Friday, September 22, 2017
i split the track up, in the end. i had to. this is the most interesting part.
i'm exiting the inri period, with this. i call it 'period 1'. it ends about the end of 1999-ish. period 2 runs from 2000-2003.
where period 1 was about different types of industrial music - running the spectrum from total noise to fruity synth pop - period 2 is fundamentally a prog period, moving between ideas like fusion, post-rock and idm.
i need to run through this pretty quick to ship some material dated to the end of 2001, and moving into early 2003. this is really the way into it.
i'm exiting the inri period, with this. i call it 'period 1'. it ends about the end of 1999-ish. period 2 runs from 2000-2003.
where period 1 was about different types of industrial music - running the spectrum from total noise to fruity synth pop - period 2 is fundamentally a prog period, moving between ideas like fusion, post-rock and idm.
i need to run through this pretty quick to ship some material dated to the end of 2001, and moving into early 2003. this is really the way into it.
something
that happened in the late 90s, when fans of bands started getting
together and talking on the internet, was the phenomena of the
unauthorized remix. schemes were hatched all over the internet to create
remix records, tribute discs, fan collaborations and whatnot. in
hindsight, given what the internet turned into, it was actually a
refreshingly productive use of networking.
different artists have reacted in different ways. i got yelled at by the now deceased singer of god lives underwater for one of these. trent reznor, on the other hand, eventually went so far as to set up a competition (which i didn't take part in, as i'd moved beyond the idea by that point).
once i'd put a few remixes/recreations together, and received more positive feedback doing it than with any of my own songs, i began to realize that if i could get somebody's attention then i could construct myself a launching pad. it seems like that's what a lot of people were thinking; it didn't work out, but i did end up with a number of remixes.
unfortunately, i've lost a lot of them. about a third of them ended up on a cd-r i threw together at the end of 1999. a third just sat on my hard drive, and a third disappeared into the internet. i'm putting them all together here under the title of the 1999 release, 'inrimake'. the initial release ended after "the day inri messed the world up"; the last four songs are 'bonus tracks'. i've further split off the first two tracks to a standalone ep (jasonparent.bandcamp.com/album/liquify), partially because they never fit here properly and partially because it pares the augmented version down to under 80 minutes.
now, i should point out that i was very much going for the *abstract* remix sound rather than the club-friendly mix. you can't really dance to these. you're not supposed to. you're supposed to blare them through headphones and trip out into them.
in terms of my own work, this record very much extends a bridge from the inri period into the deny everything period, to the extent that it arguably realizes the goals of both phases better than either phase does.
this record may be released physically, one day, should the proper legal issues be resolved. right now, i'm only making it available as an almost-free download.
recorded sporadically, and without cohesive intent, over '98 and '99. originally compiled in the fall of '99. augmented and minimally altered in january, 2014. lp006. as always, please use headphones - but note that they are especially mandatory for this recording.
this release will also eventually include a comprehensive package of journal entries from all phases of production (1998, 1999, 2013, 2014, 2017).
different artists have reacted in different ways. i got yelled at by the now deceased singer of god lives underwater for one of these. trent reznor, on the other hand, eventually went so far as to set up a competition (which i didn't take part in, as i'd moved beyond the idea by that point).
once i'd put a few remixes/recreations together, and received more positive feedback doing it than with any of my own songs, i began to realize that if i could get somebody's attention then i could construct myself a launching pad. it seems like that's what a lot of people were thinking; it didn't work out, but i did end up with a number of remixes.
unfortunately, i've lost a lot of them. about a third of them ended up on a cd-r i threw together at the end of 1999. a third just sat on my hard drive, and a third disappeared into the internet. i'm putting them all together here under the title of the 1999 release, 'inrimake'. the initial release ended after "the day inri messed the world up"; the last four songs are 'bonus tracks'. i've further split off the first two tracks to a standalone ep (jasonparent.bandcamp.com/album/liquify), partially because they never fit here properly and partially because it pares the augmented version down to under 80 minutes.
now, i should point out that i was very much going for the *abstract* remix sound rather than the club-friendly mix. you can't really dance to these. you're not supposed to. you're supposed to blare them through headphones and trip out into them.
in terms of my own work, this record very much extends a bridge from the inri period into the deny everything period, to the extent that it arguably realizes the goals of both phases better than either phase does.
this record may be released physically, one day, should the proper legal issues be resolved. right now, i'm only making it available as an almost-free download.
recorded sporadically, and without cohesive intent, over '98 and '99. originally compiled in the fall of '99. augmented and minimally altered in january, 2014. lp006. as always, please use headphones - but note that they are especially mandatory for this recording.
this release will also eventually include a comprehensive package of journal entries from all phases of production (1998, 1999, 2013, 2014, 2017).
credits
released October 15, 1999
j - guitars, effects, bass, synths, drum programming, digital wave editing, cool edit synthesis, sampling, sequencers, loops, text-to-speech synthesis, remixes, reconstructions, reinterpretations
j - guitars, effects, bass, synths, drum programming, digital wave editing, cool edit synthesis, sampling, sequencers, loops, text-to-speech synthesis, remixes, reconstructions, reinterpretations
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