Kerry showed me her demo of this at about 5am one night in July 2010, and I pretty much melted straight away. In fact, I nearly cried. Hearing that first demo now instantly takes me back to sitting there listening to it in her room, jealous as hell.
This was the second track we did of the E.P sessions at my Dad’s house – we started it straight after we finished Knees on Thursday 12th August, and finished it on the Friday. Kerry played ukuleles, toy piano, drums and did vocals. I did glockenspiel, keyboards, bass, drums and vocals.
Something I still find really nice about this track was that on the Friday I woke Kerry up at 10am with two cups of tea and we both wanted to instantly turn on the computer to listen to what we’d done the day before (Knees and half of this track). We started to listen to this, I picked up a keyboard and we carried on recording the track straight away with a breakfast-less Kerry still in her pyjamas, and finished it by 2pm.


Throughout May, me and Kerry were in the studio where I worked at the time to record a new track of hers – she chose this one. Nice recording evenings with lots of pitta and houmous involved. She played acoustic guitar, keyboard, percussion and sang. I played banjo, glockenspiel and keyboard.
We intended to work on this song over the E.P sessions, but my laptop charger had died, so there was no way of getting what we’d done so far onto my studio computer. We thought about leaving it off the E.P, but when we got back to London we recorded bass (played by our manager, Will), lots and lots of new drum tracks and even more vocal tracks (including some shouting parts that nearly made me faint, and that I seem to remember made Will, sitting in the next room, a little concerned).
I remember us wanting to make the ending sound like a more folky Flying Lotus; I have no idea if this worked or not.


We started this as soon as we got to my Dad’s place in Southampton on the Thursday – and I mean literally as soon as we put our bags down and made a cup of tea. I guess I was just too excited to record to give Kerry a tour of the house or any other niceties like that. We played the piano parts simultaneously. After recording piano, we recorded drums simultaneously too, and then Kerry played some one-handed electric guitar parts which we put through the Space Echo (I thought I was being super clever at this point with the one-handed guitar). I quickly recorded some simple toy keyboard and electric bass parts, we did some shaker shaking, and then started the vocals (of which there are over thirty tracks). We finished it super, super quick and then celebrated our first completed track with some crackers, brie and spiced rum. We then started on Half Empty.


We started this on the Friday evening when Will and our good friend Prokopi (www.itdrewitself.com) came down to visit. This was a track we did because another wasn’t working – from a pure selfish point of view, I couldn’t be happier that we chose to do this one instead.
We started by recording some electric guitar (Kerry) and toy-keyboard drum parts (me) – after a bit of alcohol this was proving pretty difficult. All four of us then did some hand claps and other percussion bits, and that was it for the evening (we went out, I missed the world’s easiest pool shot and me and Kerry danced to 80’s songs.)
The next day we cooked some breakfast, Pro took some photos and we carried on recording the track. Kerry recorded the E.P’s funkiest bass part, Will taught us the physics of audio frequencies, I programmed some casio beats, we both recorded some simple drum parts and then did the vocals (which we put through the Space Echo). I remember Kerry saying she wanted the vocal bridge before the last chorus to sound like Deacon Blue – which may or may not have had something to do with the copious amount of 80’s music we’d consumed the night before.
We finished this one pretty swiftly too – and then afterwards sat on my bed and listened to the E.P as a whole about 10 times through.


In September 2010, a few of us from Tape Club went to stay in a rented cottage in Devon for a week, doing some recording and dancing in the kitchen a lot.
Me and Kerry were usually the last ones up over the week and one night we decided to write a song together in the summer house, and came up with this. We spent the next night recording it in the living room of the cottage after everyone went to bed, and recorded the vocals when we got back to London.
The first instruments we recorded were the acoustic guitar and banjo parts, which we played simultaneously. The song initially had a 30 second intro of us trying to start the song but repeatedly getting it wrong, which I kinda liked.


Kerry and I have been big, big fans of the Amerie track for a long time. We were sat at her dinner table one night in February with a guitar and toy piano when we started to improvise a much softer, slower take on the original, and it all just seemed to fit. We then recorded the track a couple of weeks later in her flat, which we then gave to our good friend Stan Gabriel to mix and polish up. It will be released this summer.

Something to listen out for in this recording is Kerry’s use of a china bowl as percussion. This came about purely by accident: we were enjoying a nice serving of soya yoghurt whilst recording, Kerry’s spoon accidentally knocked the bowl, we both instantly looked at each other as we realised that the sound of the bowl was in the same key as the song, and recorded it straight away.