Plant began without a shared studio, a fixed sound or even detailed production instructions.
Formed during lockdown by Cardiff songwriter Spencer Segelov and producer and multi-instrumentalist Daniel Tudor Edwards, the project developed through an unusually open remote workflow.
Segelov sent skeletal song ideas to Edwards, who rearranged the material and played every instrument without being told where the tracks should go.
That freedom transformed intimate songwriting influenced by Jim O’Rourke, LUMP and Mercury Rev into something murkier and less predictable, shaped by woozy synths, loose structures and the weathered atmosphere of Neil Young’s Ditch Trilogy.
Debut single Ursula introduces that creative tension ahead of Plant’s self-titled first album. The record explores collapsing relationships, abandoned expectations, new beginnings and the possible end of the world—all emerging through a deliberately instinctive songwriting process.
Plant’s debut captures what can happen when remote production becomes more than a practical compromise. By leaving the original demos open to reinterpretation, Segelov and Edwards created a record neither musician could have planned independently.
Ursula offers the first glimpse of that process: intimate songwriting dismantled and rebuilt into something stranger, earthier and refreshingly difficult to categorise.