Reflex Driver began to take it's current shape during the editing and mixing phase. I scrapped the mid-song jam we recorded as a band and began cutting and pasting choice moments from the session warm ups. I overdubbed several million layers of guitar. Kevin Corcoran slathered on the keys until we had two choirs, two orchestras, seven pianists, a pipe organ and some industrial padding all aimed at making this thing sound stupidly overblown. After all, it's a song about masculinity as an illness. I think my favorite thematic element in the arrangement is the vocal harmony lifted from "She's So Heavy." Which is appropriate, I think, given the subject matter.

I tried to make each individual track overblown in its own way before mix down. The kick sound, for example, is made of five elements: the original recordings of Charles Goold playing the drum (recorded at close and far distances), a sampled kick, a triggered sine wave, and the triggered sine wave running through a distortion pedal. The sine-triggered-by-kick is a familiar hip-hop low-end method. It sounded like sh*t on Charles' kick, because of the nuance in his playing. But I did it anyway, because Reflex Drivers only care about themselves. While forcing the sh*tty and synthetic low end through a distortion pedal and into the mix, it occurred to me that Reflex Drivers probably shouldn't produce records. Reflex Drivers are a big problem in general and I didn't want to be a Reflex Driver. I just wanted to go home. But I was already at home. There was no place to go.