S*T*U*F*F* Reloaded

Its been pretty full on. Sometimes things just go mental, and you have to try and keep up. I’ve just finished typing a comedy email in French, as my little boutique web design agency G-RAFF has been commissioned to do a website for AIR. I’m so chuffed about it… it was in the same week as 5 other projects (or very likely projects) appeared.

Its been a real trip getting my hands on the original Moon Safari artwork, seeing all that beautiful work up close, being able to work with it and create something new. A real privilege, like I’ve been given the keys to the treasure room of a museum. We are going to do something lovely - very simple, but effective… watch this space. It is absolutely gorgeous artwork, I must say. Its amazing how sometimes a classic album like that just lucks out and gets a classic piece of art to go with it - a lovely synchronicity.

Martyn James Brooks and I have been discussing the artwork for my new album. I love talking with him about visual ideas - he’s a real livewire and drifts across a whole spectrum of concepts in a matter of minutes. What’s lovely is the fact that we will get right down to the details, yet at the very last moment, when the film is developed, he’ll finally get his idea… that’s what happened when we did the shoot of Emma, the little girl on the cover of Angels In Drag.

The recordings have been going very well, with Jules Maxwell steering the good ship to a result. As I’ve said many times, I have the deepest respect for Jules; his vision for my work and especially my voice, is something I would never have found in a million years. And looking at everything else I’ve done before now, it all seems fake. He’s amazing. Its sounding good. The general tactics have been to drop the vocals by an octave… I can sing really, really low, so Jules was keen to explore “the primal rumble”. Songs have started to make sense, become coherent, and sound like they were honestly delivered by the person that wrote them. I can safely say that’s the first time in my life that has happened. It also happens that all the vocals are single takes - with no drop-ins. All the flaws and mistakes will live happily ever after, without AutoTune or any such rescue remedy.

I was also delighted by the fact that my good friend, ally and power-meeting colleague Leo Abrahams contributed some wonderful guitars to a couple of the tracks. He’s made a significant mark on this album, not least the fine bottle of Amarone we shared at Il Bordello after exiting the studio doors.

Speaking of wine, I indulged a bit this week. And why not? I remain resolutely convinced that wine is to be enjoyed at the most unremarkable of moments. To take of its true magic, you have to let it transport you out of the mundane and into its world… this is best done with no distractions. Its a bit like a control experiment. If you’re having a fancy dinner with great food - sure, a nice bottle of wine can enhance the evening no end. But sometimes its great to just open a nice bottle and let it be your evening’s entertainment - or in my case drinking half and leaving the rest overnight to see what it does.

In my case, this has happened twice this week - nothing really outrageous, by any means, but a couple of lovely bottles. A “Bodegas Riojanas” 1998 Monte Real Gran Reserva on Wednesday, and a 2003 Chateau Bellegrave Pomerol tonight. Drunk slowly, savouring every drop, with the backdrop of suburban London… nothing to jump up and down about. Just that nice relaxed feeling when your child is in bed, and time comes dropping slow.