The artist takes us on a track-by-track tour through his new electro-soul album.

Two Feet

Photography Shervin Lainez

Two Feet
Photography Shervin Lainez

Albums have the capacity to tell stories through their soul-piercing production and introspective narratives. But, sometimes, an intimate tour through a newly-released body of work is an eye-opening experience that allows you to become more connected to the melodies you are bopping along to, especially when it comes from the artist themselves.

With this in mind, artist Two Feet is looking to officially welcome us into a new musical era with a tour through his eclectic new album, Shape & Form. Taking the time to look back on the inspirations, emotions and sounds that lie at the heart of each of the 14 tracks that follow, the artist is inviting you to become obsessed with his newest release and take a whistlestop tour through his creative process. Head below to enjoy…

Photography Shervin Lainez

“Tell Me The Truth”

“Tell Me The Truth” was the only song off the new album that I wrote in New York, and the rest were written while I was living in LA back in 2020. I think “Tell Me The Truth” has the classic more grimy, sexy, darker vibe. It’s my favourite one!


I actually wrote “Gravity” a long time ago and, at first, I went back and forth on how to nail down the chorus exactly the way I wanted. I was on a walk one day when I figured it out. I do a lot of my best work when I’m walking my dog. For this track, I wanted a distorted, repetitive vocal on top. I really like how it turned out. It’s a very classic Two Feet song.

“Play The Part”

“Play The Part” was one that I wrote actually live! I was in a jam session with my band. It was fun and easy to put together. I’d say it was one of the easier tracks to write.


I really wanted a dance record that had a dark, fast, uptempo dance vibe. I put this record together with a drum machine and a couple of analogue synths. I was inspired by the future garage movement happening in the UK. Some of that inspiration also bled into the track “My Life.

“Until I Come Home” ft. grandson

I finished the demo for this one but still felt like something was missing. Grandson came over one day and asked to hear some unfinished music. I played him a couple of songs but he loved “Until I Come Home” the most and jumped on the second verse. I don’t think I would’ve released it without his feature since it’s a little different from my typical style. We first met in 2017 after a string of festivals we played together and always thought we’d make a song together, so we were glad it finally just came about!

“Fire In My Head”

“Fire In My Head” was a fun one to make and was one of the first tracks I wrote for this album! I wanted something with a heavy, heavy drop and falsetto vocals. I like having songs where the whole lead is falsetto. They sound interesting and kind of eerie. I played the beat and the bassline first and kind of went from there. I improvised a fair amount of those lyrics, too.

“I See You”

I was listening to a lot of The Strokes and Tame Impala, and that inspired my desire to make a record that was flowy and that had consistent strumming. I found this chord progression that I liked that was sort of melancholic and put it over some drums I thought Kevin Parker of Tame Impala would’ve made. Obviously, the lyrics on “I See You” are about some kind of relationship, but I purposely made it unclear with the lyric. I wanted to keep it very open with the listener. I also used a theremin on this song, which is an instrument you don’t touch, but you play it by just putting your hand near it… and the magnetic field creates a cool eerie sound.


With “Devil,” I wanted a sexy and fast-paced – not necessarily house song. I took a lot of inspiration from the Beatles and elements of their bassline. I had it completely done and it had completely different drums that were very rock. My co-producer Huff, full name Geoffrey Hufford, comes from a more electronic background and wanted to redo the drums. After spending a day with it, he got them way tighter and it really transformed the song.

“Don’t Bring Me Down”

I actually wrote this one quite a long time ago. It was another one where I just didn’t know where to go with it until I got this new synth and started messing around with the bass on it, and I started improvising on it. It has this skating water, airy, bubbling sort of sound, but the drop is very heavy and different from the verse because they were written about two years apart. This one sounds so massive when played live too. It’s garnered almost a cult following now.


“Amy” is unusual compared to my other music. It has zero drums and this sort of tone-cut electric guitar. I was listening to a lot of Frank Ocean’s Blonde album and he has a lot of songs on there without any drums and they are more laid-back. I just wanted to make something stripped back like that. I released it with “Caviar” because I wrote them one after the other and was in the same headspace even though they sound different. I released them together to add more energy to the duo.

“My Life”

Huff made the drumbeat for “My Life” and we thought it was super cool so I went into the studio vocal booth and started singing some random falsetto over it with cool effects on my voice, and it’s kind of an improvised song. Huff was a really big part of this record.


I was in a good mood and wrote this sexy, Latin sounding song with 808 samples. I worked pretty hard on these lyrics, I wanted them to be clever and also at the same time fun. I spent quite a long time reworking and editing the lyrics, and I love the way it turned out to be a very pretty song. The production also interpolated the rhythmic syncopation Huff and I liked about Brooklyn and UK drill beats.


Huff produced “Limo” and I wrote the lyrics and the melody. I wrote the guitar riff on top but this is the only one on the album that he really took the lead on. I feel like more of just a singer and guitar player on this song.


On “ADHD” I wanted something that was rock and wanted to go all over the place with it. I worked on it super quick, and I wanted to have a more punk-rock sound. It was one of the first times I used quarter-eighth note power chords. It’s super fun and a great pop-punk-alt song. I like the lyrics. I had walked around all day finding clever ways to say what I meant. The final drop has so much energy and I’m really excited to perform it live.


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