Luna- Rendezvous: Jetset 2004

This review has been sitting on my desktop since the day I received the promo in the mail, waiting for a date closer to the October 26th release to post. Things have changed, as many may have recently read, Rendezvous is to be the LAST Luna release (announced last Thursday). There has been speculation deep within the Luna fan world of a swan song for some time, though I don't think any of us really suspected a pending breakup. There has been surprisingly no official word as to the why and how's- with Dean being in France to promote the soundtrack to Olivier Assayas' newest film Clean. Word has it we'll hear (or at least there will be interviews) next week.

I could go on for pages spouting how sad I am about the pending end of what has been the most influential band of perhaps the most tumultuous span of years in my life. I have found my thoughts on the cd to be changing since hearing the news; I suppose I started to think of it as a completely different work rather than a release on its own. This is not as refined as I had hoped, but it is my original thoughts on the cd. For what it's worth, my dopamine receptors are shot to hell, my thoughts are spongy, I can't see well. 12 years, 7 proper releases, 3 Eps, 1 live release and a plethora of compilations, singles, and rarities (as well as a few line-up changes) is a respectable career, and they seem to be disbanding while still near the top of their game.

With Rendezvous, Luna took a different approach to recording, this time putting the tracks down with all band members playing live in the recording room. Also different in approach is the lack of guest musicians, limited use of guitar effects, and less use of layering. The cover art for the release takes Luna's fascination with the tiny hours between the evening and the day a step further, using the erotically kitsch photography of motelfetish.com.

It's been a busy year for Luna front man Dean Wareham, supporting the limited release of Alison Bagnall's film Piggie (where he plays the lead role of a bungling ex credit card thief as well as contributing music to the soundtrack). Dean has also contributed to the soundtrack of Olivier Assayas' Clean, with two new solo pieces (supported on bass by Britta Phillips) Strawberry Stain and Wait for Me. This year has also seen the release of faboo Galaxie 500 retrospective video "Don't let our Youth Go to Waste" Guitarist Sean Eden has also been rumored to have lent his ax wielding talent to Elk City for a few live performances, and bassist Britta Phillips starred in an overseas commercial for cigarrettes. Luna/Dean and Britta material has also been featured in a few commercials (Drunken Whistler in Amex and Night Nurse in (gulp) Bud).