Ed: It’s interesting because the music that I could listen to in that time, there was a lot of silence in it—I’d listen to Fauré’s Requiem, or I’d listen to Talk Talk’s Spirit of Eden or I’d listen to [Miles Davis’s] In a Silent Way. All these records, there’s a stillness in there. And for me, when you achieve a certain stillness, that’s when spirit comes in, that’s when you feel connected.

Ed: I sort of stopped listening to music in that first lockdown. I’d had enough. I was suddenly aware of this extraordinary birdsong. [...] I got the Merlin app so I could start identifying all of the bird sounds. [...] I had a microphone outside to record the birds, and I realized I wanted to make a track out of birdsong.

I was also interested in sacred music that has a transcendence within. Jeff Buckley, Ella Fitzgerald, John Coltrane, and Miles Davis all had that same connection with the divine. I listened to A Love Supreme a lot because I wanted to understand and feel John’s connection and his strength. Spirit of Eden, by Talk Talk, is an amazing record and I leant into that a bit. But I was really interested in Coltrane. I was inspired by a lot of Brazilian jazz, people like Jorge Ben and Joyce Moreno.