LANDROID is the High Desert–based project of Cooper Gillespie (vocals, bass, keys) and Greg Gordon (drums, sequences)—veteran performers who spent decades touring the world as professional musicians before putting down roots in Landers, California. Population: 2,632.

After years immersed in various strains of Los Angeles punk and rock, Gillespie and Gordon relocated to the desert and became, unmistakably, a desert band. Named for their adopted hometown, LANDROID makes music that mirrors the environment in which it was created: vast, cinematic, and ethereal.

Their debut album, Imperial Dunes, released September 13, 2019 via their own Mojave Beach Records label, introduced LANDROID’s lush and otherworldly sonic world.

The record featured the single “Yellow Sea,” a surreal meditation on the afterlife, of which PopMatters wrote, “It’s easy to imagine ‘Yellow Sea’ being performed during a dreamlike lounge scene in, say, Twin Peaks or Mulholland Drive.”

LANDROID’s latest album, Constellation (out June 12, 2026), is a mythic narrative about inheritance and how stories repeat across time and space. 

The record opens with the Gnostic creation myth: the Demiurge Yaldabaoth brings the world into being, a creation subtly askew, shaped by his own fractured origin.

From there, the album narrows its focus to a single human moment: two lovers caught in repeating histories robbing a bank. Then, a gunshot, and their lives are altered forever. 

The rest of Constellation moves backward and forward, tracing how these two people came to that moment—through family constellations, inherited patterns, unspoken histories, and the emotional lineages that shaped them long before they met.

As the record unfolds, the cosmic and the personal mirror one another. Creation and destruction, ancestral patterns and choice, life and death collapse into the same story.

The album closes with “The Ending,” where the protagonists transition from this world, completing a cycle that began at the birth of the world itself.

The record features prominent songwriting and vocal contributions from Joshua Tree–based songwriter Nigel Roman, introducing a male–female vocal interplay that enhances the album’s emotional range.

As Grimy Goods observed upon their debut, LANDROID “split-the-difference somewhere between Pink Floyd and Beach House”—an apt shorthand for the band’s scale and atmosphere.

Yet their expansive compositions and cinematic storytelling, shaped by the isolation and mysticism of the High Desert, have since carved out a world entirely their own.