Actually finishing and releasing 183427106 LP to the world is quite possibly the most difficult thing I've ever done in my life. It's just another album in a watercolor sea of rusting sonic internet swarm, but like a phone number, a numerical password, an IP address, or even an age - it's a little piece of arbitrariness that stands for the infinite infinitesimal of individuality within our digitized generation: one tiny piece, likely to be lost amongst its myriad peers, that happens to stand for me.
My younger brother painted what would become this album's cover one night on the wall of The Gales House randomly when he moved in and it inspired me to go back and rap over these shitty beats, because nobody else would. I wrote these instrumentals in while I was enrolled as an undergrad (and two during my single semester as a post-grad taking a single class just because) at Wake Forest University, some dating as far back as mid 2010. I figured they could either rot eternally on external hard drives, or I could throw them onto the internet with hardly any promotion. Nearly all of the verses were written in mid-to-late 2013, over a year after I graduated, as observational rants. These stories are portrayed through perspective of an obsessive, frustrated romantic recounting his hypothetical collegiate experience and his disorienting move into a non-academic world with the rest of his generation, and without a place to call home or any shoulders to lean on. In some ways this record has taken just under five months to complete, and in some ways it has taken the better part of half a decade to fully manifest. And in some ways, while I'll stick to art always being removed from the artist once presented to the world at large, I've never composed a more personal and honest body of work.
That said, all characters and entities appearing in this work are grounded firmly in the ever-eroding turf of reality. Any and all associations with businesses, organizations, institutions, places and persons living and dead discussed in the lyrics on this album are purely intentional. But none of that is actually important. What is important is that you are constantly discovering yourself, and that in some way this record facilitates a continuation of that process, always for better and occasionally helping you to learn from past indiscretions. If you are offended by anything on this record, then good. I hope it's because you know that life is to be lived, loved, and never taken for granted. If you are mentioned by name on this record in any capacity, it's because I love you, you mean the world to me, and I wouldn't be here without you.
I'd be lying if I said this record wasn't written for myself. But it was also written for all of you, for all of us. Nonetheless, I'd like to somewhat informally dedicate this whole goddamn smorgasbord emotional train-wreck of an album to Dale Ruffin. Because. And because never has a project made me so thankful. Because never has a project helped me realize how much love there really is in this life. In our generation. Our life. Ten glasses raised to the living, to all our friends who didn't make it, and to all the world's children - those generations to follow us. Fallen or otherwise, I have faith that we will all stand together once again. That's why.
Grant Wescoat Livesay
released January 28, 2014
All instrumentation, lyrics, and production by Grant Livesay.
Cover art painted by Charles Ramsey.
Cover art photographed and edited by Grant Livesay.
Instrumentation written and recorded at Wake Forest University.
Lyrics/vocals written and recorded at The Colleton.
Mixed and mastered by Grant Livesay at The Gales House.
A Fella approved endeavor.
Thin Product Shun. 2014
All lyrics and instrumentals copyright of Grant Wescoat Livesay.
All rights reserved.
all rights reserved