Meg Baird"s songs are rarely made up of tidy stories. In fact, for Meg, mystery itself is often the medium. With Furling, Meg"s fourth album under her own name, she explores the breadth of her musical fascinations and the environments around them-the edges of memory, daydreams spanning years, loose ends, loss, divergent paths, and secret conversations under stars. Furling moves through these varied spaces with the slippery, misty cohesiveness of a dream-guided by an ageless, stirring voice that remains singular and unmistakable. Since co-founding the beguiling and beautiful Espers in the mid-aughts amid Philadelphia"s fertile underground music community, Meg"s solo recordings have constituted just a fraction of her work. Yet Furling is the album that most irreverently explores the span of her work and musical touchstones. It showcases her natural tether to "60s English folk traditions. But it also reveals her deep love for soul balladry, the solitary musings of Flying Saucer Attack and Neil Young shackled to his piano deep in the foggy pre-dawn, dubby Bristol atmospherics, the melancholy memory collage of DJ Shadow"s Endtroducing, and the delicious, Saturday-night promise of St. Etienne. Furling was primarily recorded at Louder Studios by Tim Green (Bikini Kill, Nation of Ulysses, Melvins, Wooden Shjips). Additional piano and vocal recording were captured at Panoramic Studios in Stinson Beach, CA with Jason Quever (Papercuts). It was mastered in Brooklyn by Heba Kadry, who mixed Bjork"s Utopia and mastered LPs for Slowdive, Cass McCombs, and Beach House.