This song started life as a demo with just the pulsewave instrument you hear in the intro, Clap Machine to keep the beat, my bass, and my vocals.

I guess that was around late Summer or early Fall of 2016. Feeling uninspired, but vehemently determined to get back into songwriting, I resolved to write a song that would capture precisely how I was feeling, and found myself in the oxymoronic position of being inspired to do so. So, on a trip to Cincinnati; visiting our friend Ricky Henry, the illustrator who drew the album art for Bremelanotide, MC Horse, Bioavailable, and our Patreon banner, as well as the album art for all versions of Songs From The Pit; I paced around the downtown area, singing the lyrics and melody into my phone, as they came to me. I hadn't written much in a while, so it was exciting. Yet, after the second verse/chorus iteration, I hit a brick wall. Didn't know what to do with the song, so I shelved it, and didn't bring it out of storage until nearly a year later, when The Grammar Club reformed.

Always on point, Beefy grabbed my demo from the Google Drive directory we'd been feverishly swapping files to and from, and laid down a phenomenal rap break over the instrumental I'd been using for the chorus. That was dope, but we needed a new instrumental section to put under Beefy's raps, to prevent a feel of redundancy. Enter Tanner and Glenn, who, due to what I'd describe as either poor communication or a scheduling conflict, each produced an instrumental section intended to lay under Beefy's part. I loved each section, as did everyone in the group, I believe; but, they were mutual exclusives. Logistically, we could only use one; Ty attempted to combine the two into a single instrumental section, but they proved too disparate for even his skill as an arranger to reconcile.
A quandary.

Days passed while the group mulled it over, until Tanner said he preferred Glenn's original instrumental section under Beefy's part, and I agreed. Tanner and Glenn's instrumental parts fit well into the song, individually, but didn't jive when conflated into a single section. At this point, I realized the song would mimic the structure of Bank Holiday exactly, if we added a Glenn Case outro, so I proposed having Glenn write a vocal intro over the section Tanner had composed for Beefy to rap on; and Glenn, of course, killed it. In addition to adding an outro, he sweetened the rest of the song, adding beautiful background vocals that I now find vital to the choruses, and other flourishes that keep the song interesting the whole way through.

With all the parts created, and a blueprint in mind, it was time for Ty to massage a bunch of unlike ingredients into a cohesive unit, which he did. He's Ty. That's his power. He recorded guitar, programmed drums, fit all of our synth parts together and added his own. Then he mixed it, and sent it to Tanner for mastering. Here it is! I'm super happy, on behalf of the new Grammar Club, to present it to you.

From all of us in the collective, thank you. We couldn't do this without your support, and I hope this is the first of many new songs we share.

Your friend,
-Shael