The Evolution of ‘Two Dead Flowers’
By Christian Belle 3/13/26
L.A. PEACH have been releasing music since 2017. They are a London, UK-based band fronted by John James Davies on vocals and Olivia K Wood on vocals and saxophone, with Jake Stanley on keyboards and Morgan Griffiths on bass and synthesisers. With a refreshingly modern sound, they also employ vintage techniques, music gear and tones to form a unique indie sound that reverberates throughout their repertoire, including their latest release ‘Two Dead Flowers’.
A declaration of love from lead songwriter John Davies to his wife (and band member) Olivia Wood, the ballad is a heart-warming statement of intent and commitment from one to another, which comes across clearly and lovingly on the song’s lyrics. The track is sung by both Davies and Wood, offering a welcome double perspective on a love song.
With ear-perking production elements dotted throughout the piece, ‘Two Dead Flowers’ carries a similar calming and dynamically quiet tone throughout, featuring an unexpected, quieter bridge, before the final high point of the track, in which Davies highlights the emotion in the message of the song behind his performance, raising his voice for its climax, before it ends on a satisfying final note, preceded by the repeated lyric of “be my lover”, which perfectly encapsulates the message of the track.
The Music, Production and Process of the Song
‘Two Dead Flowers’ was worked on for years before being committed to a recording. It began as an idea during the band’s successful 2021 headline ’Welcome to the L.A. PEACH UK Tour’, in which the band sold out various dates. They were then joined by guitarist and producer Tom Baird, and drummer Nuno Oliveira.
By then, the track featured many of the elements which would populate its final release, with some aspects, including structure and drum parts, requiring some workshopping. This was done over the course of several rehearsals in preparation for the tour. While on their ten-date UK tour in November 2021, the song was refined, achieving its final form, which was recorded a few months later, in April 2022.
During the recording itself, the four-piece worked with drummer Oliveira, and Baird in both guitar, production and engineering duties. The song was recorded, alongside another track, over the course of two days, with the expertise of Baird in recording techniques and production direction leading the band to sound its best.
At the core of ’Two Dead Flowers’ is a togetherness in sound. This was achieved by the rhythm section comprised of the drums, bass and keyboards being recorded together, at the same time. This ensured a more glued-in sound, with guitars, vocals, the saxophone and other production elements being overdubbed.
The production process involved careful refinement and selection of tonal characteristics across all instruments. This included developing appropriate guitar and bass tones, selecting keyboard patches, and shaping the drum sound to support the overall sonic direction of the track.
The drum performance and tone form the sonic backbone of ‘Two Dead Flowers’. As the drums start off the song, it was vital to ensure that the drum sounds featured the perfect balance of punch, vintage charm, presence, and fullness and roundness in tone. To accomplish this, Baird and Oliveira collaborated on microphone choices and positioning, experimenting with various combinations of cymbals, snare drums, and drum tunings to achieve the desired result.
For ’Two Dead Flowers’, Oliveira landed on a heavily dampened 1980s Tama snare drum. The drums were his own 1980s Yamaha 5000, with a combination of his own, and the studio’s cymbals. Specific performance techniques also contributed to the overall texture of the track. For example, Oliveira flipped his left drumstick during the first verse to emphasize the rim-click sound, shaping the percussive character of that section. These technical and performance decisions collectively contributed to the final sonic identity of the recording.
The Drummer Behind ‘Two Dead Flowers’
London’s session music scene relies heavily on musicians who can move easily between projects, adapting to different artists, styles, and recording environments. Among these players is Nuno Oliveira, a London-based drummer whose work features on numerous critically acclaimed studio recordings and live performances across a range of genres.
Operating within the city’s network of studios and independent productions, Oliveira has collaborated with major songwriters, producers, and performers working in pop, rock, soul, and alternative music including NEPTUNE, perc, April Jai, Cargo Grey, and more. As with many session musicians, his career is defined less by a single flagship project, than by an ongoing pattern of contributions to diverse recordings and performances, where adaptability and consistency are highly valued.
Oliveira’s playing typically emphasizes feel, timing, and clarity. Rather than focusing on technical display, his approach centres on establishing a groove that supports the broader arrangement. This sensibility reflects a common principle in music performance: that the drummer’s role is central to reinforcing the character and pacing of a piece, allowing other musical elements to develop naturally within the track.
In studio contexts, this often involves shaping drum parts around the tonal and emotional qualities of a song. Subtle decisions around dynamics, articulation, and rhythmic placement become central to how a track unfolds. By approaching rhythm as a structural element, rather than simply a timekeeping device, Oliveira contributes to the overall cohesion of a recording.
Musicians frequently note the importance of reliability and preparation in session environments, where time in the studio can be limited and expectations are high. Within this setting, Oliveira’s work reflects a broader professional ethos shared by many successful working drummers: attentive listening, responsiveness to direction, a special attention to dynamic shifts, and an emphasis on serving the music above individual prominence.
Through his continued work in London’s recording and performance landscape, Oliveira represents a cohort of musicians whose contributions are central to the sound and structure of contemporary productions.
Such an example of his contributions can be heard on L.A. PEACH’s ‘Two Dead Flowers’, available on all digital streaming platforms, in which Oliveira is credited as the drummer and co-composer of the piece.
