“It is always dangerous covering such an iconic track. The first version we did was a housed-up 124bpm. We sent it across to Syf & Fritz and they did a cool job with the vocals, but it just felt too fast and rushed.
And if you are going to cover an already super poppy track and speed it up, then you are heading into very dangerous territory. We then did the opposite and slowed right down to 98bpm, and it immediately felt a lot cooler and more low-slung. “When you receive such amazing vocals as we did with Syf & Fritz, 75% of the hard work has been done. We just needed to provide a unique instrumental to let them shine.
We chopped up all of their breaths to create a sort of percussive pulsating effect that runs underneath the track, that helps create a sense of movement and rhythm. “The main part of the track is the bassline, which we used an Emulator 3 keyboard disk for.
We were at our buddy Nicky Vanshe's studio flicking through different samples on disks until we came across the one we chose, which we ran through a Neve 1073 as it gives a smoother and warmer texture to the bottom-end and combats the fact that the emulator is digital. “For the synths we used a Poly Evolver with a phaser, nice and simple. We mixed the whole record down in Nicky Vanshe's studio and placed a C1 master buss compressor (the same one Tony Hoffer used when mixing the Phoenix album), and it seems to make everything glue in the right way.”