i did your mom

by inri



this is the final version of something i'd been playing with since about '94 or so, and by this time the track had become something that was beyond absurd. in a way, this is the culmination of everything i did in this period. it's the central track of my inri years: it's both the first thing i spent any time seriously writing and the ultimate realization of the musical ideas i was exploring. it's the longest track on the first demo. the drum programming is deep, there's an orchestration through sequencing, synth parts in the background, lead guitar work coming to the forefront - it's everything thrown together at a coherent level, really for the first time.

that this is the central track of this period maybe demonstrates how ridiculous i was and how ridiculous my musical vision was. maybe it also demonstrates just how _young_ i was.

the remaining tracks in this period sort of pivot after this.

i should be clear: this is pretty much the most terrible song that you could possibly imagine existing, and that was kind of the intent. the shock value is entirely up front. but at the same time, it's just so terrible that it's kind of funny, and that was entirely intended as well.

you could maybe say something about how somebody like alice cooper ripping live chicken heads off in the middle of a performance is just about the most tyrannical thing you could imagine somebody getting away with on stage. it's just *so* ridiculous, that you can't help but laugh - even as you're horrified.

it's a phase a lot of teenagers go through. i guess the difference between me and a hundred thousand other kids is that i was exploring it through composition.


now that i'm an adult, this isn't something i would write or promote. yet, i sort of am by uploading it. the interest here is to document the existence of a troubled child. well, and to document myself - i was that troubled child.

the history of the track is perhaps a little less obnoxious than may be suspected. i was actually being taunted by somebody in the eighth grade. that person had never met and never would meet my mother. it's just a remark that young boys make. freudian analyses aside, i don't think there's really that much conscious thought put into it.

my decision to write a song about it was half a joke and half a response to being teased. i listened to and feigned laughter at a lot of oppressive jokes when i was younger; to an extent, i regret not speaking up, but i can state with honesty that i never felt comfortable taking part (now, self-deprecating humour, often of a sexual nature, is another thing). this reaction, on that "fuck you" level, shouldn't provide for any specific discomfort.

however, the fact that i explored the topic in a deeper level of depth than my taunters did perhaps might, and perhaps should. i need to bring you back to my aims in recording this early demo: i was trying to be as disturbing and shocking as i possibly could be. my taunters provided me with a particularly disturbing subject matter to explore, and i took full advantage of that.

this track is certainly disturbing and certainly shocking. success? well, i guess. looking back, i've always been torn between regret and satisfaction. i still am...

initially written in 1994. first full recording in 1996. recreated in mar, 1998. a failed rescue was attempted in 2013. reclaimed & remixed on july 18, 2015. sequenced jan 5-8, 2016. finalized on july 20, 2016. as always, please use headphones.

the album version of this track appears on my first record:

this release also includes a printable jewel case insert and will also eventually include a comprehensive package of journal entries from all phases of production (1996, 1998, 2013, 2015, 2016).

* - download only


released March 20, 1998

j - guitars, effects, bass, vocals, drum programming, drum kit, synths, sequencers, sampling, digital wave editing, production



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jessica murray

this is the archive for the artist formerly known as jason parent and now known as jessica murray.

the music here has shifted dramatically over many years, from roots in punk/grunge through to experimental synth pop and into a type of kitchen sink post-rock with heavy electronics. the only consistency throughout is a lack of consistency, guitars and an impressionist aesthetic. "blender rock".
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