This is Cigarette Curls from Beth Orton.

Beth Orton.

[singing] There she stood, cigarette curls.

The laugh that comes right out of the earth.

And I swear, in that straw beret field.

The neck got real so easily.

Time caught up with me.

What do you look for when you're looking for a good collaborator?

Now I have to consciously find the rest of the sense in that"?

Yeah, exactly that.

Yeah, you just sort of keep at the piano, and I would stay in the mood of this song.

And I think it's, like, Bob Dylan, or maybe it was John Lennon who said, "You know, you come back to a song later, you're coming back to it as a different person.

You're, like, finishing someone else's song," which is really interesting.

So you sort of have to, like, really trust this process and be like, "Okay, I'm staying with this.

I'm staying with this.

And you produced this album yourself again, didn't you? What's the appeal of self-production for you?

Mm.

I have no interest in small talk, so I, I, I've never been very good at it anyway, and I've never been very good at it in my songs.

But, um, so now I, uh, yeah, I just, I, I mean, it, I don't know.

I'm, I'm interested in this idea of lucid dreaming 'cause I think sometimes, you know, we write from this very-- I think people creatively often write from a very, um, sub- unconscious place.

And you go to a piano or a guitar or whatever it is you compose or write on and, um, and something unconscious comes, and it's really interesting.

And then I find that in-- I have to grow as a person to meet the work that comes from a place that's more intelligent than I am in some ways.

You know what I mean? And so yeah.

No