“The Ballad of Bonneville Salt Flats: From Demo to Pro Pro to __________”
Songs lie dormant but they never die. I’d like to think of them as always dying but never dead, ever-changing but never changed.
This is a story about a song’s journey through space and time. This is a story about…
Okay. Okay. Enough with the clichéd music lit hyperbole.
This is a story about a morbidly humorous 2-minute song my friends and I haphazardly threw together whilst semi-drunk on Budweiser.
This is a story about how that same haphazardly thrown-together song evolved from Budweiser consumption in a dumpy rehearsal space to a shoddy demo to a widely-distributed pro-produced track to its current dormant state of “always dying but never dead.”
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So yeah, we self-produced it on the cheap cheap cheap!
When you’re a new band you just need something “laid down,” anything really. And we were proud of it dammit, we loved that scummy demo.
People loved the demo too, some more than others. One fan (bonus points for the username eyewarshipsatan) made a fan video and posted it to Youtube. This is the only known demo version of the track available online.
The song’s staccatissimo begins with my drums *floor floor snare, floor floor snare* - a nod to Queen’s “We Will Rock You,” the first song I ever learned to play on drums. And soon you hear the Korg Kaoos Pad break in; an ominous warming up on the track begging for the gang to join in.
Lisa’s sweet-sounding voice makes the track all the more ironic (her nickname ‘Tiny Darkness’ later became the album title of our studio full-length).
The aforementioned explosion sound effects cut throughout the song. The effect, in my opinion, became the song’s trademark.
Or was …show more content…
After a chance encounter with John Dufilho (at a shopping mall for fuck’s sake), we landed him as an all-star producer and went to record at Valve Studios whose proprietor had acquired the same Neve console that was used to record Michael Jackson’s Bad album! The song was later mastered by Alan Douches at West West Side Music in New York. The same Alan Douches whose imprint can be found on records for all these bands.
This newer version could not be more different from than the original.
For one, we had a new Kaoss/Keys dude than that from the demo version. For two, we even cleaned the lyrics up, you know, for the kids:
You want that tiny T.V. to look like the fucking
Songs lie dormant but they never die. I’d like to think of them as always dying but never dead, ever-changing but never changed.
This is a story about a song’s journey through space and time. This is a story about…
Okay. Okay. Enough with the clichéd music lit hyperbole.
This is a story about a morbidly humorous 2-minute song my friends and I haphazardly threw together whilst semi-drunk on Budweiser.
This is a story about how that same haphazardly thrown-together song evolved from Budweiser consumption in a dumpy rehearsal space to a shoddy demo to a widely-distributed pro-produced track to its current dormant state of “always dying but never dead.”
------------------------------------------------------------------------------------------------------------------------------------------ …show more content…
So yeah, we self-produced it on the cheap cheap cheap!
When you’re a new band you just need something “laid down,” anything really. And we were proud of it dammit, we loved that scummy demo.
People loved the demo too, some more than others. One fan (bonus points for the username eyewarshipsatan) made a fan video and posted it to Youtube. This is the only known demo version of the track available online.
The song’s staccatissimo begins with my drums *floor floor snare, floor floor snare* - a nod to Queen’s “We Will Rock You,” the first song I ever learned to play on drums. And soon you hear the Korg Kaoos Pad break in; an ominous warming up on the track begging for the gang to join in.
Lisa’s sweet-sounding voice makes the track all the more ironic (her nickname ‘Tiny Darkness’ later became the album title of our studio full-length).
The aforementioned explosion sound effects cut throughout the song. The effect, in my opinion, became the song’s trademark.
Or was …show more content…
After a chance encounter with John Dufilho (at a shopping mall for fuck’s sake), we landed him as an all-star producer and went to record at Valve Studios whose proprietor had acquired the same Neve console that was used to record Michael Jackson’s Bad album! The song was later mastered by Alan Douches at West West Side Music in New York. The same Alan Douches whose imprint can be found on records for all these bands.
This newer version could not be more different from than the original.
For one, we had a new Kaoss/Keys dude than that from the demo version. For two, we even cleaned the lyrics up, you know, for the kids:
You want that tiny T.V. to look like the fucking