With their most ambitious and emotionally charged album to date, Pink Silence, the sibling duo take a bold step forward in their songwriting and sonic exploration. Infused with themes of loss, hope, and transformation, the record sees them embracing new creative freedoms, working with acclaimed collaborators like Owen Pallett, Adrian Utley, and Stuart Braithwaite, and pushing the boundaries of their sound under the guidance of producer Ali Chant. As they prepare to bring these expansive new songs to the stage, we caught up with them to talk about the creative process behind Pink Silence, the evolution of their dynamic, and what lies ahead.
If you had to sum up Pink Silence in just a few words, how would you describe it?
Our most ambitious album so far in terms of songwriting and arrangement. A record preoccupied with feelings of loss and hope.
How did the creative process for this album differ from your previous work? Did you approach songwriting or recording in a new way?
Our producer Ali Chant gave us a central prompt to ‘let go’ during the writing and recording process. We tried to internalise that and I think it made us feel less inhibited to try new things and explore writing more instinctually, rather than overthinking things. We introduced new elements to our sound like strings and double bass and experimented with unusual recording methods like recording through windows with contact mics. The whole process felt super fun and liberating.
Pink Silence features collaborations with Owen Pallett, Adrian Utley, and Stuart Braithwaite. What was it like working with them, and how did they influence the record?
We worked with Owen remotely on the string arrangements after chatting through what we were looking for. One of the highlights of making the record was them sending over their parts and hearing the transformative effect they had on the songs. We’re so grateful that they’re a part of the record. Similarly, working with Adrian and Stuart was really eye-opening. Adrian, in particular, had so many incredible ways of making a guitar sound nothing like itself. He’d use pliers, clips and volume pedals to get these otherworldly sounds.
What did working with producer Ali Chant bring to the project, and did you take away any new insights from working with him?
We worked with Ali on our second album so we had a really solid working relationship going into the making of this record. He’s such an experienced producer that it’s easy to trust his instincts as they pretty much always lead somewhere cool and interesting - often they can turn the whole sound of a song on its head. There was a shared ambition to ‘go bigger’ on this album in every respect, so it was great to work with someone who had the same goal in mind as us. We’re quite particular when it comes to the sonics of our music and seeing how Ali could translate our ideas into reality during the mixing process was a great learning experience.
The album has a beautifully layered and atmospheric sound - how did you balance that with the more restrained, minimal approach you're known for?
I think we’re always conscious of retaining space in our music to let the sounds breathe and feel most impactful. That’s where the minimal approach comes from. It was a bit of a balancing act trying to marry that sensibility with the bigger arrangements on the album. Often we would add lots of layers of instruments then gradually remove things until we felt we achieved the right balance.
When writing and recording these songs, did you think about how they would translate to a live setting? Has that shaped your approach to performing them?
We generally have one eye on how things will translate to a live setting when we’re writing. There will always be differences between the sound of the recordings and how we play them live but we still want to make sure that people are getting a faithful representation of the record when they come to see us. The SPD sample pad is a real lifesaver in that regard as it allows us to keep certain elements on track that we don’t have enough hands to perform live!
As siblings, has your creative dynamic evolved over time? Do you find yourselves naturally in sync, or do you challenge each other in unexpected ways?
Because we’ve been writing together for so long there is a shorthand there and we’ll often have the same idea where we want to go with things. That being said, we do always try to challenge each other to come up with parts which work together in cool, interesting ways.
The response to the singles so far has been really positive. Have any reactions stood out to you?
It’s been cool to see all the love for the new songs on YouTube. You get sense that the music is connecting with people on quite a deep level. That feels quite special.
With Pink Silence soon to be out in the world, what’s next for you? Any plans you’re excited about?
We’ll be doing a run of instores in April for the album release, playing stripped back versions of some of the tracks. We’ll also be touring the record later in the year. We’re doing a few festivals too, including Green Man in Wales so really looking forward to those.
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Our most ambitious album so far in terms of songwriting and arrangement. A record preoccupied with feelings of loss and hope.
How did the creative process for this album differ from your previous work? Did you approach songwriting or recording in a new way?
Our producer Ali Chant gave us a central prompt to ‘let go’ during the writing and recording process. We tried to internalise that and I think it made us feel less inhibited to try new things and explore writing more instinctually, rather than overthinking things. We introduced new elements to our sound like strings and double bass and experimented with unusual recording methods like recording through windows with contact mics. The whole process felt super fun and liberating.
Pink Silence features collaborations with Owen Pallett, Adrian Utley, and Stuart Braithwaite. What was it like working with them, and how did they influence the record?
We worked with Owen remotely on the string arrangements after chatting through what we were looking for. One of the highlights of making the record was them sending over their parts and hearing the transformative effect they had on the songs. We’re so grateful that they’re a part of the record. Similarly, working with Adrian and Stuart was really eye-opening. Adrian, in particular, had so many incredible ways of making a guitar sound nothing like itself. He’d use pliers, clips and volume pedals to get these otherworldly sounds.
What did working with producer Ali Chant bring to the project, and did you take away any new insights from working with him?
We worked with Ali on our second album so we had a really solid working relationship going into the making of this record. He’s such an experienced producer that it’s easy to trust his instincts as they pretty much always lead somewhere cool and interesting - often they can turn the whole sound of a song on its head. There was a shared ambition to ‘go bigger’ on this album in every respect, so it was great to work with someone who had the same goal in mind as us. We’re quite particular when it comes to the sonics of our music and seeing how Ali could translate our ideas into reality during the mixing process was a great learning experience.
The album has a beautifully layered and atmospheric sound - how did you balance that with the more restrained, minimal approach you're known for?
I think we’re always conscious of retaining space in our music to let the sounds breathe and feel most impactful. That’s where the minimal approach comes from. It was a bit of a balancing act trying to marry that sensibility with the bigger arrangements on the album. Often we would add lots of layers of instruments then gradually remove things until we felt we achieved the right balance.
When writing and recording these songs, did you think about how they would translate to a live setting? Has that shaped your approach to performing them?
We generally have one eye on how things will translate to a live setting when we’re writing. There will always be differences between the sound of the recordings and how we play them live but we still want to make sure that people are getting a faithful representation of the record when they come to see us. The SPD sample pad is a real lifesaver in that regard as it allows us to keep certain elements on track that we don’t have enough hands to perform live!
As siblings, has your creative dynamic evolved over time? Do you find yourselves naturally in sync, or do you challenge each other in unexpected ways?
Because we’ve been writing together for so long there is a shorthand there and we’ll often have the same idea where we want to go with things. That being said, we do always try to challenge each other to come up with parts which work together in cool, interesting ways.
The response to the singles so far has been really positive. Have any reactions stood out to you?
It’s been cool to see all the love for the new songs on YouTube. You get sense that the music is connecting with people on quite a deep level. That feels quite special.
With Pink Silence soon to be out in the world, what’s next for you? Any plans you’re excited about?
We’ll be doing a run of instores in April for the album release, playing stripped back versions of some of the tracks. We’ll also be touring the record later in the year. We’re doing a few festivals too, including Green Man in Wales so really looking forward to those.
Shop their album below!
SHOP NOW
