Alexis Taylor

I think that that keyboard was particularly good at sparking ideas for Joe and for me.

I remember that riff is on the Vox electric piano that sounds a bit like a clavinet and plays all the way through.

The effect you put on it, Joe, gives it a kind of auto-war kind of sound, like that's done immediately after it's recorded.

So the processing is a big part of the production.

And he was always and still continues to be somebody that wants to keep working hard to perfect something.

I was somebody who wasn't rebellious.

I couldn't help but go along with things in a kind of fairly by-the-book way, which I suppose meant I'm not a rebellious teenager.

So I think something about all of the time spent at Jo's house and then being in that room made me just look back on the school days fondly and with some wistful feeling.

The next line was about a girl at school who I had a crush on and then went out on a date with and really liked.

And then I was talking about her seeming quite grown up, like she had absorbed a lot of mature behaviour from like a family situation she was in and it felt like she didn't remain young for very long but had quite a lot of growing up very quickly.

That was my sort of perception of her.

I don't think we felt super confident about singing.

We weren't people who sang with great skill and expertise and confidence.

It's not like we harmonized in a dressing room, practicing all of these things and perfecting it.

We're doing our best, but we certainly weren't these super slick pro singers.

So I can also hear that in the recording.

It sounds really nice to me, but it's not super impressive like some people's vocals would be.

I'm not saying that as a criticism of it.

I really like it.

But it feels like people who haven't had vocal training in the best possible way, they're naturally themselves.