and the best become the basis of songs. Higgins "separate[s] music, melody, lyric" and strives to preserve "high level of originality, excitement and dynamism in the writing." Higgins has "the final say on everything [and establishes] the creative direction projects will take". If a piece of music "sounds enticing before a vocal has gone anywhere near it", Higgins and Cooper will "sketch out" the melody and lyrics. Xenomania may also create multiple melodies over the same backing track and then select the best. Higgins said "we're just not interested in the way other people do things. [...] I've trained not just me but myself, Miranda, Tim, we've trained our minds to think that way". Higgins also insists that artists are involved to an extent. Referring to Girls Aloud in a 2004 interview with The Observer, Higgins said, "We don't let them out of the room till they've given every ounce of melodic instinct that they've got in them, [...] at the end, you find they've contributed really well." Neil Tennant noted that Higgins "works you very hard. He's very headmaster-ly." Tennant's partner, Chris Lowe, said Higgins "puts stars by your work, and comments. It's ruthless. It's fantastic!" Norwegian singer Annie said of Higgins, "he's making music all the time and he's really creative and has a lot of good ideas. Serious and ambitious. It gave me an extra punch to work really hard and that was exactly what I needed." Australian singer Gabriella Cilmi has remarked that working with Higgins "brings out the best in me [...] He knows how to make my silliness good". According to Cooper, the artist's vocal performance on a track is "the final piece of the puzzle", and songs with "amazing" choruses have been shelved as a result of the artist not sounding adequate on them. On Xenomania's relatively low output (compared to a group like Stock, Aitken & Waterman), Higgins says, "If you're a production house, you're supposed to work with anyone and everyone: that's the rule...but if we don't feel excited by the prospect of the artist, then the record's going to be shit." Higgins refuses to work "purely for the fee" for the same reasons. He says, "People are coming to me already with a quality idea in mind, because they've heard it. [...] But people need to understand that when they hear something that we've done on the radio, a process