and here it is, finally - done.
the editing here was much deeper than the first cd demo. while i was initially less excited about this one, the end result is comparable - there's one specific track, the 6th, that i just wish didn't exist.
in every way, it's a bit more extreme. the bad decisions were worse; in the sense that i've removed them, it doesn't matter, but in the sense that they remain they're painful. it's mostly related to vocal tracks. but where the first failed on content, this one fails more often on singing. thankfully, there's only two or three tracks that are painful.
the rest of it is actually pretty good. the noisy/experimental/glitch sections are more extreme. the techy parts are more elaborate. the ambient sections are thicker. the silliness is sillier...
as before, the record/demo bounces back and forth between "songs" and "experiments". on this demo, though, the songs are no less interesting than the noise.
the problem with the sixth track is explained on the page. i was being ironic, but not obviously, and it's kind of left me in the awkward position of identifying as queer and yet having a queer-bashing song. *shrug*. it's not queer-bashing, but it would be easier if it just didn't exist...
for the rest of it, i need to reiterate that it is valid, even when it's trite, because it's real. that is to say that it sounds like i'm 18 and less than well-adjusted. if it could be better than it is, it would lack the authenticity of being a demo produced by a troubled teenager. i might not articulate my feelings of being ignored at a very high level of thought or with much compelling poetry, but i'm certainly feeling them and that feeling certainly gets across in my unique and goofy sort of way. likewise, when i go into juvenile shock rock i am actually convincingly juvenile and convincingly shocking (unless i'm trying to be ridiculous, in which case i pull that off just as well).
that means you have to listen to it from a certain distance because a big part of what you're listening to is the spectacle of a demented child being demented, but when you do that it comes off as some of the most idiosyncratic leftfield synth pop i'm aware of. you've never heard anything quite like this.
so, if i could remove the 6th track without killing the flow of the disc, i would. beyond that, the edits that i've made have left me comfortable with throwing this out there as it is - under the existing caveats.
https://jasonparent.bandcamp.com/album/inriched-lp
==
this is very much a follow-up to the previous demo (there's a pun, here) and in fact is largely constructed of "leftover tracks" from that period. this demo may be a bit glitchier/noisier than the last one, jasonparent.bandcamp.com/album/inri-lp.
some of these songs are reworked versions of tracks i had recorded previously. in almost all cases, i consider the versions here (and on the previous demo, inri) to be the authoritative versions of these tracks.
the demo is consciously constructed to alternate between "conventional songs" and "experimental pieces", although both definitions are stretched. it generally takes the form of connecting passages. it's meant to give the record the feel of a cohesive work rather than a collection of songs.
lyrically,
i'm still a teenager, but i'm starting to grow into myself a little more. there
are some points of significant embarrassment on this recording, but it's really
only the sixth track that makes me cringe to the point of regret. i was also
experimenting with an "ironic distance" type of spoken word style that,
in hindsight, doesn't come off so well.
the guitar work is one of the things that separates the sound from a typical industrial aesthetic. i've never been a fan of heavy metal and largely shied away from creating that kind of thing. yet, i found myself connecting more with psychedelic guitar at this point than punk rock. industrial psych generally implies something like trance, but it need not to. industrial hendrix? well, maybe it ends up sounding more like synth pop, which has historical roots in psychedelic music and progressive rock. the point is that the music does manage to carve out a unique space between industrial music and synth pop that i don't know of any clear comparisons to. people have suggested mid-period swans, the legendary pink dots and nine inch nails - only the last of which was a significant influence, and none of which are really that close. a better comparison, although still not a significant influence at this time, would be joy division - who would become a significant influence after this phase. my actual influences at the time would have been more like brian eno (through his 70s and 90s work with david bowie, as well as his work with u2), early prog (genesis/floyd/crimson), peter gabriel, the beatles, radiohead, the smashing pumpkins, REM, sonic youth, the tea party and a bit of contemporary electronic music (prodigy, nin, coil, foetus, autechre, nitzer ebb, ministry, econoline crush, gravity kills, stabbing westward, skinny puppy and side projects). the sense of humour is coming from frank zappa and matt groening, if they are not actually the same person. i wasn't listening to much tears for fears, i don't think, but you can hear them lurking underneath everything.
this material was recorded throughout 1998 and the very beginning of 1999, but some of it was written as far back as 1994. unfortunately, i decided that the songs sounded better in mp3 and consequently compressed everything before burning. i understand now that i was hobbling together a crude mastering process, but it means (unfortunately) that the closest thing i have to the finished tracks are low quality mp3s and a cd-r. these tracks were taken off of a cd-r and run through digital post-production in dec, 2013 in a process that also included minimal editing (mostly the removal of badly placed samples, but also the removal of some vocal sections where it was possible). as always, please use headphones.
credits:
j - guitars, effects, bass, synthesizers, drum programming, sequencing, sampling, digital wave editing, vocals, cool edit synthesis, production, found sounds, strategies
released feb 10, 1999
https://jasonparent.bandcamp.com/album/inriched-lp
