13 Songs, 48 Minutes

EDITORS’ NOTES

“I have such a personal connection to dance music,” Georgia Barnes tells Apple Music. “I grew up around the UK rave scene, being taken to the raves with my mum and dad [Leftfield’s Neil Barnes] because they couldn’t afford childcare. I'd witness thousands of people dancing to a pulsating beat and I always found it fascinating, so I'm returning to my roots. The story of dance music and house music is a familiar one—it helped my family, it gave us a roof over our heads.” Five years on from her self-titled debut, the Londoner channels the grooves and good times of the Detroit, Chicago and Berlin club scenes on the single “About Work the Dancefloor”, “The Thrill” and “24 Hours”. Tender, twinkling tracks like “Ultimate Sailor” recall Kate Bush and Björk, while her love of punk, dub and Depeche Mode come through on “Ray Guns”, “Feel It” and “Never Let You Go”. “My first record was a bit of an experiment,” she explains. “Then I knew exactly what needed to be done—I just locked myself away in the studio and researched all the songs that I love. I also got fit, I stopped drinking, I became a vegan, so these songs are a real reflection of a personal journey I went on—a lot happened in those five years.” Join Georgia on a track-by-track tour of Seeking Thrills.

Started Out
“Without ‘Started Out’ this album would be a completely different story. It really did help me break into the radio world, and it was really an important song to kickstart the campaign. Everything you're hearing I've played: It's all analog synthesisers and programmed drum machines. We set the studio up like Frankie Knuckles or Marshall Jefferson did, so it’s got a real authenticity to it, which was important to me. I didn't just want to take the sounds and modernise them, I wanted to use the gear that they were using.”

About Work the Dancefloor
“During the making of this track I was very heavily listening to early techno music, so I wanted to create a song that just had that driving bassline and beat to it. And then I came up with that chorus, and I wanted it to be on a vocoder to have that real techno sound. Not many pop songs have a vocoder as the chorus—I think the only one is probably Beastie Boys’ ‘Intergalactic’.”

Never Let You Go
“I thought it'd be really cool to have a punky electronic song on the record. So, ‘Never Let You Go’ started as this punk, garage-rock song, but it just sounded like it was for a different album. So then I wrote the chorus, which gave it this bit more pop direction. During the making of this record I was really disciplined, I wasn't drinking, I was on this very strict routine of working during the day and then finishing and having a good night’s sleep, so I think some of the songs have these elements of longing for something. I also liked the way Kate Bush wrote: Her lyrics were inspired by the elements, and I wanted to write about the sky like she did. It just all kind of came into one on that song.”

24 Hours
“This was written after I spent 24 hours in the Berghain club in Berlin. It was a life-changing experience. I was sober and observing all these amazing characters and having this kind of epiphany. I saw this guy and this girl notice each other on the floor, just find each other—they clearly didn't know each other before. They were dancing together and it was so beautiful. People do that even in an age where most people find each other on dating apps. That's where I got the line ‘If two hearts ever beat the same/We can beat it.’”

Mellow (feat. Shygirl)
“I wasn't drinking, but I've had my fair share of doing crazy stuff. I wrote this song because I really wanted to go out and seek my hedonistic side. I wanted another female voice on it, and I heard Shygirl’s [London singer and DJ Blane Muise] music and really liked it. She understood the type of vibe I was going for because she likes to drink and she likes to go out with her girls. I didn't want many collaborations on the record, I just wanted that one moment in this song.”

Till I Own It
“I've got a real emotional connection to this song. I was listening a lot to The Blue Nile, the Glaswegian band, who were quite ethereal and slow. I was interested in adding a song that was a bit more serious and emotive—so I wrote this because I just had this feeling of alienation in London at the time. Also, during the making of this record Brexit happened, so I wrote this song to reflect the changing landscape.”

I Can’t Wait
“‘I Can’t Wait’ is about the thrill of falling in love and that feeling that you get from starting something new. I was listening to a lot of reggae and dub and I'd wanted to kind of create a rhythm with synthesisers that was almost like ragga. But this is definitely a pop record—and quite a sweet three-minute pop song.”

Feel It
“This was one of the first songs that I recorded for the second record. It’s got that kind of angry idea of punk singers. There are a couple of moments on this record where I was definitely listening to John Lydon and Public Image Ltd., and it's also an important song because I felt like it empowers the listener. I wanted people to listen to these songs and do something in their lives that is different, or to go and experience the dance floor. I think 'Feel It' does that.”

Ultimate Sailor
“‘Ultimate Sailor’ was something that just came along unexpectedly. I really wanted to create a song that just put the listener somewhere. All the elemental things really inspired this record: skies, seas, mountains, pyramids. I think that is one of the things that's rubbed off on me from Kate Bush. She’s the artist that I play most in the studio.”

Ray Guns
“I had a concept before I wrote this song about an army of women shooting these rays of light out of these guns, creating love in the sky to influence the whole world. It's about collective energy again. I was influenced by all the Chicago house and Detroit techno, and how bravery came from this new explosive scene. And 'Ray Guns' was meant to try and instil a sense of that power to the listener.”

The Thrill (feat. Maurice)
“At this point I was so influenced by Chicago house and just feeling like I wanted to create a song in homage to it. I wanted a song that took you on a journey to this Chicago house party, and then you have these vocals that induce this kind of trip. Maurice is actually me—it’s an alter ego! That's just my voice pitched down! I thought, ‘I’m going to f**k with people and put 'featuring Maurice’.”

Honey Dripping Sky
“I love the way Frank Ocean has the balls to just put two songs together and then take the listener on a journey. This song has a quite dub section at the end, and it's about the kind of journey that you go through on a breakup, so it’s really personal. It’s also quite an unusual track, and I wanted to end the album on a thrilling feeling. It's a statement to end on a song like that.”

EDITORS’ NOTES

“I have such a personal connection to dance music,” Georgia Barnes tells Apple Music. “I grew up around the UK rave scene, being taken to the raves with my mum and dad [Leftfield’s Neil Barnes] because they couldn’t afford childcare. I'd witness thousands of people dancing to a pulsating beat and I always found it fascinating, so I'm returning to my roots. The story of dance music and house music is a familiar one—it helped my family, it gave us a roof over our heads.” Five years on from her self-titled debut, the Londoner channels the grooves and good times of the Detroit, Chicago and Berlin club scenes on the single “About Work the Dancefloor”, “The Thrill” and “24 Hours”. Tender, twinkling tracks like “Ultimate Sailor” recall Kate Bush and Björk, while her love of punk, dub and Depeche Mode come through on “Ray Guns”, “Feel It” and “Never Let You Go”. “My first record was a bit of an experiment,” she explains. “Then I knew exactly what needed to be done—I just locked myself away in the studio and researched all the songs that I love. I also got fit, I stopped drinking, I became a vegan, so these songs are a real reflection of a personal journey I went on—a lot happened in those five years.” Join Georgia on a track-by-track tour of Seeking Thrills.

Started Out
“Without ‘Started Out’ this album would be a completely different story. It really did help me break into the radio world, and it was really an important song to kickstart the campaign. Everything you're hearing I've played: It's all analog synthesisers and programmed drum machines. We set the studio up like Frankie Knuckles or Marshall Jefferson did, so it’s got a real authenticity to it, which was important to me. I didn't just want to take the sounds and modernise them, I wanted to use the gear that they were using.”

About Work the Dancefloor
“During the making of this track I was very heavily listening to early techno music, so I wanted to create a song that just had that driving bassline and beat to it. And then I came up with that chorus, and I wanted it to be on a vocoder to have that real techno sound. Not many pop songs have a vocoder as the chorus—I think the only one is probably Beastie Boys’ ‘Intergalactic’.”

Never Let You Go
“I thought it'd be really cool to have a punky electronic song on the record. So, ‘Never Let You Go’ started as this punk, garage-rock song, but it just sounded like it was for a different album. So then I wrote the chorus, which gave it this bit more pop direction. During the making of this record I was really disciplined, I wasn't drinking, I was on this very strict routine of working during the day and then finishing and having a good night’s sleep, so I think some of the songs have these elements of longing for something. I also liked the way Kate Bush wrote: Her lyrics were inspired by the elements, and I wanted to write about the sky like she did. It just all kind of came into one on that song.”

24 Hours
“This was written after I spent 24 hours in the Berghain club in Berlin. It was a life-changing experience. I was sober and observing all these amazing characters and having this kind of epiphany. I saw this guy and this girl notice each other on the floor, just find each other—they clearly didn't know each other before. They were dancing together and it was so beautiful. People do that even in an age where most people find each other on dating apps. That's where I got the line ‘If two hearts ever beat the same/We can beat it.’”

Mellow (feat. Shygirl)
“I wasn't drinking, but I've had my fair share of doing crazy stuff. I wrote this song because I really wanted to go out and seek my hedonistic side. I wanted another female voice on it, and I heard Shygirl’s [London singer and DJ Blane Muise] music and really liked it. She understood the type of vibe I was going for because she likes to drink and she likes to go out with her girls. I didn't want many collaborations on the record, I just wanted that one moment in this song.”

Till I Own It
“I've got a real emotional connection to this song. I was listening a lot to The Blue Nile, the Glaswegian band, who were quite ethereal and slow. I was interested in adding a song that was a bit more serious and emotive—so I wrote this because I just had this feeling of alienation in London at the time. Also, during the making of this record Brexit happened, so I wrote this song to reflect the changing landscape.”

I Can’t Wait
“‘I Can’t Wait’ is about the thrill of falling in love and that feeling that you get from starting something new. I was listening to a lot of reggae and dub and I'd wanted to kind of create a rhythm with synthesisers that was almost like ragga. But this is definitely a pop record—and quite a sweet three-minute pop song.”

Feel It
“This was one of the first songs that I recorded for the second record. It’s got that kind of angry idea of punk singers. There are a couple of moments on this record where I was definitely listening to John Lydon and Public Image Ltd., and it's also an important song because I felt like it empowers the listener. I wanted people to listen to these songs and do something in their lives that is different, or to go and experience the dance floor. I think 'Feel It' does that.”

Ultimate Sailor
“‘Ultimate Sailor’ was something that just came along unexpectedly. I really wanted to create a song that just put the listener somewhere. All the elemental things really inspired this record: skies, seas, mountains, pyramids. I think that is one of the things that's rubbed off on me from Kate Bush. She’s the artist that I play most in the studio.”

Ray Guns
“I had a concept before I wrote this song about an army of women shooting these rays of light out of these guns, creating love in the sky to influence the whole world. It's about collective energy again. I was influenced by all the Chicago house and Detroit techno, and how bravery came from this new explosive scene. And 'Ray Guns' was meant to try and instil a sense of that power to the listener.”

The Thrill (feat. Maurice)
“At this point I was so influenced by Chicago house and just feeling like I wanted to create a song in homage to it. I wanted a song that took you on a journey to this Chicago house party, and then you have these vocals that induce this kind of trip. Maurice is actually me—it’s an alter ego! That's just my voice pitched down! I thought, ‘I’m going to f**k with people and put 'featuring Maurice’.”

Honey Dripping Sky
“I love the way Frank Ocean has the balls to just put two songs together and then take the listener on a journey. This song has a quite dub section at the end, and it's about the kind of journey that you go through on a breakup, so it’s really personal. It’s also quite an unusual track, and I wanted to end the album on a thrilling feeling. It's a statement to end on a song like that.”

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