Nûs was a band formed in Sacramento, USA, in the early 1990s by Greg Cain. The original lineup featured Greg on drums, Percy Howard as the vocalist, Rich Kazanjian on bass, and ambient guitarist Steve Sullivan. From the outset, the group experienced a strong musical synergy, despite their differing personalities. They developed a cohesive sound that they nurtured together, akin to the rhythmic cycle of breathing. Greg's strong work ethic motivated the band to refine their sound and push their creative boundaries. Nûs's music could be described as an acquired taste, characterized by melodies often intertwined with Rich's fluid bass lines and Steve's guitar work that evoked the essence of strings and keyboards. The band explored the operatic edges of rock and the melodic territories of progressive and avant-rock. At that time, Percy's vocal style was more structured, and he found it challenging to separate from years of formal training to embrace the looseness typical of pop or jazz. Ultimately, he opted to lean into the dramatic and self-aware nature of his performance, which Jonathan Selzer of Melody Maker described as "overwrought, yet vision-struck and humbled."

The Sacramento music scene of the early 90s was dynamic and eclectic. Nûs played a variety of unusual gigs alongside bands with which they had little in common, such as the Popealopes and Prayer Wheel, as well as with friends and like-minded artists such as Murmer (now known as Claire Voyant), Sandbox Trio, Caron Vikre, and The Broun Fellinis. Among their notable performances was one with future indie star Cat Power (Chan Marshall), who opened for them but struggled with stage fright. The band also played to packed crowds at Old Ironsides, where, without Kim Kanelos's support, they felt they might not have achieved their success. They had memorable experiences, such as John McCrea of Cake observing from the bar during their set and a wild show in a Reno basement under a large disco ball, where they were surprised by a lively audience.

In 1995, Nûs signed with Sub Rosa and released their debut album, "All the Vertical Angels," in 1996. This album was recorded at Bill Laswell's renowned Greenpoint Studios, an intense experience that left a lasting impression on the band. Laswell's production style provided little direction in terms of performance and song crafting, focusing instead on his distinctive mix, characterized by heavy reverb and unusual effects that embedded the vocals within the overall sound. The recording sessions were marked by tension, and the band felt they did not fully realize their potential due to time constraints, completing the recording and mixing in just three days. The situation was compounded by Greg suffering from severe back pain, and the band was relieved to return home.

Upon their return, the band faced typical crises that many groups encounter, stemming from differing musical expectations and egos—Percy acknowledges his own out-of-control ego. To address these issues, Troy Sutton was brought in to replace Greg on drums, leading to a shift in their sound towards a jazzier, rock-oriented style. This new rhythm section, featuring Rich and Troy, created a heavier groove, moving away from the ambient, neoclassical influences of their earlier work. Steve’s guitar contributions became more structured, highlighted by ballads like "Everything." Their second album for Sub Rosa, "Inside Is the Only Way Out," was released the following year and included performances at a Sub Rosa showcase in New York alongside Scanner (Robin Rimbaud) and David Shea, as well as at the Time Zones Festival in Bari, Italy, where they shared the stage with artists like Caetano Veloso and Charles Hayward.

After approximately 18 months of collaboration, aesthetic and personal differences led the members of Nûs to pursue separate paths. Percy transitioned to his Meridiem project and other collaborations. Reflecting on those years—filled with both beauty and struggle—he expresses a desire to have been more gracious and kind to his bandmates, recognizing that at the core, the focus should have been solely on the music. Despite the challenges, working with the band was a profoundly enriching experience that left both scars and lasting memories, with many positive aspects continuing to flourish.