The former Cocteau Twins bassist, keyboardist and co-writer, Simon Raymonde has been beavering away at managing his Bella Union label for the best part of 20 years, a durable indie that has attracted the likes of Fleet Foxes and Midlake in its time, as well as a number of superb alt-indie acts.

Music has always been a huge part of his life; as a musician, a record label boss, avid vinyl collector, and DJ. So, it's no surprise that he has put together a new project, along with old friend Richie Thomas, who was signed to 4AD as the drummer with the free flowing proto-post-rockers Dif Juz way back in the 80s. This however is largely the work of Raymonde, although Thomas’ stick work is exemplary throughout; at times muscular, at others delicate. His idiosyncratic style lends much of the material here a distinctive, crisp sound.

Melancholia still runs deep within Raymonde, a mood that the Cocteau Twins excelled at with their chiming, and gothically ethereal music, that was helmed by the impenetrable lyrics of Elizabeth Fraser. Her singular voice is never to be repeated, and so Ojala features a panoply of guest vocalists, one or two of which bear more than a passing resemblance to Fraser in the vocal department. From the sing-talk drowsy eccentricities of Ghostpoet to the incredibly expressive singing of newcomer Beth Cannon, each singer largely wrote their own lyrics, further lending a distinctiveness to each track that would not have been the case if only one vocalist performed throughout.

Largely scored as improvisational jamming, with Raymonde on piano and Thomas on drums, Raymonde then went about layering the songs here and there with extra keys, guitars, effects and, of course, the singers. The improvisational nature of the basic recordings were subsequently developed into some kind of structure but, crucially, without losing their free-flowing foundation.

Highlights include the opening track 'Bones', which features perhaps the vocal performance of the album, the extraordinary voice of Beth Cannon, reminiscent of Mary Margaret O'Hara; hugely expressive, from a whisper to a meaty growl, with drums, bass, guitar, keys and gospel backing vocals meandering along a fluid rhythmic backbone. Raymonde’s love of singers in all their varying tones and styles is further demonstrated by the childlike voice of Karen Peris (of The Innocence Mission) on ‘The Places We’ve Been’, while Ghostpoet adds his highly unusual poetic tones to the relatively funky, and dark trip-hop vibe of ‘Reckless’.

Elsewhere, relative unknown Soffie Viemose perfectly compliments the dream-pop landscape of ‘Amber Sky’, while Ed Riman (aka Hilang Child) is also respectful to the spacious atmospherics of the largely piano-based ‘Frenzy, Fear’. Indeed, thanks to the careful curation of Raymonde, all the guest vocalists are both respectful and complimentary to the music: there’s the Bowie-esque theatricality of Phil McDonnell on ‘The Tide’, whilst a Raymonde favourite Marissa Nadler guests on the exquisite Radiohead chord progression style of ‘I Saw the Days Go By’, a song that floats effortlessly along sparse piano and drums. The overarching melancholia of Ojala is further exemplified by the grand piano-based album closer ‘Stampede’, which features Hazel Wilde of Bella Union act Lanterns on the Lake, and the similarly grand piano dominated ‘Winter’s Approaching’, also featuring Marissa Nadler.

The guests keep on coming. Ex-Midlake singer Tim Smith was enticed to give a very rare vocal outing on the more earthy, acoustic-based ‘She Led Me Away’, counterbalanced by evocative, if subtle, cavernous windswept electronic effects, while Cameron Neal (of Horse Thief) takes the reins on the most upbeat track here, ‘Life Inside a Paradox’, aided by backing vocals from Sharon Van Etten.

Ojala is epic in length, if not necessarily in sound. Yes, it is too long (70+ minutes) for most to enjoy in one sitting. And yes, it may have benefited from a third eye to cast aside one or two superfluous tracks. Raymonde and friends have sufficiently reined in the possibilities of creating something massive sounding for its own sake, instead creating a record that is nuanced throughout, without stripping the songs of their innate lushness and atmospheric melancholia. There’s a deep soul at its core, an obvious love of music making, as well as an appreciation of the many talents that were called upon.

‘Ojala’ is Spanish for God willing or hopefulness, and Lost Horizons have indeed conjured up something very engaging and meaningful for these darkening times.

Julie Andrews

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