Steve, Which tracks you have been involved in had “AHA!” moments when you knew you were doing something special? Any Japan tracks in particular stand out?

Probably around the commencement of recording Tin Drum with John Punter where we went into Basing Street studios to record a potential single which turned out to be ‘The Art Of Parties’ and ‘Life Without Buildings’. With the latter of the two tracks I felt there was an exciting shift into an area of experimentation in the studio which allowed a track to be incrementally constructed through playback. Up to that point everything was fine tuned and completed in rehearsals (perhaps with the exception of ‘My New Career’ which was a late addition to the ‘Polaroids’ album and therefore took shape at Air Studios, and which I feel is the most honest composition on that album). It was essentially the moment where I believe we as a band no longer felt that recording was merely a process by which something already composed and arranged was to be faithfully captured in a recording, and instead were able to use that environment more to our advantage by pushing our boundaries a little and experimenting with sonics instead of merely performance. It was the beginning of creative studio production which up to that point was mostly the input of the hired producer.

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