It’s hard to say where this all started.
I emailed Jen and Jeff a few weeks back and asked them to record a drum track for me so I could build a song around it. Then Jen asked what tempo I wanted, and I said something vague like “I don’t know… Somewhere between 110 and 120 beats per minute?” Then Jen said something like, “So 117.24985?” Which I said would be perfect since that’s always been my lucky number.
So they recorded the track, and I didn’t do anything with it for about a week. But then there was a massive thunderstorm, and my gutter got clogged, so I went out on the roof to see if I could clear the downspout. When I came back in, I realized that if anyone saw me out on the roof, they might think I was crazy — and would likely be correct in their assessment, but for all the wrong reasons. That’s when the first lines of the song came to me: “If there’s a reason I’m up on the roof, it’s not the reason that you think.”
Given the state of the world these days, the song quickly took an apocalyptic turn, and I imagined someone looking out on a world with dead streets and fire in the sky. Of course, that imagery was kind of dark, so I lightened the proceedings with a chorus that I’d written a year or so earlier: “I keep seeing angels in the corner of my eye.” I distinctly remember that I was making an espresso when that line came to me, but beyond that and another line about the angels being devils in disguise, the lyrics never went anywhere.
So, arguably, the song started back when those two lines came to me. But there’s a further complication: As I was working on the song, I realized that I needed an instrumental bridge for the middle. That’s when I remembered an instrumental track that I’d written and recorded a while back called “Poly the Glot.” It had the perfect instrumental break for this new one. Or almost perfect, anyway. I had to change the key and make some other minor adjustments.
Since no one had really heard “Polly” except for a handful of people, I didn’t think anyone would mind that I was pillaging my back catalog for the sake of new material. So while I was at it, I took some interesting sound effects from that track as well — a lot of the electronic screeching you hear throughout the track originally appeared (in another key) on “Polly the Glot” as well.
Oh, I forgot to mention that when I started recording the song, I decided that “between 110 and 120 beats per minute” wasn’t exactly what I wanted, so I sped Jeff’s track up a bit and ended up with a tempo of 142 beats per minute. And to sweeten the deal, I got my friend Tony Yoo involved. He’s the one you can hear singing backing vocals on the chorus.
In any case, “In the Pink” could have started on any number of occasions: Back in 2015 or so when I recorded “Poly the Glot,” a few years later when I was making espresso and the chorus came to me, a few weeks ago when I asked Jen and Jeff to record a drum track for me, or the afternoon I went out on my roof to clear the gutter during a thunderstorm. Whatever the case, I hope you enjoy listening to it!