so much for sleep

I don’t usually remember my dreams, and it doesn’t happen often that I awake from nightmares. But when I do they’re terrible. Maybe only to me, but I usually find I cannot sleep again.

I was sitting with some representative of the government, they were explaining the current situation to me. I was informed (by accident, they were showing me something and inadvertently showed this to me) that the full text of the anthrax letters was never revealed and that I was part of a select group of people who were being specifically targeted by the terrorists as being to blame. In other words, the first letter mentioned me BY NAME as being at fault for the world’s evil and that I needed to pay. That the attacks and the letters were indeed part of a single plan, who’s ultimate goal was to get ME.

This was followed by a first person montage of the planes hitting the WTC, viewed from a million different places street level. Planes dropping from the sky and crashing is an old dream-enemy of mine, made only worse since watching the event actually happen repeatedly on television. I was running repeatedly on the ground as the planes struck again and again.

This was followed by that I can only describe as a surreal, cartoon depiction of my training and life as an assassin, with me killing person after person in a hundred different cartoon-depicted ways. As if Craig McCracken had been hired to explain my life and times to the world, except I experienced the cartoon first hand.

This is when I finally awoke, sweaty.

I hate my subconscious.

15 Nov: studio

NOW WAIT FOR LAST YEAR
Me – vocals
Rob – bass, guitar, some keys
John – organ

When I arrived Rob had already laid down the bass and keys. The song already sounded vastly different than it ever had before. But this is a good thing on a song that’s been floating around for so long. I did a scratch vocal so he could do the electric guitar parts.

Then we did tracked the lead vocal. It took me three takes, which I realize now is nothing, but it’s a lot for me. The first take was alright, but we decided to try another one and keep the first, too. So we did a second take, at the end of which I told him I wanted to scrap the whole fucking take (it’s on tape). There wasn’t anything glaring on either, but I just didn’t sound like I gave a damn. I suppose I’m a bit preoccupied and I didn’t, really. So we tried one more, and I kept my eyes closed and tried to stop thinking. It was a much better take so we stuck with it.

John then did some organ work. It’s not too far from done, really, it needs some backing vocals, and maybe a few odds and ends.

14 Nov: studio

NOW WAIT FOR LAST YEAR
HEY, CALIFORNIA
FALL DOWN

Pete McDade – drums

We tracked the drums for these three songs.

“Now Wait for Last Year” has just been added back to the list of potential songs (and is close to having worked itself into the set list). It’s been around since Radiant City, when we did it as sort of a 4/4 dirge. Later I played it solo for a while as a 6/8 waltz kind of thing, having removed a verse. It’s now back to being 4/4, but the rhythm is much bouncier. I love the chord progression which is why it still lingers. I can easily say that this song has the most storied history of anything I’ve written.

As we were wrapping up this song I got a call to call my boss. Our parent company is shutting down our office, effective Friday. I have no job. Thankfully I’ve just paid Rob a sizable sum of money to finish the project, so at least it doesn’t affect me recording. So I try to pretend things are fine and we continue.

“Hey, California” just features the drums at the end of the song, which is all we recorded.

“Fall Down” took the longest. We worked it out as a sparse, sort of jazz-influenced thing, but it just didn’t seem to work very well, so we tried it with a more straightforward beat, and that seems to have done the trick. Pete’s playing with bundle sticks, and it gives it a nice fifties sort of feel.

More tomorrow…