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After Glimmerlight's final song, Mitch Rushton turned his gaze upward. Where others searched the Earth for signs of continuity, Rushton fixed his attention on Orion, convinced that the Offworld Colony lay somewhere just off the shoulder of the hunter - adjacent to what was already known, visible only at the edge of perception. In 1990, he recorded his classic cassette Orion. Like the nebulae near Betelgeuse, the work balanced birth and dissolution, sound emerging only to fade, as if testing whether it might be heard beyond the newly familiar sky. . . . Rushton’s tools were precisely chosen: an Akai X7000 sampler for fragments of remembered tone, the Yamaha DX100 for digital light, the Korg MonoPoly and Moog Opus 3 for drifting analog mass, and the restrained pulse of a Casio RZ-1 to mark time. Guided by his Blue Crystal, Rushton treated these instruments as coordinates - each sound a brief flare, each pattern a transmission that might register elsewhere before vanishing. . . . The Sagegazer knows that what seems distant often lies just beyond the edge of our attention.