Although Marita’s music is not jazz in any sense, she decided from experience that it’s often easiest to work with musicians who have an extensive knowledge of jazz music, as they tend to be able to cope with the sometimes complex chord changes in her songs.

The musicians she assembled proved they were more than able for the task in hand!
Marita also liked the idea of working with musicians who had such a wide range of musical influences, as she felt they would have more ideas and sounds to draw on when rehearsing and recording the album.

One of the attractions of recording in Exchequer Studios was the fact that it was originally an open-plan apartment, and still kept that open feel as a studio. Ironically, Marita spent her first day of recording sitting in the studio’s tiny converted sauna, using it as a vocal booth, her keyboard sitting diagonally across (the only way it would fit inside). Luckily for her sake, the remainder of her vocals were recorded in the open space of the studio. Being in an open-plan studio space created a much more relaxed vibe for the musicians to work in, as opposed to the sometimes clinical feel that can happen in conventionally laid-out studios. Marita hoped that a more relaxed atmosphere would translate into better recordings for the album. Fuelled by coffees and brownies from the deli across the road, Marita and Lucy worked long hours in the studio to get just the right mix for the album.

Mastering was done on the album by Fergal Davis, who has worked with Muse, The Flaws, Jack L, Juliet Turner, and Ben Folds, amongst others. Award-winning Croatian photographer, Dragana Jurisic, took the photographs for the album artwork. Dragana took Marita to the Sally Gap in Wicklow, on a very cold and wet November day, to capture the feeling of space that she felt suited the music on the album. They also took some photos in the grounds of Russborough House, a famous Georgian mansion deep in the Wicklow countryside. The concept for the artwork was devised and designed by award-winning advertiser/designer, Sally O’Sullivan, who gave the artwork a subtly retro feel.