MØ's feat is also perfect, it adds a genuine camaraderie and her voice takes the whole track to another level for that final section - possibly saving any of the structural issues that Finn and I never quite resolved ) I think the narrative flip in the final chorus gives the whole track so much energy, and loads of people seem to have really connected with it. The next day she came back with these amazing, very emo lyrics, and we recorded it immediately. When we got back it was almost 3AM, and Charli crawled away to be alone with her laptop, and I could hear her just playing the demo on loop. We'd actually had a particularly unproductive day that had ended in a bunch of us going to see the computer-animated musical comedy 'Sing' ( Charli loves animated movies, hates musicals - think she was into 'Sing' though). Cut to the very beginning of 2017, and Charli and I are in LA trying to finish the mixtape, writing new songs and re-recording older ones, and just generally having a lot of conversations about the kind of music that we wanted to make, both short term and long term. but it still wasn't really about anything.
When the mixtape started to take shape, we were all quite happy with the demo - which had now been structurally improved etc. We both really spent ages on it, pretty much as a learning exercise :P After a while he'd sort of chopped up Charli's verses, and we ended up spending a long time producing & re-producing the initial demo sounds so that they emphasised the right thing at the right time. He's also willing to put in the time to test out almost every combination & arrangement, and then listen back to them all - and THEN compare them to other songs that are out there.
#MONICA WHY I LOVE YOU SO MUCH INSTRUMENTAL PARTS PC#
Finn is a serious student of pop music song structure (even by PC Music standards) and probably one of the most reliable people I know when it comes to an objective x-ray of how it's all put together. There was something about how we originally structured the song that was bugging us, a lot of things were slightly off - the balance of syllables in the verse, the way the chorus dropped etc. We exported a rough demo for all of us to listen to & reflect on, and that was it for a while. Within a short amount of time, we had a very loose version of the song, without many lyrics other than the 'Pull up pull up right to your love' bit.
The 'ah-ah.da-da-ohooh' hook is something that I just suddenly had fully formed in my head and decided to scream across the room before it was too late. The call & response thing in the chorus came from Finn literally 'responding' to Charli's chorus idea, and singing it back at her. Charli was obviously doing all the main work here - but Finn and I would still sing a bit whenever we heard something new. When we do these kinda writing sessions, we'll be passing a cheap microphone around the room and just coming up with stuff. It was quite a weird place, and Charli was quite open about the fact that she wasn't feeling 'in the zone' (!) but we pushed through, and Finn & I wrote a simple instrumental from scratch, probably in around 3 minutes. We started the demo for this a while ago, maybe even a year ago? When Charli and I first started working together more, she came round to the studio I used to share with Finn Keane aka EASYFUN. A really skilful balance between complex rhythms & IDGAF delivery. Raye has a really different writing style, so it's really satisfying to hear how she take's Starrah's flow as a starting point, then just goes crazy with it. Take some of the songs that Starrah has written: Needed Me, Pick Up The Phone, Pass Dat, Fake Love, 2 Phones, Regret In Your Tears.! Each one really embodies the artists involved, but you can always hear Starrah's voice & style coming through. The feats.! Starrah has been responsible for so many amazing songs over the last couple of years, it's pretty mindblowing! Whenever I become aware of a new songwriter or topliner, I really enjoy tracing their work as it moves between different artists. The topline that Charli came up with is a perfect example of what she's so great at - it's feels super casual & effortless, but it's filled with all these nuances and angles that actually make it catchy. The instrumental was an old one that I'd made sometime in 2016, and it was always called 'Dreamer' (it actually had a twin called 'Screamer' - one was harsh and one was dreeeaaammy) and so Charli just rolled with the title and turned it into a whole song. This wasn't the first track that Charli & I worked on for Number 1 Angel, but it was the first one that got us excited enough to really consider doing an entire mixtape.
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