LUNAR PATHS (š“ ENGLAND) feat. VAUI (šØš“ COLOMBIA) ā W.T.B. Single Review and International Underground Feature Review by Gordon Lawrence Taylor Voice in the Void Infectious Unease Radio / Subterranean Zone Radio
Artist: Lunar Paths (š“ England) feat. VAUI (šØš“ Colombia) Title: W.T.B. Release date: 27 June 2026 Format: Digital single Country of origin ā Lunar Paths: š“ England Featured artist: VAUI ā šØš“ Colombia Current working structure: Transatlantic collaboration between England/Europe, the United States and Colombia Publisher: SparkPlug ISRC: QZWAU2600126 Duration: Approximately 4 minutes 22 seconds Tempo: 157 BPM Audio supplied for review: Stereo MP3 Genres and stylistic territory: Post-punk, darkwave, gothic electronica, alternative electronic music, experimental indie, avant-garde techno and electronic dance music
Lunar Paths emerged from Englandās original northern and Yorkshire gothic scene. Diane Dubois and Kevin Hunter previously performed together in Cold Dance during the 1980s before reconnecting in 2021 and establishing Lunar Paths as a transatlantic project. Kevin is currently based in America, while Diane works from Europe, but the musical origins of the project remain firmly connected to Englandās post-punk and gothic underground.
VAUI is a Colombian alternative and avant-garde electronic producer whose synthesiser and electronic-percussion work forms a central part of W.T.B. Lunar Pathsā official promotional material identifies him specifically as a Colombian producer and featured collaborator.
The supplied press release introduces W.T.B. as a collaboration addressing the contemporary phenomenon of fast fashion. It explains that VAUIās synthesiser material was created before the final lyrical theme had been established, yet both artists independently associated the developing music with the fashion industry.
Bandcamp lists the single as a digital release available for streaming and download in MP3, FLAC and other high-quality formats, including 24-bit/48 kHz audio. The track is offered for Ā£0.80 GBP or more.
REVIEW
Consumption, Compulsion and the Machinery of Desire
With W.T.B., Lunar Paths and VAUI transform the machinery of accelerated consumption into a restless and rhythmically forceful work of post-punk electronic theatre.
The recording is not merely a protest song concerning fast fashion. Its musical construction attempts to reproduce the psychological and industrial conditions through which compulsive consumption operates: repetition, urgency, stimulation, seduction, acquisition, momentary satisfaction and almost immediate dissatisfaction.
The subject is approached not as an external social problem safely separated from the listener, but as a system in which almost everyone has become implicated.
The composition recognises that contemporary consumption is rarely driven solely by practical need. It is also powered by identity, anxiety, aspiration, social pressure and the promise that another acquisition might temporarily repair an emotional absence.
This cycle gives W.T.B. its dramatic foundation.
Desire is generated, briefly satisfied and then recreated. The purchased object may continue to exist materially, yet its symbolic value begins to evaporate almost as soon as ownership has been achieved.
The consumer is left with the object but deprived of the fulfilment that the object was supposed to provide.
Lunar Paths and VAUI do not present this process through a detached lecture. They place the listener inside it.
The rhythm accelerates. The voices repeat. Synthesiser patterns accumulate. Fragments of communication pass through static. The music continues to move even when its subject warns that the movement has become destructive.
The result is a composition that does not simply describe compulsive consumption.
It enacts it.
Lunar Paths: Englandās Gothic Past Reconstructed Across Distance
Lunar Paths are rooted in the original northern English gothic and post-punk scene.
Percussionist Kevin Hunter and vocalist Diane Dubois were members of Cold Dance during the 1980s. The group released two EPs through Xcentric Noise and performed across the northern gothic circuit. Hunter later briefly joined Skeletal Family before moving into touring, production and music-industry work. Dubois moved into theatre, writing and academia before returning to music following her reconnection with Hunter.
Their reunion in 2021 did not attempt to reproduce the 1980s as a preserved historical style. Instead, Lunar Paths began building a new working method around the possibilities of digital communication.
The duo create music while living thousands of miles apart. Ideas, percussion recordings, samples, synthesiser arrangements, vocals and works in progress are exchanged electronically, imported into digital audio workstations and repeatedly reconstructed through layering, looping, stretching, distortion and MIDI programming.
This process is significant to W.T.B.
The track is not the product of musicians gathering in a conventional studio and documenting a single performance. It is an assembly created through geographical separation, technological transmission and gradual transformation.
That method mirrors the international systems examined by the song.
Fast fashion also depends upon materials, ideas, labour and commodities moving across borders. Design may occur in one country, manufacturing in another, distribution through several others and consumption somewhere else entirely.
The recordingās transnational construction is therefore more than a practical detail. It provides an appropriate framework for examining a globalised subject.
VAUI and the Expansion of the Collaboration
For W.T.B., Lunar Pathsā transatlantic method expands through the participation of Colombian producer VAUI.
VAUI supplied the primary synthesiser recordings and electronic-percussion elements from which much of the composition developed. Diane Dubois layered and manipulated these recordings, while Kevin Hunter added acoustic percussion performed in contrasting half-time and double-time patterns.
VAUIās contribution is not an ornamental feature placed over an already completed Lunar Paths arrangement.
His synthesiser language and programmed percussion establish a substantial part of the songās identity.
The electronic foundation is colourful, animated and constantly moving. It introduces a sense of technological stimulation that allows the music to feel immediately physical while also remaining unstable.
Hunterās acoustic percussion brings human weight into this programmed environment.
Dubois then draws the materials together through additional synthesisers, MIDI programming, lyric writing, vocal performance, production and engineering.
The resulting recording does not sound like three unrelated contributions placed beside one another. It sounds like a genuine collision of artistic languages.
VAUIās electronic components are given bodily force through Hunterās percussion.
Hunterās drumming is drawn into a synthetic and technological structure.
Duboisā voice travels through both environments, sometimes remaining recognisably human and sometimes dissolving into the electronic architecture.
The Rhythmic Architecture of Compulsion
The rhythmic construction is one of the recordingās greatest achievements.
The supplied promotional MP3 identifies a tempo of 157 BPM. However, the composition continually creates the sensation of moving between a slower half-time pulse and a full double-time momentum.
This perceptual instability gives W.T.B. its unusual physical character.
VAUIās electronic percussion establishes the programmed foundation. Its repetition suggests machinery, production lines, digital transactions and the automated circulation of products and information.
Against this, Kevin Hunter introduces deep, tom-heavy acoustic percussion.
Hunter recorded separate rhythmic components in half time and double time. These patterns were then integrated with VAUIās programmed drums, creating a relationship between mechanical consistency and organic physical impact.
These rhythmic languages do not merely coexist.
They interlock.
The programmed percussion represents repetition, speed and technological control. Hunterās acoustic drums introduce physical labour, bodily effort and human instability.
The resulting rhythm simultaneously sounds mechanical and human, as though bodies and machines have been forced to operate within the same accelerating system.
This relationship is central to the trackās meaning.
Fast fashion depends upon the interaction between human labour and industrial acceleration. Human beings perform the manufacturing, transportation, distribution and retail work, yet they must move according to production schedules, commercial demands, advertising cycles and continually changing trends.
The percussion therefore becomes more than accompaniment.
It becomes an audible representation of the production cycle itself.
The rhythm possesses enough momentum to remain immediate and physically compelling, but it never feels entirely liberating.
There is tension beneath its movement.
The listener is drawn into the pulse while simultaneously being made aware of the machinery producing it.
The music invites movement, but it does not permit innocence.
Synthesiser Language and Electronic Space
VAUIās synthesiser work gives the recording a broad, animated and unstable electronic vocabulary.
The synthesiser lines move between deep tonal pressure, sharp electronic punctuation, fragmented melodic gestures and brighter artificial surfaces.
At certain points, these sounds resemble the seductive language of advertising: colourful, immediate and carefully designed to capture attention.
This brightness is important.
Fast fashion rarely presents itself publicly through images of exploited labour, industrial pollution, exhaustion or landfill. It presents itself through colour, affordability, novelty, reinvention and the promise of apparently unlimited choice.
The music reproduces this contradiction.
Its surface can appear bright, energetic and accessible, while its conceptual centre remains profoundly uneasy.
The synthetic colour becomes a form of camouflage concealing a darker industrial reality.
Diane Dubois adds further synthesisers and MIDI components around VAUIās original recordings. Rather than allowing the arrangement to settle into a conventional electronic pattern, the production continually introduces new textures, interruptions and shifting points of emphasis.
The listener is given very little opportunity to become comfortable.
Sounds enter, repeat, mutate and disappear.
The arrangement keeps stimulating attention in much the same way that online advertising, rapidly changing catalogues and social-media promotion continually redirect the consumerās gaze.
Shortwave Radio, Static and Interrupted Communication
Shortwave-radio fragments, bursts of static and sampled transmissions add another important level to the recording.
During the construction of the track, Dubois used material from a sample library containing shortwave broadcasts and radio interference. One transmission employed the NATO phonetic alphabet, and the words Whiskey, Tango and Bravo became recurring elements within the developing composition.
These sounds suggest communication travelling across distance while being intercepted, fragmented or partially obscured.
They connect W.T.B. to traditions of industrial music, experimental broadcasting and post-punk sound collage, where found sound functions not merely as atmospheric decoration but as evidence of a wider technological and political world entering the composition.
The radio fragments also complement the international nature of the collaboration.
Lunar Paths and VAUI create across different countries and time zones. Their music depends upon sounds and ideas being transmitted electronically, received elsewhere and then transformed.
The static becomes an audible reminder that communication is never entirely neutral.
Messages are altered by the systems through which they travel.
Within the context of fast fashion, this interrupted communication may also be understood as a metaphor for the distance separating consumers from the consequences of their purchases.
The finished product arrives cleanly packaged.
The labour, waste and environmental damage behind it remain distant, fragmented and difficult to hear.
The static suggests that the message is present.
The question is whether anyone is prepared to listen through the interference.
Whiskey Tango Bravo: Language Becomes Commodity
The title W.T.B. developed from the repeated NATO phonetic-alphabet fragments Whiskey, Tango and Bravo.
When Diane Dubois investigated the initials, she discovered that WTB is also commonly used online as an abbreviation for āwant to buy.ā This meaning supplied the conceptual direction for the lyric and connected the existing musical material to the culture of consumer desire.
This transformation is particularly effective because it demonstrates how language itself is continually repurposed.
A military communications code becomes online marketplace shorthand.
That commercial shorthand is then transformed again into the title of a critical artwork examining the behaviour it represents.
The letters move through several systems of meaning: military, technological, commercial and artistic.
Within the recording, the repeated language of wanting and buying behaves as both a refrain and an involuntary thought.
It becomes less a conventional lyrical statement than a verbal compulsion.
Words begin to circulate, overlap and pursue one another.
Buying becomes wanting.
Wanting becomes buying.
Ownership offers only a temporary interruption before desire is redirected towards another object.
The title consequently describes more than a transaction.
It describes an entire psychological condition.
Fast Fashion and the Manufacture of Artificial Need
The lyrical writing is concise, rhythmically disciplined and politically purposeful.
Rather than presenting fast fashion as a problem caused exclusively by irresponsible individual shoppers, the song connects personal desire to wider structures of labour exploitation, environmental destruction, industrial waste, marketing pressure and deliberately disposable production.
The language moves through clusters of related sounds and concepts.
Fascination gives way to sensation.
Sensation becomes elation.
The pleasure associated with acquisition is then connected to exploitation and devastation.
This technique resembles advertising language in its compression, momentum and repetition. However, the emotional promise normally offered by advertising is gradually corrupted.
Excitement becomes complicity.
Pleasure becomes waste.
Acquisition becomes evidence of a system that must continually manufacture dissatisfaction in order to survive.
The lyric recognises that consumer desire is emotional as well as economic.
A purchased object may temporarily offer sensation, identity, comfort, social belonging or reassurance.
Yet its symbolic power begins to disappear almost immediately.
The object has not necessarily failed physically. Instead, the emotional promise attached to it was impossible to fulfil permanently.
Desire is therefore never resolved.
It is postponed and redirected towards the next product.
Obsolescence and the Acceleration of Time
One of the songās most significant ideas concerns the multiplication of fashion seasons.
Traditional seasonal cycles have been replaced by a nearly continuous succession of collections, trends and micro-trends. The lyric addresses a world in which dozens of new seasons can be commercially manufactured within a single year.
Under this model, time itself becomes commercial inventory.
A garment does not need to be worn out or damaged before it is treated as obsolete.
It only needs to be disconnected from the latest manufactured cultural moment.
Fast fashion therefore produces obsolescence psychologically before it occurs materially.
The clothes may remain usable, but the consumer is encouraged to experience them as old.
The industry must continuously accelerate because its survival depends upon convincing people that what they already possess is no longer sufficient.
The composition reflects this acceleration through its repeated vocal structures and unstable rhythmic movement.
The listener feels the pressure to continue.
There is no natural resting point because the system cannot permit one.
To pause would allow satisfaction to develop.
Satisfaction would threaten the need for another purchase.
The Emotional Economy of Acquisition
The song also examines the relationship between consumption and emotional absence.
The purchase is presented as an attempt to fill something intangible with something material.
A feeling of incompleteness is translated into a need for an object.
The object is acquired, but the original absence remains.
This is one of the recordingās most psychologically perceptive elements.
Fast fashion does not merely sell clothing.
It sells versions of the self.
Each new object offers the possibility of transformation: a different identity, a new social position, an escape from insecurity or an opportunity to become visible.
Yet these promises are necessarily temporary.
The product must lose its emotional power so that another can replace it.
The song therefore identifies a circular relationship between dissatisfaction and consumption.
The system creates the insecurity that the product claims to resolve.
When the resolution fails, the failure is not blamed upon the system.
Instead, the consumer is directed towards the next object.
The cycle begins again.
From Cheap Thrill to Landfill
The lyricās movement from anticipated pleasure to discarded material compresses the entire fast-fashion system into a devastating sequence.
The consumer waits for the purchase.
The package arrives.
A brief emotional reward follows.
The object then loses its meaning and eventually becomes waste.
The transition from anticipated thrill to landfill is particularly effective because it removes the comforting distance between consumption and disposal.
The product is not shown as a permanent possession.
It is presented as future rubbish.
The landfill exists inside the moment of purchase, even when the consumer cannot yet see it.
This understanding transforms the meaning of affordability.
The garment may be financially cheap for the purchaser, but its broader cost is transferred elsewhere: to workers, communities, ecosystems and future generations.
The price displayed at the point of sale is therefore incomplete.
The recording repeatedly draws attention to what has been excluded from that price.
Vocal Performance and Divided Identity
Diane Dubois approaches the vocal through a combination of heavily processed, almost-spoken delivery and more expansive soprano passages.
This division allows the voice to occupy several dramatic positions simultaneously.
The treated spoken material resembles the internal voice of compulsive consumption, but it can also be heard as advertising speech, technological instruction or an intercepted transmission.
The processing destabilises the singerās identity.
The voice remains human, yet it is repeatedly folded into the electronic machinery surrounding it.
This is particularly appropriate for a song about consumer culture, where personal identity is continually translated into commercial categories, purchasing histories and exploitable desires.
The higher vocal passages create a contrasting sense of distance and elevation.
They do not offer uncomplicated beauty or emotional relief.
Instead, they hover above the rhythm, seemingly observing the consumer cycle while remaining trapped within it.
The contrast between the grounded percussion and the elevated vocal line creates one of the recordingās most distinctive tensions.
The voice appears to rise, but the rhythm continues to pull it back into the machine.
Dubois also avoids the moral certainty of a narrator who imagines herself completely outside the problem.
The first-person language acknowledges participation.
The speaker wants, covets, purchases and struggles to interrupt the cycle.
This makes the criticism more persuasive.
The song does not accuse an abstract consumer while protecting the artist and listener from responsibility.
Instead, it recognises how deeply consumer behaviour has been integrated into ordinary life.
The voice is simultaneously witness, participant, critic and victim.
Form, Repetition and Accumulation
Although W.T.B. contains recognisable refrains and repeated vocal motifs, it does not behave like a conventional verse-and-chorus pop single.
Its structure is cumulative.
Percussion, synthesiser layers, radio fragments, processed vocals and recurring verbal patterns gradually construct an increasingly crowded musical field.
This accumulation parallels the visual and material excess associated with disposable clothing.
New elements arrive before earlier ones have fully disappeared.
The arrangement consequently feels less like a sequence of clearly separated sections and more like a system continually producing additional material.
There is always another sound.
Another pattern.
Another rhythmic pressure.
Another object entering an already overcrowded space.
The composition nevertheless contains sufficient variation to prevent its repetition from becoming static.
Changes in vocal register, rhythmic emphasis, synthesiser texture and density continually redirect the listenerās attention while preserving the central momentum.
The track moves forward, but it also appears to rotate around the same obsessive demand.
The image of a wheel turning, used within the songās lyrical framework and promotional material, becomes an appropriate metaphor for the entire composition.
The system creates the sensation of progress, yet the participant ultimately returns to the same position: wanting, purchasing, discarding and wanting again.
Production and Sonic Density
The production is deliberately dense and immediate.
The synthesiser layers occupy a broad electronic space, while the acoustic and programmed percussion maintain a strong physical presence.
Processed vocals pass through and around the instrumental architecture rather than sitting cleanly above it.
This creates a sense of immersion.
The listener is placed inside the machinery instead of being allowed to observe it comfortably from a distance.
The master possesses a forceful, compressed character appropriate to its subject.
Large dynamic contrasts are restrained, allowing the sonic pressure to remain consistently present.
In another context, this density might risk becoming exhausting.
Here, that exhaustion contributes to the conceptual design.
Fast fashion does not allow attention to rest for long.
Advertising, online marketplaces, social media, influencer culture, rapidly shifting trends and endless promotional cycles ensure that desire is continually redirected.
The production recreates this saturation.
There is beauty within the mix, but it is beauty surrounded by pressure, interference and instability.
Organic and Electronic Conflict
One of the trackās strongest musical achievements is the relationship between Hunterās acoustic percussion and VAUIās electronic programming.
The electronic rhythm suggests precision, repetition and control.
The acoustic drums bring physical irregularity, breath and human force.
Neither element defeats the other.
Instead, they become mutually dependent.
The electronic components need the acoustic percussion to gain bodily weight.
The acoustic performance needs the electronic framework to become part of the songās technological argument.
This relationship reflects the contradictory position of human labour inside industrial production.
Machines are associated with automation, but the global fashion industry continues to depend upon enormous amounts of physical human work.
The machine does not eliminate the worker.
It disciplines the worker.
The percussion makes this conflict audible.
Hunterās drums sound powerful, but they remain enclosed within an arrangement driven by relentless programmed motion.
Human energy is present everywhere, yet it is required to serve the demands of the system.
Artwork and the Visual Language of Excess
The cover artwork extends the argument of the music.
A densely packed mass of brightly coloured clothing fills the visual field.
Individual garments become difficult to separate from the larger accumulation.
Clothing has ceased to function primarily as personal expression.
It has become product, surplus, discarded material and potential waste.
The vivid colours initially attract the eye. However, the absence of visual space gradually produces a sense of claustrophobia.
This is an effective representation of fast fashionās central contradiction.
Abundance promises freedom of choice, but the sheer volume of objects becomes oppressive.
The consumer is offered an apparently limitless variety of individual products, yet these products ultimately disappear into an almost indistinguishable material mass.
The restrained title lettering sits over the visual congestion like a commercial code attached to an overflowing warehouse of inventory.
The artwork does not require an explicit image of a factory or landfill to make its argument.
The excessive presence of clothing is itself sufficient.
Abundance becomes evidence.
Collaboration Across Borders
The collaboration between Lunar Paths and VAUI carries significance beyond the songās immediate subject.
Lunar Paths already operate through a transatlantic method of composition, sending recordings between Diane Dubois and Kevin Hunter across thousands of kilometres.
VAUIās participation extends this international process into Colombia.
This geographical separation does not produce a fragmented recording.
Instead, it contributes to the songās layered identity.
VAUIās synthesiser and electronic-percussion work supplies the sharp, animated and machine-driven environment.
Hunterās acoustic percussion introduces physical depth and organic force.
Dubois brings these elements together through additional synthesisers, MIDI construction, lyrics, vocal performance, production and engineering.
The finished work demonstrates how remote collaboration can move beyond the simple exchange of separate performances.
Each contribution transforms the others.
The artists do not merely occupy different sections of the recording.
They inhabit the same conceptual and sonic structure.
The collaboration therefore mirrors the trackās larger argument: human identity, technological systems, international communication and material production have become inseparable.
Academic Interpretation
From an academic perspective, W.T.B. may be understood as a work examining commodity fetishism, manufactured desire and the alienation of the consumer from the conditions of production.
The finished garment reaches the buyer as an attractive and apparently self-contained object.
Its history is concealed.
The labour required to manufacture it, the materials extracted to create it, the water and energy consumed during production, the distances travelled during distribution and the waste produced after disposal are separated from the experience of purchase.
The commodity appears without its consequences.
W.T.B. works against this separation.
Its musical layers repeatedly expose the relationship between pleasure and exploitation.
The attractive electronic surface is interrupted by pressure, distortion and repetition.
The listener may enjoy the trackās momentum, but that enjoyment cannot be easily separated from the critical meaning carried by the rhythm and lyric.
This tension prevents the work from becoming a simple moral statement.
The music does not demand that pleasure disappear.
Instead, it asks the listener to examine the systems that produce pleasure and determine who pays for it.
The track also investigates the commodification of identity.
Fashion allows individuals to communicate personality, community, resistance and cultural belonging. However, under accelerated consumer capitalism, these forms of expression can be transformed into rapidly replaceable commercial styles.
The desire to appear unique becomes a market category.
Rebellion itself becomes merchandise.
In this context, the songās post-punk and gothic foundations are particularly relevant.
Both subcultures historically used clothing, sound and visual identity to resist dominant cultural expectations. Yet their symbols and aesthetics have also been repeatedly absorbed, reproduced and sold by mainstream fashion.
W.T.B. therefore carries an additional tension.
It emerges from alternative culture while examining the commercial machinery capable of turning alternative identity into another disposable product.
FINAL ASSESSMENT
W.T.B. succeeds because its political meaning is embedded within its musical construction.
The song does not merely tell the listener that fast fashion is rapid, repetitive, exploitative, addictive and environmentally destructive.
Its percussion, vocal loops, densely layered synthesisers, intercepted transmissions and compressed energy allow those conditions to be experienced.
The collaboration feels structurally genuine.
VAUIās synthesiser and electronic-percussion work is not an ornamental feature placed over an already completed Lunar Paths composition.
It supplies a major part of the trackās identity.
Kevin Hunterās acoustic percussion introduces human weight, instability and force.
Diane Dubois draws these materials into a coherent lyrical and dramatic form while allowing the composition to retain its strangeness.
There are moments when the density may initially feel overwhelming, particularly for listeners expecting a restrained or traditionally structured post-punk arrangement.
However, that excess is integral to the work.
The track occupies an unstable territory between darkwave, post-punk, gothic electronica, experimental dance music, industrial sound collage and politically conscious alternative music.
It remains immediate through its rhythmic pulse and recurring vocal motifs without surrendering its conceptual complexity.
W.T.B. is both a compelling alternative electronic single and a critical examination of contemporary consumption.
It dances inside the machine while documenting the damage that the machine leaves behind.
Release date: 27 June 2026 Format: Digital track Price: Ā£0.80 GBP or more Download formats: MP3, FLAC and additional high-quality formats Maximum listed resolution: 24-bit/48 kHz Licence: All rights reserved
Bandcamp genre tags:
Alternative Darkwave Electronic music Experimental indie Goth Post-punk
Bandcamp explains that the track began when VAUI sent synthesiser recordings to Lunar Paths early in 2026. Dubois layered and looped the recordings, Hunter added separate half-time and double-time acoustic-percussion performances, and sampled shortwave-radio transmissions were incorporated as the arrangement developed.
OFFICIAL RECORDING CREDITS
Main synthesisers: VAUI Electronic percussion: VAUI Acoustic percussion: Kevin Hunter Additional synthesisers and MIDI: Diane Dubois Lyrics: Diane Dubois Vocals: Diane Dubois Production: Diane Dubois Engineering: Diane Dubois Composers: Diane Dubois, Kevin Hunter and VAUI Publisher: SparkPlug ISRC: QZWAU2600126
The Bandcamp credits identify VAUI as responsible for the main synthesisers and electronic percussion, Hunter for acoustic percussion, and Dubois for additional synthesisers, MIDI, vocals, lyrics, production and engineering.
Qobuz additionally identifies VAUI as Marvin Acevedo and credits him with synthesiser and drum-machine performance. Its release listing identifies Diane Dubois as lyricist, composer, vocalist, producer and engineer; Kevin Hunter as composer and drummer; and SparkPlug as the publisher. The Qobuz edition is listed in 24-bit/48 kHz stereo with a duration of approximately 4 minutes 21 seconds.
The official Lunar Paths website directs listeners to Bandcamp, SoundCloud, Spotify, YouTube and the major streaming and download services. Their Bandcamp profile describes them as veterans of the original northern UK gothic scene and as a transatlantic musical duo.
Apple Music lists W.T.B. (feat. VAUI) as a one-track single released on 27 June 2026.
VAUIās social profiles describe his work as alternative music production, while Lunar Pathsā official material identifies him as a Colombian avant-garde electronic producer.
A separate verified VAUI Bandcamp page or independent official website could not be confirmed. The authorised Bandcamp edition of W.T.B. is hosted through the Lunar Paths Bandcamp account.
