two or three weeks to decide if this track could be worked on", said the producer. Knak took it as a chance to make a more minimal track, similar to his own releases. He liked the idea of having two songs on the album, and immediately after he put down the phone, he started working. His original treatment of "Cocoon", made with an Ensoniq ASR-10, appeared relatively intact in the final version. Knak elaborated: "She had two changes: one for one semitone up and another for I think about 20BPM slower or something. I don't really make music so I'm not really used to thinking could the singer really sing in a tempo. From there she started working on the lyrics and one more melody for the vocal". They met up in January 2001 in London to record the song. He went into a studio with only three tracks for the mix, and was impressed that there were many technicians and programmers that probably had been using a hundred. However, the singer was protecting the idea of the raw version, and said: "This is how we wanted to be". They added two changes to the song and then spent the rest of the day recording Björk's vocals. They wanted to have only one take that really worked so that they did not have to edit different takes. They recorded 20 takes, and used the fifth or sixth, and because of that, the producer thought that "this track is very intimate and personal because of the way the vocals were recorded". The way the song was recorded was "kind of rough" according to Knak; "It's also very close to the mic; all these things that you wouldn't normally keep. In that sense, it is very kind of, almost naked. In the structure and in the feeling because of the lyrics". Music and lyrics "Cocoon" is a song based around a bassline and beats which "sound like fingertips on skin". Discussing the glitch sound of the song, Björk said: "when you take technology and use the areas where it breaks, where it's faulty, you're entering a mystery zone where you can't control it." Björk's whispered vocals in "Cocoon" were described as "near-cracking falsetto and a breathy ecstasy". Lyrically, for Michael Cragg from The Guardian newspaper, "it feels almost intrusive, like reading someone's diary as they write about a new love", as Björk