Lee Burridge teamed up with Lost Desert to release his first studio LP titled Melt last month. The album captures the All Day I Dream sound with dreamy, hazy melodies and basslines that slowly develop into a hypnotic gaze. The album also spans sweeping cinematic cuts like “Sailing Without A Compass” and vocal features to help tie in the free-loving spirit of the record.
With the album out and marinated for three weeks in your ears, Lost Desert is here for a new The Director’s Cut, taking us inside the creative process for each song on the album. He dives into why some songs are called what and the technical process for the last record “Christina, daydreaming.”
Listen to the album, pick up a copy here and read on to see how it all came together.
The first demo was called “Vanilla.” The track had this summer beach vibe, and in my imagination I hear an ice cream truck passing by and kids playing. Lee then changed the name to “Melt” because in the UK, “vanilla” is used when something is bland or average.
2. Sailing Without Compass
In the process of making music, we sometimes start off with a direction we want to go and end up somewhere totally different. And that’s the beauty of making music: finding the unknown, or sailing without a compass, if you will.
In the process of mixing a track with lots of layers, vocals strings, and sequences, I often listen without beats. With “Lingala,” I fell in love with the beatless acoustic version. It brings out all of the emotion in Junior’s voice and the words sung.
I remember working on a cold winter night. I’d just started building a nice little groove, and when I thought I had a nice vibe, it dawned on me that a part of that vibe was the rain falling on my studio window. So I recorded that rain and added it to the finished product.
This is my first collaboration with Simon Vuarambon; such a great talent this guy. His ability to write beautiful string arrangements and complementary basslines, and his sense for detail are a welcome accent to mine and Lee’s production skills.
"Everlast" would have been a good title for this one too.
Started this track on the drums from “Lingala,” and in English it was called, "it takes two to make it right.” The flute-y sound in the intro was played on a "ROLI" keyboard that I found secondhand. The pitch and bend options it has are unbelievable!
7. Magic Mountains
This is my favorite track of the album—it always puts a smile on my face when I listen to it again and again. When I heard that sound and started to play with it, it reminded me of "Miss You" by Trentemøller. The title comes from an art installation we passed on our road trip from LA to Las Vegas.
Note to self: make a beatless version of this one!
8. Float On
The title speaks for itself. When we play this, people start floating—including me. What I like most about this track is the lift in chord after the one-note intro and the vibe change in the second part. This keeps the track interesting for me.
Let me tell you a little story about the track, “We-i-wo-we.” When I was very young, my Mum took me to the fairground. Being on the merry-go-round that was playing the Beatles’ “Yellow Submarine,” spinning around it deformed the music. So after a spin or two, I wanted to go back on the “We-i-wo-we” tie-in. In some weird way, the reversed sounds in the track reminded me of that moment. Yes, I’m weird!
10. Christina, daydreaming
The way we like to work in is Logic Pro. I have been using it from Logic 4; the drums are programmed in native instruments Machine 2. For bass I mostly use Moog voyager or Moog One hardware, the softsynths I use most are the spectrasonics. My favorite is Omnisphere, and for mixing I sometimes go outboard for analog summing or with my SSL x desk or chandler summing to make a premaster. Tape studer, shadowhill compression and precision limiter all add to it and lately I have using IZOTOPE inside to also look at the final mastering