Thursday, September 28, 2017
i was not expecting to remaster book it, but i ran it through my custom patch and it just really came out of itself.
i'm going to have to check each thing as it comes up, but i actually don't expect to do a lot of remastering for the next slew of releases.
i need to sleep. but, i should get through quite a bit when i wake up...
i'm going to have to check each thing as it comes up, but i actually don't expect to do a lot of remastering for the next slew of releases.
i need to sleep. but, i should get through quite a bit when i wake up...
republishing inri034
this is another lost track that exists in a sort of an ill-defined alter-reality.
it came out of a jam in my basement that fall. i was feeling a little more lonely than usual. see, i was quite literally the only person in my social group that bothered doing grade 13. so, school was converted from my only real social grounding (and i was always an extremely introverted loner) into a place of isolation and alienation. i skipped a lot of classes, actually, in a desire to escape the people. looking back, i sort of regret not reaching out to the people around me a bit more; it would have helped in more than just a social context. but, in hindsight, i'm also able to understand the separation better as one of class; as much as i regret keeping myself isolated, i think i would have been better off not carrying on with school at all.
i mean, i did well. my average was over 90. but i felt hopelessly out of place. i knew i didn't belong there....that they would never accept me unless i became the kind of pretentious jerk i despised. nor did i want anything to do with them, anyways. i really hated the superior attitude that i found myself immersed within. so, i just kept my physical distance and my mouth shut, hoping the condition was temporary (it wasn't).
the flip side of this is that i was also working a part-time job in a fast-food restaurant and i hated it just as much. i didn't fit in any better there, amongst the kids with no aspirations in life except to work in order to exist.
so, i found myself stuck between worlds, not wanting anything to do with either. in both cases, though, what i found the problem was was the people. "i don't mind the job, but i'm repulsed by the staff".
what i really wanted was just to be able to lock myself in a room and never have to engage with anybody ever again. i think that i'm the only person that could have written this. it exudes my idiosyncrasies in surreal, tongue-in-cheek humour. but it's also dead serious.
"i'd rather have a book than a friend.
it's loyalty will never end,
doesn't succumb to fashion or trend,
and all the information it sends,
will never get lost along the way.
when things get as tough as they may,
it will always know exactly what to say,
'cause books don't hurt...
...or do they?"
musically, there's some fancy playing here. everything is completely live: no loops (except the drums, programmed into a 909 emulator). that guitar part is sort of tricky. and check the bass part in the breakdown.
the thing i really like about this the most, though, is the gorgeous kosmische ending section, which is built up on overlapping sixths and is just the most dreamy thing to escape into ever. dramatic ending chord care/of a day in the life.
and, indeed, this is the dramatic ending chord for inri.
written & recorded in the fall of 1999. originally released on inridiculous in december, 1999. split into it's own ep in january, 2014. remastered & finalized on sept 28, 2017. as always, please use headphones.
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 (1999, 2013, 2014, 2017).
it came out of a jam in my basement that fall. i was feeling a little more lonely than usual. see, i was quite literally the only person in my social group that bothered doing grade 13. so, school was converted from my only real social grounding (and i was always an extremely introverted loner) into a place of isolation and alienation. i skipped a lot of classes, actually, in a desire to escape the people. looking back, i sort of regret not reaching out to the people around me a bit more; it would have helped in more than just a social context. but, in hindsight, i'm also able to understand the separation better as one of class; as much as i regret keeping myself isolated, i think i would have been better off not carrying on with school at all.
i mean, i did well. my average was over 90. but i felt hopelessly out of place. i knew i didn't belong there....that they would never accept me unless i became the kind of pretentious jerk i despised. nor did i want anything to do with them, anyways. i really hated the superior attitude that i found myself immersed within. so, i just kept my physical distance and my mouth shut, hoping the condition was temporary (it wasn't).
the flip side of this is that i was also working a part-time job in a fast-food restaurant and i hated it just as much. i didn't fit in any better there, amongst the kids with no aspirations in life except to work in order to exist.
so, i found myself stuck between worlds, not wanting anything to do with either. in both cases, though, what i found the problem was was the people. "i don't mind the job, but i'm repulsed by the staff".
what i really wanted was just to be able to lock myself in a room and never have to engage with anybody ever again. i think that i'm the only person that could have written this. it exudes my idiosyncrasies in surreal, tongue-in-cheek humour. but it's also dead serious.
"i'd rather have a book than a friend.
it's loyalty will never end,
doesn't succumb to fashion or trend,
and all the information it sends,
will never get lost along the way.
when things get as tough as they may,
it will always know exactly what to say,
'cause books don't hurt...
...or do they?"
musically, there's some fancy playing here. everything is completely live: no loops (except the drums, programmed into a 909 emulator). that guitar part is sort of tricky. and check the bass part in the breakdown.
the thing i really like about this the most, though, is the gorgeous kosmische ending section, which is built up on overlapping sixths and is just the most dreamy thing to escape into ever. dramatic ending chord care/of a day in the life.
and, indeed, this is the dramatic ending chord for inri.
written & recorded in the fall of 1999. originally released on inridiculous in december, 1999. split into it's own ep in january, 2014. remastered & finalized on sept 28, 2017. as always, please use headphones.
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 (1999, 2013, 2014, 2017).
credits
released December 15, 1999
j - guitars, effects, bass, synths, sequencers, drum programming, flute, digital wave editing, vocals, production
j - guitars, effects, bass, synths, sequencers, drum programming, flute, digital wave editing, vocals, production
purchasing this release does not come with a download.
inri000: originally released dec 25, 1996. remastered oct 30, 2013. finalized june 26, 2016.
inri001: originally released jun 1, 1997. remastered nov 8, 2013. finalized july 3, 2016.
inri002: originally written and recorded over 1996-1997. sequenced and mildly modified in dec, 2013. released dec 11, 2013. finalized on july 3, 2016. lp000.
inri003: created in mid 1997. sequenced and converted to stereo in november, 2013. released on nov 9, 2013. corrected in september, 2014. finalized on july 5, 2016.
inri004: originally written in 1997 and first created in 1998. a failed rescue was attempted in 2013. finally reconstructed in the summer of 2015 and extrapolated upon over the first half of 2016. released on july 4, 2016. finalized on july 5, 2016.
inri005: initially written in 1997. recreated in jan, 1998. a failed rescue was attempted in 2013. reclaimed july 1, 2015. deconstructed dec 18, 2015. released on jan 4, 2016. finalized on july 6, 2016. lead track added and refinalized july 20, 2016.
inri006: originally created in 1998. a failed rescue was attempted in 2013. reconstructed in the summer of 2015 and then manipulated further in the summer of 2016. released & finalized on july 7, 2016. hidden track added and re-finalized on july 18, 2016.
inri007: initially written in 1997. recreated in feb, 1998. a failed rescue was attempted in 2013. reclaimed july 5, 2015. remixed july 12, 2015. electronics added on july 16, 2015. released on jan 4, 2016. sequenced on jan 6-8, 2016. finalized on july 10, 2016. hidden track added and refinalized on july 21, 2016.
inri008: initially written in 1996. recreated in feb, 1998. a failed rescue was attempted in 2013. reclaimed june 29, 2015. remixed july 15, 2015. released on jan 4, 2016. finalized on july 11, 2016. bonus tracks added and re-finalized on july 18, 2016.
inri009: 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. released jan 5, 2016. sequenced jan 6-8, 2016. finalized on july 20, 2016.
inri010: initially written in 1996. recreated in april, 1998. a failed rescue was attempted in 2013. reclaimed july 12, 2015. vocals added july 15, 2015. sequenced, released and finalized on july 22, 2016.
inri011: originally created in april, 1998. a failed rescue was attempted in 2013. reclaimed july 4, 2015. remixed july 15, 2015. vocals added jan 6, 2016. released on jan 6, 2016. finalized on july 23, 2016.
inri012: initially written in 1996. recreated in the spring of 1998. a failed rescue was attempted in 2013. reclaimed june 29, 2015. corrected to control for malfunctioning electronics on nov 26, 2015. sequenced on jan 10, 2016. released & finalized on july 24, 2016.
inri013: written and demoed from 1994-1998. initially constructed in this form in june, 1998. a failed rescue was attempted in 2013. sequenced on jan 6-7, 2016 from parts that were rebuilt over 2013-2016. released jan 7, 2016. finalized on july 29, 2016. symph001.
inri014: initially written in 1996. recreated mostly in feb, 1998 (schizoid, terrorists) but also partly in june, 1998 (abusive). sequenced in this form in june, 1998. a failed rescue was attempted in 2013. "terrorists" was reclaimed june 28-29, 2015 & remixed july 15, 2015. the main mix was corrected on nov 19, 2015. "schizoid" was reclaimed on july 12, 2015 & reprogrammed on dec 31, 2015. the main mix was corrected on jan 3, 2016 and remixed repeatedly jan 3-5, 2016. the lead track was sequenced on jan 5, 2016 and split back apart on jan 8, 2016. released on jan 5, 2016. audio permanently closed on aug 1, 2016. release finalized on oct 9, 2016.
inri015: written and demoed in multiple stages from 1994-1998. initially constructed in this form in june, 1998. a failed rescue was attempted in 2013. reconstructed and resequenced jan 6-10, 2016 from parts that were rebuilt over 2013-2016. audio permanently closed on aug 10, 2016. finalized on oct 10, 2016. lp001.
inri016: created in the summer of 1998. released as a standalone ep on nov 16, 2013. audio permanently closed on oct 12, 2016. release finalized on oct 27, 2016.
inri017: initially written over the course of 1997. recreated and expanded over the course of 1998. lead track first sequenced in this form in feb, 1999. further remixes generated over the course of 1999. a failed rescue was attempted in 2013, and another in late 2015. remastered in november, 2016 from various sources, 1997-2015. finalized on nov 17, 2016.
inri018: initially written in 1997. recreated and reconceptualized in late 1998. salvaged somewhat at the end of 1999. remastered in 2013. compiled on nov 13, 2016. finalized on nov 19, 2016. final album version added as a bonus track and refinalized on dec 15, 2016.
inri019: written and demoed from 1996-1999. initially constructed in this form in january, 1999. a failed rescue was attempted in 2013. compiled on nov 13, 2016. sequenced on nov 22-24, 2016 from parts that were rebuilt over 2013-2016. audio permanently closed on nov 24, 2016. release finalized on nov 27, 2016. symph002.
inri020: initially written in 1993. first full recording in 1996. recreated in dec, 1997 and again in jan, 1999. a failed rescue was attempted in 2013. reclaimed on july 2, 2015. remixed on july 15, 2015. reconceptualized & remixed repeatedly over november & december, 2016. finalized on dec 13, 2016.
inri021: written and demoed in multiple stages from 1993-1999. initially constructed in this form in feb, 1999. a failed rescue was attempted in 2013. reconstructed and resequenced over november and december, 2016 from parts that were rebuilt over 2013-2016. finalized on dec 15, 2016. lp002.
inri022: recorded over 1998. compiled and remastered in late 2013. corrected to normalize for stereo in september, 2014. expanded incrementally between dec, 2014 and dec, 2016. merged with inricycled b and then finalized on december 16, 2016.
inri023: constructed over 1998. compiled and remastered in late 2013. the first two tracks were corrected to stereo in sept, 2014. the last two tracks were added for re-release as a remix lp in dec, 2016. finalized on dec 17, 2016. lp003.
inri024: initially written and recorded between 1996-1999 and remixed over the summer of 2015, with a lengthy pause due to malfunctioning electronics. final compilation date is jan 3, 2016. finalized dec 17, 2016. lp004.
inri025: this idea was developed in parallel to the inriclaimed project over the summer of 2015 and first compiled on nov 27, 2016. finalized on dec 17, 2016. lp005.
inri026: initially written in the fall of 1997. recorded in the winter of 1999. remixed in late 2013 and again in early 2014. this track was separated from my second record in january, 2016 but the single was not completed until it was remixed one last time in sept, 2017. finalized on sept 10, 2017.
inri027: streamed to disk in one take on the afternoon of march 9, 1999. ripped back to wav format from cd-r in late 2013. released as a one track single on nov 21, 2013. release finalized on sept 12, 2017.
inri028: constructed over a few days in april, 1999. ripped back to wav format from cd-r in late 2013. released as a one track single on nov 21, 2013. release finalized on sept 12, 2017.
inri029: recorded over 1997-1999. constructed in this form in june, 1999. published in november, 2013. aborted early version added as a hidden track on sept 13, 2017; release consequently finalized. symph003.
inri030: initially created in sept, 1997. remixed and reimagined repeatedly over 1998 and 1999. a failed rescue was attempted in 2013. partially reclaimed dec 8, 2014. rebuilt and resequenced on jan 9, 2016 out of material that had been remastered over 2013-2016. reimagined again on oct 26, 2016 out of material that was created in jan, 2016, but not released (and finalized) until sept 13, 2017, in order to properly fit into sequence.
inri031: recorded over the spring and summer of 1999. originally released on inrimake in october, 1999 (with an accidental phase reverse). the first section was modified further at the end of 1999. minimally altered and split into it's own ep in january, 2014. spliced further, appended to, remastered and finalized over sept, 2017. release finalized on sept 28, 2017.
inri032: recorded sporadically, and without cohesive intent, over '98 and '99. originally compiled in the fall of '99. augmented and minimally altered in january, 2014. finalized as lp006 on sept 21, 2017. as always, please use headphones - but note that they are especially mandatory for this recording.
originally created from 1996-1999. this compilation is dated to nov 1, 1999. slowly remastered, reconstituted, compiled, reconstructed, released and finalized from 2013-2017. compilation finalized on sept 28, 2017. as always, please use headphones.
inri000: originally released dec 25, 1996. remastered oct 30, 2013. finalized june 26, 2016.
inri001: originally released jun 1, 1997. remastered nov 8, 2013. finalized july 3, 2016.
inri002: originally written and recorded over 1996-1997. sequenced and mildly modified in dec, 2013. released dec 11, 2013. finalized on july 3, 2016. lp000.
inri003: created in mid 1997. sequenced and converted to stereo in november, 2013. released on nov 9, 2013. corrected in september, 2014. finalized on july 5, 2016.
inri004: originally written in 1997 and first created in 1998. a failed rescue was attempted in 2013. finally reconstructed in the summer of 2015 and extrapolated upon over the first half of 2016. released on july 4, 2016. finalized on july 5, 2016.
inri005: initially written in 1997. recreated in jan, 1998. a failed rescue was attempted in 2013. reclaimed july 1, 2015. deconstructed dec 18, 2015. released on jan 4, 2016. finalized on july 6, 2016. lead track added and refinalized july 20, 2016.
inri006: originally created in 1998. a failed rescue was attempted in 2013. reconstructed in the summer of 2015 and then manipulated further in the summer of 2016. released & finalized on july 7, 2016. hidden track added and re-finalized on july 18, 2016.
inri007: initially written in 1997. recreated in feb, 1998. a failed rescue was attempted in 2013. reclaimed july 5, 2015. remixed july 12, 2015. electronics added on july 16, 2015. released on jan 4, 2016. sequenced on jan 6-8, 2016. finalized on july 10, 2016. hidden track added and refinalized on july 21, 2016.
inri008: initially written in 1996. recreated in feb, 1998. a failed rescue was attempted in 2013. reclaimed june 29, 2015. remixed july 15, 2015. released on jan 4, 2016. finalized on july 11, 2016. bonus tracks added and re-finalized on july 18, 2016.
inri009: 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. released jan 5, 2016. sequenced jan 6-8, 2016. finalized on july 20, 2016.
inri010: initially written in 1996. recreated in april, 1998. a failed rescue was attempted in 2013. reclaimed july 12, 2015. vocals added july 15, 2015. sequenced, released and finalized on july 22, 2016.
inri011: originally created in april, 1998. a failed rescue was attempted in 2013. reclaimed july 4, 2015. remixed july 15, 2015. vocals added jan 6, 2016. released on jan 6, 2016. finalized on july 23, 2016.
inri012: initially written in 1996. recreated in the spring of 1998. a failed rescue was attempted in 2013. reclaimed june 29, 2015. corrected to control for malfunctioning electronics on nov 26, 2015. sequenced on jan 10, 2016. released & finalized on july 24, 2016.
inri013: written and demoed from 1994-1998. initially constructed in this form in june, 1998. a failed rescue was attempted in 2013. sequenced on jan 6-7, 2016 from parts that were rebuilt over 2013-2016. released jan 7, 2016. finalized on july 29, 2016. symph001.
inri014: initially written in 1996. recreated mostly in feb, 1998 (schizoid, terrorists) but also partly in june, 1998 (abusive). sequenced in this form in june, 1998. a failed rescue was attempted in 2013. "terrorists" was reclaimed june 28-29, 2015 & remixed july 15, 2015. the main mix was corrected on nov 19, 2015. "schizoid" was reclaimed on july 12, 2015 & reprogrammed on dec 31, 2015. the main mix was corrected on jan 3, 2016 and remixed repeatedly jan 3-5, 2016. the lead track was sequenced on jan 5, 2016 and split back apart on jan 8, 2016. released on jan 5, 2016. audio permanently closed on aug 1, 2016. release finalized on oct 9, 2016.
inri015: written and demoed in multiple stages from 1994-1998. initially constructed in this form in june, 1998. a failed rescue was attempted in 2013. reconstructed and resequenced jan 6-10, 2016 from parts that were rebuilt over 2013-2016. audio permanently closed on aug 10, 2016. finalized on oct 10, 2016. lp001.
inri016: created in the summer of 1998. released as a standalone ep on nov 16, 2013. audio permanently closed on oct 12, 2016. release finalized on oct 27, 2016.
inri017: initially written over the course of 1997. recreated and expanded over the course of 1998. lead track first sequenced in this form in feb, 1999. further remixes generated over the course of 1999. a failed rescue was attempted in 2013, and another in late 2015. remastered in november, 2016 from various sources, 1997-2015. finalized on nov 17, 2016.
inri018: initially written in 1997. recreated and reconceptualized in late 1998. salvaged somewhat at the end of 1999. remastered in 2013. compiled on nov 13, 2016. finalized on nov 19, 2016. final album version added as a bonus track and refinalized on dec 15, 2016.
inri019: written and demoed from 1996-1999. initially constructed in this form in january, 1999. a failed rescue was attempted in 2013. compiled on nov 13, 2016. sequenced on nov 22-24, 2016 from parts that were rebuilt over 2013-2016. audio permanently closed on nov 24, 2016. release finalized on nov 27, 2016. symph002.
inri020: initially written in 1993. first full recording in 1996. recreated in dec, 1997 and again in jan, 1999. a failed rescue was attempted in 2013. reclaimed on july 2, 2015. remixed on july 15, 2015. reconceptualized & remixed repeatedly over november & december, 2016. finalized on dec 13, 2016.
inri021: written and demoed in multiple stages from 1993-1999. initially constructed in this form in feb, 1999. a failed rescue was attempted in 2013. reconstructed and resequenced over november and december, 2016 from parts that were rebuilt over 2013-2016. finalized on dec 15, 2016. lp002.
inri022: recorded over 1998. compiled and remastered in late 2013. corrected to normalize for stereo in september, 2014. expanded incrementally between dec, 2014 and dec, 2016. merged with inricycled b and then finalized on december 16, 2016.
inri023: constructed over 1998. compiled and remastered in late 2013. the first two tracks were corrected to stereo in sept, 2014. the last two tracks were added for re-release as a remix lp in dec, 2016. finalized on dec 17, 2016. lp003.
inri024: initially written and recorded between 1996-1999 and remixed over the summer of 2015, with a lengthy pause due to malfunctioning electronics. final compilation date is jan 3, 2016. finalized dec 17, 2016. lp004.
inri025: this idea was developed in parallel to the inriclaimed project over the summer of 2015 and first compiled on nov 27, 2016. finalized on dec 17, 2016. lp005.
inri026: initially written in the fall of 1997. recorded in the winter of 1999. remixed in late 2013 and again in early 2014. this track was separated from my second record in january, 2016 but the single was not completed until it was remixed one last time in sept, 2017. finalized on sept 10, 2017.
inri027: streamed to disk in one take on the afternoon of march 9, 1999. ripped back to wav format from cd-r in late 2013. released as a one track single on nov 21, 2013. release finalized on sept 12, 2017.
inri028: constructed over a few days in april, 1999. ripped back to wav format from cd-r in late 2013. released as a one track single on nov 21, 2013. release finalized on sept 12, 2017.
inri029: recorded over 1997-1999. constructed in this form in june, 1999. published in november, 2013. aborted early version added as a hidden track on sept 13, 2017; release consequently finalized. symph003.
inri030: initially created in sept, 1997. remixed and reimagined repeatedly over 1998 and 1999. a failed rescue was attempted in 2013. partially reclaimed dec 8, 2014. rebuilt and resequenced on jan 9, 2016 out of material that had been remastered over 2013-2016. reimagined again on oct 26, 2016 out of material that was created in jan, 2016, but not released (and finalized) until sept 13, 2017, in order to properly fit into sequence.
inri031: recorded over the spring and summer of 1999. originally released on inrimake in october, 1999 (with an accidental phase reverse). the first section was modified further at the end of 1999. minimally altered and split into it's own ep in january, 2014. spliced further, appended to, remastered and finalized over sept, 2017. release finalized on sept 28, 2017.
inri032: recorded sporadically, and without cohesive intent, over '98 and '99. originally compiled in the fall of '99. augmented and minimally altered in january, 2014. finalized as lp006 on sept 21, 2017. as always, please use headphones - but note that they are especially mandatory for this recording.
originally created from 1996-1999. this compilation is dated to nov 1, 1999. slowly remastered, reconstituted, compiled, reconstructed, released and finalized from 2013-2017. compilation finalized on sept 28, 2017. as always, please use headphones.
credits
released November 1, 1999
j - guitars, effects, bass, bass synth, keyboards, synthesizers, piano, orchestral & other sequencing, drum programming, drum kit, percussion, pick scrapes, metronomes, vocals, vocal relics, mic noises, tapes, found sounds, paper, sampling, vocoders, octavers, cool edit wave synthesis, windows 95 sound recorder, noise generators, noise reduction, soundraider, hammerhead, sound design, strategies, light-wave synthesis, digital wave editing, digital effects processing, loops, text-to-speech synthesis, remixes, reconstructions, reinterpretations, chance, a broken tape deck, production.
the various rendered electronic orchestras include piano, organ, electric guitar, orchestra hit, pizzicato strings, synth pads, violin, viola, cello, contrabass, electric bass, sitar, tubular bells, tinkle bells, synthesizer effects and flute.
j - guitars, effects, bass, bass synth, keyboards, synthesizers, piano, orchestral & other sequencing, drum programming, drum kit, percussion, pick scrapes, metronomes, vocals, vocal relics, mic noises, tapes, found sounds, paper, sampling, vocoders, octavers, cool edit wave synthesis, windows 95 sound recorder, noise generators, noise reduction, soundraider, hammerhead, sound design, strategies, light-wave synthesis, digital wave editing, digital effects processing, loops, text-to-speech synthesis, remixes, reconstructions, reinterpretations, chance, a broken tape deck, production.
the various rendered electronic orchestras include piano, organ, electric guitar, orchestra hit, pizzicato strings, synth pads, violin, viola, cello, contrabass, electric bass, sitar, tubular bells, tinkle bells, synthesizer effects and flute.
republishing inri031
this was initially a part of this record:
jasonparent.bandcamp.com/album/inrimake
...but it never really made sense to put it there. that's a remix/cover album, and this is two forgotten experiments. it makes more sense to spin it off here.
this track was meant to be a new beginning, but, instead, exists in a sort of purgatory. musically, it's radically different than anything else labeled 'inri'; thematically, it's a logical extension of inri. i really wanted this to be a fresh start, but in the end i had to leave it in the inri pile. in places it's sort of evil, in other places it's just a little too precious.
my dad swapped houses in mid 99. again. this would be a frequent annoyance over the next few years. i can date this clearly to the summer of '99 as the first thing i did in my new basement. that change of surroundings contributed to the feeling of wanting to do something different...
while it is an original track, it ended up on the covers disc for two reasons. first, the lead guitar loop that cycles through the track came out of a stoner jam session in the basement of a friend of mine. it's sort of hilarious to realize it took three years for another human being to get an influence here, even if it was a throwaway jam session. that was really just an excuse though. the real reason it was on inrimake, rather than on inridiculous, is that it fits in better with the prog theme of that disc than the noise theme of the other one.
the lyrics have been a problem since they were recorded. sex sells. shock sells. i had to psyche myself up to do it. it's all tied together, though. where was i going with this, anyways?
'99 was the summer between grades 12 and 13 ("oac"). yes, ontario had a grade 13. get your laughs in. it was actually a pre-university year. universities would take the grades from the "oac" year as the entrance requirements. we didn't do SATs or anything. most universities have something like this for "mature students"; the weirdness is in making high school kids do the extra year. a few places (like quebec) still have similar types of pre-university screening...
anyways, i'm going into the oac year and i haven't even really given the whole vocation thing a passing thought, other than to reject the idea of defining my life through the concept of labour. there were a few weeks in the summer where i had sort of decided not to go to oac at all. i was actually *excited* about escaping school, focusing on a minimum wage job and spending my free time smoking pot and writing music. i really didn't want anything more out of life than this. and, if i happened to get lucky and sell some records, even better. i was eventually talked down from this position through a process of bribery. that didn't magically construct vocational aspirations, though; i ended up overloading on oac credits for the simple reason that i didn't know what i wanted.
(i ended up grudgingly accepting entrance into a software engineering program, literally switched to cosmological physics within a few weeks, switched to math after that, then bounced around from music to english to women's studies and ...)
so, again, i'm stuck between grade 12 and 13 and really dreading what the future holds. finding a way to sell some music would be an escape from this. i concluded that, tactically, my best approach at the time would have been to focus on something sexually explicit that gains it's power from it's shock value. there's a bit of desperation underlying this.
so i wrote a sort of graphic depiction of sexual domination within a male homosexual context. see, the thing is that it isn't very convincing. it isn't very convincing because it's contrived for profit. i'm being bluntly honest about the logic that produced this track because seeing myself in the mirror like this actually had a large effect on me. once i realized what i'd created, i was completely disgusted with myself. in it's initial form, liquify was the first 3:36 of this track. it sat on my hard drive for several weeks, waiting for me to finish questioning myself - who i was, what i was doing, whether it was worth it.
i came to two conclusions.
the first was that contrived music sucks. i realized i wasn't going to get anywhere faking it, anyways. if i wanted to build an audience, the only serious approach i had was honesty.
the second was that, even if it works, being fake isn't worth it. i was rejecting the beaten path because i didn't feel i belonged on it. accepting some kind of Official Alternative Beaten Path wasn't solving anything.
so, i should just do what i want, and tell anybody that doesn't like it to fuck off.
the second part of this track flowed from that epiphany. it's a pure prog workout, discernible from 1972 solely in it's updated use of technology. probably for the first time, the notes really mean something to me, here. if you listen, you can tell.
the ending scene of the jim carrey masterpiece, the truman show, fades the track out. it's meant to document the importance of the film in helping me work through what i was working through. as of january 2014, i've mildly modified the track to fade out the truman show ending, which was just a little too cheezy & precious.
so, yeah. there's a few more inri tracks. but this is really the point where inri dies.
--
the first five minutes were initially a different track, and are split off here for the final version to document it. i didn't initially commit to this pairing; i always intended to finish the first section as a separate track. it really wasn't until 2014 that i finally decided against it.
the version that ended up on 'inrimake' was a slightly less finished mix than the version that i archived as mp3. i must have further altered the track between the time that i burned the inrimake disc (october, 1999) and the time that i saved the track to mp3 to archive (january, 2000). i didn't notice this when i edited the track in 2014. but, i've brought the newest version in for the final remix.
--
when i ran through the discography in 2014, i stopped on this track for a few days and ultimately had to admit defeat around it. i wanted to turn the vocals down, but the mix was simply too saturated to do anything about it; everything i tried had a set of unintended consequences, and it just seemed prudent to not touch it. i was able to get around these concerns for my final mix, which is dated to sept, 2017. i've also split the instrumental section off and given it the title that i used for early versions of inricycled.
recorded over the spring and summer of 1999. originally released on inrimake in october, 1999 (with an accidental phase reverse). the first section was modified further at the end of 1999. minimally altered and split into it's own ep in january, 2014. spliced further, appended to and finalized over sept, 2017. finalized on sept 28, 2017. as always, please use headphones.
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 (1999, 2013, 2014, 2017).
jasonparent.bandcamp.com/album/inrimake
...but it never really made sense to put it there. that's a remix/cover album, and this is two forgotten experiments. it makes more sense to spin it off here.
this track was meant to be a new beginning, but, instead, exists in a sort of purgatory. musically, it's radically different than anything else labeled 'inri'; thematically, it's a logical extension of inri. i really wanted this to be a fresh start, but in the end i had to leave it in the inri pile. in places it's sort of evil, in other places it's just a little too precious.
my dad swapped houses in mid 99. again. this would be a frequent annoyance over the next few years. i can date this clearly to the summer of '99 as the first thing i did in my new basement. that change of surroundings contributed to the feeling of wanting to do something different...
while it is an original track, it ended up on the covers disc for two reasons. first, the lead guitar loop that cycles through the track came out of a stoner jam session in the basement of a friend of mine. it's sort of hilarious to realize it took three years for another human being to get an influence here, even if it was a throwaway jam session. that was really just an excuse though. the real reason it was on inrimake, rather than on inridiculous, is that it fits in better with the prog theme of that disc than the noise theme of the other one.
the lyrics have been a problem since they were recorded. sex sells. shock sells. i had to psyche myself up to do it. it's all tied together, though. where was i going with this, anyways?
'99 was the summer between grades 12 and 13 ("oac"). yes, ontario had a grade 13. get your laughs in. it was actually a pre-university year. universities would take the grades from the "oac" year as the entrance requirements. we didn't do SATs or anything. most universities have something like this for "mature students"; the weirdness is in making high school kids do the extra year. a few places (like quebec) still have similar types of pre-university screening...
anyways, i'm going into the oac year and i haven't even really given the whole vocation thing a passing thought, other than to reject the idea of defining my life through the concept of labour. there were a few weeks in the summer where i had sort of decided not to go to oac at all. i was actually *excited* about escaping school, focusing on a minimum wage job and spending my free time smoking pot and writing music. i really didn't want anything more out of life than this. and, if i happened to get lucky and sell some records, even better. i was eventually talked down from this position through a process of bribery. that didn't magically construct vocational aspirations, though; i ended up overloading on oac credits for the simple reason that i didn't know what i wanted.
(i ended up grudgingly accepting entrance into a software engineering program, literally switched to cosmological physics within a few weeks, switched to math after that, then bounced around from music to english to women's studies and ...)
so, again, i'm stuck between grade 12 and 13 and really dreading what the future holds. finding a way to sell some music would be an escape from this. i concluded that, tactically, my best approach at the time would have been to focus on something sexually explicit that gains it's power from it's shock value. there's a bit of desperation underlying this.
so i wrote a sort of graphic depiction of sexual domination within a male homosexual context. see, the thing is that it isn't very convincing. it isn't very convincing because it's contrived for profit. i'm being bluntly honest about the logic that produced this track because seeing myself in the mirror like this actually had a large effect on me. once i realized what i'd created, i was completely disgusted with myself. in it's initial form, liquify was the first 3:36 of this track. it sat on my hard drive for several weeks, waiting for me to finish questioning myself - who i was, what i was doing, whether it was worth it.
i came to two conclusions.
the first was that contrived music sucks. i realized i wasn't going to get anywhere faking it, anyways. if i wanted to build an audience, the only serious approach i had was honesty.
the second was that, even if it works, being fake isn't worth it. i was rejecting the beaten path because i didn't feel i belonged on it. accepting some kind of Official Alternative Beaten Path wasn't solving anything.
so, i should just do what i want, and tell anybody that doesn't like it to fuck off.
the second part of this track flowed from that epiphany. it's a pure prog workout, discernible from 1972 solely in it's updated use of technology. probably for the first time, the notes really mean something to me, here. if you listen, you can tell.
the ending scene of the jim carrey masterpiece, the truman show, fades the track out. it's meant to document the importance of the film in helping me work through what i was working through. as of january 2014, i've mildly modified the track to fade out the truman show ending, which was just a little too cheezy & precious.
so, yeah. there's a few more inri tracks. but this is really the point where inri dies.
--
the first five minutes were initially a different track, and are split off here for the final version to document it. i didn't initially commit to this pairing; i always intended to finish the first section as a separate track. it really wasn't until 2014 that i finally decided against it.
the version that ended up on 'inrimake' was a slightly less finished mix than the version that i archived as mp3. i must have further altered the track between the time that i burned the inrimake disc (october, 1999) and the time that i saved the track to mp3 to archive (january, 2000). i didn't notice this when i edited the track in 2014. but, i've brought the newest version in for the final remix.
--
when i ran through the discography in 2014, i stopped on this track for a few days and ultimately had to admit defeat around it. i wanted to turn the vocals down, but the mix was simply too saturated to do anything about it; everything i tried had a set of unintended consequences, and it just seemed prudent to not touch it. i was able to get around these concerns for my final mix, which is dated to sept, 2017. i've also split the instrumental section off and given it the title that i used for early versions of inricycled.
recorded over the spring and summer of 1999. originally released on inrimake in october, 1999 (with an accidental phase reverse). the first section was modified further at the end of 1999. minimally altered and split into it's own ep in january, 2014. spliced further, appended to and finalized over sept, 2017. finalized on sept 28, 2017. as always, please use headphones.
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 (1999, 2013, 2014, 2017).
credits
released August 1, 1999
j - guitar, effects, bass, synths, piano, loops, drum programming, vocals, samples, cool edit synthesis, sequencing, digital wave editing, digital effects processing, production
j - guitar, effects, bass, synths, piano, loops, drum programming, vocals, samples, cool edit synthesis, sequencing, digital wave editing, digital effects processing, production
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