Beaty Heart are Peckham-based alt-pop trio Charlie Rotberg, Joshua Mitchell and James Moruzzi, who released their acclaimed debut album Mixed Blessings in 2014, championed by the likes of Huw Stephens, Phil Taggart, Steve Lamacq and John Kennedy. Now they return with a reinvigorated new sound, influenced by the likes of Lee Scratch Perry, Arthur Russell, Roots Manuva, Pharoah Sanders and Floating Points. Beaty Heart juxtapose their musical and cultural influences from a captivatingly eclectic variety of sources, weaving an array of samples, instrumentation, and percussion into their sound to create something that is unique and distinctive.

Over the last year, Beaty Heart have been in the studio working on their second album Till The Tomb with producers David Wrench (FKA Twigs, Caribou, Jungle) and Dave Eringa (Manic Street Preachers, Wilko Johnson), which is set for release on 29th July. Both their live and recorded music is accompanied by original video and artwork, with the latter seen on the sleeve art for Soft Like Clay, which follows suit with the Flora artwork, both created by Yves Rulliere.

Flora was partly inspired by the Brazilian jazz singer, Flora Purim. We tried to evoke her rich, steamy tones within our own style, as well as exploring improvisational techniques to form the melody of the song. There’s a real analogue-y, stacatto energy to it that we all love, as well as just a dash of filthy bastard, which is a theme that runs through the new record. We also incorporated a vocal sample from ‘Bad Bad Boys’, a 90s Swedish rap hit by Midi, Maxi & Efti, which I had heard during a Robyn DJ set on a night out in Stockholm and thought was sassy AF.

Lyrically, much of the new record is about feeling at odds with, or inadequate to, the default trajectory of life, and this song touches on insecurities or delusions about being left behind by the people you rely on.