In early 2018, Nathan Jenkins returned from the coast of Arrábida to his new home studio,in a cottage tucked behind the grand hotel setting of Wim Wenders' Lisbon Story. Breakingfor lunches under a Datura tree in the garden and a far cry from the Finsbury Park basementflat he rented the previous year, a set of recordings followed that galvanised into an E.P. - WeHad A Good Time. Music informed by out-of-town trips in a 1987 Renault 9 Super, Pitchforkattributed `remarkable healing powers' to lead song Hula.After leaving London for a spell in Portugal, Nathan lost his taste for the night life and drewa line under a long-running NTS radio show. Much of the time spent abroad was dedicated toa longstanding collaboration with Westerman, whose album they recorded in a remote part ofthe Algarve countryside in 2019. Nathan's own discography opened in 2007 with Pet Sounds:In The Key Of Dee, before pivoting in a more electronic direction via Get Familiar and YoungHeartache. From the sampledelia of 2011`s Too Right, the new wave and rave of Say Arr Ee tothe Robert Wyatt-influenced Love Me Oh Please Love Me, he's mapped a deliberately peculiarpath. 2015`s Rooster was Eno & Byrne`s Bush Of Ghosts given a shangaan-electro lick andclip. While Nathan's partnership with fellow out-there pop auteur, Jesse Hackett, as BlluddRelations, staggered like a half-cut Prince.Collaged, rhythmic alternatives. Syncopated avant-garde sambas. Off-kilter Sci-Fi jazz.Think Asha Putli in the spot at the Star Wars cantina. Arty, angular. Rich, but uncluttered.Frenetic, electric, blurring the boundaries between what is sampled, what is played. Nathan'sis a wilfully weird Pop, showcased in 2016 on his album, Loop The Loop. Wayward, butwoven with hooks that come out of nowhere. Lyrical, often beautiful, solos on violin, oboe,and desiccated guitars. Songs that demonstrate a nose-thumbing playfulness, a refusal to sitstill. Where there's always the urge to interrupt a carnival beat with a burst of galloping...