Description

I’d spend a day before he comes in making the studio ready, so when he entered, he’d have a whole sonic arsenal at his disposal. I’d make sure there are things like tape delays in place and sub-bass, two or three drum machines with some good sounds, a couple of sequencers. I’d create a palette without even discussing it. I learned quickly that if you just put the sounds in front of him, then it’s like lighting a wildfire. I love him, he’s a brilliant artist, very fiercely independent. He doesn’t work like anyone else does, it’s all on his own terms. But when he comes to the studio, he’s just one of the most creative people I’ve ever seen. We’d write all day, then after we left the studio, I’d be thinking about how good the music was sounding. I’d get to the studio the next morning and he would have put the new songs on the internet the previous night. Then he’d delete them five days later. He’d use fake social-media accounts to release these tracks, but he didn’t care who was listening or what the label thought. He had a really liberating, really punk approach. – Steve Mackey of Pulp

• 180g black double vinyl pressing
• encased in thick black plastic outer sleeve
• flat black plain inner sleeves
• digital download included
• music label: Rough Trade 2014

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