On February 15th, 2026, British singer-songwriter Reema and the LowSwing team travelled to Abbey Road Studios in London to record a special album.

The idea was to bring Reema's songs to their most intimate form: her voice and guitar, captured live in Studio Three at Abbey Road — home to legendary recordings by The Beatles, Pink Floyd, Fela Kuti and many more.

But this wasn't a conventional studio session: the album was recorded direct-to-disc, meaning the music went straight onto the master lacquer as it was played. Just the microphones and the mixing console stood between Reema and the cutting lathe. An entire side, start to finish, in one take - no overdubs or edits.

Abbey Road is one of the few studios in the world still equipped to handle live direct-to-lacquer recording - a process so demanding that it takes specialized tools, skills, and a full team of experts to pull off. With no ability to pause, retune, or start over, every element of the performance has to be perfect in the moment.

On February 15th, 2026, British singer-songwriter Reema and the LowSwing team travelled to Abbey Road Studios in London to record a special album.

The idea was to bring Reema's songs to their most intimate form: her voice and guitar, captured live in Studio Three at Abbey Road — home to legendary recordings by The Beatles, Pink Floyd, Fela Kuti and many more.

For Reema, the simplicity of the setup was central to the experience: with only voice and guitar, the recordings became less about production and more about returning to the songs' original emotions, memories and places: one artist, one guitar, one room — one day preserved onto master tape.

The same performances that created the Direct-to-Disc album (LOSW017) were captured simultaneously onto analogue master tape on a Studer A820 tape machine, offering a second perspective on the same day.

While the Direct-to-Disc album captures a complete and unaltered live performance, the tape recording offered different choices and takes of the same songs performed throughout that day.

Reema played everything live, with no overdubs or editing. With each take captured on tape, Guy and Reema had the freedom to choose the strongest version of every song. The tape itself also shapes the sound in its own way, adding warmth, depth, colour and texture to the recording.

The vinyl album and the tape edition offer two different ways of experiencing the same day.

The tape edition features an additional track, Coffee, which isn't included on the Direct-to-Disc album.

Following the acclaimed The LowSwing Sessions (LOSW010 2024), Fin Greenall (FINK) returned to LowSwing Studio in Berlin for a second completely analogue recording session. The result is a level of interaction, commitment and spontaneity that can only exist when every performance is captured in real time.

If the first LowSwing Sessions explored an idea, Vol. 2 proves the concept.

Recorded in November 2025 over three days, every performance on the album is a complete take by all musicians playing together in one room. No computers. No editing. No overdubs. No digital processing. As Fin Greenall writes in his liner notes: "The moment where everything lines up just enough and you stop thinking and just play and then something special happens. The tape just happens to be the witness."

The result is a collection of deeply personal reinterpretations of songs by PJ Harvey, Jimi Hendrix, Arcade Fire, Yeah Yeah Yeahs, Morrissey and The Cure, alongside FINK's own unmistakable musical voice. Rather than recreating familiar recordings, the band approaches each song as a living composition, finding new spaces, new dynamics and entirely new emotional perspectives.

The critically acclaimed debut album by Alon Lotringer on LowSwing Records (In Light, LOSW006, 2021) was marked by both artistic triumph and profound adversity. Created during the height of the COVID-19 pandemic, the album emerged under challenging circumstances, yet was widely recognised as a powerful and distinctive work. Tragically, on the very night of its Berlin release concert, a devastating fire destroyed LowSwing Studio, the home of LowSwing Records, consuming the recording space, master tapes, and a significant number of album copies.

It would take Lotringer five years to return to LowSwing and begin work on a new record. This resulting album is a deeply personal collection of eight songs, reflecting on both intimate relationships and broader world events, capturing a period of reflection, loss, and renewal.

At the heart of the album stands Lotringer himself, performing all vocals as well as bass, guitars, and keyboards. He is joined by acclaimed drummer Earl Harvin (Jeff Beck, Tori Amos, Tindersticks) and Icelandic guitarist Daníel Friðrik Böðvarsson.