Left to right: Colin Thurston, Paul 'PK' Kendall, ..and a brilliant Australian studio assistant whose name I think was Neil / Neal. But I've been wrong before.
Roundhouse Studios, London Bridge, mid 1996.
Paul McCartney's studios back then, "yaknow".

Picture by Gage S.

Evan : drums, keyboards, sequencers, claps, backing vocals
Gage : bass, claps, backing vocals
G : guitars, backing vocals, arrangements, claps
Xav : vocals, backing vocals, claps
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


Production demos for this track were initiated by Colin Thurston (RIP), late-95 at Chippin Norton residential studios, with the team later augmented by Paul Kendall, who later took over duties and finalized this track for the 13th time in 9 months.
Colin had initially modeled my drumming a little after Iggy Pop's 'Passenger' drum sound, cause he was the original article and was in Berlin with Iggy getting that sound for him back when. Though I kept going on about the Linndrum snare sound lol. 
 ..When we later stopped working with Colin -due to the fact that he stood up to Xav one too many times, for starters-, he always remained super friendly with me and was pleased he had helped to shape the drums towards the final stages of this one. ..Not that I've ever been a proper drummer -or perhaps because of- but my toms never sounded like that by themselves lol.

This song is yet another example of why Xav should have founded the Church of G. ...G always took Xav's clunky want-to-rock-out-but-Im-far-too-cerebral songs, and arranged them into classic guitar-riff marvels throughout 4 mins of heavy-pop-protopunkprog rockout gems.
You could take most keyboards off from this song, stick those guitar stems up 2dB, and you'd probably never be able to close your eyelids again in the fashion you used to. ..Eat your heart out, 70s Genesis, Pistols, Korn, Zeppelin, Sabbath. G was able to place it all simultaneously in there, within 4 mins. And nothing was out of place / was never too much. You could still add guitar riffs and take plenty of keys off from this one in fact, and it'd probably be a better song.
..All those bridge / chorus guitars on this one, quite simply genius-level ideation and execution of mega guitar chops, which weren't there when Xav put the embryonic COY forth, for the band's consideration. ..There really probably should've been more of those choppy-intervention guitars - as designed and played by G. Cause that's quite simply what made the band (into) more than the sum of its parts. ..And G was -always- able to instantaneously come up with riffs big and small, modulations and arrangements which instantly and quantum-ly improved whatever track was being put forth by others. Him and Gage, best arrangers we had in the band. 

..As much as Gage came up with entire tracks, simply stemming an entire song from a bassline or a couple of piano chords, and later also on self-taught acoustic guitar. The song Another Car ACC, was ENTIRELY stemmed from Gage's bassline riff, as composed by her from start to finish, to the point of this riff just being carbon-copied by my moog during the choruses, cause why complicate something that drastically popsome - and this happened VERY often. 
..We switched from COY as single to ACACC, due to Gage's bassline awesomeness, and Rough Trade, starting with Geoff Travis, VERY much agreed, so enough said.

..Things like these were, and will always be, what made DexDexTer (into) what it was. 
More than the sum of its parts etc.
Are we clear, DexDexTer historians lol.

Paul Kendall, G, and Gage all have access to this -no longer private- playlist.
So should they disagree with the above narration of events, they can be bothered to correct it if, as, where needed. Lol
...Cause they were there, for starters. Knowhatimean.

COY - Produced by Colin Thurston and Paul Kendall

ArtEfficient Intelligenz is a composer multi instrumentalist whose trajectory includes work with producers Colin Thurston (Human League, Bowie, Iggy Pop, Eno, Tony Visconti, Talk Talk, Duran Duran), and Paul Kendall (Wire, Piquet, Depeche Mode, Erasure, Recoil, Goldfrapp). 
His work has also been personally praised by producers Dave Allen (Human League, Wire, The Cure, Neneh Cherry), Ian Little (Roxy Music's Avalon, OMD's Dazzle Ships, Duran Duran), Stephen Lipson (GJ's Slave To The Rhythm, Propaganda, McCartney, A.Lennox, S.Minds), Chrissie Hynde, or Supergrass. ..Where the strange ones go.
 
Evan has played live at legendary venues like London’s Shepherds Bush Empire -supporting Pulp during the Common People tour at their request-, or the old London Astoria. He has studied sound production, synthesis, programming, composition and audiovisuals his whole life, having charted with a few hard-tech productions, while also long-time studio collaborating, at his request, with J. Parsons, who engineered and produced some of Alan Parsons' projects.

Master Of Nothing. Cue Metallica.