When I started Contact Buzz, there was a list of artists I knew I had to record. On that list there were bands I was friends with, bands who thought would sound cool on tape and bands that could head a tape revolution in Leeds. Rhiannon Hope you may recognise with an Accordion in hand and her mesmerising EP from last year - ‘All Things, Returning and Rising. One constant I've seen in the homes around Leeds is that EP on vinyl, and you can’t really blame anyone for forking out - it's utterly gorgeous.

An early start, I rocked up to Nelson's house in a row already boasting some of the best musicians in Leeds (I shant dox anyone). A house with period features and white high ceilings, felt like the only setting for an atmospheric folk band and a dude with a 4-track. Nelson, the Violinist and occasional keys player in the group, has one of the best decorated rooms I've seen - little sketches of his and others, along with a collection of New Yorker posters. 

We started with Ludo on drums, mallets, whole kit playing, one of the first times i’ve not felt like micing up the snare, just two overhead mics and my AT2020 hanging upside down from the metal door closer (I googled it, thats what its called). A really dynamic performance. I'm surprised how well my 4-track did with that. I think it's stunning, when the drums start breaking up a bit. So impactful.

We had Normal Village’s Lucy stepping in on bass, my first time working with her after the countless times I've seen her play with Village. She’s a proper wizard on the bass, one of my favourites in the scene, some of the runs she comes out with on this one, knocked my socks off.

Then a quick break over at Hyde Park Book Club. Had a lovely set of dry flowers left over from Valentine's day on sale. Ask your partner, I'm not huge on flowers, but I think the dry ones are so much nicer. Last forever too. A sausage roll, a cookie and a Coffee (I'm a coffee drinker now) and then back to business. Next up was Rhiannon of Nylon Guitar. I was suggesting my classic two take technique, but we just added some chorus, delay and reverb and we agreed that one take was huge enough.

We did a similar effect for Nelson’s Violin. I’ve had my violin on a couple of tracks I've recorded, but obviously when you have someone who actually knows how to play the instrument, it's such a pleasure to watch and record. We really captured the sound of the room, which is usually the aim for Contact Buzz sessions, but none more so than this session, it was crucial we got that right.

Now for Rhiannon, such a unique and expressive voice, clearly pulls from so many different influences. I always felt the jazz impact on her vocals, but none more than Billie Holiday when we decided to go for the Landline mic. Nothing like a Landline Mic to send you back to the 50s. Our first Landline Mic group vocal too, like a family phone call from another country. I know I've used them more than I should, but that mic just works so well, it's becoming a bit of a staple for our recordings.

Overall, the recording went just as well as I knew it could and then some. They’re such a unique and talented group, you can see why they're reaching far beyond the loose constraints of Leeds. Sometimes the 4-track can feel a little allergic to dynamics, but this time it did good. Is there anything tape can't do? Over the moon, one of the most gorgeous recordings to date.

For Fans of: The Waterboys, Naima Bock and Autumn Walks.