Question: ‘Love Is Noise’ is next.





Richard: Yeah, Love is Noise, which given a few days in the studio, I was working a lot with a vocoder, an old vocoder I had in the studio and created the vocal loop and as soon as I had that vocal loop that was it. I mean, there has been a few times in my career, or whatever you want to call it, where you know, you just know, that this is universal, this is like, given the chance, you know, if the world could hear it the world would get into it, and that’s so rare I think when something within a few seconds can grab people. Really, you know, lyrically in a way I think if you look at it as a sort of the first few lines a kind of re-make of Jerusalem by William Blake rather than will those ‘feet in ancient times’ it’s the feet in modern times. It’s ‘bright prosaic malls’ instead of ‘dark Satanic mills’, and again I think it goes back to that internal struggle of my own, you know, that search for the love and it’s what we’re all searching for, I think. That internal battle is the battle that I will always have lyrically perhaps or with my songs. It’s about, perhaps, my own internal battle.



Nick: Love is Noise was kind of eleventh hour, a segment of a greater whole, Columbo, which was two days of jamming and then at some point Richard re-visited the disco section and put a hard kick drum on it and did the high vocal line that you hear on it now and then we started stacking stuff on it.



Pete: It comes from a jam that we, again, same thing that we tried and like. It’s taken from a four bar loop of that, and er, yeah, Richard took a four bar loop, didn’t he?



Simon: That’s right, kind of like a futuristic, sci-fi sort of jam that keeps evolving and evolving and the way we play with a natural ebb and flow it reached a certain point and a certain tempo. Richard picked out this really good loop from it, like Pete said, a four bar loop, and we kind of, Richard took that away and wrote the melody on top, put some keyboards on it and we took it back and put live bass and drums



S: Yeah, so, that’s typical Verve, I suppose. It was like, you know, a really good jam, choosing a really good bit, working on that bit and creating a song out of it er, you know, Richard seems to have a gift for being able to create choruses over what’s a verse and, you know, make these big lifts, which he’s done before on Bittersweet Symphony etc. it works really well, you know, people singing (sings) ‘Uh, hoo, hoo’ vocal hook straight away, you know, so you knew that, you know, that we were onto something with it, you know.