When the vocals were going to be eventually recorded and lyrics written, I really wanted there to be a recognisable difference between the songs sonically, so that capsule of a song could carry the words and lyrics in a nice palatable way. I found it hard work because they’re not these simple two-chord songs that you can just get a big fat riff over, you know? There was a lot of chords and there’s a lot of music in there, and quite often they’re not just simple major and minor chords, there’s major sevens and other sort of jazzy chords and other lovely bits and bobs going on that I really wanted to get inside and amplify, and make as nice as possible. The songs were inhabited by similar sounding things really, you know, bass and drums. I really felt the pressure being the guitar player to really give a lot of the songs some sort of different identities. Let’s just get a song up and get on with it.’ We just did that really, we just got our heads down and before we knew it these songs were taking shape. We were going to have a sort of a period of pre-production with James Ford and Damon and I just sort of sifting through, but then we thought, ‘Well, sod that, let’s just get everyone in, we haven’t got much time, let’s just make a start.
So we had a good load of demos to look at. So we had a few demos and then some new ones came along in the early part of the year too. I know Damon doesn’t like doing nothing, so he used his time to work – that’s his affliction, I suppose. Maybe… I don’t know whether it was with Blur in mind, I know that songwriters write whetever they are. Had he been writing these with Blur in mind? So when Damon said he had a bunch of tunes he’d been writing as he went around on tour, that was quite good. Damon says, “I’ve got a few songs.” Dave, Alex and I had been rehearsing, to see if we could still play with each other, and I’d felt a certain unease of having some shows to do but nothing new to play. When did you know there was going to be a new record?
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