Indie / Alternative

Thee Marloes give us with another killer of a two-sider while they finish recording their debut album. The A side "Logika" is a laid back tune about where the head and the heart meet and how they often don't see things the same way. Natassya Sianturi's honeyed vocals float over a beautifully arranged track driven by guitar riffs, organ, and reverb drenched stick hits. They manage to put the perfect amount of paint on the canvas with the band sounding tight as ever hitting all the changes that bring in the earworm chorus that stays in your head even if you don't speak Indonesian. The B side "True Love" finds Thee Marloes dipping back into the soulful side of jazz but this time with a beat ballad that could soundtrack a Tarantino movie and hold court with the best of the genre. This one leans you back in your chair setting the mood for a smokey lounge affair and a strong drink. Two more pages from Thee Marloes book on a must have 45 giving a taste of what is to come on the 2024 full length.

Karate’s defiant and final studio album punctuates a 12-year discography that spanned harDCore-style catharsis to feedback-saturated improv. This ’04 classic skipped the Friendster migration for back-to-basics songwriting suffused with jazz phrasings and beat-inspired lyricism. Featuring Codeine/Come guitarist Chris Brokaw, Pockets is remastered from the original analog tapes and housed in a deluxe tip on sleeve with reproduction lyric sheet.

Bon Iver’s three-song collection SABLE, was an act of vulnerability and unburdening. Written and recorded at a breaking point, they were songs of reflection, fear, depression, solitude, and atonement. The word “sable” implies darkness, and in that triptych, Justin Vernon sought to unpack some long-compounded pain. Then, at the tail end of its final track “AWARDS SEASON,” there’s the barest thread of a lighter melody—a drone, a glimmer, an ember, hope for something more. SABLE, was the prologue, a controlled burn clearing the way for new possibilities. fABLE is the book. Stories of introduction and celebration. The fresh growth that blankets the charred ground. Where SABLE, was a work of solitude, fABLE is an outstretched hand.

Compared to the sparse minimalism of its three-song table setter, fABLE is all lush vibrance. Radiant, ornate pop music gleams around Vernon’s voice as he focuses on a new and beautiful era. On every song, his eyes are locked with one specific person. It’s love, which means there’s an intense clarity, focus, and honesty within fABLE. It’s a portrait of a man flooded and overwhelmed by that first meeting (“Everything Is Peaceful Love”). There’s a tableau defined by sex and irrepressible desire (“Walk Home”). This is someone filled with light and purpose seeing an entire future right in front of him: a partner, new memories, maybe a family.

While not as minimal as its companion EP, fABLE’s sound appears to walk back the dense layers of sound Vernon hid behind on records like i,i and 22, a million. There’s nothing evasive or boundary-busting about this music. It’s a canvas for truth laid bare. Much of the album was recorded at Vernon’s April Base in Wisconsin after years of the studio laying dormant during a renovation. The album’s conceptual genesis happened on 2.22.22 when Jim-E Stack, Vernon’s close collaborator and guide throughout the creative process, arrived at the base with Danielle Haim. Snowed in for multiple days, their voices intertwined for the ballad “If Only I Could Wait.” Suddenly, Haim gave voice to this crucial perspective—the one Vernon seems to hold in sacred regard across fABLE. Accompanied by Rob Moose’s strings, it’s a track about weariness—about not having the strength to be the best version of yourself outside the glow of new love.

There’s something undeniably healing about infatuation. Cleaving to someone else can feel like light pouring in from a door that’s suddenly swung wide. But there’s a reason SABLE, is of a piece with fABLE; even after you put in the work, the shadow still rears its head from time to time. On “There’s A Rhythmn,” Vernon finds himself back in an old feeling, this time seeking an alternative instead of erasure: “Can I feel another way?” There’s an understanding that even when you’ve reached a new chapter, you’ll always find yourself back in your own foundational muck. A fable isn’t a fairy tale. Yes, there’s the good shit: unbridled joy, trips to Spain, the color salmon as far as the eye can see. But fables aren’t interested in happy endings or even endings at all; they’re here to instill a lesson.

As the album winds to a close, he acknowledges the need for patience and a commitment to put in the work. There’s a selfless rhythm required when you’re enmeshing yourself with another person. The song—and by extension the entire album—is a pledge. He’s ready to find that pace. 

‘i,i’ is Bon Iver’s most expansive, joyful and generous album to date. If 'For Emma, Forever Ago’ was the crisp, heart-strung isolation of a northern Winter; ‘Bon Iver’ the rise and whirr of burgeoning Spring; and '22, A Million', a blistering, "crazy energy" Summer record, ‘i,i’ completes the cycle: a fall record; Autumn-colored, ruminative, steeped. The autumn of Bon Iver is a celebration of self acceptance and gratitude, bolstered by community and delivering the bounty of an infinite American music.The sales and accolades are well-known - multiple Gold albums, multiple Grammys, chart-topping collaborations and festival headlines. But even more significantly, with each release Bon Iver quietly shifts the state of modern music. From the boundaries of folk, to the rules of autotune, to production work for others, Bon Iver’s fingerprint finds its way across the mainstream every time. Vernon has always been a master collaborator, and on ‘i,i’ that desire becomes maximal, with guests ranging from Moses Sumney and Bruce Hornsby to Wye Oak’s Jenn Wasner and the Brooklyn Youth Chorus. Here, the music - and band, and themes, and creative space - are bigger than ever.

22, A Million is part love letter, part final resting place of two decades of searching for self-understanding like a religion. And the inner-resolution of maybe never finding that understanding. The album's 10 poly-fi recordings are a collection of sacred moments, love's torment and salvation, contexts of intense memories, signs that you can pin meaning onto or disregard as coincidence. If Bon Iver, Bon Iver built a habitat rooted in physical spaces, then 22, A Million is the letting go of that attachment to a place.

Bon Iver, Bon Iver is Justin Vernon returning to former haunts with a new spirit. The reprises are there – solitude, quietude, hope and desperation compressed – but always a rhythm arises, a pulse vivified by gratitude and grace notes. The winter, the legend, has faded to just that, and this is the new momentary present. The icicles have dropped, rising up again as grass.

Market East finally shares their most important statement to the world in the form of their debut LP, French Street. The group, composed of Kurt Cain on vocals, Vincent John on vocals, bass, guitar and keys, and Maxwell Perla on vocals, drums and percussion, deliver their signature celestial three part harmonies over arrangements that have never sounded so rich and compelling.

French Street is extremely soulful and the vocals are lush, like if the Zombies recorded at Muscle Shoals. The lyrics are poetic and nostalgic, as the group wrote songs about their bygone “golden” years. Back then, the boys didn’t have much besides each other and their shared love of music. Vocalist Kurt Cain lived in a small rowhome in North Philadelphia on a nearly deserted alley named French Street. It was here that Cain, John, and Perla came together every week to escape reality and get high off sharing music. They developed a deep appreciation for all things 60s and 70s, from Simon & Garfunkel to the Moments, and everything in between.

All these years later, and Market East has created a classic record of their own. From the baroque pop of the title track and the roaring soul of “Roses,” to the Latin flavors of “Echoes of My Heart” and the orchestral flares of “Everyday, Springtime,” Market East shows their impressive range. Recorded to analog tape in Philadelphia, the record was produced by the band and Eraserhood Sound. Grab your copy of this timeless classic today.

Beach Fossils’ sophomore album, Clash the Truth, is modern post-punk triumph that’s left a lasting impression on the music scene it was born out of. After releasing their self-titled debut and the beloved EP, What a Pleasure, songwriter, and composer Dustin Payseur began recording dissonant and introspective demos reflecting on his southern upbringing and young adulthood in New York. The tracks that would eventually make up Clash the Truth involved Payseur taking his songwriting in a new direction, employing jagged instrumentals, existential lyrics, and socially conscious subject matter.

The acoustic unit MIZ, formed by members of Japan's hugely popular band MONO NO AWARE, released their first album『Ninh Binh Brother's Homestay』in 2020. It contains ten tracks of primitive, beautiful acoustic sound, capturing the breathtaking scenery crafted by nature and the local atmosphere and scents that rise from the time drifting within it.

The ambient lofigaze soundtrack for interdimensional travel. Compiled from hissy cassettes 4-tracked between 1991-'95, lovesliescrushing's sophomore album xuvetyn originally released in 1996, now achieving the patina of legend some 30 years later. This double LP edition is housed in a tip-on jacket illustrated with Melissa Arpin Duimstra and Scott Cortez's abstract photography, plus a lyric sheet translating the expressive glossolalia. "A disorientingly beautiful cloud of neon drones and voices from the other side. Music that will envelop you, that you can disappear inside of." -Jefre Cantu-Ledesma

Dream of the Egg is the debut solo album by Tomo Katsurada, known for his work with the Japanese psychedelic band Kikagaku Moyo. This project is a unique fusion of music and visual art, inspired by the Japanese 1920s children's book “Yume No Tamago (Dream of the Egg)”. It reveals a deeply personal journey, reflecting Tomo's dreams and the numerous rebirths experienced in 2024—a year marked by profound new beginnings in every facet of his life. This mini album was driven by a passion for raw and immediate expression. Every song was crafted and recorded with only the materials available to him at the time, embracing an organic and handmade atmosphere. By eschewing rhythm clicks and standard instrumental tunings, a spontaneous sound emerged, capturing the essence of both uncertainty and immediacy. Adding to this distinctive sonic landscape, guest musician Jonny Nash (UK) contributed ethereal guitar sounds on the first and final tracks, enriching the record's dream-like quality.

Suntub’ is the second full length album from ML Buch, a double record of 15 pieces by the Danish composer and producer, entering further into the realm of electric guitars and layered vocals along with exploring new instrumental expressions. With an offset in open tunings on a 7-string Stratocaster, slide and fretless tablet guitars and deep-sampled virtual guitars, the album draws up narratives and locations in a distant time. Props like puddles, well buckets, bone barrels and flesh rags live in these scenes, suspended in air, drifting about, climbing stairs and ladders, all given life through guitar sensibilities and visceral vocals.

A split LP by two bands with truly singular musical identities: OOIOO, the Japanese experimental rock group led by YoshimiO of BOREDOMS, and Lightning Bolt, the noise‑rock duo from Rhode Island, USA.

Written between tours with Tristeza, One Day I’ll Be On Time finds The Album Leaf exploring a spacious blend of ambient music and post-rock. Delicate guitar figures, piano motifs, soft synths, field recordings and steady percussion drift through the album, gradually building from hushed passages into more driving rhythms. Across its instrumental pieces, the record reflects on time and change, balancing fragile details with wide-open atmosphere. This 25th anniversary edition presents the album in remastered form, replicating the original release with new liner notes by Adam Gnade and previously unpublished photographs revisiting an early chapter in The Album Leaf’s catalogue.

Formed of Laura Lee on bass, Mark Speer on guitar, and Donald “DJ” Johnson on drums; globetrotting Texan trio Khruangbin present their second album ‘Con Todo El Mundo’, set for release on 26th January 2018. Whereas their 2015 debut album ‘The Universe Smiles Upon You’ was influenced by 60s and 70s Thai cassettes and compilations of southeast Asian pop, rock and funk, ‘Con Todo El Mundo’ hops east over India to take inspiration in similarly under discovered funk and soul sounds of the Middle-East, particularly from Iran. Laura Lee explains the album’s title: "My grandpa would always ask me 'Como me quieres?' ('how much do you love me'?), and he'd only ever accept one response. 'Con todo el mundo' (With all the world)." Throughout ‘Con Todo El Mundo’, Laura Lee’s melodic low-end theory, Mark’s lyrical, free-role guitar lines, and DJ’s ever-steady, ever-ready backbeat form something greater than their parts. A vibe-synchronous soul-unit travelling the planet, honing their craft, absorbing the sights, sounds and feels from cultures across the globe, processing them through the Khruangbin filter and gifting the result...with all the world.

Hüsker Dü. Live. 1985. Need we say more? Witness the transcendent Minneapolis punk trio tearing into the most incendiary year of its existence, captured live on stage at First Avenue in perhaps the highest fidelity recordings of the band’s lauded SST era.

This 4xLP edition includes Beau Sorenson’s restoration of an entire January 30 1985 set, 20 extra live tracks from the year’s touring schedule, and a deluxe 36-page book detailing twelve months of history-making Hüsker Dü. What is the sound of a legend being written?

Limited white vinyl specifications. This is the second solo album since the masterpiece "Recomecar" by Tim Bernardes, the vocalist / guitarist of São Paulo's soul / guitar rock band O Terno, who is attracting attention as the bearer of the new generation of Brazilian music. His father is Maurício Pereira, a musician who is also a member of Os Mulheres Negras, which was also recorded in the Brazilian compi "Outro Tempo: Electronic And Contemporary Music From Brazil 1978-1992" of , and his unusual musical sense is the same. Outstanding in the generation. It has been praised by the original Tropicália, Caetano Veloso, Gal Costa and Tom Ze, as well as recent free folk music such as Fleet Foxes and Devendra Banhart from outside Brazil, as well as David Byrne. He also participated in O Terno's 7inch release on in Japan with Shintaro Sakamoto and Devendra Banhart. Love songs, sadness songs, change songs, and inclusive singing voices resonate with emotions and provide healing. Expected work that will be able to enjoy the talent that can be called the flag bearer of this Neutropicaria!

A lingering guitar note. A cushion of a bassline nudging along a hushed cadence unspooling impressionistic poeticism one halting line at a time; the sparse snap of a snare providing punctuation. This is how Boston’s Karate opened their third full-length, 1998’s The Bed Is In The Ocean. Perhaps this was a reaction to the aggressive punk tones that marked their previous album, or maybe they hoped to capture the somnambulant dusk on one of those pristine fall days that make living in a town whose population swells when colleges welcome back students all worthwhile. Then again, Karate never made a point of chasing the same idea twice, and “There Are Ghosts” remains in line with the band’s stylistic intrepidness and unpredictability. Even the group’s lineup appeared constantly in flux. After expanding from a trio to a quartet and employing a dual-guitar attack with 1997’s In Place of Real Insight, founding member Eamonn Vitt hung up his axe to attend medical school. Karate soldiered on as a trio, with mid-stream addition Jeff Goddard’s bass work helping establish a sidewinding path forward through the smoky jazz melodicism and sun-beaten blues brushstrokes that hung in the background of the band’s catalog. In their short time together, Karate helped bolster the national punk ecosystem, a scene in which individual artistic vision was prized but rarely achieved. Their exacting precision and emotive interplay helped recombine the DNA of the dignified grace of slowcore, the hot-and-sweaty atmospherics of the blues, and the high-wire tension of post-hardcore to deliver drawling instrumental curveballs and a furtive riptide climax with a controlled grace on “Outside Is The Drama.” Singer-guitarist Geoff Farina frequently teased out the emotional nuances of each song, his worn-in voice shading in the complexities of his enigmatic lyrics; no matter how difficult it may be to parse his snatched-from-daily-life wisdoms, on The Bed Is In The Ocean Farina sounded like a guy who knew exactly the right thing to tell whoever may be listening. And with Karate’s snaking turns through quasi-punk reveries no one else appeared capable of mustering, it’s comforting to hear it accomplished by a band that knew exactly what they were doing.

With creative and powerful song structures and excellent vocals, this Massachusetts band is definitely one that should not be overlooked. With indie rock grooves containing flavors of emo and jazz, Karate explores beautiful new territory with a passion and energy that flows like a river. From dark and energetic breakdowns like "It's 98, Stop" to passionate stop/start wailers like "New New," In Place of Real Insight shows quite a bit of maturity from their first, self-titled LP. Karate definitely runs through all sorts of emotions in a way unlike most. ~ Blake Butler Mastering specifications at d Studios.

Come Back Down, the new album by Nashville experimental-pop duo Total Wife, was born from the edge of sleep. When composer and producer Luna Kupper would begin to fall asleep during late-night mixing sessions, the songs would follow her into the halfway place between dream and lucidity. Like Dale Cooper in Twin Peaks, she’d wake with a new perspective on the puzzle she was piecing together. “I’m a psychological mixer — I’m trying to think of how someone’s experiencing the sound, versus getting stuck in trying to make all these different tones and using all this gear to make something sound a certain way,” Kupper says. And like a spiral from waking life into dream, the songs on Come Back Down are endlessly self-referential, building whole universes from a single point. Kupper sold all of her synths to make rent before she started working on the album, and so every inorganic sound is instead built from samples of the band’s own work. A guitar on one song may be reprocessed and used as a synth on the next, while everywhere on the album vocal samples are taken from a single unreleased cover of Elliott Smith’s “Between the Bars.” In tribute to this process, the album was almost named The Julia Set after the mathematical equation which feeds into itself again and again, creating beautiful fractal images. The intention was to create something complex but accessible; experimental, yet precise and without abstraction. In her lyrics, too, main vocalist and co-composer Ash Richter is as straightforward as she’s ever been. She drew on her experience of pandemic isolation to write about connection and disconnection, using her lyrics as a tool for the communication that was missing in everyday life. On the soaring, shoegazey track “peaches”, a storm that forced the cancellation of a recording session became a metaphor for emotional distance. “still asleep” chronicles Richter’s euphoria after Total Wife’s first tour, and watches it begin to curdle into paranoia. “Thank the full moon, my heart is overflowing,” she sings, before: “Is there such a thing as too happy?” The experience of isolation was prompting Richter to think back to her childhood, a time marked for her by solitude and natural play — climbing trees, making mud pies, getting lost in the woods. On tracks like “in my head” and “second spring”, she uses the imagery of nature to recall that time and forge a connection with her lonely inner child. “I feel connected with transcendentalist writing and magical realism — trying to convey things in a concrete way, but with that element of psychology and mystery,” she says. Richter and Kupper, friends from high school, formed Total Wife in 2016, relocating from Boston to Nashville in 2020. Both are visual artists as well as musicians, which they incorporate into their work with Total Wife via layered and purposeful visuals. A DIY streak underpins everything that they do — from handling their own artwork and music videos to recording their own music, releasing tapes through their label Ivy Eat Home, and hosting house shows in the basement they’ve christened Ryman 2. In Nashville they’ve settled into a weirdo scene living under the record industry’s floorboards, a hive of collaborative and creative energy that has made them excited to call the city home. They also assembled a live band for the first time shortly after moving to Nashville, consisting of Ryan Bigelow, Sean Booz and Billy Campbell — injecting their creative process with a jolt of spontaneity and aliveness that has fed back into Come Back Down.

Market East finally shares their most important statement to the world in the form of their debut LP, French Street. The group, composed of Kurt Cain on vocals, Vincent John on vocals, bass, guitar and keys, and Maxwell Perla on vocals, drums and percussion, deliver their signature celestial three part harmonies over arrangements that have never sounded so rich and compelling.

French Street is extremely soulful and the vocals are lush, like if the Zombies recorded at Muscle Shoals. The lyrics are poetic and nostalgic, as the group wrote songs about their bygone “golden” years. Back then, the boys didn’t have much besides each other and their shared love of music. Vocalist Kurt Cain lived in a small rowhome in North Philadelphia on a nearly deserted alley named French Street. It was here that Cain, John, and Perla came together every week to escape reality and get high off sharing music. They developed a deep appreciation for all things 60s and 70s, from Simon & Garfunkel to the Moments, and everything in between.

All these years later, and Market East has created a classic record of their own. From the baroque pop of the title track and the roaring soul of “Roses,” to the Latin flavors of “Echoes of My Heart” and the orchestral flares of “Everyday, Springtime,” Market East shows their impressive range. Recorded to analog tape in Philadelphia, the record was produced by the band and Eraserhood Sound. Grab your copy of this timeless classic today.

“As I’m getting older, chip up on my shoulder…” is the opening line from Mac DeMarco’s second full-length LP ‘Salad Days,’ the follow up to 2012’s lauded ‘Mac DeMarco 2.’ Amongst that familiar croon and lilting guitar, that initial line from the title track sets the tone for an LP of a maturing singer/songwriter/producer. Someone strangely self-aware of the positives and negatives of their current situation at the ripe old age of 23. Written and recorded around a relentless tour schedule (which picked up all over again as soon as the LP was done), ‘Salad Days’ gives the listener a very personal insight into what it’s all about to be Mac amidst the craziness of a rising career in a very public format. The lead single, “Passing Out Pieces,” set to huge overdriven organ chords, contains lines like “…never been reluctant to share, passing out pieces of me…” Clearly, Salad Days isn’t the same record that breezily gave us “Dreamin,” and “Ode to Viceroy,” but the result of what comes from their success. “Chamber of Reflection,” a track featuring icy synth stabs and soulful crooning, wouldn’t be out of place on a fantasy Shuggie Otis and Prince collaboration. Standout tracks like these show Mac’s widening sound, whether insights into future directions or even just welcome one-off forays into new territory. Still, this is musically, lyrically and melodically good old Mac DeMarco, through and through. The same crisp John Lennon / Phil Spector era homegrown lush production that could have walked out of Geoff Emerick’s mixing board in 1972, but with that peculiar Mac touch that’s completely of right now. “Brother,” a complete future classic, is Mac at his most soulful and easygoing but with that distinct weirdness and bite that can only come from Mr. DeMarco.“Treat Her Better” is rife with “Mac-isms,” heavily chorused slinky lead guitar, swooning vocal melodies, effortless chords that come along only after years of effort, and the other elements seriously lacking in independent music: sentiment and heartfelt sincerity.

Taking influence from 1960's Thai funk - their name literally translates to "Engine Fly" in Thai - Khruangbin’s debut album ‘The Universe Smiles Upon You’ is steeped in the bass heavy, psychedelic sound of their inspiration, Tarantino soundtracks and surf-rock cool. The Texan trio is formed of Laura Lee on bass, Mark Speer on guitar, and Donald “DJ” Johnson on drums.

‘The Universe Smiles Upon You’ was recorded at their spiritual home, a remote barn deep in the Texas countryside where their first rehearsals took place. The band listened to a lot of different types of music on the long drives out to the country but their favourites were 60s and 70s Thai cassettes gleaned from the cult Monrakplengthai blog and compilations of southeast Asian pop, rock and funk. This had a heavy impact on the direction of the band, the scales they used and the inflection of the melodies; which coupled with the spaciousness of the Texan countryside culminated in Khruangbin forming their exotic, individual sound.

Although the band was conceived as an instrumental outfit, ‘The Universe Smiles Upon You’ features the first Khruangbin recordings with vocals. Tracks ‘People Everywhere (Still Alive)’, ‘Balls and Pins’ and recent single ‘White Gloves’ show a new dimension to the band.

“We never really thought of ourselves as having a “singer” but we knew that we wanted a voice for Khruangbin. We decided to write about something close to us, tell a story as simply as possible, and sing it together.”

The seeds of Khruangbin were sown when Mark and Laura were invited to tour with Ninja Tune's YPPAH supporting Bonobo across his 2010 American tour. The tour galvanised the two of them to start making music together more seriously, with DJ - he and Mark have played in the same gospel band for years - the natural choice for drums.

Sharing their first recordings, Bonobo included Khruangbin's ‘A Calf Born In Winter’ on his 2013 Late Night Tales compilation. Subsequently signed to Late Night Tales offshoot Night Time Stories, ‘A Calf Born In Winter’ was released as a single in May 2014, four track EP ‘The Infamous Bill’ followed in October, with covers EP ‘History Of Flight’ on Record Store Day 2015.

“We feel like there is an ease that comes from being immersed in a space, away from the distractions of the city and everyday life. We make our music in a barn, in the Texas hill country, because it makes sense to us. Being there allows us to make music that comes naturally, and that’s what we wanted this album to be. We wanted to make a record that just let the music happen, and we hope that’s what you can hear.”

アルバムについて On Dreams ’24 / ’25, Scottish composer Bill Wells turns his nocturnal imagination into a sequence of delicate musical miniatures. The album brings together 24 short pieces, most of them under two minutes, unfolding in just under half an hour like a quietly drifting dream diary. The album is split into two parts. On the Dreams 2024 side, Norman Blake lends his voice to Wells’ dream-born melodies. Blake, best known as a founding member of Teenage Fanclub, recorded the songs with Wells in a single afternoon at his home, capturing their fragile immediacy in direct and unadorned performances. For Dreams 2025, Aby Vulliamy — one of Yorkshire’s best kept musical secrets — takes over vocal duties. In mid 2025, Wells sent her a batch of demos; Vulliamy recorded them at home and sent them back to him. The result is a second chapter that feels more introspective, intimate and gently surreal. The songs themselves are born directly from dreams. Wells wakes from the dream, records it on his mobile and later shapes it into a brief, lyrical composition. One piece, Mackenzie’s Return, was inspired by a dream in which Elvis Costello marched through the streets of a suburban town complaining that he had run out of song ideas, a detail that perfectly captures the album’s blend of humour, strangeness and quiet melancholy. Dreams ’24 / ’25 is not a collection of fully formed pop songs, but rather a series of fleeting emotional snapshots: soft voices, simple motifs, and melodies that appear and vanish before they can fully settle. It is an album that rewards close listening, inviting the listener into a private, half-lit space somewhere between memory and imagination. The album features striking cover artwork by Annabel Wright.