It’s perhaps one of pop music’s greatest coincidences that the greatest masters of the subtle, Brian Eno and his protÇgÇs, have chosen to work with some of the boldest artists, be it a socially-challenging artist like Bowie or exceedingly-transparent “believers” like U2’s Bono. Champaign’s Lanterna certainly are influenced by such ambient works in their instrumental, guitar-driven music showcased on Desert Ocean, but the only thing “obvious” about the music is a clear vision. Only such a band could speak without irony, as guitarist Henry Frayne does, about the group’s photographer as the visual representation of Lanterna and that his pictures represent what he sees in his music. To continue the photographic metaphor, it’s reasonable to say that Lanterna trafficks in portraits, rather than the stereotypical “spaghetti-western” landscapes many such instrumental musicians hope to capture. Frayne’s shimmering guitar and sighing, arching synths, and sharp, expository percussion from Eric Gebow are the subject of photos composed in a way that the distinction between foreground and background is ignored; instead, the artist favors a gradient change. Frayne’s impeccable pedigree (sound-collager, radio host, film and T.V. composer, and his extensive connections to the good-ol’-days of Champaign rock) speaks for something, but the open-minded should form their own impressions.