The artist Two Feet presents his new album, Shape & Form

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The artist takes us on a journey piece by piece through his new electro-soul album.

Photography Shervin Lainez

Two feet

Photography Shervin Lainez

The albums have the ability to tell stories through their piercing production and introspective storytelling. But, sometimes, an intimate tour through a newly released body of work is an eye-opening experience that allows you to connect more with the melodies you jump to, especially when they come from the artist themselves.

With that in mind, artist Two Feet seeks to officially welcome us into a new musical era with a tour through his eclectic new album, Shape and form. Taking the time to reflect on the inspirations, emotions and sounds that are at the heart of each of the 14 tracks that follow, the artist invites you to become obsessed with his latest release and take an overview of his creative process. . Go below to enjoy…

Photography Shervin Lainez

“Tell me the truth”

“Tell Me The Truth” was the only song on the new album that I wrote in New York, and the rest was written while I was living in LA in 2020. I think “Tell Me The Truth” has the classic the grimier, sexy, darker vibe. It is my favorite !

“Gravity”

I actually wrote “Gravity” a long time ago, and at first I went back and forth on how to nail the chorus exactly how I wanted it. I was on a walk one day when I understood. I do a lot of my best work when I walk my dog. For this track, I wanted a distorted and repetitive vocal over it. I really like how it turned out. It’s a very classic Two Feet song.

“Act as”

“Play The Part” is the one I wrote live! I was in a jam session with my band. It was fun and easy to set up. I would say it was one of the easiest songs to write.

“Ella”

I really wanted a dance record that had a dark, fast and rhythmic dance vibe. I edited this record with a drum machine and some analog synths. I was inspired by the future garage movement taking place in the UK. Some of that inspiration also bled into the track “My Life.

“Until I Come Home” ft. grandson

I finished the demo of this one, but still felt like something was missing. Grandson came one day and asked to hear some unfinished music. I played him a few songs but he loved “Until I Come Home” the most and skipped on the second verse. I don’t think I would have released it without its functionality as it is a bit different from my usual style. We first met in 2017 after a series of festivals where we played together and always thought we would do a song together, so we were happy that it finally happened!

“Fire in My Head”

“Fire In My Head” was fun to do and was one of the first songs I wrote for this album! I wanted something with a heavy, heavy drop and a falsetto voice. I like to have songs where all the lead is falsetto. They look interesting and a bit strange. I played the rhythm and the bassline first and went from there. I also improvised a good part of these lyrics.

“I see you”

I was listening to The Strokes and Tame Impala a lot, and that inspired my desire to make a record that was smooth and had constant scratching. I found this chord progression that I liked that was a little soulful and put it on some percussion that I thought Kevin Parker from Tame Impala would have done. Obviously, the lyrics of “I See You” are about some kind of relationship, but I deliberately blurred it with the lyrics. I wanted it to stay very open with the listener. I also used a theremin on this song, which is an instrument that you don’t touch, but you just play it by putting your hand near it… and the magnetic field creates a weird cool sound.

“Devil”

With “Devil”, I wanted a sexy and fast song – not necessarily house. I took a lot of inspiration from the Beatles and elements of their bass line. I had completely done it and there were completely different percussions which were very rock. My co-producer Huff, full name Geoffrey Hufford, comes from a more electronic background and wanted to do the drums again. After spending a day with it, he tightened them up a lot and it really transformed the song.

“Don’t Get Me Down”

Actually, I wrote this one quite a long time ago. It was another one where I just didn’t know where to go until I got this new synth and started playing with the bass on it, and started improvising on it. It has this sound of skating, airy, bubbling water, but the drop is very heavy and different from the verse because they were written about two years apart. This one sounds so massive when played live too. He’s almost got a cult now.

“Amy”

“Amy” is unusual compared to my other music. There’s no drums and that sort of cut-tone electric guitar. I listened to a lot of Frank Ocean Blond album and there are a lot of songs without drums and they are more laid back. I just wanted to do something stripped down like that. I released it with “Caviar” because I wrote them one after the other and was in the same headspace even though they sound different. I took them out together to add more energy to the duo.

“My life”

Huff did the drumbeat for “My Life” and we thought that was super cool so I went into the studio vocal booth and started random falsetto singing over it with some cool effects on my voice, and it’s kind of an improvised song. Huff was a very big part of this record.

“Caviar”

I was in a good mood and wrote this sexy Latin sounding song with 808 samples. I worked pretty hard on these lyrics, I wanted them to be smart and fun at the same time. I spent quite a bit of time reworking and editing the lyrics, and I love how it turned out to be a really nice song. The production also interpolated the rhythmic syncopation that Huff and I loved about Brooklyn and UK boring beats.

“Limousine”

Huff produced “Limo” and I wrote the lyrics and melody. I wrote the guitar riff over it but it’s the only one on the album that he really took the lead on. I feel more like a simple singer and guitarist on this song.

“ADHD”

On “ADHD”, I wanted something rock and I wanted to go everywhere with it. I worked on it very quickly, and I wanted to have a more punk-rock sound. It was one of the first times I used quarter eighth power chords. It’s super fun and a great pop-punk-alt song. I like the lyrics. I had walked all day to find clever ways to say what I wanted to say. The Last Drop has so much energy and I’m really excited to perform it live.

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