It’s amazing that so little has been said about this album. Even though the music can speak for itself, it’s interesting to know what made the drum‘n’bass figure who was gaining momentum record a house album. In 1998, 24-year-old Seba, who today needs no introduction even outside the scene (a Scandinavian icon liked by girls), was in limbo at LTJ Bukem’s label. And four years before that, he and a friend recorded a track that no one in Sweden wanted to sign. It’s a well-known story: Bukem, preparing for his appearance at a Scandinavian festival, was impressed by Sonic Winds, with which Seba ended his performance. The godfather of atmospheric jungle suggested a collaboration.
However, it quickly turned out that Good Looking turned out to be too tight for the young musician. Seba wanted to develop his sound, but the label stubbornly remained silent regarding the “Twelve finished recordings sent to the office of Good Looking”. The exclusive contract was also a burden, forbidding him from giving any tracks to third-party labels. All this time, Seba was working in Sweden and on one of the club nights in 1998, Stephan Grieder, the founder of the local house label Svek, approached him. Seba created two remixes of upcoming records for them, and then brought in Midsummer Day, which was rejected by Bukem for Good Looking’s next Earth compilation, where drum‘n’bass musicians released slow, funky and jazzy stuff, full of love and the charm of the seventies, when the innovators of the British music were children.