I feel like people really connect with vocals. I am a fan of albums being centred around the voice. We had all of the tools to really capture it.

That’s how you deliver the lyrics, so capturing a really clear, emotive, texturised vocal, I feel like he really captured what my voice sounds like in the studio, and we used the best microphones. “I am a fan of albums being centred around the voice. That feels all the more important on this. We always talk to you as a guitar player but you are a vocalist, too. That's the thing about this record, it has risks on it, and it foregrounds your voice, too. “He’s got a real keen sense for production, and for the quality of the record, and how I wanted to stylise it.

His production style and approach was a little different to anything that I have done before, just as far as pre-production goes – we were incredibly well prepared when we walked into the Village last winter, and I think that was a little bit of a change for me, just having that level of knowing exactly where we were going. Martin is an expert at making records like this. I needed that right partner to help facilitate what I was looking to do. “I honestly feel like I have been going in the direction that we landed in for a long time.

We just got to talking and getting to know each other, and as our friendship progressed, I realised, ‘Man, this would just be a great opportunity if he wants to produce the record.’ “Martin has ties in Kansas City and so do I for obvious reasons, and we got connected through a mutual friend last summer. How did you get Martin onboard for this one? The production on this record is really something special. As she explains here, that’s because she has the good sense to listen to her gut.

That sense of anything being up for grabs was enhanced once NIN alum Josh Freese was drafted in on drums, with Diego Navaira of The Last Bandoleros rounding out the rhythm section.īut somehow, in all of this, the quintessence of Fish’s sound remains unchanged.

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