I met Róisín years ago in Ibiza. I did some work with Diddy and Kelis, and they basically kidnapped me in Ibiza. I was at a friend’s birthday, and I got a call from the head of Virgin—I was a new signeé—and he told me to go see Nellee Hooper, so I went to the session with a keyboard in a sleeping bag. Diddy and Kelis were there, and they told me I had to get on a plane the next day and come to Ibiza with them. “There’s a great studio there.”
Long story short, there was no studio. There was some equipment that had been borrowed from one of the local musicians, and there was very little Diddy and Kelis until four in the morning. But I went out with them, and I met Róisín after she’d just jumped over the fence from a yoga retreat, because she was in the middle of stuff [Laughs]. So we were in the middle of Pacha and we had a chat.
One of the tracks I did in that session with Diddy formed the basis for “Parallel Lives.” I always prepare a few backing tracks—for today, for next week—so I’ve got a lot that’s meant for someone that ends up for someone else. The groove was from a Diddy track that never came out. I put a clip of it on my Instagram a few years ago, and that was the only previous public airing. It was club-playable dance music, and she liked the stark elements of what I was doing—but it’s all 100% Róisín. She did a Tim’s Listening Party recently, and I once put out the Human League’s early demos as a fan project, and she mentioned that she took that as a sign that I was ok to work with. [Laughs]