said that most of the album was recorded at the in-house studios of Island Records. Nonetheless, Skinner exempted himself from co-producing four of the album's songs while he worked with other musicians, and during this period, Cope, Cosby and Deutsch reconvened to the cheap, 16-track machine-equipped South London recording studio belonging to Shawn Harvey, in order for Cope to visit his wife at the nearby King's College Hospital as they awaited their first child. In Harvey's studio, they recorded on second-hand tape. According to Cope, the "results were certainly more sonically imbalanced and experimental" than anything he had previously achieved. In 1992 Cope delivered his eleven-track Julian H. Cope album to Island Records. However, its "dark and challenging" content, with its lowly mixed drums and highly mixed vocals, was not well received by the label, with their managing director Marc Marot calling it "the most sonically unappealing album he'd ever heard," and Cope's A&R man going as far as to describe "Slow Rider" as "the worst song he'd heard by anybody in his life". As such, Island refused to issue the album. When Cope explained that it was what he had set out to achieve and "would prefer to stand or fall by the results," Marot allowed him additional recording sessions at the label's Fallout Shelter Studios. Although the existing content remained almost untouched, the album, re-titled Jehovahkill, was "ameliorated" with six further songs, including "Fa-Fa-Fa-Fine", "The Mystery Trend" and "No Hard Shoulder To Cry On". Cope noted the extra recording sessions made the album heavier and "more heathen" than it had been in its previous incarnation, with one session culminated prematurely after smoke emitted from the studio's multi-core processor. Themes Cope would later describe Jehovahkill as the second instalment of an album trilogy that concerns Mother Earth, with the first being Peggy Suicide and the third being Autogeddon; in particular, Jehovahkill departs from the environmental concerns of Peggy Suicide and instead celebrates ancient, pre-Christianity heathen impulses, while noting what Cope, a self-described Odinist, believed to be "the destructiveness of mainstream religion." As a result, the prehistoric landscape was a big influence on Jehovahkill. Cope said at the time of the release that his interest in such subjects "just seemed to start from my life, I just found myself staggering towards it, really. It certainly wasn't anything I had been interested in before, but I found myself led down this