![]() ![]() Resulting in the single artwork and the overlays in the music video, fans sent in both still and moving images within a set time frame, amassing over 3000 images. Heavily touched by this image, the song lyrics were then written with this individual in mind.Īside from the sounds and words, Heap asked for further contributions to the song. In addition to this, Heap read an article in the Guardian newspaper about a lone man cycling for his life ahead of a tsunami wave. Occurring a mere 3 days before the start of the project, the Tōhoku earthquake and tsunami in Japan, an event from which many are still recovering, brought words like “tectonic”, “seismic”, “gravity”, “wave” and “hope” into the foreground. With these submissions at her disposal, Heap then began to construct what affectionately became known as “#heapsong1” and updated fans via regular livestreams.Īs words came in to the (now inactive) interactive word cloud, Heap realised there was a recent event on everybody’s mind. Commencing with a new mini-site, the plan of action was mapped out for fans alongside various videos asking them to submit sound seeds and lyrical ideas on individual days. The Thames itself came to the rescue and thredded everything together through the overlapping of time-lapse footage.Originally known as “#heapsong1”, “Lifeline” was the first song to be written for the Sparks project.ĭescribing the process as “handing over the baton to her community”, it marked the start of a new way of working for Heap, one that broke the traditional album cycle. These recordings were then compiled together and edited to create the final recording with the concluding 15th piano, Heap’s own at home, filling in any blanks.Īlthough Heap sat with the producers to try and link each section with accompanying footage, due to the song being different at each location, the task proved to be easier said than done. It was here she found herself improvising and, through the influence of each and piano and surroundings, generated the rest of the song. In addition to this, having already scheduled the filming for the music video, Heap took what she’d written into 13 volunteering houses and flats across Edinburgh. While the introductory verses call for the listener to “be still” with the river, the tide inevitably begins to rise to a climax as it reveals a darker side before the gentle return to stillness.įollowing her night in the boat, Heap had still yet to complete the song and had only fragments to play during a livestream the following day. ![]() With these videos detailing thoughts of passersby on what the Thames meant to them, Heap pieced together lyrics which personify the Thames as the emotional outlet it is for many people. Prior to her night in the Purcell Room, Heap gathered 2 elements to take into the room with her: the title, since everyone would know where to find her on this particular day, and video submissions gathered by The Listening Chair. ![]() Taking the role of ‘the piano song’, and swapping positions from album closer to opener, the song sees Heap take on the character of the River Thames. Born out of a commission from the organisation ArtAngel, the foundations of “You Know Where to Find Me” were laid during an all-nighter in the boat atop London’s Queen Elizabeth Hall. ![]()
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