jazzy chording, airy acoustic drums, clamorous noise guitar, space-ambience and random vocal snippets. "There was no part except for a few rough galactic idea(s)," Sutton recalled. "That's how we'd written the past few years, just jamming as a band underneath the church. 99.999% of it, you wouldn't use any of it; but the vibe was really good at the time, so we decided why not just record a jam sort of thing. That's the thing, we tend to try and make life very difficult for ourselves for some reason. I'm not sure why... Ninety per cent of it was recorded live and then there was a few things. Vocals, some piano, some ambient guitar, a few different samples and stuff. The first three-and-a-half minutes of it was actually just the ambient mics left up. We had recorded a few different takes of things and those distance mics were just left up from a previous jam." Regarding the sudden bursts of indistinct speaking voices that punctuated the single, Sutton noted that "that was just a found thing at the church. On one of the nights we were recording there was a Pentecostal meeting going on in the back room, so we sort of sneaked up to their door and just tape-recorded them because it sounded so brilliant." The single's ominous atmosphere and disaffected, whispered lyric "came about as a general disaffection with general sentiments from records that were being shoved down my throat. Crap house tracks. I just remember this one track had this chorus like "Everybody's free" and it made me want to fucking puke. I just wanted something completely the opposite of that and (to) turn that sentiment around." The single gained the band a lot of press attention (being awarded Single of the Week in Melody Maker amongst other plaudits), and demand for an album grew. Recording Hex (1992–93) In November 1992, Bark Psychosis began recording a self-produced debut album, to be called Hex. The recording of the album consolidated the ideas which the band had explored on Scum. As had been the case with Scum, the sessions made extensive use of the natural acoustics of St John's Church, with other recording work done in studios in Bath, Brighton and London. In an interview with the Audrie's Diary fanzine in 1994, Sutton explained "Most people, to get a big reverb sound, will record something and then run it