The first new release from Milk Cult in nearly four years, this Moroccan Nectar-fueled tech-rock-noise-hop experimental dance adventure to the "Port of the Orient" mixes exotic tradition with urban futurism. The first in a series of recordings, Project M-13's raw materials were gathered in Marseilles, France, during a visit made possible by a government-sponsored art grant. Over the course of a month in the spring of 1997, Milk Cult recorded with over 30 musicians and groups of musicians including but not limited to: traditional Corsican singers; Buddhist chanters; Algerian folk improvisers; French folkies; industrial noisicians; rockers; jazzbos; hip hop artists; spoken word artists; electronics experimenters; a 30-piece African orchestra; a Conch player; all of whom played along with backing tracks prepared by Milk Cult but never with each other, resulting in hundreds of hours of recordings to be later edited, played along with, and combined into one of an infinite number of possible combinations. Although this is the first time Milk Cult has used sampling of other players to such a large extent, they have worked with guests extensively in the past. On the college chart topping '95 release Burn Or Bury, they invited a multitude of musical luminaries ranging from Neurosis to Mike Patton to Carla Bozulich into the studio to "top off" the existing tracks. The '96 release, Bruce Lee Marvin Gaye, found Milk Cult in Tokyo "conducting" and playing along with a group of 15 of Japan's musical nobility. On other past releases Milk Cult took a more classic approach to cut up music, playing instruments themselves or taking samples from existing recordings. For Love God, they teamed up with filmmaker Frank Grow to record a soundtrack to the trailer for Grow's film of the same name. In 1994 Agent Nova did away with collaboration altogether and went solo for Milk Cult Dispatch.