this is a "drum and bass" mix, with pitched percussion for the melodic parts.
written in early 2001. drastically rearranged in june, 2014. further remixed over july, 2014 and may, 2015. this version of the track was completed on may 26th, 2015.
https://jasonparent.bandcamp.com/track/percussion-bass-mix
Tuesday, May 26, 2015
republishing stuck in the middle of an alley closing in on all sides (inri043)
i've been in the process of closing down my second artistic phase for longer than i'd like, but i'm really getting to the final points on it, which means taking one last run through everything and making final decisions on it. this is the fourth mix i've appended to this single over the last week, but it is now final. closed.
so, behold inri024, which is now a 90 minute 12-track "single" of reinterpretations of this track.
inri024 has been updated and permanently finalized.
===
this is one of the tracks that i can't date well. i do, however, remember working on it during the winter, which means it must have been late '00 or early '01. i'm going to consequently deduce that it must have been what i was working on over the 2000 christmas break and date it coming out right after it.
actually, i have another reason to date it in early '01 rather than late '00: the introductory piano part was recorded live into my notation program on my dx100, which i was given over christmas (maybe a little before; it was a cheap garage sale pickup) to act as a controller for my recently broken jx-8p, that i had tried to take apart over the summer to clean a sticky key (a common problem with mid-80s roland analog synths) but failed and left keyless. it's still keyless. yet, the dx still drives it....
that introductory piano part formed the basis of the track, which built itself up fairly quickly. somewhere, i lost the nwc file by saving it as midi, which ruined all the formatting. it's been sitting on my drive ever since.
why put together seven different midi versions of the same track, and sequence them after a polished recorded version? well, this was never actually meant to be computer music. i was just composing something the old fashioned way with the intent of later giving it to some musicians to play. that never happened. what did happen was that i found myself playing it back on multiple sound cards over many years, trying to make it sound as good as possible in the short run - until i could finally get the chance to sit down and actually record it. while each of the different renders has it's strong and weak points, i ultimately don't feel that they form a total order. something i thought about doing was recording tracks independently on different cards and then pasting them together, but that would have just created another dozen incomparable mixes. rather than arbitrarily pick one, i decided to just upload all of them.
in hindsight, i think the format is interesting in itself in terms of it being a psychological experiment with sound. the differences from track to track are sometimes inaudible and sometimes extremely noticeable. stringing it all together in a row like this is challenging to any listener in the sense that it rips apart the process of becoming familiar with a piece. it means listening to exactly the same song through multiple different sound libraries. i think your brain would have to interpret that as a sort of a trip, especially when it comes to trying to build associations in sound within tracks that are both similar and different sounding, soundcard wise. i think that might be part of the reason i had so much difficulty isolating tracks in the first place.
so, listening to the ep through all the way is likely to be a bit disorienting and might ultimately be a strange experience. however, if you like the track for what it is as a collection of overlapping sequences of notes then i hope you get something out of the process of comparing and contrasting the renders together.
i have included the original midi file as a bonus item in the download, if you want to play with it on your own. the added guitar sections in the final version are recent additions and have not been written out.
thematically, the track is meant to orchestrate a feeling of claustrophobia with society pushing down on you too hard. it's meant to transmit a feeling of existential dread. at the time, i really felt stuck with life in general and not sure how i was going to get out of it.
four further remixes were added at the end of may, 2015, which has forced me to move two of the midi renders to 'download only'.
written late 2000 & early 2001. the renders present here are all from after 2013. minor instrumentation changes to facilitate a small wind section were implemented in late april, 2014. live guitars were layered into the final version over may, 2014. initially released on june 7, 2014. four new orchestral mixes were added in late may, 2015. re-released & finalized on may 26, 2015. as always, please use headphones.
credits:
j - electric piano, programming, electric guitar, acoustic guitar, vocals, vocoders, digital effects & treatments, digital wave editing, composition.
the rendered electronic orchestras variously include piano, bass, synth bass, distorted electric guitar, clean electric guitar, other guitar effects, steel string acoustic guitar, nylon string classical guitar, sitar, violin, viola, cello, contrabass, french horn, trumpet, trombone, tuba, oboe, english horn, bassoon, synthesizers, clarinet, flute, piccolo, xylophone, glockenspiel, woodblock, tubular bells, orchestra hit, jazz drum kit, hand drums, melodic toms, orchestral drum kit, hammered percussion, marimba, taiko drum, synthetic percussion and electronic drum kit.
released january 10, 2001
https://jasonparent.bandcamp.com/album/stuck-in-the-middle-of-an-alley-closing-in-on-all-sides
so, behold inri024, which is now a 90 minute 12-track "single" of reinterpretations of this track.
inri024 has been updated and permanently finalized.
===
this is one of the tracks that i can't date well. i do, however, remember working on it during the winter, which means it must have been late '00 or early '01. i'm going to consequently deduce that it must have been what i was working on over the 2000 christmas break and date it coming out right after it.
actually, i have another reason to date it in early '01 rather than late '00: the introductory piano part was recorded live into my notation program on my dx100, which i was given over christmas (maybe a little before; it was a cheap garage sale pickup) to act as a controller for my recently broken jx-8p, that i had tried to take apart over the summer to clean a sticky key (a common problem with mid-80s roland analog synths) but failed and left keyless. it's still keyless. yet, the dx still drives it....
that introductory piano part formed the basis of the track, which built itself up fairly quickly. somewhere, i lost the nwc file by saving it as midi, which ruined all the formatting. it's been sitting on my drive ever since.
why put together seven different midi versions of the same track, and sequence them after a polished recorded version? well, this was never actually meant to be computer music. i was just composing something the old fashioned way with the intent of later giving it to some musicians to play. that never happened. what did happen was that i found myself playing it back on multiple sound cards over many years, trying to make it sound as good as possible in the short run - until i could finally get the chance to sit down and actually record it. while each of the different renders has it's strong and weak points, i ultimately don't feel that they form a total order. something i thought about doing was recording tracks independently on different cards and then pasting them together, but that would have just created another dozen incomparable mixes. rather than arbitrarily pick one, i decided to just upload all of them.
in hindsight, i think the format is interesting in itself in terms of it being a psychological experiment with sound. the differences from track to track are sometimes inaudible and sometimes extremely noticeable. stringing it all together in a row like this is challenging to any listener in the sense that it rips apart the process of becoming familiar with a piece. it means listening to exactly the same song through multiple different sound libraries. i think your brain would have to interpret that as a sort of a trip, especially when it comes to trying to build associations in sound within tracks that are both similar and different sounding, soundcard wise. i think that might be part of the reason i had so much difficulty isolating tracks in the first place.
so, listening to the ep through all the way is likely to be a bit disorienting and might ultimately be a strange experience. however, if you like the track for what it is as a collection of overlapping sequences of notes then i hope you get something out of the process of comparing and contrasting the renders together.
i have included the original midi file as a bonus item in the download, if you want to play with it on your own. the added guitar sections in the final version are recent additions and have not been written out.
thematically, the track is meant to orchestrate a feeling of claustrophobia with society pushing down on you too hard. it's meant to transmit a feeling of existential dread. at the time, i really felt stuck with life in general and not sure how i was going to get out of it.
four further remixes were added at the end of may, 2015, which has forced me to move two of the midi renders to 'download only'.
written late 2000 & early 2001. the renders present here are all from after 2013. minor instrumentation changes to facilitate a small wind section were implemented in late april, 2014. live guitars were layered into the final version over may, 2014. initially released on june 7, 2014. four new orchestral mixes were added in late may, 2015. re-released & finalized on may 26, 2015. as always, please use headphones.
credits:
j - electric piano, programming, electric guitar, acoustic guitar, vocals, vocoders, digital effects & treatments, digital wave editing, composition.
the rendered electronic orchestras variously include piano, bass, synth bass, distorted electric guitar, clean electric guitar, other guitar effects, steel string acoustic guitar, nylon string classical guitar, sitar, violin, viola, cello, contrabass, french horn, trumpet, trombone, tuba, oboe, english horn, bassoon, synthesizers, clarinet, flute, piccolo, xylophone, glockenspiel, woodblock, tubular bells, orchestra hit, jazz drum kit, hand drums, melodic toms, orchestral drum kit, hammered percussion, marimba, taiko drum, synthetic percussion and electronic drum kit.
released january 10, 2001
https://jasonparent.bandcamp.com/album/stuck-in-the-middle-of-an-alley-closing-in-on-all-sides
stuck in the middle of an alley closing in on all sides (slow string orchestra fade out)
so, as mentioned, i'm going through inri024-inri050 and posting final updates.
this has been added to inri024 as an absolute final update.
written late 2000 & early 2001. rearranged, rendered and faded out on apr 27, 2014. further remixed on may 26, 2015.
https://jasonparent.bandcamp.com/track/slow-string-orchestra-fade-out
this has been added to inri024 as an absolute final update.
written late 2000 & early 2001. rearranged, rendered and faded out on apr 27, 2014. further remixed on may 26, 2015.
https://jasonparent.bandcamp.com/track/slow-string-orchestra-fade-out
my sleeping schedule cycled back around. i couldn't imagine going back to a regular schedule. the last time i tried that (2006/2007), i ended up scheduling myself on 48 hour days - i'd wake up, go to work, go home, stay up all night, go to work, sleep. i did that for months. it was the only way i could get anything besides work done.
nowadays, i tend to live about 25-30 hour days, which means the time of day that i'm awake staggers forwards by a few hours every day. last week, i was doing overnights. this week, it looks like i'll be up during the day. next week i'll probably be waking up some time around noon. and the week after that, i'll be waking up when the sun comes down.
i need to mail a package when the post office opens, and make a few calls at a pay phone on the way back. but, i'll be back to work around ten.
i had put a number of ideas aside for future comps - i need to systematically approach this now, not later. at the least, the comp ideas are finalized, so i can approach this that way. i'll be mildly updating a number of releases after inri024 over the next day or two, until i get back to inri050.
some of the comp mixes have no real option but to be exclusive - they don't make sense on a single, or the single is pushing 80 minutes of mixes already (yeah, i know....but it's what happened...) or the addition is too minor to really justify the addition. but this needs to be comprehensive, because when i push forwards to the post-trip material, i have no intention of moving backwards.
nowadays, i tend to live about 25-30 hour days, which means the time of day that i'm awake staggers forwards by a few hours every day. last week, i was doing overnights. this week, it looks like i'll be up during the day. next week i'll probably be waking up some time around noon. and the week after that, i'll be waking up when the sun comes down.
i need to mail a package when the post office opens, and make a few calls at a pay phone on the way back. but, i'll be back to work around ten.
i had put a number of ideas aside for future comps - i need to systematically approach this now, not later. at the least, the comp ideas are finalized, so i can approach this that way. i'll be mildly updating a number of releases after inri024 over the next day or two, until i get back to inri050.
some of the comp mixes have no real option but to be exclusive - they don't make sense on a single, or the single is pushing 80 minutes of mixes already (yeah, i know....but it's what happened...) or the addition is too minor to really justify the addition. but this needs to be comprehensive, because when i push forwards to the post-trip material, i have no intention of moving backwards.
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