It has been quite the year for industrial group Wandering Stars and the mastermind behind the project, Derek Christopher. Earlier in 2022, the movie-minded collaboration with Josh Hollar, Scene Darker, was released. Then came the synth pop faux-masterpiece, Sweet Morphine, which served as a fluid takedown of the toxic entities of a local arts scene. And who could forget the two albums released under his own label Paper Machine: Cherimondis’ illustriously orchestrated Dove Archer and Kali Dreamer’s delectably dark October Requiem: 1988.

Despite a message put out last week by Christopher noting that this latest Wandering Stars release would be the last under the aforementioned label, it feels more like a beginning rather than an ending. Four Seven was released on December 2. Along with it came a couple of messages from Christopher, which included information on where the idea for the seven-track dreamlike project came from. 

Four Seven by Wandering Stars

One of these posts referred to the main inspiration for the album coming from a recurring dream from two years ago that took place over four nights. British record producer Tricky, a love interest fleeing to California, and David Lynchian deconstructions are just a few of the themes and characters dreamt up by Christopher on Four Seven. Out of the past few Wandering Stars releases, it can be quite difficult to digest due to the various concepts being thrown your way over a short runtime of 25 minutes. However, that doesn’t make it any less rewarding of a listen.

Each Wandering Stars release has at least a smidge of influence coming from Lynch, the commander in chief and translator of dreams. The deep, dark, wobbly synths and dissonant church bells that greet you on opener “Better Now” create a universe that feels like you’re being awoken from a Mulholland Drive–esque dream. Another example of this is in the rushed delivery of the lyrics to “The Lost Girl.” It makes you feel like you’re in a panicked trance while on the run from danger. Much like being trapped in a waking nightmare. Much like Lost Highway, another Lynch film. It truly creates a sense of panic 

What most impresses me about this record compared to the batch of 2022 offerings is the diverse collection of textures that ebb and flow on Four Seven. In regards to the cohesion of the LP, the excess of textures doesn’t interrupt the dreamlike sequence of the record. In fact, it adds to the chimerical experience. The album is held together, though, by immersive and entrapping sounds that really bring out the heady and beautifully sinister overall tone of Four Seven. Each of the seven tracks has something different to offer when it comes to variety of sonic textures.

The past few projects from Christopher have not entirely focused on the industrial and deconstructionist genres that Wandering Stars is best known for. However, the group is getting trickier at implementing these themes into their songs. From the repetitive, drone-esque chanting of “Blue Tomorrow” to the robotic essence of “Never Been To California” and even the elegantly somber radio waves of “AXxoN N.,” it’s clear that industrial deconstruction is part of Christopher’s musical DNA, at this point. The unforced nature of it makes Four Seven an accessible ride from start to finish.