleased demos, rarities and b-sides - many of which make their first appearance on vinyl. Two of the highlights come with alternative versions which have become staples of the Metronomy live set: a bedtime dub version of 'Holiday' which takes it into a darker, glitchier direction, and a French-language version of 'Heartbreaker'.

Mount's Francophile leanings are also explored in Breakbot's remix of 'A Thing For Me', which contrasts French touch vibes with Mount's distinctly English-accented vocals. Previously issued on an exclusive Rough Trade bonus disc, 'Over' is an instrumental of cinematic scale, while the disc closes with four previously unreleased demos including the leftfield minimalism of 'Das Booty'.

Although Metronomy's 2006's debut album 'Pip Paine (Pay The £5000 You Owe)' was discovered by those in the know, it was 'Nights Out' that captured the imagination of a much wider audience. Mount achieved the seemingly impossible: he highlighted both the joyous atmosphere of a big night out and a taste of the resultant comedown in a set that playfully veered towards being a concept album.

About Nights Out Joseph Mount says: 'Oscar reminded me the other day how I said to him on completing Radio Ladio 'I think I've just written my first number 1'. I hadn't. We also reminisced about the day we borrowed the Honda Insight for the album artwork: I found the owner on an enthusiast chat room, we gave his daughter two Kate Nash tickets and a meet and greet with Kate in exchange for a few shots with the vehicle... simpler times. Shout out to Myspace.'

Metronomy's most recent album 'Summer 08' was released in 2016 to widespread critical acclaim. DIY described it as a 'pure-pop odyssey' and NME concluded, 'Mount has done it again. He could write music about the impact of Brexit on the UK's trade with China and make it sound amazing. He's that good.'

Metronomy bring 2018 to a close when they play Edinburgh's Hogmanay Street Party on December 31st. The 65,000 capacity show is headlined by Franz Ferdinand and completed by Free Love.

Midday Moon is a survey of ambient and experimental music that emerged from Australia and New Zealand between 1980 and 1995. These recordings are sourced from a rich variety of micro-labels, private pressings, theatre soundtracks and artists' personal archives. Curated by Melbourne based DJ and archivalist, Sanpo Disco (a.k.a Rowan Mason), the collection delves deep into the world of outsider music that emerged in Australia and New Zealand in the latter half of the twentieth century, as synthesisers and early workstations began to enter the consumer marketplace. The record is an odyssey in itself, a journey that takes listeners into the unsung world of Australian new age composers. There are stories abound within this volume, from the mysterious disappearance of Helen-Ripley Marshall after the release of her 1988 album 'Green Chaos', to the journey of American-born, Perth based blues/rock guitarist John Heussenstamm, who unexpectedly turned his finger to 'ambient' music in the late 80's; and again from Melbourne based Ros Bandt, who made a series of recordings exploring the resonance of a hollow concrete cylinder 5 stories beneath busy Collins Street in Melbourne's CBD. Compiled by Sanpo Disco / Mastered by Mikey Young . '(Ambient music is) a surrounding influence that induces calm and a space to think... it can accommodate many levels of listening attention without enforcing one in particular.' - Brian Eno / 'A richer and more diverse ambient genre began to form. Music that crafts a unique cultural geography of landscapes and atmospheres: real and imagined, natural and man-made. Some artists turned their attention to the singular acoustic ecologies of overlooked spaces around the country. Others fostered interests in non-Western music cultures and instruments. The common thread is their use of new technologies to conjure interior and exterior regions, through acoustic and synthesised sounds.' - Sanpo Disco

Malfunctioning speakers, & digital dreamscapes, SQUIRRELS ON FILM's 4th release explores the outer reaches of techno with impolite, reckless abandon.
Psychedelic sound explorer Its Own infinite Flower, who was
responsible, along with head squirrels Solar & C.l.a.w.s., for San
Francisco underground punk rave/happening Hostile Ambient
Takeover, unleashes his first official release, The Plumes of Love (ARE BLACK!). After contributing a track to 2017's Spacetime Continuum/ Juju & Jordash curated Air Texture V compilation, this four track EP of abstract tech-noise brings the sounds Its Own Infinite Flower refined in the basements & warehouses of the Bay Area's underground music scene to the wider world, whether it's ready or not.
'Drone, Drugs 'n' Dissonance' creeps into life as a thunderstorm of
white noise, out of which a cold-rave pulse somehow metastasizes into something resembling techno, although this is a deformed, uncivilized, unwanted mutation, separated at birth & raised in a toxic wilderness. It builds slowly before turning up in a rage of digital distortion, a black metal dub party held at the edge of a melting glacier. 'Oh, Empire of Roses' is a Dada Phycho Jazz Electro number. Dissonant synth chords snake around each other in a playful ouroboros of manic future funk, never knowing if it's starting or stopping, coming or going. Relentless bass throbs through the track, which almost threatens to bubble into classic acid electro before fizzling out. On side two there is 'Devotion to a Peacock Angel,' an angular breakdance groove for the characters in the bar scene in Star Wars. Electro dub rhythms keep stay grounded as everything else rips apart in all directions over the course of the track. On 'Misfortunes of El Dorado' a soundsystem bangs in the next room, only the deepest bass escaping, shaking reality until it's torn apart in waves of distortion, a classic techno synth string wandering over the top of everything in a full blown Techno Jazz Odyssey.

SQUIRRELS ON FILM continues its adventure at the edges of techno
with the mind bending stylings of Its Own Infinite Flower's debut EP,
fitted with another beautiful hand-drawn, full color sleeve by New York artist Bert Bergen. The Plumes of Love (ARE BLACK!).

A Credible Eye Witness teams up with enigmatic Ghost Ride to create a new aesthetic and musical identity to his ACEW project. Loud yet energetic "Stellar Tunes" introduces four dancefloor electro cuts characterized by European noir tones and US funk sororities. From the Detroitish influences of opener "Sound Odyssey" to the ultimate 90's groove of synth pop 'Political Collapse', passing through the cosmic analog style of emotional "Purple Sky" or the hammering vibes of psychedelic "Obsidian", the 12' brilliantly combines acid abstract sounds, experimental and structural elements that underline the mastery of Emilio Urbano in developing original and intricate electro music. 'Stellar Tunes' sees the Italian moving on a bit from his first productions to explorate funkier landscapes. Expect nothing but electro at its finest!

'All around is invisible. Plan to be outside for some time...'

A diary of sonic cartography by long time friends, and neighbors K. Soublis aka Fluxion, and Savvas Ysatis.

Stemming from prior mutual respect, and interest for each other's work, it was not long after their first meeting at the turn of the millennium (when Ysatis was recording for Tresor, and Soublis for Chain Reaction) that a desire for a future collaboration was born.

...and a great many years later. Enter 'Soluce'.

A newly formed alias, and the vehicle under which to present the odyssey that is 'Birth' (LP).

An album conjuring images of alternate regions, exploratory from start to finish.

Welsh trio HMS Morris return with their second album, the futuristic, bilingual alt-pop psych odyssey that is Inspirational Talks.
Hailing from Cardiff HMS Morris make a colourful, eclectic and eccentric sound. They've previously cited the work of Syd Barrett as an influence but their penchant for creating sparkling avant-garde music as deliriously catchy as it is experimental also makes them comparable to Welsh contemporaries. There's elements of Gwenno's synth-laden pop, touches of Cat Le Bon's otherworldly psychedelic songcraft and lashes of the quirky multi-instrumental indie alt-pop of Gruff Rhys.

Quest, transit, chaos, mutation, transfiguration, ascension and illumination. These are some of the steps followed in the journey of life that are embodied on each track of the album Adonai. The solo debut of the multi-instrumentalist composer Marco Paul condenses a career of more than ten years, in which, the search for the truth of oneself and authentic sound has traveled and nurtured from different genres and cultures. Adonai is an odyssey that combines sounds and images of the earthly and oneiric worlds: an audiovisual work that opens several windows to the different perceptions of the facts that make up the life of the human being.

After 9 years of constant international touring, 6 albums and more than 400 live performances with the bands Sour Soul, Ratbot and Funk My Jesus, as well as the conception and musicalization of the award-winning short films "Undermine" and "24K All You Need Is Gold", Marco Paul decided to retire to an island in the Caribbean, where he found and refined his sound. Thus, between 2014 and 2016 he created the music for Adonai, a work produced by Aitor Etxebarria under the label of Forbidden Colours.

The recording includes guest musicians from different countries such as Aitor Etxebarria (synthesizer, electronic magic) and Hibai Etxebarria (double bass) from the Basque Country; Michael Alan Hams (drums and percussion) and Joe D'Etienne (trumpet) from the United States; and Fatima Gozlan from Hungary (Ney and Derbake).

The consummation of the work is a mid length film created in 2018. It consists of 5 chapters directed by 5 different directors.

The audiovisual journey begins with the conception of the philosophical "Filius", an alchemical symbol that represents the inner child, which transforms the experiences of life into the soul's gold. Later, in "Sylvian" (title that refers to the brain fissure that contains the auditory cortex), by listening to the subtle message that surrounds us, our consciousness and perception expand. Then, in "Tiamat", the pristine chaos that gave birth to the gods, embodies chaos, the confusion generated by the multiple voices: on one hand the moral and imposed precepts, on the other hand, the inner voice that seeks the liberation of the infinite possibilities. In "Hawa", through the recognition of the power of solitude and introspection self-reflective awareness is reached. Finally "Adonai" is the ascension to enlightenment: the further connection with the absolute. As an encore (only available in vinyl) "Teurári" is a gift: a tiny flower where all the points of the universe merge.

Confunktion Records own Mr. Confuse returns with his fifth studio album 'Only A Man'.

This album is about the depths of Mr. Confuse and therefore a very personal album in a way. From well-known soul topics of love and hate to social issues of modern life - this album is all about an odyssey through time, rhythm and music.

Times of big studio personals are long gone so a big part of creating this album was the imagination what kind of instruments, musicians and sound design is wanted. With up to 16 international musicians, Mr. Confuse created incredible sounding big arrangements.

The way Mr. Confuse produces his music is inspired by growing up with the 90s hip hop producer technique of creating something new by referring unheard funk and soul. This from of appreciating 60s and 70s music in order to bring it on a new level of musical expression is a clear trademark of Mr. Confuse.

The process of sampling and resampling recorded musicians creates an organic, powerful, authentic and danceable funk sound, which can be heard in each and every second on this record.

Twisting electro funk from the 80s into heavy 60s and 70s funk that could have been the blue print for the original version became a true Mr. Confuse feature already years ago. This time he re-funked the well-known freestyle electro classic 'Let The Music Play' by Shannon.

Also one of the reasons it's entitled 'Only A Man' is because it means composing, producing, arranging, mixing, recording, organising, promoting and going abroad preforming by just one 'man'.

Matthew Dear's Black City Can't Be Found On Any Map. It's A Composite, An Imaginary Metropolis Peopled By Desperate Cases, Lovelorn Souls, And Amoral Motives. Like Most Literary Gothams, Black City Is A Place To Love And Hate, As Seedy As A Nightclub's Back Room And As Seductive As The Promise Of Power. Matthew Dear, The Musician, May Live In New York City, But The Matthew Dear Of Black City Inhabits A Sound-world Unlike Any Other: A Monument To The Shadowy Side Of Urban Life That Bumps And Creaks, Shudders And Wakes Up Screaming In The Middle Of The Night. Black City Is Matthew Dear's Third Album On Ghostly International, And It's His Darkest And Most Engrossing Work To Date.

From The rst Notes Of Album Opener "honey", It's Clear That The Love-obsessed Matthew Dear Of 2007's Asa Breed Has Given Way To A More Existentially Paranoid Entity, As Creeping Tempos Dominate, Cavernous Atmospherics Envelop The Listener, And Strange Distortions Crackle On The Horizon. In Black City, Nothing Is At It Seems: Leadoff Single "little People (black City)" Is A Nine-and-a-half Minute Disco odyssey, subverting its gleaming electronic lead with eerily giddy backing vocals and cryptic, ominous lyrics ("a frozen wasted heart / has died", "love me like a clown"); "You Put a Smell on Me" is a sordid sex romp set to hysterically chattering percussion and a serrated synth line that will set your teeth on edge; "More Surgery" at rst recalls the barely-there Krautrock of Harmonia in its burbling minimalism, until Dear's chanted chorus of "Alter genetics / to make my body glow / I need more surgery / there's so much more to know" sends the track hurtling into a dystopian future.

And yet, for all the foreboding moods on Black City, it's the album's sweeter moments that illustrate Matthew Dear's growing maturity as a songwriter. "Slowdance" is a futuristic lullaby in which Dear articulates a lover's helplessness ("I can't be the one to tell you everything's wrong") over breathy, Arthur Russell-esque cello swishes; the album-closing "Gem" is an achingly simple, reverb-drenched piano ballad that ends with a long, slow fade. Even in Matthew Dear's Black City, there is hope.

The young virtuoso producer Prins Emanuel follows up his acclaimed debut album on Music For Dreams with something quite different than what we're used to hearing from him. While Arbete & Fritid was an epic odyssey into the furthest corners of disco with an array of studio wizardry and complex rhythms, Diagonal Musik is a sparse and delicate exploration of the acoustic guitar. Steering away from his comfort zone, the Prins follows his intuition for experimentation and lands somewhere in a field of genre-defiant folk-jazz meditations; a development that fits like hand in glove for the eccentric nature of Music For Dreams. The album reads like a soundtrack to the country house Emanuel shares with his family and friends, a place on the map called Oran. From atop a hillside overlooking a lake, Oran is lodged deep in the heart of the Skåne landscape, the southern part of Sweden that once belonged to Denmark. This place encompasses the whole of the album, as the track titles all pinpoint crucial locations on the courtyard and its surroundings. 'Orön' which opens the album is named after the small half-island that sits in the centre of the lake. There's the hand-built sauna ("Bastun") at the edge of the yard, and behind that in a slope the old root cellar ("Jordkällaren"). While the nature here is anything but balearic, the overwhelming calm of the country life seems to inspire the same laid-back attitude and passion for all things organic (and not just musically, as this is where Emanuel also makes cider from local apples according to the vin naturel school). Upon listening to Diagonal Musik one might be keen to draw references to works in similar style, such as the output of late 80's new age label Windham Hill or the dreamy lullabies of long-time friend and Music For Dreams affiliate 55 Cancri e. This is all circumstantial however, surprising as it may seem.

Following a self-titled EP last year, Dario Rojo Guerra aka Natureboy Flako is set to release his second album 'Theme For A Dream' on Five Easy Pieces on 20th July 2018. Exploring the boundaries of music, science and spirituality through a prism of colourfully synthesised-sound, heart-pounding rhythm and cinematic soundtracks; the core essense of 'Theme For A Dream' is the exploration of the human inne space, the balance of musical energies and music's healing capabilities. 'Theme For A Dream' is a more electronic sounding record than his debut. Guerra makes extensive use of old and new analogue equipment such as the Juno 106, Korg's MS-20, ARP Odyssey or Roland's SH-2000 synthesisers, alongside recordings of vocals, guitars and other instruments. This serves to create a dynamic and eclectic sound spectrum, all unique to his musical handwriting. 'Theme For A Dream' will be accompanied by an experimental and interactive website that allows users to preview music while being an immersive, unique multi-sensual 4D xperience of its own. Snippets of the music from 'Theme For A Dream' become audio visual poetry and an immersive exploration of state of the art technology and oneself. 'I don't think technology necessarily means not being natural. Technology can be very much in balance with nature, since it is mostly just trying to imitate or trying to understand something from within nature. Around recording 'Theme For A Dream', Guerra also co-produced/co-wrote and engineered Kutmah's recent debut and Jitwam's forthcoming album, as well as produced almost half of Fatima's follow up album to 'Yellow Memories'. He is currently working on a film project with a London based production company and is already working on a new album, which is expected to bring back his vocal talent, previously released under the moniker Dirg Gerner.

A warm human hand sculpts the icy machine-like sounds into a meticulous harmony over undulating bass and entrancing snares, clasps and industrial heartbeats. This continuous circulation of sound and its ever beating rumbling-flexed sub bass found in Rebecca Goldberg's newest batch of acid-techno arrangements effectively replicate the natural functions of omega 3, or -3, fatty acids albeit in musical-form. Whereas ingesting the special carboxylic acids found in plant and marine oils woll fortify your vascular system into a well-oiled machine, Goldberg is using a table of various analog machines to manifest a similar, yet uniquely propulsive flow of energy through a composite of frenetic hi-hats and trudling kick drums, looping under spacey Rolands waving out reverb splashed frequencies coiling synthetic intonations.

The beats reach the feet, the bass unlocks the hips and the synths pull and twist the shoulders, staving off stagnation or decimating a collective clotting - we are loosened in restorative ways to the sleek assemblages of one of Detroit's leading DJs/composers on the electronic music scene. Goldberg's 25-minute odyssey is unceasing in its sinuous stream of mesmeric techno music, as if powered on by relentless agents found in the healthful acids for which this EP gets its title.

Goldberg has distinguished herself by cultivating the seeds of techno into something that designedly meditates on the enduring vitality of the organic and the holistic in our lives--even as our socialization, and maybe even our dance floors, are predominantly digital in character and operation. -3 continues to stimulate our brains in two ways, just like 2017's 313 Acid Queen. Her previous record used field recordings and found sounds from the shores of Detroit's Belle Isle and other neighborhood sidestreets to thread the simple majesty of the flora and fauna that sustains even if at the corners of a concrete metropolis. -3 is bringing you from the outdoors into the inner workings of your body--particularly the blood cells that act as fuel for your limbs, your lungs and your brain. It's the -3 fatty acids that keep your system strong and smooth. It's Rebecca Goldberg's latest acid techno fever dream that keeps you perceiving that (and other things) even as you dance...

Blair French returns to Rocksteady Disco after last year's brilliant Standing Still IsAn Illusion for another 12' of mind, body, and soul music. Public Park' starts off the release, with flutes, guitars, and African marimbas abound, presenting itself as the song of the summer. Spirit Guides' follows, taking listeners and dancers on a spiritual afro jazz odyssey. The flip features two versions of Public Beach', a communal ecstatic dance meets Detroit Jit footwork cut with a massive bassline, pulsing percussion, and harmonized chanting, constructed for open­minded dance floors and deejays. Limited to 300 vinyl, TIP!

Transcendentally Beautiful, The Space Lady's Music Is Returning To Earth. Transmitting Messages Of Peace And Harmony, The Space Lady Began Her Odyssey On The Streets Of Boston In The Late 70s, Then San Francisco Ten Years Later, Playing Versions Of Contemporary Pop Music With An Accordion And Dressed Flamboyantly. Following The Theft And Destruction Of Her Accordion , The Space Lady Invested In A Then-new Casio Keyboard, Complete With A Phase Shifter And Headset Mic, Birthing An Otherworldly New Dimension To Popular Song That Has Captured The Imaginations Of The Underground And Its Leading Exponents Ever Since Having Toured Successfully All Around The World With Her Greatest 90s Hits Record, She Felt It Was Time To Record New Songs... And So She Did!

Warm return once again... One of the most consistent and influential agencies to have operated in the 2000s, the collective continue to develop their original agency, events and record label, and things are heating up very nicely. Following soul-arresting releases from Elliot Lion and Face + Heel comes this four-track odyssey from Belfast's Lunar Orbit Rendezvous AKA LOR. Ready for take-off

Our mission is set with 'Mystery To The Viewer', but what is the main mystery Is it the gravity-defying thrust of our engines or the identity of the anonymous (yet well spoken) narrator Listen closely for clues amid the heavy pulsating chords as we break away from the earth orbit and plunge deeper into the stars.

'In This Detail' sees us hurtling further and further into the dark unknown. There's a deep chilling aesthetic at play here as LOR makes his 808s weep with the loneliness only a long-stay astronaut can sympathise with. In perfect contrast, the isolation is balanced by the direct and vital 'Oriole'. One of LOR's earliest projects, updated with all the skills and techniques he's learnt on labels such as Exit Strategy and Cin Cin, it's a vital composition that rises and rises as we engage hyperspeed through the cosmos. 

Finally we land back on our home planet to the marching momentum of 'White Light'. Almost stately in its pace and rhythmic stride, things suddenly take a turn for the intense as a warping bass siren triggers a much darker direction and a series of spasmodic kicks and heavily shelved filters. Welcome home...