The fluttering chill of the choir chord arpeggios at the beginning of this were something I was playing with around the time I was making Willow, but I knew I’d gone a season too far immediately. There was something more sparse and cold and beautiful but austere about it and I wanted to save it to the right moment.

After playing the long versions of my live solo show last year, I really enjoyed most of all how much time could be taken building a sound and an emotion in a space. It was a surprise how patient people were with the process and the slow unwrapping of an idea together. I’ve really wanted to explore that more, and the gentle, long build of Frosted is a first experiment in having faith that can work,

I really do love the development of this. My rhodes sounds about as good as it ever has when it comes in, The Moog Grandmother is deep and lush. And I’m so pleased with my beats built from hitting my beautiful guitar and sampling it and replaying it as a drum kit.

I hope this visualises for you the frost covered mornings I imagined when I was making it.