Nonetheless, it’s that tight-knit spirit that led to the creation of lots of the album’s tracks: the three a.m. of the title refers back to the second throughout their all-night recording periods after they’d are likely to get the perfect stuff. (After that, the inventive vibes decline: “It’s enjoyable after 4 a.m., but it surely’s not very productive,” Planet admits.) “I suppose we might at all times, through the years, drunkenly sit round a kitchen desk at evening and get out a laptop computer and a shitty mic and simply make some foolish songs about no matter,” says Bones, however this time round, they realized that the merchandise of those late-night jam periods had been really, effectively, fairly good. Recreating the identical setting at their tiny studio in east London, they aimed to seize that febrile ambiance, and encourage a way of spontaneity. “It really stops you from getting so caught up in overthinking and questioning if it’s good,” says Planet. “If you happen to’re simply drunk and everybody’s having enjoyable and nobody’s taking it critically, the perfect concepts come out.” Provides Bones, “So when you’re studying this, youngsters, simply go on the market and get drunk, and also you’ll have an ideal file too.”
Whereas Confidence Man has at all times delivered club-ready hits—simply take the Basement Jaxx-esque funk of the band’s 2016 breakout hit “Boyfriend (Repeat),” or the breezy Balearic groove of “Luvin U Is Straightforward” from their sophomore album, 2022’s Tilt—this time round, the group determined to go instantly for the dance ground, taking cues from techno, trance, breakbeat, and different genres. This sound was partly crystallized after the success of “Vacation,” Tilt’s unbelievable lead single (the video for which noticed them fly throughout the desert in a sizzling air balloon—airborne modes of transport are a recurring theme, clearly), and the conclusion that they may lean into more difficult types of dance music with out giving up their signature catchy toplines. “We thought it was one thing that was lacking, actually,” says Planet, “that crossover between ’90s rave music and pop hooks.”
