IN THE PRESS

Paul Laird | @MildManneredMax

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Orchestral manoeuvres in the North as Lines of Flight return with another new single that, again, delivers respite from those noisy guitars. A grand, widescreen, slice of intimate & tender, melancholic, joyful electronic pop that pulses, beats & thumps like my broken heart. "Heading out to You" is further evidence of the fact that, in quiet rooms and dark corners, away from the bluster and brouhaha of what used to be the indie scene, people with heart and soul are still making music for people like...you...and me. New music isn't new if it sounds like the same music as before. In Lines of Flight we have something that draws from the well of electronic(a) but that sounds refreshing and challenging. Give thanks

Teri Woods @mothsgiraffes

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Lines Of Flight’s latest single, ‘Heading Out To You’ is my favourite so far. There’s a clearer divide between the music and lyrics, which is interesting considering both are written by Matthew Henderson. The individual instruments are more discernible, as the rhythm section, lead synths and atmospheric sounds each have their own place in Ed Heaton’s mix. Helen Whale’s vocal layers carry Henderson’s melody beautifully. The drums in this track hold more weight than Lines Of Flight’s previous offerings, almost reminding me of U.S. band Pvris’ debut album ‘White Noise’. Sustained chords float beneath Whale’s voice, and as well as programmed synth parts that ping and whir, there is a keyboard line between vocal lines that has a more human touch.

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Indie Gems | http://indiegems.co.uk/lines-of-flight-heading-out-to-you/

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‘Heading Out To You’ is a dreamy synth-pop track that calls back to 80s artists such as Depeche Mode, awash with retro synths and underscored by a dramatic piano and computerised drum beat. The vocals are produced in a lo-fi way, which on first listen I thought was a conscious, artistic decision that works rather nicely, rather than due to working around the limitations of iPhone microphones. Multiple layers of vocals fill out the sound nicely, and when coupled with a lo-fi effect, you get that washy sound popularised by artists such as Sufjan Stevens. It’s also nice that the vocals are not over-produced, and still retain that human touch.

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Mangowave | @@djangoralph: https://mangorave.blogspot.com/

Lines of Flight provide us with passionate Shoegaze and Dream Pop which is deeply influenced by a late-80s New Wave impact. You can hear that bands such as Depeche Mode and The Pet Shop Boys have left their traces in the soundscapes created by Lines of Flight.
The atmospheric sonic is full of passion, pathos, and yearning. It is the sound of souls that long for each other.

MOTH EATEN HEAT

The Rebirth of  Cool | @Mobytanner

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A new duo on the block – the follow up to the equally intoxicating Birthing Bell, Moth Eaten Heart with its electronica dream pop sounds brings back the mid-90s feel of Dubstar and St Etienne and the electronic sounds of peak 80’s pop tunes.

The fact that the duo were strangers when they met on line during lockdown and recorded 10 tracks remotely is testament to the talent of both and their music has already gained many followers and supporters as well as numerous plays on the indie radio stations that have popped up (and my show). Its feel-good summer sounds will see them go far.

Karl Magi | @CulinaryCdn013

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[It] begins as rising, glowing synths climb up over the pulsating, hollow beat and Helen Whale’s voice is warm and caressing, cutting clearly through the throbbing beat and bass. The song is imbued with a slightly floating, ethereal feeling as the delicate vocal melody is supported by piano chords and the beat. Helen Whale’s voice has a wistful ache to it that matches the lyrics and all the time the beat keeps on pushing forward. The piano reverberates out into open space as the hollow weight of the drums moves.

BIRTHING BELL