The song Gage composed on bass from start to finish, which prompted the switching single from COY to ACACC.
Bridges and choruses are basically JUST bass guitar, with everyone else more or less replicating the bass riff / allowing the bass riff to come through. That's what I was doing with my moog anyway.
Evsplaining - lol.
G was instrumental with its modal and structural arranging. cause we quite cleverly recycled rather a lot of differing material in dexdexter, as only we could. ..More than the sum of its parts n all that.

This track was very much finalized by Paul Kendall's lone production, who for starters was awesomely patient with my drumming to a click track.

Featuring sampled 'rhythm-gonna-get-ya tween-screen-wipers' from our then manager's car. Raf had an awesome car, 'his office' -his actual office was located in central London in the same building George Michael had his town flat, and next to his publisher's office too, who got a politely uttered f*** off from us upon invitation to accept his publishing offer, but that's another story-, Raf loved feeling his car was good enough as an actual office so his cars had gadgets aplenty, and so we sampled the F out of it, right outside Blackwing recording studios. Indicators, every tiny little sound, the lot. And I mean SAMPLE - using Neumann & yesteryear Earthworks weird semi-mounted proper condenser-valve-hendrix stereo mics, as per Paul Kendall's suggestion.
"..Well if you're gonna start running cable outside to sample Raf's car, you might as well go proper stereo mate."
Paul Kendall, The Cockney Eno.
I didn't even know my -then sota new- sampler had actual proper stereo sampling mode.
Probably looked like a car advert to passers by. Maybe it was.
Those were the Monday mornings those were lol.

Xav can be heard 'squishing out a laugh' during the m8's 'window up' sample, cause the noises were getting hilarious as the window glass was drying up after many sampling attempts, and cause that's how good of a time we used to have in dexdexter, back when everyone seemed to remember that we are always, firstly, human, and then, perhaps, and only ever temporarily, popstars.

If I remember right, Blackwing studios somehow had walkie-talkies we used to communicate outdoors and sample accordingly.
We were scientists, we were.
Making our own beats out of window wipers and indicators.
Eat yer hart ut, Kanye.

The 'weird' bubbly sound that starts up the song was a sample taken from Xav's DX11 keyboard, cause he had one, and was really competent with it - it being FM synthesis, which ain't no joke. His sounds and sound experiments on his DX11 were second to none, aside from Xav being a proper piano player anyway - so we decided to sample this one as a 'front joke', basically.
It was a way of saying 'here, this is the first sound you get, let's see how romo this one is'.
Xav and I were both really fond of a certain documentary featuring Phil Oakey talking about 'irreverence through sound', while sounding rather a lot like Sean Connery. I think this was a/n homage to that.

Evan : drums, tambourine, keyboards, sequencers
Gage : bass, backing vocals
G : guitars, backing vocals, arrangements - moog related, bridges, choruses
Xav : vocals, backing vocals
Paul Kendall : who remodeled in real time the way I executed all my moog lines, for starters, giving me directing advice on the spot as I recorded

...Had you played the tambourine through this track, you'd have also listed it. We more or less all had a go at the tambourine at some point, cause it was the most tiring thing ever recorded lol. It may not even be all of / only my tambourine that made it to the last printout of the track, so we should perhaps get a lol-yer.

Artwork & cartoons by Mike Vegas, known for Adam & Ants and Tears For Fears album artwork.
If only people knew just how much every detail on such cartoon depiction metaphorically pre-encapsulated all actual band dynamics - down to a t, actually. Synecdoche much.

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