The terrible knowing, and not knowing 5

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Like so many times before, and to the utter dissapointment of both the doer and the done-tos, promises have been broken. More precisely, that last update in which we proclaimed to have finished recording was, in terms of truth-value, worth as much as the paper it was printed on, and since this is the internet and not a physical medium that means: exactly nothing.
Put more brevilloquently: we decided to record a bit more.
Additional vocals, vocals replacing already recorded parts in need of a do-over, and a bit of additional guitar. Aside from all the extra guitars being scrapped not many seconds after their having been recorded, this was a productive choice. While do-overs and additional layering is an activity that we, without exception, unrepentantly but also always accidentally have engaged in at some point during the recording of every released and unreleased Oxx album, the productivity of said practice varies greatly.
Nevertheless, sometimes you just know. This was very much the case last tuesday. So much so, that it in hindsight would seem unbearably dissapointing to have released the album without these improvements. Embarrasing even.
The fruits of this will be especially noticable on a song for which you have no frame of reference, as it’s the sole track from the record to never have been played live. Nevertheless, ”Animal” as it is called, will feature one of the most devastating codas to ever have been wringed out by the three of us by whichever psycho-social issues in needed an outlet at the time of writing and recording. Aside from being in 4/4, in itself quite a feat for our band, we’ve taken our penchant for unison vocal raging to a logical conclusion, for once having the luxury of layering two of our best individual vocal perfomances on top of each other, proving very much that sometimes more is more. Ever the maximalists, said coda also contains an abundance of soprano-saxophone squall and six-string-shreddage, both of which also turned out to be some of the better perfomances of the album on their respective instruments. Get hype!( an appropriate imperative in lieu of recent reveals in certain corners of mass-culture).


Aside from that, me and Martin went to see The Melvins in Copenhagen yesterday. And while it would be utterly redundant to say anything about the awesomeness of a band as self-evidently awesome as Melvins, it did net another, and more directly Oxx relevant revelation as we had a brief talk with Q, the much-lauded producer of the album. Aside from a discussion of what exactly constitutes the epic drumness of Dale Crover, the topic of the chit-chat was of course: ourselves and to what degree our delusions of grandeur did actually diverge from or measure up to the the product over which we’re completely unable to pass anything resembling objective judgement ourselves. Always the straight-shooter, Q assured us that the record would in fact end up good, or at least, as is his field of expertise, end up sounding good. All this have of course added to our already substantial level of excitement. After a meet-up with Q in Aarhus next week, we’ll move on to the more extroverted, and decidedly grosser, aspects of releasing a record: all sorts of planning and phone-calling, video-shooting and artwork choosing etc. To some extend those exploits will be documented and soliloquized about here as well.