I throw a line up to the moon to cast it’s light into your room
Through an open window I might see you in relief,
Might see you in relief,
Might see you in relief

Once you lay across me I took photos of your body
Now the picture has forgot me and you’re shaken out of reach
You’re shaken out of reach
You’re shaken out of reach

You drew me in just like the tide
Eclipsed me then and cast aside
You’re powerful even when you’re not near me
Even when you’re not near me
Even when you’re not near me

Holding on again we’re holding on again
Catch and release at shutter speed
Catch and release at shutter speed

Movements of the heart like throwing darts like throwing darts
From bright to light to night to shattered shadow whatever the angle
Whatever the angle

I turned around and you’d stepped out
I turned around and you’d stepped out
I turned around you’d left me lying on the carpet
Like throwing darts I try to bring us back to the start

Holding on again we’re holding on again
Catch and release at shutter speed
Holding on again we’re holding on again
Catch and release at shutter speed
Catch and release

You were once my delight now you’re a streak of light
I can only point and shoot
I can only point and shoot
I can only point and shoot
I can only point and shoot
I can only point and shoot and point and shoot at the moon

Catch and release at shutter speed
Holding on again we’re holding on
Catch and release at shutter speed
At lightning speed
Catch and release

Fun Facts:

This was the first song I had difficulty with in the recording stage. My natural tendency was to sing the verse quite slow and the chorus a bit quicker than you hear. I tried to find a compromise tempo between the two so for a long time the song on the whole felt too slow. How was I going to fix this?

I also wanted a start/stop type effect in the song, so that it felt like the energy of the song was being held up – particularly in the verse. I initially thought this was going to be achieved by glitching the drums somehow electronically as well as staggering the playing of them.

I left the bare bones recording of the song untouched for quite some time as I was puzzled by my too-slow tempo dilemma, with no way of re-recording the basic tracks. When I finally added the backing vocals I made them staggered in their timings (influenced by Nick Cave’s album Your Funeral, My Trial). I also recorded the vocals largely in single takes without planning what I would sing, improvising the part as I went along and cancelling out the other vocals so I couldn’t hear what they were doing.

The end results were fragile, ‘collaged’ vocals all singing different lines with different phrasing. This achieved the stutter stop-go effect I was looking for though at a much slower pace and suited the imagery of the song as they felt like an aural version of altered camera shutter speeds.

It also seemed (to my ear) that I had solved the tempo issue and the song now sat comfortably in it’s own skin.

It has ended up being one of my favourite recordings on the album.