As noted in the intro to this series, there are a plethora of ways to tackle an impasse in the writing and recording process. I tend to advocate for an experimental solution rather than a ‘standard’ (read: boring and safe) solution. Try something that you or your band haven’t tried; not for the sake of novelty, but for the things you can run into during the discovery process.
The benefit of thinking outside the box is exactly just that; you learn to approach problems and solutions from a different angle. And with the pace of today’s technological advancements, there seem to be an infinite number of options at your fingertips. Getting used to considering all the possibilities on how to finish that song or find that one neat sound that makes the record come to life can help you overcome musical impasses more quickly in the future the more you get used to doing it.
Once you’ve allowed yourself to be open to all the directions that that song or sound search could go in though, there also arises the conundrum of sifting through the myriad of choices you’ve dutifully considered. How do you select the best idea out of a hundred? It can be overwhelming if you’ve really done your homework and truly considered all the options available. So my first rule of action when confronting these kinds of problems has always been the one that almost seems counter-intuitive (at first): use limits.