Raised in Redding, Northern California, with an astrologer for a mother — and there's even a story about someone hearing her pre-debut recordings and founding a label just to release them.
Voice and guitar, with lo-fi tape recording, form the foundation.
This time around, a producer plus bass and keyboard support were added, but rather than expanding the sound, it's a minimal ensemble that exists to protect the "ambiguity" of her music. The hazy ring of nylon strings lends it an intimacy akin to chamber music.

While you can hear the traditional folk lineage of Vashti Bunyan she's so often compared to, she establishes a world entirely her own, glancing sideways at the ambient currents running through recent American indie.
Personally, more than British/American trad or acid folk, it brought to mind the psychedelia of Brazilian/South American artists like Caetano Veloso and Gal Costa, where darkness and gentleness coexist. Somehow there's a quiet earthiness to it too.

She emerged in the 2010s, but the atmosphere she carries was arguably ahead of its time. Pitchfork recently republished a review of her older work, too.
Her own phrase, "dissolving reality and fantasy," says a lot about her world.

Her lovely voice drifts with a fragile precariousness, yet she never simply spills emotion nor surrenders the music to it — there's a dignified backbone and warmth to it, and once you're in, you'll find yourself hitting repeat.

The great "This Time Around" (sample1), "Here My Love" (sample2), "Crossing" (sample3). Every track is just too good.
Let's wait for spring. (Original Japanese text by Shhhhh)