Newton Faulkner pens track-by-track for new album Hit The Ground Running

This​ ​is​ ​album​ ​six: Hit​ ​The​ ​Ground​ ​Running.​ ​I​ ​think​ ​I’ve​ ​finally​ ​found​ ​how​ ​I​ ​want my​ ​records​ ​to​ ​sound.​ ​

Obviously​ ​not​ ​everything’s​ ​going​ ​to​ ​sound​ ​identical​ ​but​ ​as​ ​a​ ​blueprint​ ​this​ ​is what​ ​I’ve​ ​been​ ​searching​ ​for​ ​for​ ​years.​ ​A​ ​balance​ ​between​ ​production,​ ​being​ ​organically​ ​played​ ​and room​ ​noise.​ ​

Vocally​ ​it’s​ ​my​ ​favourite​ ​album​ ​to​ ​sing​ ​already​ ​and​ ​it’s​ ​not​ ​even​ ​out​ ​yet,​ ​I’ve​ ​just​ ​been playing​ ​bits​ ​of​ ​it​ ​live.​ ​I’m​ ​really,​ ​really​ ​happy​ ​with​ ​this​ ​one.

"SMOKED​ ​ICE​ ​CREAM"

With​ ​the​ ​beginning​ ​of​ ​this​ ​album​ ​I​ ​wanted​ ​it​ ​to​ ​feel​ ​as​ ​much​ ​like​ ​the​ ​first​ ​album​ ​as​ ​possible​ ​but​ ​with​ ​a twist.​ ​In​ ​the​ ​ten​ ​years​ ​between​ ​the​ ​two​ ​there​ ​is​ ​so​ ​much​ ​time​ ​and​ ​space​ ​I​ ​felt​ ​like​ ​this​ ​is​ ​the​ ​time​ ​to revisit​ ​that​ ​style.​ ​I’ve​ ​got​ ​a​ ​guitar​ ​intro​ ​that​ ​builds​ ​and​ ​builds​ ​into​ ​the​ ​first​ ​song​ ​which​ ​is​ ​"Smoked​ ​Ice Cream".​ ​

Which​ ​firstly...I​ ​didn’t​ ​name!​ ​It​ ​was​ ​a​ ​crowd​ ​that​ ​named​ ​it​ ​at​ ​a​ ​tiny​ ​little​ ​gig​ ​years ​ago.​ ​When​ ​we first​ ​announced​ ​we’re​ ​working​ ​on​ ​new​ ​stuff​ ​we​ ​asked​ ​people​ ​what​ ​vibe​ ​they​ ​like​ ​and​ ​so​ ​many​ ​people asked​ ​for​ ​"Smoked​ ​Ice​ ​Cream".​ ​It​ ​was​ ​then​ ​that​ ​I​ ​looked​ ​back​ ​at​ ​the​ ​videos​ ​on​ ​YouTube​ ​and​ ​the comments​ ​underneath​ ​were​ ​asking​ ​where​ ​they​ ​can​ ​buy​ ​the​ ​track​ ​and​ ​the​ ​only​ ​thing​ ​I ​could​ ​say​ ​was sorry​ ​I’ve​ ​never​ ​recorded​ ​it!​ ​So​ ​this​ ​feels​ ​like​ ​it​ ​belongs​ ​more​ ​to​ ​the​ ​hard​ ​core​ ​fan​ ​base​ ​than​ ​to​ ​me. They​ ​picked​ ​it,​ ​they​ ​named​ ​it.

"HIT​ ​THE​ ​GROUND​ ​RUNNING"

This​ ​is​ ​the​ ​title​ ​track​ ​of​ ​the​ ​album​ ​and​ ​also​ ​it’s​ ​the​ ​first​ ​track​ ​that​ ​made​ ​everything​ ​else​ ​lean​ ​the​ ​way​ ​it did​ ​production​ ​wise​ ​and​ ​vocally.​ ​It’s​ ​the​ ​first​ ​thing​ ​that​ ​I​ ​recorded​ ​that​ ​fully​ ​made​ ​sense,​ ​and​ ​when​ ​I played​ ​it​ ​to​ ​people​ ​they​ ​got​ ​excited,​ ​which​ ​is​ ​always​ ​great.​ ​

"Hit​ ​The​ ​Ground​ ​Running​" ​as​ ​a​ ​track​ ​is​ ​very minimalist,​ ​much​ ​more​ ​soul-y​ ​than​ ​anything​ ​I’ve​ ​done​ ​in​ ​the​ ​past​ ​and​ ​pushes​ ​my​ ​vocals​ ​to​ ​the​ ​max which​ ​is​ ​something​ ​I​ ​really​ ​wanted​ ​to​ ​do.​

​It’s​ ​one​ ​of​ ​the​ ​flagship​ ​tracks​ ​for​ ​both​ ​grooves​ ​and​ ​vocals, which​ ​is​ ​what​ ​I​ ​focused​ ​on​ ​above​ ​anything​ ​else​ ​on​ ​this​ ​record.​ ​It’s​ ​got​ ​a​ ​really​ ​nice​ ​little​ ​groove​ ​and the​ ​vocal​ ​is​ ​one​ ​of​ ​the​ ​hardest​ ​things​ ​to​ ​sing​ ​that​ ​I​ ​have​ ​ever​ ​written,​ ​but​ ​hopefully​ ​is​ ​nice​ ​to​ ​listen​ ​to however​ ​challenging​ ​it​ ​is​ ​to​ ​do.

"ALL​ ​SHE​ ​NEEDS"

Track​ ​three​ ​is​ ​one​ ​of​ ​the​ ​few​ ​tracks​ ​that​ ​breaks​ ​some​ ​of​ ​the​ ​rules,​ ​but​ ​they’re​ ​rules​ ​that​ ​I​ ​made​ ​for myself​ ​so​ ​I’m​ ​allowed​ ​to​ ​break​ ​them!​ ​It’s​ ​probably​ ​one​ ​of​ ​the​ ​biggest​ ​sounding​ ​tracks​ ​with​ ​tracked vocals,​ ​loads​ ​of​ ​guitars​ ​and​ ​synths,​ ​quite​ ​hefty​ ​drums​ ​and​ ​Nick​ ​Fyfe​ ​did​ ​a​ ​great​ ​job​ ​on​ ​the​ ​base​ ​and​ ​it was​ ​all​ ​recorded​ ​in​ ​my​ ​little​ ​studio​ ​in​ ​my​ ​house.​ ​

I’m​ ​very​ ​proud​ ​of​ ​it​ ​as​ ​a​ ​track,​ ​it’s​ ​one​ ​of​ ​the​ ​older ones​ ​that’s​ ​been​ ​hanging​ ​around​ ​a​ ​little​ ​while​ ​and​ ​it​ ​was​ ​almost​ ​on​ ​the​ ​last​ ​record,​ ​but​ ​it​ ​didn’t​ ​quite​ ​fit the​ ​tone​ ​so​ ​coming​ ​back​ ​to​ ​it​ ​now​ ​I​ ​think​ ​it​ ​fits​ ​the​ ​tone​ ​of​ ​this​ ​one​ ​very​ ​well.

"BEEN​ ​HERE​ ​BEFORE"

"Been​ ​Here​ ​Before"​ ​is​ ​probably​ ​the​ ​most​ ​advanced​ ​guitar​ ​wise.​ ​It’s​ ​got​ ​complicated​ ​cross​ ​rhythms​ ​that we​ ​devised​ ​with​ ​Fadzi,​ ​who​ ​was​ ​drumming​ ​with​ ​us​ ​on​ ​the​ ​Human​ ​Love​ ​tour.​ ​We​ ​talked​ ​about​ ​our favourite​ ​rhythms​ ​that​ ​would​ ​be​ ​the​ ​hardest​ ​to​ ​put​ ​together​ ​and​ ​decided​ ​it​ ​was​ ​this​ ​triplet​ ​thing​ ​and​ ​an off​ ​beat​ ​then​ ​built​ ​that​ ​into​ ​one​ ​guitar​ ​part.​

​It​ ​took​ ​a​ ​long​ ​time​ ​to​ ​be​ ​able​ ​to​ ​play​ ​that​ ​at​ ​all,​ ​then​ ​on​ ​top of​ ​that​ ​we​ ​started​ ​putting​ ​vocals.​ ​The​ ​main​ ​core​ ​of​ ​the​ ​beat​ ​sits​ ​basically​ ​inside​ ​out​ ​so​ ​the​ ​kick​ ​is​ ​a beat​ ​later,​ ​which​ ​has​ ​confused​ ​a​ ​lot​ ​of​ ​musicians​ ​because​ ​they​ ​properly​ ​lose​ ​where​ ​one​ ​is.​ ​I​ ​think​ ​the melodies​ ​in​ ​it​ ​are​ ​so​ ​strong​ ​you​ ​don’t​ ​notice​ ​if​ ​you’re​ ​not​ ​listening​ ​for​ ​it.​ ​It’s​ ​one​ ​of​ ​the​ ​tracks​ ​I’m​ ​still working​ ​on​ ​playing​ ​live​ ​now​ ​and​ ​sitting​ ​with​ ​a​ ​metronome​ ​because​ ​the​ ​rhythmical​ ​principals​ ​are​ ​so complicated.

In​ ​terms​ ​of​ ​the​ ​lyrics​ ​it’s​ ​a​ ​bit​ ​of​ ​a​ ​double​ ​bluff​ ​because​ ​in​ ​the​ ​chorus​ ​it​ ​says​ ​“I’m​ ​giving​ ​up​ ​on​ ​love”​ ​but the​ ​lyrics​ ​in​ ​the​ ​pre​ ​suggest​ ​“If​ ​you​ ​give​ ​up​ ​on​ ​love​ ​that’s​ ​when​ ​you​ ​meet​ ​someone”​ ​so​ ​it’s​ ​as​ ​a​ ​whole it's​ ​saying​ ​“I’m​ ​giving​ ​up​ ​purposefully​ ​so​ ​that​ ​something​ ​happens”.

"FINGER​ ​TIPS"

In​ ​terms​ ​of​ ​whole​ ​albums​ ​Hit​ ​The​ ​Ground​ ​Running​ ​is​ ​the​ ​most​ ​I’ve​ ​ever​ ​written​ ​on​ ​my​ ​own​ ​but "Fingertips​" ​is​ ​one​ ​of​ ​the​ ​relatively​ ​few​ ​co-writes.​ ​I​ ​wrote​ ​it​ ​with​ ​Kristin​ ​Hosein,​ ​who​ ​is​ ​an​ ​incredible singer​ ​and​ ​has​ ​done​ ​a​ ​lot​ ​of​ ​BVs​ ​for​ ​all​ ​kinds​ ​of​ ​people​ ​from​ ​Sting​ ​to​ ​Ollie​ ​Murs.​ ​It​ ​would​ ​be​ ​fair​ ​to​ ​say she​ ​is​ ​the​ ​vocal​ ​nerd​ ​equivalent​ ​of​ ​my​ ​guitar​ ​nerd.​ ​

I’m​ ​so​ ​nerdy​ ​about​ ​guitars​ ​and​ ​playing​ ​and​ ​she’s the​ ​same​ ​but​ ​with​ ​vocals​ ​so​ ​with​ ​her​ ​this​ ​track​ ​pushes​ ​my​ ​voice​ ​further​ ​than​ ​I​ ​ever​ ​been​ ​brave​ ​enough to​ ​push​ ​it.​ ​Add​ ​my​ ​inner​ ​guitar​ ​nerd​ ​to​ ​the​ ​mix​ ​and​ ​I​ ​think​ ​the​ ​guitars​ ​are​ ​present​ ​and​ ​strong​ ​enough​ ​to keep​ ​the​ ​guitar​ ​people​ ​happy.​ ​Still,​ ​the​ ​focus​ ​of​ ​"Fingertips​" ​is​ ​very​ ​much​ ​on​ ​the​ ​vocal.

"GUITAR-Y​ ​THING"

"Guitar-y​ ​Thing​" ​is​ ​a​ ​direct​ ​reference​ ​to​ ​the​ ​first​ ​album,​ ​which​ ​had​ ​"Sitar-y​ ​Thing",​ ​where​ ​I​ ​played​ ​sitar.​ ​It’s one​ ​of​ ​the​ ​only​ ​times​ ​I​ ​played​ ​Sitar,​ ​in​ ​fact​ ​it’s​ ​one​ ​of​ ​the​ ​only​ ​times​ ​the​ ​Sitar​ ​has​ ​ever​ ​been​ ​in​ ​tune.

With​ ​"Guitar-y​ ​Thing"​ ​I​ ​wanted​ ​to​ ​balance​ ​out​ ​the​ ​links​ ​between​ ​the​ ​two​ ​albums,​ ​this​ ​whole​ ​album actually​ ​follows​ ​a​ ​similar​ ​path​ ​in​ ​terms​ ​of​ ​ups​ ​and​ ​downs​ ​and​ ​has​ ​a​ ​similar​ ​shape​ ​to​ ​the​ ​first​ ​one.​ ​All the​ ​albums​ ​I’ve​ ​done​ ​have​ ​been​ ​really​ ​different​ ​to​ ​each​ ​other.​ ​The​ ​first​ ​album​ ​had​ ​a​ ​certain​ ​amount​ ​of space​ ​and​ ​certain​ ​tone​ ​to​ ​it.​

​The​ ​second​ ​album​ ​was​ ​much​ ​more​ ​built​ ​up,​ ​had​ ​a​ ​lot​ ​more​ ​sounds​ ​on and​ ​was​ ​a​ ​lot​ ​more​ ​production​ ​based.​ ​The​ ​third​ ​album​ ​was​ ​even​ ​bigger​ ​again.​ ​The​ ​fourth​ ​album​ ​was the​ ​tiniest​ ​thing​ ​I’ve​ ​ever​ ​done.​ ​Then​ ​we​ ​flipped​ ​to​ ​the​ ​other​ ​end​ ​of​ ​the​ ​scale​ ​and​ ​went​ ​really​ ​big​ ​and​ ​I used​ ​literally​ ​all​ ​the​ ​noises​ ​that​ ​I​ ​didn’t​ ​use​ ​on​ ​the​ ​previous​ ​album.​ ​With​ ​Hit​ ​The​ ​Ground​ ​Running,​ ​the sixth​ ​album,​ ​I​ ​feel​ ​like​ ​I’ve​ ​found​ ​my​ ​sound,​ ​which​ ​is​ ​about​ ​time​ ​-​ ​it’s​ ​been​ ​10 ​years.

"THERE​ ​IS​ ​STILL​ ​TIME"

I​ ​almost​ ​feel​ ​like​ ​I​ ​can’t​ ​take​ ​credit​ ​for​ ​this​ ​track​ ​because​ ​it​ ​doesn’t​ ​feel​ ​like​ ​I​ ​wrote​ ​it​ ​at​ ​all.​ ​If​ ​you​ ​listen to​ ​the​ ​original​ ​recording​ ​of​ ​the​ ​song​ ​you​ ​can​ ​hear​ ​Batman​ ​cartoons​ ​in​ ​the​ ​background,​ ​so​ ​I​ ​was​ ​sitting watching​ ​cartoons​ ​and​ ​it​ ​appeared​ ​almost​ ​in​ ​its​ ​entirety​ ​in​ ​my​ ​head.​ ​

There’ are ​bits​ ​of​ ​older​ ​songs​ ​in there​ ​and​ ​the​ ​pre-chorus​ ​bit​ ​I’ve​ ​had​ ​for​ ​a​ ​little​ ​while.​ ​But​ ​it​ ​all​ ​slotted​ ​in​ ​and​ ​I​ ​wrote​ ​it​ ​in​ ​about​ ​10 minutes.​ ​It’s​ ​very​ ​stream​ ​of​ ​consciousness​ ​in​ ​style,​ ​almost​ ​Paul​ ​Simon-esque​ ​in​ ​it’s​ ​construction.​ ​I remember​ ​I’d​ ​just​ ​met​ ​someone,​ ​got​ ​really​ ​excited​ ​and​ ​then​ ​found​ ​out​ ​there​ ​was​ ​absolutely​ ​no​ ​way​ ​it could​ ​work,​ ​so​ ​I​ ​sent​ ​myself​ ​on​ ​a​ ​crazy​ ​rollercoaster​ ​and​ ​There​ ​Is​ ​Still​ ​Time​ ​was​ ​written​ ​directly afterwards​ ​when​ ​I​ ​sat​ ​down​ ​and​ ​looked​ ​at​ ​what​ ​I​ ​was​ ​doing​ ​with​ ​my​ ​life.​ ​

The​ ​beginning​ ​is​ ​about relationships​ ​and​ ​trying​ ​to​ ​make​ ​sense​ ​of​ ​why​ ​something​ ​doesn’t​ ​work,​ ​then​ ​it​ ​grows​ ​out​ ​of​ ​that​ ​into how​ ​why​ ​all​ ​kinds​ ​of​ ​things​ ​don’t​ ​work,​ ​why​ ​the​ ​world​ ​is​ ​the​ ​way​ ​it​ ​is​ ​and​ ​why​ ​is​ ​everything​ ​is seemingly​ ​such​ ​a​ ​mess​ ​at​ ​the​ ​moment​ ​then​ ​it​ ​reverts​ ​back​ ​to​ ​being​ ​about​ ​a​ ​relationship​ ​at​ ​the​ ​end.

"ALRIGHT"

This​ ​is​ ​a​ ​track​ ​I​ ​wrote​ ​with​ ​Dan​ ​Smith,​ ​who​ ​was​ ​in​ ​Noisettes,​ ​he​ ​still​ ​is​ ​in​ ​Noisettes.​ ​He’s​ ​amazing,​ ​I can’t​ ​remember​ ​what​ ​he​ ​plays.​ ​He​ ​plays​ ​so​ ​many​ ​things​ ​I​ ​can’t​ ​remember​ ​what​ ​he​ ​does​ ​in​ ​which band.​ ​I​ ​think​ ​he​ ​plays​ ​guitar​ ​in​ ​The​ ​Noisettes​ ​but​ ​he's​ ​played​ ​keys​ ​on​ ​quite​ ​a​ ​lot​ ​of​ ​this​ ​record.​

​With this​ ​track​ ​I​ ​wanted​ ​to​ ​do​ ​the​ ​opposite​ ​of​ ​what​ ​I​ ​normally​ ​do​ ​which​ ​is​ ​say​ ​everything​ ​is​ ​going​ ​to​ ​be alright.​ ​I’d​ ​been​ ​listening​ ​to​ ​Mose​ ​Allison,​ ​who’s​ ​an​ ​old​ ​school​ ​blues​ ​guy.​ ​One​ ​of​ ​his​ ​big​ ​songs​ ​says​ ​‘I don’t​ ​worry​ ​about​ ​a​ ​thing​ ​coz​ ​I​ ​know​ ​nothing’s​ ​gonna​ ​be​ ​alright’.​ ​He​ ​had​ ​a​ ​few​ ​of​ ​these​ ​classic phrases​ ​but​ ​twisted​ ​them​ ​and​ ​I​ ​think​ ​that​ ​was​ ​still​ ​in​ ​my​ ​head​ ​when​ ​I​ ​started​ ​working​ ​on​ ​Alright.​

​It​ ​asks What​ ​if?​ ​What​ ​if​ ​it​ ​doesn’t​ ​work​ ​out?​ ​What​ ​happens​ ​then?​ ​What​ ​happens​ ​next?​ ​Which​ ​is​ ​something​ ​I don’t​ ​usually​ ​encourage​ ​because​ ​I​ ​think​ ​naturally​ ​I’m​ ​quite​ ​uplifting​ ​and​ ​most​ ​of​ ​my​ ​albums​ ​are incredibly​ ​positive​ ​but​ ​here​ ​I​ ​wanted​ ​to​ ​look​ ​at​ ​the​ ​other​ ​side.

"THE​ ​GOOD​ ​FIGHT"

I​ ​wrote​ ​"The​ ​Good​ ​Fight​" ​on​ ​my​ ​own​ ​but​ ​it​ ​was​ ​co-produced​ ​with​ ​Dan​ ​Dare,​ ​who’s​ ​background​ ​is​ ​grime and​ ​who’s​ ​part​ ​of​ ​a​ ​project​ ​called​ ​Slang​ ​which​ ​I​ ​highly​ ​recommend​ ​checking​ ​out​ ​-​ ​awesome​ ​songs.​ ​In terms​ ​of​ ​production​ ​he​ ​did​ ​things​ ​I'd​ ​never​ ​think​ ​of.​ ​

He​ ​brought​ ​in​ ​a​ ​sample​ ​from​ ​a​ ​kids​ ​playground and​ ​nabbed​ ​bits​ ​of​ ​the​ ​vocal​ ​and​ ​moved​ ​them​ ​around​ ​and​ ​made​ ​little​ ​loops​ ​and​ ​did​ ​all​ ​the​ ​drums.​ ​He did​ ​an​ ​amazing​ ​job.​ ​This​ ​is​ ​one​ ​of​ ​the​ ​few​ ​tracks​ ​where​ ​there’s​ ​only​ ​a​ ​little​ ​bit​ ​of​ ​guitar,​ ​it’s​ ​mainly piano.​

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​Live​ ​I​ ​think​ ​I’m​ ​gonna​ ​do​ ​it​ ​on​ ​piano,​ ​which​ ​will​ ​be​ ​terrifying​ ​because​ ​even​ ​though​ ​I’ve​ ​played​ ​a lot​ ​of​ ​piano​ ​in​ ​the​ ​studio,​ ​I​ ​haven’t​ ​with​ ​people​ ​watching.​ ​It’s​ ​about​ ​the​ ​breakdown​ ​of​ ​a​ ​relationship and​ ​I​ ​wrote​ ​it​ ​about​ ​a​ ​general​ ​and​ ​almost​ ​fictional​ ​relationship,​ ​I​ ​wasn’t​ ​digging​ ​into​ ​any​ ​of​ ​my​ ​past particularly.​ ​When​ ​Dan​ ​bought​ ​in​ ​the​ ​loop​ ​of​ ​the​ ​kids​ ​playing​ ​in​ ​the​ ​playground​ ​it​ ​suddenly​ ​made​ ​it about​ ​a​ ​very​ ​specific​ ​relationship​ ​in​ ​my​ ​head​ ​which​ ​it​ ​wasn’t​ ​about​ ​originally,​ ​the​ ​production​ ​pushed​ ​it in​ ​that​ ​direction.​ ​

Again,​ ​vocally​ ​it’s​ ​different​ ​to​ ​the​ ​way​ ​I​ ​normally​ ​sing,​ ​it​ ​covers​ ​a​ ​huge​ ​amount​ ​of ground​ ​it’s​ ​almost​ ​acrobatic,​ ​especially​ ​in​ ​the​ ​verses.​ ​It’s​ ​so​ ​satisfying​ ​to​ ​sing,​ ​the​ ​verses​ ​are​ ​like butter​ ​they’re​ ​so​ ​smooth.​ ​I’m​ ​really​ ​proud​ ​of​ ​this​ ​track.

"THIS​ ​KIND​ ​OF​ ​LOVE"

"This​ ​Kind​ ​of​ ​Love"​ ​leans​ ​closer​ ​towards​ ​tracks​ ​like​ "​UFO​" ​and​ "​Gone​ ​In​ ​the​ ​Morning",​ ​the​ ​sillier​ ​stuff​ ​off the​ ​first​ ​record​ ​which​ ​I​ ​still​ ​love​ ​and​ ​there’s​ ​still​ ​a​ ​place​ ​for​ ​but​ ​this​ ​time​ ​I​ ​needed​ ​to​ ​find​ ​a​ ​way​ ​of twisting​ ​it​ ​slightly​ ​so​ ​it’s​ ​a​ ​more​ ​intelligent​ ​take​ ​on​ ​stupid​ ​songs.​ ​

Production-​wise​ ​I​ ​got​ ​to​ ​do​ ​loads​ ​on​ ​it, you​ ​can​ ​hear​ ​me​ ​playing​ ​penny​ ​whistle​ ​if​ ​you​ ​listen​ ​very​ ​carefully​ ​and​ ​I​ ​used​ ​a​ ​pocket​ ​piano,​ ​which​ ​is on​ ​a​ ​lot​ ​of​ ​tracks​ ​and​ ​it’s​ ​a​ ​tiny​ ​little​ ​synth​ ​with​ ​little​ ​wooden​ ​buttons.​ ​It's​ ​about​ ​the​ ​same​ ​relationship as​ ​"There​ ​Is​ ​Still​ ​Time​" ​but​ ​I​ ​wrote​ ​a​ ​serious​ ​one​ ​and​ ​a​ ​stupid​ ​one​ ​to​ ​really​ ​make​ ​use​ ​of​ ​the​ ​situation.​ ​I met​ ​someone​ ​and​ ​I​ ​thought​ ​it​ ​was​ ​gonna​ ​be​ ​amazing​ ​and​ ​then​ ​it​ ​couldn’t​ ​happen​ ​for​ ​various​ ​reasons. You​ ​can​ ​tell,​ ​the​ ​lyrics​ ​are​ ​pretty​ ​blatant​ ​so​ ​if​ ​you​ ​want​ ​to​ ​know​ ​what​ ​it’s​ ​about​ ​you​ ​can​ ​listen​ ​to​ ​it.

"NEVER​ ​ALONE"

This​ ​is​ ​a​ ​track​ ​I​ ​wrote​ ​this​ ​with​ ​a​ ​guy​ ​called​ "​Willie​ ​Weeks,"​ ​who’s​ ​an​ ​incredibly​ ​talented​ ​man.​ ​We​ ​did​ ​it in​ ​only​ ​two​ ​days.​ ​It’s​ ​based​ ​on​ ​a​ ​rhythmical​ ​principal​ ​that​ ​I​ ​had​ ​lying​ ​around​ ​which​ ​is​ ​that​ ​“Beat​ ​It”​ ​or house​ ​beat​ ​but​ ​then​ ​I​ ​realised​ ​I​ ​could​ ​do​ ​that​ ​with​ ​my​ ​right​ ​hand​ ​hitting​ ​the​ ​body​ ​of​ ​the​ ​guitar​ ​and​ ​my left​ ​hand​ ​could​ ​hammer​ ​on​ ​all​ ​of​ ​the​ ​chords​ ​so​ ​you​ ​end​ ​up​ ​with​ ​one​ ​man​ ​band​ ​house​ ​tunes.​ ​Which​ ​I’d wanted​ ​to​ ​do​ ​for​ ​a​ ​while​ ​but​ ​I​ ​wasn’t​ ​in​ ​the​ ​right​ ​place​ ​to​ ​work​ ​on​ ​then​ ​Willie​ ​bought​ ​a​ ​vibe​ ​in​ ​and​ ​it fitted​ ​so​ ​we​ ​put​ ​it​ ​all​ ​together.​

​It’s​ ​about​ ​someone​ ​being​ ​there​ ​for​ ​you​ ​all​ ​the​ ​time,​ ​knowing​ ​that person’s​ ​not​ ​going​ ​to​ ​let​ ​you​ ​down,​ ​being​ ​able​ ​to​ ​trust​ ​someone​ ​to​ ​that​ ​degree.​ ​Again,​ ​vocally​ ​it’s different​ ​to​ ​what​ ​I’ve​ ​done​ ​before​ ​and​ ​it​ ​covers​ ​a​ ​lot​ ​more​ ​ground.​ ​This​ ​song​ ​is​ ​really​ ​fun​ ​live,​ ​it’s killing​ ​it.​ ​We​ ​get​ ​one​ ​half​ ​of​ ​the​ ​crowd​ ​doing​ ​the​ ​“eh​ ​eh​ ​eh​ ​eh​ ​eh”​ ​and​ ​the​ ​other​ ​half​ ​doing​ ​“ooooohh oooh”,​ ​it​ ​sounds​ ​big.​ ​In​ ​fact,​ ​this​ ​whole​ ​album​ ​is​ ​soulier​ ​than​ ​anything​ ​I’ve​ ​allowed​ ​myself​ ​to​ ​do​ ​before.

"SO​ ​LONG"

"So​ ​Long​" ​is​ ​a​ ​duet​ ​with​ ​Tessa​ ​Rose​ ​Jackson​ ​who​ ​also​ ​sung​ ​on​ ​Human​ ​Love​ ​(we​ ​did​ ​Stay​ ​and​ ​Take together).​ ​We​ ​actually​ ​wrote​ ​them​ ​in​ ​the​ ​same​ ​few​ ​days​ ​but​ ​with​ ​this​ ​song​ ​we​ ​recorded​ ​it​ ​completely live.​ ​We​ ​sat​ ​opposite​ ​each​ ​other​ ​and​ ​recorded​ ​the​ ​vocals​ ​and​ ​the​ ​guitars​ ​at​ ​the​ ​same​ ​time​ ​so​ ​it’s​ ​not on​ ​grid​ ​it’s​ ​completely​ ​free​ ​time.​

​Then​ ​we​ ​fitted​ ​everything​ ​else​ ​around​ ​it​ ​including​ ​the​ ​base,​ ​the​ ​piano, the​ ​pump​ ​organ​ ​and​ ​all​ ​the​ ​other​ ​bits​ ​like​ ​the​ ​pocket​ ​piano​ ​-​ ​which​ ​is​ ​on​ ​every​ ​single​ ​song.​ ​The​ ​only other​ ​track​ ​that​ ​was​ ​done​ ​live​ ​is​ "​There​ ​Is​ ​Still​ ​Time",​ ​I​ ​think​ ​it’s​ ​good​ ​to​ ​get​ ​completely​ ​off​ ​grid​ ​every now​ ​and​ ​again.

"CARRY​ ​YOU"

The​ ​penultimate​ ​track​ ​is​ ​called​ "​Carry​ ​You​" ​which​ ​is​ ​the​ ​only​ ​song​ ​I've​ ​ever​ ​written​ ​about​ ​an​ ​object. What​ ​inspired​ ​it​ ​was​ ​a​ ​small​ ​elephant​ ​with​ ​another​ ​tiny​ ​little​ ​elephant​ ​inside​ ​it​ ​that​ ​I​ ​got​ ​in​ ​India​ ​for​ ​my 6​ ​year​ ​old​ ​son.​

​Before​ ​I​ ​went​ ​away​ ​he​ ​had​ ​given​ ​me​ ​a​ ​heart​ ​made​ ​out​ ​of​ ​those​ ​little​ ​plastic​ ​beads​ ​that you​ ​iron​ ​and​ ​they​ ​stick​ ​together​ ​and​ ​when​ ​he​ ​gave​ ​to​ ​me,​ ​he​ ​said​ ​it​ ​was​ ​so​ ​that​ ​I​ ​didn't​ ​forget​ ​about him.​ ​So​ ​I​ ​bought​ ​him​ ​the​ ​little​ ​elephant​ ​to​ ​say​ ​'I​ ​think​ ​about​ ​you​ ​all​ ​the​ ​time​ ​and​ ​you​ ​don’t​ ​need​ ​to remind​ ​me​ ​not​ ​to​ ​forget​ ​about​ ​you'.​

​I​ ​actually​ ​wrote​ ​all​ ​the​ ​lyrics​ ​first,​ ​which​ ​I​ ​very​ ​rarely​ ​do,​ ​on​ ​the plane​ ​on​ ​the​ ​way​ ​back​ ​from​ ​India​ ​looking​ ​at​ ​the​ ​little​ ​elephant.​ ​Then​ ​at​ ​home​ ​he​ ​put​ ​headphones​ ​on and​ ​I​ ​played​ ​it​ ​while​ ​he​ ​unwrapped​ ​it.​ ​He​ ​actually​ ​doesn’t​ ​like​ ​the​ ​song,​ ​he​ ​thinks​ ​it’s​ ​quite​ ​creepy.

"DON’T​ ​UNDERSTAND"

The​ ​last​ ​track,​ "​Don’t​ ​Understand",​ ​is​ ​a​ ​track​ ​and​ ​an​ ​outro​ ​in​ ​one​ ​and​ ​it’s​ ​a​ ​proper​ ​send​ ​off.​ ​It’s constructed​ ​in​ ​a​ ​very​ ​strange​ ​way​ ​-​ ​this​ ​will​ ​make​ ​no​ ​sense​ ​to​ ​some​ ​people​ ​-​ ​but​ ​I​ ​sent​ ​the​ ​midi​ ​from​ ​a sequence​ ​generator​ ​back​ ​into​ ​Pro​ ​Tools​ ​and​ ​the​ ​main​ ​hook,​ ​the​ ​chora​ ​sound​ ​(the​ ​African​ ​instrument) was​ ​actually​ ​made​ ​by​ ​a​ ​sequence​ ​generator.​ ​

I​ ​went​ ​through​ ​about​ ​500​ ​different​ ​sequences,​ ​sitting there​ ​poking​ ​it, waiting​ ​for​ ​it​ ​to​ ​do​ ​something​ ​magical​ ​because​ ​at​ ​some​ ​point​ ​I​ ​knew​ ​it​ ​would​ ​and​ ​then it​ ​played​ ​that​ ​little​ ​thing.​ ​Then​ ​I​ ​sent​ ​the​ ​same​ ​thing​ ​into​ ​a​ ​percussion​ ​rig​ ​and​ ​after​ ​started​ ​constructing the​ ​vocal.​ ​At​ ​this​ ​point​ ​I​ ​wasn’t​ ​trying​ ​to​ ​write​ ​a​ ​song,​ ​I​ ​was​ ​trying​ ​to​ ​write​ ​something​ ​for​ ​an​ ​advert.​ ​

The point​ ​I​ ​realised​ ​it​ ​wasn’t​ ​for​ ​anyone​ ​else​ ​was​ ​when​ ​I​ ​put​ ​the​ ​string​ ​chords​ ​in,​ ​that​ ​changed​ ​everything. It​ ​went​ ​from​ ​being​ ​really​ ​little​ ​and​ ​dinky​ ​to​ ​something​ ​I​ ​couldn’t​ ​give​ ​to​ ​anyone​ ​else​ ​because​ ​I​ ​liked​ ​it too​ ​much.​ ​It’s​ ​about​ ​being​ ​broken​ ​up​ ​with​ ​and​ ​not​ ​understanding​ ​how​ ​someone​ ​can​ ​just​ ​leave​ ​you after​ ​being​ ​with​ ​you​ ​for​ ​so​ ​long.​

​It’s​ ​not​ ​specifically​ ​about​ ​a​ ​relationship,​ ​it​ ​could​ ​be​ ​about​ ​a​ ​friend​ ​or work,​ ​it’s​ ​not​ ​specific.​ ​With​ ​the​ ​outro,​ ​the​ ​whole​ ​section​ ​was​ ​great​ ​fun​ ​because​ ​I​ ​got​ ​to​ ​play​ ​everything in​ ​my​ ​house​ ​-​ ​all​ ​the​ ​little​ ​synths,​ ​the​ ​harp,​ ​the​ ​Asian​ ​Zither​ ​-​ ​which​ ​I​ ​don’t​ ​get​ ​to​ ​play​ ​very​ ​often because​ ​it’s​ ​the​ ​size​ ​of​ ​a​ ​coffee​ ​table​ ​so​ ​it​ ​was​ ​great.

Hit The Ground Running, the new album from Newton Faulkner, is out now