There was an Oberheim, there was a Syntex, a Juno-60. We would just go around the room and track them all. Josh: “There’s a room of synths at the bottom of Figure 8, that's where we discovered the Deckard's Dream. A lot of stuff that we did in that first week, we didn't end up using, but it was just to get started. That was to go in and track basically, so we went in and did a bunch of the rhythmic stuff. So we booked it and that put a frame around the work period and gave us some time pressure. We booked a studio in New York - it was just after America opened its borders - kind of just because we could and I had the nine songs ready. We never usually do this, but I think it was because there was an urgency to finish the album. So the process once the song is there is to just flesh it out and take it to a different place, which we did in two iterations.” Josh: “Often when you write those first demos, they're just stock Ableton sounds, and it's more about the song than the production or whatever. But I need a second pair of ears and I need someone to bounce ideas off, and Josh is really good at creating soundscapes and working with the textures of the songs.” Josh is more like a sound designer, which suits me and suits this project really well, because I don't necessarily need a producer because I produce myself. “Josh is not really a producer for other people, other than this project. For this album, when I had nine songs and I was sort of happy, I showed it to Josh and said, I think I have an album. Then as soon as I'm happy with it, I just close the session, and I walk away and I never open it again. “I work pretty fast, and I’m a pretty impatient person. So I would usually make loops on Ableton, and then I have them running and I sing over it. When I play the piano, I play it in the exact same way as I play the guitar. I do a lot of fingerpicking, and I've noticed a pattern now. It's kind of the same way that I play guitar. I use Ableton, and I'm kind of obsessed with making arpeggiated loops. JFDR: “Most of it was made here in this room, just a small room that’s detached from our apartment. Tell us about how the writing process began for the new album? We caught up with Ákadóttir and Wilkinson ahead of the album’s release to find out more about the equipment, techniques and creative process behind Museum.
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