as with much of the stuff on the first demo tape, the pieces for this track go back to about 1994 or so, but it was first conceived of as a connected suite when i first put it together at the end of 1996. i never really promoted it that way until earlier in the year, but the idea was there from the first recording. the second recording was done mostly in the very beginning of 1998, but it was put aside until the end of 1998 and finished completely in the first few months of 1999.
i've explained a bit about it on the youtube page, and copied it after the line of equal signs.
this one will only be up ten days this time around, to finish the recording for christmas, 1996. it's not merely symbolic - the dates i've picked are rough, but i do consciously remember finishing the tape up on christmas eve (and being yelled at to come up to eat). i'll have to post the demo here on the 24th, but there's then a 66 day period where i was grounded (starting after new year's, my parents weren't that sadistic) before i started demo tape 2, and i'll have to pause to reflect that. i won't be posting youtube updates here over that period, but i'll be cycling the first demo tape in 6 day cycles (there's 11 components, total - including 3 in boogeyman and 2 in this track).
this version of the track has a noise intro and a synth ending that was added, but it's otherwise similar to the demo tape version that is up on youtube. the differences are that the drums in this version are sequenced, there's some added synth (i didn't have a synth in 1996) and the vocals are a bit different.
i got slowed down by a number of irritating things over the last two weeks and didn't hit my target. i do expect to be done the song i'm doing within the next 10 days.
==========================
this is the final section of the last proper inri demo, which was written as somewhat of a suite, but only in a fleeting moment, and then forgotten. it's a sort of sardonic take on the jesus story, in that it follows a persecuted person through a suicide and a resurrection, with tongue in cheek commentary.
initially, it was a song suite about being young and not listened to, culminating in a rather dramatic overreaction - that i ridiculed as counter-productive, partly by reference to kurt cobain, whose suicide is an event that hangs over the childhood of my generation. people that were adults at the time might want to think of it in the same way that they interpreted watching kennedy get his brains blown out on live tv. as i grew up (stated loosely - i was still 17/18, here), i realized this is a general condition of society that is not limited to young people. so, i generalized it to reflect the illusion of what we call "democracy", and gave it an exaggerated persecution complex. the cynicism was targeted at the clinton administration, but in a broader sense i'm sort of ridiculing the rather cartoonish perception of generation x as this kind of raelian mass of fatalist children....
the vocals seem dead, and may confuse people looking at this as 90s punk (which is retroactively defined by it's screamy vocals). at the time, i considered screaming to be sort of contrived and passe. the recitation is a very considered reaction to something i interpreted as largely cartoonish. i mean, i was still influenced by the screamy stuff i grew up with, but it wasn't a characteristic of much of anything i was attracted to after about '97 or so.
the initial, somewhat abridged version was initially the end of my first inri cassette demo, which you can get to by clicking through the links.
i've pulled back from insisting on recited vocals in order to minimize that contrivedness, but the truth is that the vast majority of music released after about '97 that has screamed vocals very much *is* contrived. time has only cemented my rejection of falsely emotionalized vocals in punk-derived genres.
http://jasonparent.bandcamp.com/album/inriched
https://www.youtube.com/watch?v=Lt7AWQ7QiOE
