![]() I think one of the reasons why we kept going so long is that we have all these areas in our music that we like to explore. Some artists have that revolt halfway through their career or something when they go, “I’m leaving that behind.” I think we still both feel very connected to the music that we made when we started. But it’s one of the things I like about our kind of music. When you’ve made quite a lot of music, referring back to things you’ve done before can drive you mad, so we’ve had quite a tough self-imposed rule in the studio, although we still do it by more oblique references to earlier things. They’re not conscious things - in fact, in the studio, we for the past 10 or 15 years have banned any reference to any earlier piece. This new album seems to have little callbacks to earlier songs. You want to make this feeling.” It did make me feel more open to different ideas and working with different people. In our world, it’s always like the blank page - what are we trying to do? What are we trying to say? And then in that world, it’s like, “it’s very clear. ![]() I was mainly working there with Joe Wright, the director, and being part of something else, and it was really liberating being a very particular bit of it and having very structured thing you’re trying to do. That was really different, something that we probably wouldn’t have done before. One of the interesting things was doing the “Hanna” soundtrack. I love that in the studio, when someone pushes you down a different path. with the Beck collaborations, you have to begin with a seed of an idea and you end up with this thing that neither one of us could make on our own. The collaborative thing is something that we both really enjoy. How much has producing other artists impacted you differently than just working with Ed? But it’s good because he finished his study, and now he does his work alongside the band. Headlining the stage at Glastonbury or something, there’s only so many times you get to do that. ![]() I think it made him really appreciative of this thing that we’ve created, and this idea that it won’t be there forever. He was doing his Master’s Thesis and he was halfway through the course just before “Born in the Echoes” came out, and he was like, “I can’t stop this thing that I find really fulfilling,” so he stepped away. It was basically touring that he didn’t want to do. How did his departure impact your collaboration? Over the last 10 years, you were producing for other people, and Ed took a break from recording. finds its meaning to people and that’s good. I love that in music or in any creative things, you don’t own the meaning. ![]() It now means something.” But I’m still trying to work out what it does mean to me. When we found this way of putting the album together and this idea of it starting in one place with spoken word and ending up in this other place, it was like, “Oh, yeah, that now feels complete to me. It was an idea that we found: you start with the distorted, wrong version of the voice and then we end with that pure version of it. “For That Beautiful Feeling,” unlike many of your other albums, has a unifying musical theme. So as we were putting everything together, it was like, “Oh, the feeling I want at this point in the record, we have a song that does that.” But when we were putting the album together, we’d done a new version of it, and we felt that the different approach to it gave it a new life that felt like it fitted in with this record. And it did feel like it had a connection with that time. We are always writing, and it almost felt like “The Darkness That You Fear” was going to be this standalone thing … the lyrics seemed to, whenever I heard them together, make me feel quite emotional when I was in the studio. Given your history of standalone singles, I was surprised after you released “The Darkness That Your Fear” in 2021 that it appears on “For That Beautiful Feeling.” 8 release of “For That Beautiful Feeling,” Rowlands spoke about what inspired and how they created the new record, and the way that feelings, beautiful and otherwise, helped them navigate a changing landscape - for the electronic genre, their music and themselves as individuals - over the course of a three-plus decade career. “It’s cool to feel like you’re doing something fresh and it feels vital, but it also is giving you that kind of familiar feeling,” Rowlands says. Despite that shared aversion to self-reflection, he also indicates that the title for their new album encapsulates an approach they have taken since their earliest recordings.
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