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“Could ye move the armadillo a bit more to the left?” I am sitting on a chaise longue and this is a sentence I’ve never heard before. Aaron is pounding skins, chandeliers are quivering with the racket and behind me, a stray cat crawls gingerly through an open window. This is the opulent living room of 34 Marlborough Street and we are making a music video for our latest single ‘Gargantuan’. Tristan Crowe – our director – is busy arranging lights and setting up shots of the ensuing chaos. Aaron moves the armadillo a bit more to the left and starts to beat the clean Jesus out of his floor tom. I make a mental note to furnish each of the tenants of the neighbouring houses with OKS t shirts by way of an apology. The stray cat crawls terrified back out the open window and makes a mental note to never return, possibly unaware of its role in a Rock n’ Roll video. I’d been familiar with Tristan’s work with Robyn G Shiels and Mojo Fury and really wanted to work with him so when the opportunity presented itself, I leapt at it. He had come up with a narrative based on (I think) the guilt a kid feels after stealing his Grandfather’s shotgun and killing his first rabbit. Tristan had sourced a brilliant family willing to be involved and filmed these scenes separately. Now we’re on the last stretch of the shoot, filming Aaron on drums. Cut to two hours earlier. I am standing in a friends bedroom bopping and thrashing away silently to my own song. There are dead animals everywhere – an alarming amount of two headed chicks – and Tristan arcs around me with his camera taking all of this in. The bedroom and taxidermy belong to photographer extraordinaire Miss Paula Gillespie (see earlier blog post ‘Scenes From A Krypt’). The fantastic house belongs to a friend, Miss Caroline Dillon; a brilliant interior designer straight out of an episode of ‘Grand Designs’ and she’s kindly allowed us to hijack it for a few hours. My scenes completed, Tristan gets ready to film Ciaran on bass guitar duties and then the equipment is swiftly carted down three flights of stairs. For Conor’s piano parts, we’d secured the loan of a church organ from a good friend and positioned it in the mirror-filled hall of the house ( a space that reminded one excitingly of the closing scenes of ‘Enter The Dragon’) – right next to a huge glass case containing a stuffed swan possibly unaware of its role in a Rock n’ Roll video. We’d decided to leave Aaron’s drums to last and Rob’s lead guitar sections are filmed in the huge kitchen whilst I stand on decking in the back garden, fretting about how much noise we’re making. I don’t want to give too much away of Tristan’s approach in shooting each of us amongst all of this but suffice it to say his skill and patience more than got the job done. And what of the armadillo in all this? Well, I’d heard armadillo’s could be difficult to work with and prone to tantrums on set but this inert veteran, unlike the cat or the swan, seemed very much aware of its role in a Rock n’ Roll video. Taking it all in his/her/its stride it met Tristan’s directions with aplomb. I’ve no doubt were it not for its consumate professionalism and the fact that it was stuffed, the whole shoot might have spiralled out of control. Shooting over, we take the gear down, bid each other farewell and get the hell out. But not before I cop a feel of the armadillo. Having never touched one before, I’m curious to know what it feels like and make a grab for it. It feels revolting, confirming my suspicions.