Tape Notes

In this episode, John is back at Spitfire Audio to catch up with Yannis and Jimmy of Foals, to discuss how they wrote, recorded and produced their new album ‘Life Is Yours’. Giving us a fascinating insight into their process and how they adapted it for their current 3 piece line up, the pair look back on how they kept their creativity organic and spontaneous, as well as the impact of each new producer along the way. With writing-room demos and plenty of stories from the studio, we’re given a full rundown of the elements that went into shaping the band’s updated sound, from the list of keywords they wrote before even playing a note through to the almost hour-long jams.  Listen to find out how they sneak discarded ideas back in to the lives show, why it’s so important for the groove of a song to be set before anything else, and what producers often do to keep their production secrets under wraps. Tracks discussed: Wild Green, 2001   Listen to ‘Life Is Yours’ here ‘Life Is Yours’- Warner Music UK Intro Music - S

In this episode, John heads over to Spitfire Audio to chat with Mahalia and producer JD. Reid about how they wrote, recorded and produced the EP ‘Letter To Ur Ex’. Looking back on their early writing sessions together, the pair reflect on their very first meeting and the approach they took to get the best out of one another. From scatting line after line over a beat and jamming ideas until something just sticks, to the promise of food as a reward for finishing each section of a song. Alongside sharing their thoughts on blending the worlds of hip-hop and R&B, we’re treated to a production deep dive, looking at the intricate relationships between the parts that make up a beat and the small yet essential ingredients that add so much to each track in such subtle ways. Listen to find out why Mahalia sometimes sings with a man’s voice, what moments just scream out for a Talk Box, and why it’s always important to look at a track as more than just an instrumental and vocal.   Tracks discussed: Letter To Ur N(ex)t, Wh

In this episode, John links up with Chaz Bear, the mind behind Toro y Moi, to talk about how he wrote, recorded and produced the album ‘MAHAL’. Digging into jam sessions dating back to 2015 with all of the original recordings to hand, Chaz gives us the lowdown on how his musical ideas formulate, and the simple yet impactful journey they undertake to arrive as fully fleshed out tracks. Reflecting on life as an all-round creative, Chaz looks back on how he got started in music, from the early days using his parent's karaoke machine, to the importance of community and collaboration in today's music world. Listen to find out what in The Godfather had such a huge influence on a song, why it’s so difficult to create completely emotionless performances, and how to fearlessly explore ideas in your music. Tracks discussed: Déjà Vu, Magazine, The Loop   Listen to ‘MAHAL’ here. ‘MAHAL’ - Dead Oceans   Intro Music - Sunshine Buddy, Laurel Collective   LINKS TO EVERYTHING TAPE NOTES  https://linktr.ee/tapenotes    GEAR ME

Thanks to SoundBetter for supporting this episode of Tape Notes. SoundBetter is the world's leading music production talent marketplace, giving you access to the best mixing & mastering engineers, singers, songwriters, producers, and studio musicians in the industry. You can work with Billie Eilish's drummer, U2's mix engineer, or hire the topliners that wrote on the latest BTS record, these pros are keen to work with Indy artists. Head to SoundBetter.com to find out more. In this episode, John links up with Harley Streten, better known as Flume, to talk through how he wrote, recorded and produced the four opening tracks from his mixtape and three albums - ‘Flume’, ‘Skin’, ‘Hi This Is Flume’ and ‘Palaces’. Digging out files from sessions dating back to his early adventures travelling around Europe, Harley gives us a rundown on some of the key parts of his life in music and how his approach to producing has changed over the years. From his early days using cereal box software to his approach to fixing writer’

Thanks to SoundBetter for supporting this episode of Tape Notes. SoundBetter is the world's leading music production talent marketplace, giving you access to the best mixing & mastering engineers, singers, songwriters, producers, and studio musicians in the industry. You can work with Billie Eilish's drummer, U2's mix engineer, or hire the topliners that wrote on the latest BTS record, these pros are keen to work with Indy artists. Head to SoundBetter.com to find out more. In this episode, John heads to Miloco’s The Yard Studios to catch up with The Chainsmokers, Alex and Drew, talking through how they wrote, recorded and produced their latest album ‘So Far, So Good’. Giving us a glimpse into their Hawaii writing sessions and drunken nights in the studio, the duo share the initial sparks and early ideas (both good and not so good) that developed into the final tracks.  As well as a beat building masterclass, creating drum patterns that no one would ever think up, the pair reflect on removing any pressure fro

In this episode, John heads to Bristol to chat with Yard Act’s James, Sam and Ryan along with producer Ali Chant about how their debut album ‘The Overload’ was written, recorded and produced. Catching up after a big night on the Bristol stop of their tour, the band reflect on their process of bringing the album together, from solitary lockdown demos and recording over WhatsApp videos, to learning how to play the drums and the last minute additions after the tracks had been mastered. Sharing their experience of transforming what started as a side project into a successful band, we hear stories of giving, receiving and dealing with criticism, the prompts that encouraged several turning points in their writing style and the dangers of overthinking when working on individual parts. Listen to find out how to write vocals that are suitable for the neighbours, why it’s important to know the difference between congas and bongos, and what in songwriting is not too dissimilar to drawing a monster. Tracks discussed: The

In this episode, John is joined by Dave, Donny and Jung from Gang of Youths to talk about how they wrote, recorded and produced the band’s new album ‘Angel In Realtime’. Taking us on a global tour, the trio guides us through the wealth of sounds, people and places that had such a huge influence on the album, from London street ambience and the goings-on outside their studio window, to Pacific Island chants and the extraordinary samples that opened up a whole new sonic world for them. Alongside a look into their musical melting pot, we hear thoughts on criticism, hate and jealousy within music, as well as their attitudes towards cheesiness and embracing who you are and what you love.  Listen to find out how to make a beat from a box of sultanas, why you sometimes might mistake Dave’s voice for a stoned Michael Buble, and how to create the illusion of something being simple - while still throwing 200 layers of tracks at it.   Tracks discussed: You In Everything, Spirit Boy, Hand of God, Goal of the Century    L

In this episode, John ventures over to Alt-J’s band studio to chat with Joe, Gus and producer Charlie Andrew about how they wrote, recorded and produced their new album ‘The Dream’. Unearthing early demos and some very special voice notes, the trio look back on forming the sonic world encapsulated within the record, reflecting on the importance of their individual roles within the writing process along with the fundamental stories behind each track. From serendipitous church bells to missions of sneaking in old album references, we hear about the intricacies of the kit key to the band’s sound, as well as the little details within each track you won't discover on a first listen. Listen to find out why Mexican Coke tastes better than American Coke, what a sausage bassoon is, and how to get the best results when recording next to a dance class and a polling station. Tracks discussed: Bane, The Actor, Get Better   Listen to ‘The Dream’ here. ‘The Dream’ - Infectious Music, BMG   Intro Music - Sunshine Buddy, Laur

In this episode, John heads over to Bastille’s West London HQ to catch up with Dan Smith and producer Mark Crew about how the band wrote, recorded and produced their latest album ‘Give Me The Future’. Having written most of the tracks in remote lockdown sessions, Dan takes us all the way back through his initial ideas and the random voice notes of inspiration that came to him at the most unexpected times. As well as sharing their thoughts on the challenges that come with writing a sci-fi concept album and blending them with the usual Bastille ‘bread and butter’, the pair pull apart the intricate production techniques they used in an attempt to recreate the musical characteristics of the 80s. Listen to find out how the band’s touring crew ended up recording BVs, what is and isn’t considered tasteful when mixing in Dolby Atmos, and what genres are generally pretty dangerous to let a bassist loose on.   Tracks discussed: Thelma + Louise, Back To The Future, Future Holds   LINKS TO EVERYTHING TAPE NOTES  https://

Find out more about Tape It and redeem 50% off any Pro plan - tape.it/tapenotes ------------------------------ Welcome to part two of the Best Of Season 9. We pick up where we left off, looking back and pulling out our selection of highlights and memorable moments from the season.  If you haven’t heard every episode from season 9, this is a good way to introduce yourself to more of the guests we’ve had on and hear some of their top studio tips, unique writing processes, along with the thoughts and philosophies that shape their musical worlds.   You’ll hear highlights from:  CHVRCHES Orla Gartland with Tom Stafford Courtney Barnett & Stella Mozgawa Jon Hopkins Chet Faker Hiatus Kaiyote   Listen to the albums featured this season with the links below. CHVRCHES - ‘Screen Violence’ Orla Gartland - ‘Woman on the Internet’ Courtney Barnett - ‘Things Take Time, Take Time’ Jon Hopkins - ‘Music For Psychedelic Therapy’ Chet Faker - ‘Hotel Surrender’ Hiatus Kaiyote - ‘Mood Valiant’   INTRO MUSIC Sunshine Buddy, Laurel

Season 9 has been so full of amazing albums that we’ve decided to split this Best Of into two parts. Welcome to Part One! In this episode, we look back across the season picking out a selection of highlights from our conversations with the artists and producers we were lucky enough to speak to. If you haven’t heard every episode from the last season, this is a good way to introduce yourself to some of the guests we’ve had on and hear some of their top studio tips, unique writing processes, along with the thoughts and philosophies that shape their musical worlds.   You’ll hear highlights from:  Maisie Peters & Joe Rubel James Vincent McMorrow with Paul Epworth & Lil Silva Imagine Dragons Jungle Mr Jukes & Barney Artist Frank Carter & the Rattlesnakes   Listen to the albums featured this season with the links below. Maisie Peters - ‘You Signed Up For This’  James Vincent McMorrow - ‘Grapefruit Season’  Imagine Dragons - ‘Mercury - Act 1’ Jungle - ‘Loving In Stereo’ Mr Jukes & Barney Artist - ‘The Locket’  Frank

In this episode, John links up with Simon, Perrin and Bender of Hiatus Kaiyote, to talk about how they wrote, recorded and produced the album ‘Mood Valiant’. Having written the album across the globe, from Rio De Janeiro to Byron Bay, the trio reflect on the development of their writing process, discussing how the effects of taking road-hardened demos to South America pushed their creativity into unfamiliar territory. Unearthing some unheard recordings dating back to the mid-2010s, we are given a rundown of some of the key moments of the band’s career, along with an in-depth look at some of the joys that come with getting things down on wonky quarter-inch tape and rekindling a friendship with an honorary fifth member, the Korg VC-10. Listen to find out how to tackle shin cramps whilst playing a Steinway piano in a session, what happens when you combine delicate Colombian flutes with challenging rhythmic danceable beats, and how much the band enjoys the compression of audio on an Instagram story.   Tracks disc

In this episode, John links up with Chet Faker aka Nick Murphy, to talk about how he wrote, recorded and produced the album ‘Hotel Surrender’. Diving into the tracks initially found within one of his numerous demo playlists, Nick looks back on his variety of music making processes, sharing thoughts on slingshotting around different creative mediums and maximising inspiration. From scrapbooking and self-sampling to a great deal of file management, we’re treated to stories of productivity-inducing gear limitations and tricks to get strange harmonic options, all alongside advice on putting music out, taking criticism and simply being the best you can be.   Listen to find out how many cowboy monologues were recorded for the album, why you shouldn’t rollerblade in music videos, and how to appropriately react when you’re given Ableton and not Acid Loop Pro.    Tracks discussed: Oh Me Oh My, Low, Feel Good    Listen to ‘Hotel Surrender’ here. ‘Hotel Surrender’ - Detail Records, BMG (Australia)   Intro Music - Sunshi

Thanks to SoundBetter for supporting this episode of Tape Notes. SoundBetter is the world's leading music production talent marketplace, giving you access to the best mixing & mastering engineers, singers, songwriters, producers, and studio musicians in the industry. You can work with Billie Eilish's drummer, U2's mix engineer, or hire the topliners that wrote on the latest BTS record, these pros are keen to work with Indy artists. Head to SoundBetter.com to find out more. In this episode, John is joined by Jon Hopkins at Iguana Studios to talk about how he wrote, recorded and produced his latest album ‘Music For Psychedelic Therapy’. Engaging us in the album’s immersive journey, Jon talks us through the spaces and natural processing that shaped the sound of the record, from the depths of an Ecuadorian Cave to the vintage synths recorded in the woods. Unearthing the individual parts and gradual sonic changes, we hear Jon's outlook on following intuition, responding to ‘bolt of lightning’ ideas and insane bur

In this episode, John links up with Courtney Barnett and producer Stella Mozgawa to talk about how they wrote, recorded and produced Courtney’s album ‘Things Take Time, Take Time’. Ready with the keys to Courtney’s archive of sofa voice notes and Garageband demos, the pair talk us through the entire album process, from their most valuable moments within pre-production, to the hours in the studio where they had to check if they were losing their minds. Sharing the secrets of the sonics, we hear stories of creating cavernous brass sounds using only a guitar and making fake shakers out of drums, all of which are set alongside the eternal loops sourced from the depths of Stella’s drum machine collection. Listen to find out how to trick yourself into doing the perfect vocal take, what the best state of mind is to help get ideas flowing, and why producing is far from being a dark art.   Tracks discussed: Turning Green, Here’s The Thing, Oh The Night Listen to ‘Things Take Time, Take Time’ here. ‘Things Take Time,

In this episode, John joins Orla Gartland and producer Tom Stafford to talk about how they wrote, recorded and produced Orla’s debut album ‘Woman on the Internet’. From the early stages of throwing musical ideas at the wall to the almost infinite list of recording secrets picked up from their time at Middle Farm Studios, Orla and Tom look back on trying to capture and emulate the original magic from their early sessions, along with bringing light and shade to the record as a whole. Unearthing old voice memos and opening up the original sessions, we hear stories of blind microphone testing, trying and failing to recreate cheap sounds with ‘posh’ synths, and introducing some of Tom’s modular madness to Orla’s folk-pop sound. Listen to find out how to get good results when recording with a kids karaoke machine, what making things sound orange and sparkly means, and how gigs at a cereal cafe may have been the start of numerous musical careers. Tracks discussed: You’re Not Special Babe, Over Your Head, More Like Y

In this episode, John links up with Lauren, Iain and Martin of CHVRCHES to talk about how they wrote, recorded and produced the album ‘Screen Violence’. Largely working remotely from different parts of the world, the trio look back on how they adapted their writing process, discussing how the effects of the pandemic ended up shaping some of the themes and meanings within the album. Sharing some of their day one demos, we hear stories of forming entire songs around single elements, combining and blending vintage gear with modern recording techniques, and using creative production tricks to respond to and reinforce certain lyrics. Listen to find how powerful hidden live drums on an electronic beat can be, why you should always keep your day one demo in a session, and how to react when Robert Smith emails you saying “what do you want?”   Tracks discussed: How Not To Drown, He Said She Said, California Listen to ‘Screen Violence’ here. ‘Screen Violence’ - EMI, Virgin Records   Intro Music - Sunshine Buddy, Laurel

In this episode, John ventures over to Baltic Studios to catch up with Frank and Dean of Frank Carter and the Rattlesnakes about how they wrote, recorded and produced their latest album ‘Sticky’. Unearthing demos and recordings from their time in a Norfolk holiday cabin, the pair look back on how their process has changed over the years, sharing thoughts on broadening their horizons and blurring the lines of writing and recording. As well as personal stories of self-sabotage, imposter syndrome and competition within music, the pair single out the ingredients that form their chaotic cacophony of sound, from homemade microphones and recycling unused material, to tuning gunshots from Call of Duty. Listen to find out why you should collaborate with people that make you feel lazy, how to react when Dave Grohl brings you a tray of shots mid set, and why Frank may soon be performing Moonlight Sonata.   Tracks discussed: Rat Race, Go Get A Tattoo, Take It To The Brink   Listen to ‘Sticky’ here. ‘Sticky’ - Internatio

In this episode, John catches up with Mr Jukes, aka Jack Steadman, and Barney Artist to talk about how they wrote, recorded and produced their joint album ‘The Locket’. Breaking the elements down to their very beginnings, Jack talks us through his sampling process, from YouTube crate digging and detailed editing, to processing and pitching individual hits from his vault of free sample packs. As well as sharing their thoughts on privilege and ‘making it’ in the world of music, the pair reflect on their partnership, as friends and creatives, discussing some of the most fundamental elements that enabled its success. Listen to find out why Barney’s battered Peugeot 307 is on the album cover, why it’s not always best to tell a rapper you’ve been making beats, and how to turn a 70s jazz-fusion track into a football chant. Tracks discussed: Blowin Steam (Open Up Your Mind), The Locket, Vibrate   LINKS TO EVERYTHING TAPE NOTES  https://linktr.ee/tapenotes    Listen to ‘The Locket’ here. ‘The Locket’ - Locket Records,

In this episode, John heads over to Jungle’s West London HQ to catch up with Josh Lloyd-Watson about how the band wrote, recorded and produced their latest record ‘Loving in Stereo’. Having written a lot of the album in their shed over the last two years, Josh takes us all the way back to the almost 30-minute demos, talking through the process of cherry-picking the best parts and forming the tracks as we know them. As well as sharing his thoughts on originality, natural creative flow and knowing when to stop, we hear stories of building samples, constantly layering vocals, and blending synths, guitars and orchestral elements into a singular unified sound. Listen to find out how to get as close to the cheesy line as possible, what happens when you combine a Ron Burgundy flute solo with Baker Street sax, and how to do a great siren impression.  Tracks discussed: Keep Moving, All of the Time, Bonnie Hill   LINKS TO EVERYTHING TAPE NOTES  https://linktr.ee/tapenotes    Listen to ‘Loving In Stereo’ here. ‘Loving I