i'm going to need to sleep soon, but it's going to flood a little.
i'm doing the crazy thing, here - almost three hours of mixes of the same song. it's going to be ordered chronologically. it won't take long to get it done, but it's going to be a lot of rss posts.
Wednesday, November 19, 2014
publishing the imaginary tour demo ep (inri059)
ok, that finishes inri040, which i'm releasing as a download-only release.
these mixes are a little messy at points, but it's marketed as a demo, so i'm ok with that.
--
something like this would have been the demo brought along on an acoustic tour that never happened. tracks 1-4 would have represented a live set over the summer of 2002, while tracks five and six are otherwise stranded acoustic demos. the style could be broadly categorized as folk punk, but it also leans heavily towards the emo of the period.
written and recorded in late 2001 and the first half of 2002. mildly remixed in november, 2014 to make the tracks more presentable; nothing substantial was altered, and no new sound was recorded. final mixes were on november 19, 2014. as always, please use headphones.
credits
j - acoustic guitar, voice (3)
sean - vocals, lyrics
released august 1, 2002
https://jasonparent.bandcamp.com/album/the-imaginary-tour-ep
1) this is the original demo, that the main track was built over. it is completely unaltered from the 2002 file. feb 5, 2002.
https://jasonparent.bandcamp.com/track/9-16-outside-the-magenta-box
2) this is a new mix of the original guitar and vocal parts. written and recorded in march, 2002. mix done on nov 19, 2014.
http://jasonparent.bandcamp.com/track/psi-4
3) when the idea of performing as an acoustic duo was decided upon, it became clear that much of the recorded material was unsuitable for this purpose. the original version of this track would have been painfully boring to watch as a duo, with the music consisting of nothing more than a basic bass line. so, i rewrote the song for acoustic presentation. this is a (rough) live demo that i made for sean. no recording with sean was created.
it's a tricky guitar part, and trickier to do while singing (which wouldn't have been necessary in a live setting).
obviously, a live version would have included sean singing his vocals rather than me reciting them. it would have also included dual harmonies at the end.
some minor editing of this may 5, 2002 mix was done on nov 19. 2014.
http://jasonparent.bandcamp.com/track/me-myself-and-the-time-i-thought-this-was-a-good-idea-2
4) this is actually a transitional version of the song, halfway between the initial folk version (jasonparent.bandcamp.com/track/the-day-i-saw-you-cry-first-demo ) and the rabit is wolf version (jasonparent.bandcamp.com/track/the-day-i-saw-you-cry). the guitar part was recorded live in may, 2002 for the purposes of it being the performance version of the track, and just as a way to show it to sean over icq (or was it msn?). i've reconstructed the vocals from recordings of the studio version, which is in itself a substantial reworking because those vocals were heavily manipulated.
i had no option but to time shift some of the tracks as some of this recording is in a different tempo, but these are otherwise naked vocals and this is otherwise what i would have wanted a live performance of the track to sound like, as the ending point of any live set.
this mix was done on nov 19, 2014, out of parts recorded in may and june of 2002, and is dated to june 10, 2002.
http://jasonparent.bandcamp.com/track/the-day-i-saw-you-cry-2
5) this was a live demo (with sean on the left channel and myself on the right) that i think was probably recorded in july. i've mixed the channels down, but not altered it, otherwise. mixed on nov 19, 2014. dated to july 14, 2002.
this was a song that had a split personality from the beginning; it was being converted into a techno song for my own uses at the same time that it was being written with sean, and to be honest i had far more invested into the techno side of it. i did play it for sean, but he wasn't interested. no final mix was recorded with sean. i think this version is best left as it is.
https://jasonparent.bandcamp.com/track/penny-shoeman
6) this was a live demo (with sean on the left channel and myself on the right) that i think was probably recorded in july. this was never finished as a rabit tune, and i never expanded it into one of my own tunes. i think it's better left as it is. this acoustic ep is actually a good home for it, as it was intended that way.
the little bit of production i did was in mixing the channels. the intent was just to mix the two sources together, but i felt that the mixdown took something away from sean's vocals that they previously had when they were separated in the mix - this is hard to articulate, it's just something about the empty space. so, that's the idea going on there.
i constructed this final mix (date: nov 19, 2014) out of two mixes - one that continued the stereo rotation for the whole track, and the initial channel-separated one. it's dated to july 28, 2002.
http://jasonparent.bandcamp.com/track/jumped-up-and-down
note that this is also the last rabit is wolf release.
i'm going to put a box set up, but it's difficult to place the boundaries on it so i'm not sure yet. the rule will probably be "include's seans vocals". which will make the box set eight or nine discs.
these mixes are a little messy at points, but it's marketed as a demo, so i'm ok with that.
--
something like this would have been the demo brought along on an acoustic tour that never happened. tracks 1-4 would have represented a live set over the summer of 2002, while tracks five and six are otherwise stranded acoustic demos. the style could be broadly categorized as folk punk, but it also leans heavily towards the emo of the period.
written and recorded in late 2001 and the first half of 2002. mildly remixed in november, 2014 to make the tracks more presentable; nothing substantial was altered, and no new sound was recorded. final mixes were on november 19, 2014. as always, please use headphones.
credits
j - acoustic guitar, voice (3)
sean - vocals, lyrics
released august 1, 2002
https://jasonparent.bandcamp.com/album/the-imaginary-tour-ep
1) this is the original demo, that the main track was built over. it is completely unaltered from the 2002 file. feb 5, 2002.
https://jasonparent.bandcamp.com/track/9-16-outside-the-magenta-box
2) this is a new mix of the original guitar and vocal parts. written and recorded in march, 2002. mix done on nov 19, 2014.
http://jasonparent.bandcamp.com/track/psi-4
3) when the idea of performing as an acoustic duo was decided upon, it became clear that much of the recorded material was unsuitable for this purpose. the original version of this track would have been painfully boring to watch as a duo, with the music consisting of nothing more than a basic bass line. so, i rewrote the song for acoustic presentation. this is a (rough) live demo that i made for sean. no recording with sean was created.
it's a tricky guitar part, and trickier to do while singing (which wouldn't have been necessary in a live setting).
obviously, a live version would have included sean singing his vocals rather than me reciting them. it would have also included dual harmonies at the end.
some minor editing of this may 5, 2002 mix was done on nov 19. 2014.
http://jasonparent.bandcamp.com/track/me-myself-and-the-time-i-thought-this-was-a-good-idea-2
4) this is actually a transitional version of the song, halfway between the initial folk version (jasonparent.bandcamp.com/track/the-day-i-saw-you-cry-first-demo ) and the rabit is wolf version (jasonparent.bandcamp.com/track/the-day-i-saw-you-cry). the guitar part was recorded live in may, 2002 for the purposes of it being the performance version of the track, and just as a way to show it to sean over icq (or was it msn?). i've reconstructed the vocals from recordings of the studio version, which is in itself a substantial reworking because those vocals were heavily manipulated.
i had no option but to time shift some of the tracks as some of this recording is in a different tempo, but these are otherwise naked vocals and this is otherwise what i would have wanted a live performance of the track to sound like, as the ending point of any live set.
this mix was done on nov 19, 2014, out of parts recorded in may and june of 2002, and is dated to june 10, 2002.
http://jasonparent.bandcamp.com/track/the-day-i-saw-you-cry-2
5) this was a live demo (with sean on the left channel and myself on the right) that i think was probably recorded in july. i've mixed the channels down, but not altered it, otherwise. mixed on nov 19, 2014. dated to july 14, 2002.
this was a song that had a split personality from the beginning; it was being converted into a techno song for my own uses at the same time that it was being written with sean, and to be honest i had far more invested into the techno side of it. i did play it for sean, but he wasn't interested. no final mix was recorded with sean. i think this version is best left as it is.
https://jasonparent.bandcamp.com/track/penny-shoeman
6) this was a live demo (with sean on the left channel and myself on the right) that i think was probably recorded in july. this was never finished as a rabit tune, and i never expanded it into one of my own tunes. i think it's better left as it is. this acoustic ep is actually a good home for it, as it was intended that way.
the little bit of production i did was in mixing the channels. the intent was just to mix the two sources together, but i felt that the mixdown took something away from sean's vocals that they previously had when they were separated in the mix - this is hard to articulate, it's just something about the empty space. so, that's the idea going on there.
i constructed this final mix (date: nov 19, 2014) out of two mixes - one that continued the stereo rotation for the whole track, and the initial channel-separated one. it's dated to july 28, 2002.
http://jasonparent.bandcamp.com/track/jumped-up-and-down
note that this is also the last rabit is wolf release.
i'm going to put a box set up, but it's difficult to place the boundaries on it so i'm not sure yet. the rule will probably be "include's seans vocals". which will make the box set eight or nine discs.
publishing time (inri056)
sound raider isn't behaving...i probably wouldn't have uploaded it anyways....
so, inri037 is now complete.
--
time & psi were partially a rejection of the folk idea in favour of glossy, somewhat experimental pop. i realized that it was reasonable to move in a more commercial direction, but folk wasn't something i understood well, so it was a weird direction for me to be moving in. experimental or psychedelic pop, on the other hand, was something i had a solid grasp on...
time had been initially recorded in the fall and was remixed in late february to integrate a drum part. no original files exist. psi was recorded quickly in early march.
the track, as it existed in rabit, was a conscious pop compromise. i had ideas that weren't explored to keep it poppy and that have been expanded upon in the remixes.
the time machine is added here as a bonus track. it's based on an earlier classical guitar composition that was always meant to be reinterpreted as an idm tune and finally was in early 2014. the thematic overlap makes it relevant, but there is otherwise no connection between the two songs.
i started working on what would become my fourth symphony very shortly after the material on this ep was completed, and it really represents the point where i lost interest in rabit as a concept, under pressure to continue moving in a direction i didn't have any interest in. there are folk and psych versions of the track; sean never caught on to the psych version, and i never had my heart in the folk version. there were final folk demos recorded as late as the fall, but the disconnect was not solvable. the vocal version of the fourth symphony is in some way a corollary of but is ultimately too separate from these files to include here. psi & time, together, consequently comprise what is the fourth and final ("psychedelic pop") phase of rabit.
written in late 2001 and early 2002 and recorded in early 2002 and late 2014. the final mix was finished on nov 18, 2014. as always, please use headphones.
credits:
j - electric & acoustic guitars, bass, synthesizers, digital effects & treatments, drum manipulations, programming, digital wave editing, loops, sound design, production, composition.
sean - vocals, lyrics (3,4)
greg - drum performance sample source (1-3)
the rendered electronic orchestra on track 5 includes acoustic bass, synth bass, electric bass, brass, orchestra hit, drum machine, electronic drum kit, nylon guitar, electric guitar, synthesizer effects, music box, piano, bells and mellotron.
released march 10, 2002
https://jasonparent.bandcamp.com/album/time
so, inri037 is now complete.
--
time & psi were partially a rejection of the folk idea in favour of glossy, somewhat experimental pop. i realized that it was reasonable to move in a more commercial direction, but folk wasn't something i understood well, so it was a weird direction for me to be moving in. experimental or psychedelic pop, on the other hand, was something i had a solid grasp on...
time had been initially recorded in the fall and was remixed in late february to integrate a drum part. no original files exist. psi was recorded quickly in early march.
the track, as it existed in rabit, was a conscious pop compromise. i had ideas that weren't explored to keep it poppy and that have been expanded upon in the remixes.
the time machine is added here as a bonus track. it's based on an earlier classical guitar composition that was always meant to be reinterpreted as an idm tune and finally was in early 2014. the thematic overlap makes it relevant, but there is otherwise no connection between the two songs.
i started working on what would become my fourth symphony very shortly after the material on this ep was completed, and it really represents the point where i lost interest in rabit as a concept, under pressure to continue moving in a direction i didn't have any interest in. there are folk and psych versions of the track; sean never caught on to the psych version, and i never had my heart in the folk version. there were final folk demos recorded as late as the fall, but the disconnect was not solvable. the vocal version of the fourth symphony is in some way a corollary of but is ultimately too separate from these files to include here. psi & time, together, consequently comprise what is the fourth and final ("psychedelic pop") phase of rabit.
written in late 2001 and early 2002 and recorded in early 2002 and late 2014. the final mix was finished on nov 18, 2014. as always, please use headphones.
credits:
j - electric & acoustic guitars, bass, synthesizers, digital effects & treatments, drum manipulations, programming, digital wave editing, loops, sound design, production, composition.
sean - vocals, lyrics (3,4)
greg - drum performance sample source (1-3)
the rendered electronic orchestra on track 5 includes acoustic bass, synth bass, electric bass, brass, orchestra hit, drum machine, electronic drum kit, nylon guitar, electric guitar, synthesizer effects, music box, piano, bells and mellotron.
released march 10, 2002
https://jasonparent.bandcamp.com/album/time
running out of time (final mixes)
1) the track, as it existed in rabit, was a conscious pop compromise. i had ideas that weren't explored to keep it poppy and that have been expanded upon in the remixes. written in late 2001 and 2002 and recorded in early 2002 and late 2014. the final mix was finished on nov 18, 2014.
http://jasonparent.bandcamp.com/track/running-out-of-time
2) this mix is a combination of tracks from the original song played at various speeds, with large amounts of processing on the individual tracks. there's actually no synths in this track. track released nov 18, 2014.
http://jasonparent.bandcamp.com/track/time-running-out-mix
3) a remixed instrumental version of the original track. released nov 18, 2014.
https://jasonparent.bandcamp.com/track/time-unstuck-mix-2
http://jasonparent.bandcamp.com/track/running-out-of-time
2) this mix is a combination of tracks from the original song played at various speeds, with large amounts of processing on the individual tracks. there's actually no synths in this track. track released nov 18, 2014.
http://jasonparent.bandcamp.com/track/time-running-out-mix
3) a remixed instrumental version of the original track. released nov 18, 2014.
https://jasonparent.bandcamp.com/track/time-unstuck-mix-2
i'm done reclaiming rabit stuff, now. the next few releases require some remixes but should be quick.
i don't know about this tour ep, i don't know if i have enough material. i'm not just going to release it for the sake of it. if i can get enough together, great. if not...
i ended up with a lot of unused edits for the first section of time, now called running out of time. i'm going to try a sound raider experiment with them to add to the ep. but they're not a part of the track. inri037 is otherwise done.
the rss will update. i need to eat....
i don't know about this tour ep, i don't know if i have enough material. i'm not just going to release it for the sake of it. if i can get enough together, great. if not...
i ended up with a lot of unused edits for the first section of time, now called running out of time. i'm going to try a sound raider experiment with them to add to the ep. but they're not a part of the track. inri037 is otherwise done.
the rss will update. i need to eat....
Tuesday, November 18, 2014
i feel that people are a little bit confused about this discussion of streaming media, and a lot of it has to do with not understanding the words that are being thrown around.
so, we live under the system we call capitalism. while there are many ways to categorize people in capitalism, the most widely adopted (and most successful, in terms of explanations) way to do this is to broadly split people into workers and capitalists. it's not a clean partition, and it's not exhaustive, but it's fine for the discussion.
simply stated, the workers in a capitalist system are the people that make the goods, whereas the capitalists are the people that own the systems of production and appropriate a profit from the worker's labour, while not producing anything themselves.
now, let us analyze a music distribution system, like spotify. clearly, the musicians are the workers in such a system. and, who are the capitalists? that would be the managers - spotify, google, apple....
and, we see the same thing in this system that we see in every other capitalist system - the capitalists make large profits by exploiting the labour of the workers, while the workers starve.
now, it's pretty blatantly obvious that capitalism is an exploitative system. so, one of the things that anti-capitalists (like socialists and anarchists) seek to do is to gain control of the means of production, so that they don't have to pay the capitalists. anti-capitalists would consequently seek to smash systems like spotify and replace them with artist-run spaces. that is, independent labels and independent artists. bandcamp is not exactly an artist run space, but it's far closer to a socialist model.
the confusion stems from this idea that any process of exchange is upholding capitalism, which is just a misunderstanding of capitalism. capitalism is not exchanging things. there are diverse types of market socialism. capitalism, specifically, is the appropriation of labour by a managerial class. and, the entrenchment of services that stream music for peanuts that are sent to a centralized corporate bureaucracy, while the workers get nothing at all, is one of the most blatantly capitalistic things we've seen happen in our lifetimes.
this confusion is upheld by social norms which seek to trivialize certain economic activities as outside the market. generally, it's "feminine things" that are trivialized in this way - child care, housework, social work and art, to name a few examples.
i hope i've clarified a few things.
so, we live under the system we call capitalism. while there are many ways to categorize people in capitalism, the most widely adopted (and most successful, in terms of explanations) way to do this is to broadly split people into workers and capitalists. it's not a clean partition, and it's not exhaustive, but it's fine for the discussion.
simply stated, the workers in a capitalist system are the people that make the goods, whereas the capitalists are the people that own the systems of production and appropriate a profit from the worker's labour, while not producing anything themselves.
now, let us analyze a music distribution system, like spotify. clearly, the musicians are the workers in such a system. and, who are the capitalists? that would be the managers - spotify, google, apple....
and, we see the same thing in this system that we see in every other capitalist system - the capitalists make large profits by exploiting the labour of the workers, while the workers starve.
now, it's pretty blatantly obvious that capitalism is an exploitative system. so, one of the things that anti-capitalists (like socialists and anarchists) seek to do is to gain control of the means of production, so that they don't have to pay the capitalists. anti-capitalists would consequently seek to smash systems like spotify and replace them with artist-run spaces. that is, independent labels and independent artists. bandcamp is not exactly an artist run space, but it's far closer to a socialist model.
the confusion stems from this idea that any process of exchange is upholding capitalism, which is just a misunderstanding of capitalism. capitalism is not exchanging things. there are diverse types of market socialism. capitalism, specifically, is the appropriation of labour by a managerial class. and, the entrenchment of services that stream music for peanuts that are sent to a centralized corporate bureaucracy, while the workers get nothing at all, is one of the most blatantly capitalistic things we've seen happen in our lifetimes.
this confusion is upheld by social norms which seek to trivialize certain economic activities as outside the market. generally, it's "feminine things" that are trivialized in this way - child care, housework, social work and art, to name a few examples.
i hope i've clarified a few things.
time (running out mix)
so, this is going to come in in three parts on the time single, which will be merged into one track on the record.
it's looking like it'll be around 20 minutes, which may be a mild problem when it comes to sequence the disc. but i can't worry about that right now. right now, i've got tons of space on the single...
the third part may end up not on the record. we'll see.
https://jasonparent.bandcamp.com/track/time-unstuck-mix
this is the first section, which will open up into a remix of the song for the second section. the third section is an idea that will be chaotic, let's see what it sounds like....
written & recorded in late 2001 and early 2002 and mixed in early 2002 and late 2014. the final mix was finished on nov 18, 2014.
it's looking like it'll be around 20 minutes, which may be a mild problem when it comes to sequence the disc. but i can't worry about that right now. right now, i've got tons of space on the single...
the third part may end up not on the record. we'll see.
https://jasonparent.bandcamp.com/track/time-unstuck-mix
this is the first section, which will open up into a remix of the song for the second section. the third section is an idea that will be chaotic, let's see what it sounds like....
written & recorded in late 2001 and early 2002 and mixed in early 2002 and late 2014. the final mix was finished on nov 18, 2014.
Monday, November 17, 2014
well, i got my permanent record mailed to me, but it's not my permanent record. it's for somebody else with the same name born in july, 1981. i was born in january, 1981. so i need to figure out where my files are...
the one thing i did get back was standardized testing results from when i was in grade two. apparently, they identified me as being at a ninth grade level at that time. i passed a test to skip me past grade five, but the principal vetoed it because she thought i needed to stay the year for maturity reasons.
the truth is i was always almost a year older than everybody because i was born thirteen days past the cutoff. so, i was almost eight going into grade two. the skip probably would have helped more than hindered in terms of behavioural issues.
anyways, these were my grade two standardized test results. these are percentiles, not grades.
vocabulary - 99
reading - 95
language - 96
work-study - 99
mathematics - 93
total rank: 99th percentile (national)
i look back and don't wish i would have spent more time on school, i look back and wish i wouldn't have bothered at all. and, had i not been pressured into it, i probably wouldn't have.
i mean, i'd probably have more of this discography done at this point.
but i think i got to the right approach eventually.
speaking of which, i need to start the next remix....
the one thing i did get back was standardized testing results from when i was in grade two. apparently, they identified me as being at a ninth grade level at that time. i passed a test to skip me past grade five, but the principal vetoed it because she thought i needed to stay the year for maturity reasons.
the truth is i was always almost a year older than everybody because i was born thirteen days past the cutoff. so, i was almost eight going into grade two. the skip probably would have helped more than hindered in terms of behavioural issues.
anyways, these were my grade two standardized test results. these are percentiles, not grades.
vocabulary - 99
reading - 95
language - 96
work-study - 99
mathematics - 93
total rank: 99th percentile (national)
i look back and don't wish i would have spent more time on school, i look back and wish i wouldn't have bothered at all. and, had i not been pressured into it, i probably wouldn't have.
i mean, i'd probably have more of this discography done at this point.
but i think i got to the right approach eventually.
speaking of which, i need to start the next remix....
that reliable feeling of disappointment that one expects following a new smashing pumpkins release
all three of these tracks seem geared for radio play. it's not like the pumpkins weren't always a radio band, but...
i don't listen to the radio anymore and haven't in a really, really long time but i suspect that none of these songs are going to fit in well with anything remotely approaching an existing singles market. which gives them that left-field advantage. but that's low probability. hey, i hope it works out. but...
how many people are going to post the tired old "it's like everything else since insert event - it's ok, but it just doesn't grab me". well, they're right on some level but they're not able to articulate it.
the smashing pumpkins sound requires the integration of virtuoso guitar work.
that's the missing link, the je ne sais quoi, the intangible, the mystery ingredient...
sadly, it's probably the exact opposite thing that william (hey, he asked, have some respect) has heard from every label head, marketing expert, friend and pet over the last fifteen years.
this is alright. for a pop song. but it doesn't have that virtuosic angular energy.
which in the end just means i'm not in the intended audience. which is ok, too.
i don't listen to the radio anymore and haven't in a really, really long time but i suspect that none of these songs are going to fit in well with anything remotely approaching an existing singles market. which gives them that left-field advantage. but that's low probability. hey, i hope it works out. but...
how many people are going to post the tired old "it's like everything else since insert event - it's ok, but it just doesn't grab me". well, they're right on some level but they're not able to articulate it.
the smashing pumpkins sound requires the integration of virtuoso guitar work.
that's the missing link, the je ne sais quoi, the intangible, the mystery ingredient...
sadly, it's probably the exact opposite thing that william (hey, he asked, have some respect) has heard from every label head, marketing expert, friend and pet over the last fifteen years.
this is alright. for a pop song. but it doesn't have that virtuosic angular energy.
which in the end just means i'm not in the intended audience. which is ok, too.
Saturday, November 15, 2014
every once in a while i second guess myself on the way i'm doing this, with so many overlapping tracks, and i always come back to the same point. i'm just concerned that i'm giving out the impression that i'm ripping people off by burying an obscure track here or there, forcing people to buy things repeatedly.
first of all, i wouldn't expect *anybody* to buy every single release i have up on my page. it's not a collect them all kind of thing. it's a very diverse discography. if you like my ambient works, you might not like my noise pieces; if you like my orchestrated stuff, you might find the punk a little boring. etc. i get that. i'm that kind of artist. i mean, there will be the odd person that likes all of it but it's not going to be the norm...
second, i'm actually operating more on the idea of cataloguing my work than i am in offering a product for sale. so, yes, there's a lot of overlap in the eps, but each one of them is a conceptual fragment that represents an idea that i think ought to be catalogued.
the point i keep coming back to is that i'm providing options.
if i removed all the eps, and there was a specific song you really liked, you'd have to buy two or three records to get all the different versions. now, maybe you might want to do that anyways. but, maybe you don't. then, the ep would be a good idea because you'd get all the different versions of that one song in one place.
for example, with the ep i just released, you could break down the tracks as follows:
1) upcoming 6th record
2) rabit is wolf demo
3) imaginary tour ep
4) probably unique to this ep (a different version will be on the imaginary tour ep)
5) unique to this ep
6) not a song
you could look at it as though i'm burying two obscure tracks on the ep, but the way i'm looking at it is that i'm constructing a thematic listening experience, and there's no rule that says you have to buy the ep if you don't want to. that's what the records are for, if that's what you want. see, i grew up listening to remix records; i like to hear a handful of different versions of a song i like flow together, and in that sense i'm providing what i would want as a consumer.
but you could also look at it as though i'm stopping you from having to buy three albums to get all the versions of the track - and tossing in some bonus material on top of it.
another thing i'll do is split off ten or twenty conceptually linked minutes of a record and put it up as an ep. you could argue it's redundant, but what if somebody only wants that concept rather than the whole record? even that's not the point of why i'm doing this, though. i'm doing this to catalogue that idea as separate from the record, for thematic or chronological reasons. one example is the classical guitar ep. it's on the fifth disc. but, what if you just want the guitar pieces?
the current standard industry solution to this problem is to allow per track downloads but i really find this distasteful. i don't allow this for the specific reason that i don't like it. and, in the end buying multiple scattered mixes of a track is going to cost more than buying an ep, anyways, so i'm actually undercharging rather than overcharging if you directly contrast these options.
i know i'm doing this the way i want, and i know i'm doing it for the right reasons. but that perception bothers me. not that anybody has brought it up. but don't think it...it's not the right way to look at what i'm compiling, or interpret why i'm doing it this way...
i'm otherwise done for the night. the next thing up is the time remix, and this is going to be a little different because i don't have a clear plan to construct it. i have some rough ideas of things i wanted to play with, but it's not at all formed.
i think i'm going to reconstruct the track as it was, first, and then splice it up from there.
first of all, i wouldn't expect *anybody* to buy every single release i have up on my page. it's not a collect them all kind of thing. it's a very diverse discography. if you like my ambient works, you might not like my noise pieces; if you like my orchestrated stuff, you might find the punk a little boring. etc. i get that. i'm that kind of artist. i mean, there will be the odd person that likes all of it but it's not going to be the norm...
second, i'm actually operating more on the idea of cataloguing my work than i am in offering a product for sale. so, yes, there's a lot of overlap in the eps, but each one of them is a conceptual fragment that represents an idea that i think ought to be catalogued.
the point i keep coming back to is that i'm providing options.
if i removed all the eps, and there was a specific song you really liked, you'd have to buy two or three records to get all the different versions. now, maybe you might want to do that anyways. but, maybe you don't. then, the ep would be a good idea because you'd get all the different versions of that one song in one place.
for example, with the ep i just released, you could break down the tracks as follows:
1) upcoming 6th record
2) rabit is wolf demo
3) imaginary tour ep
4) probably unique to this ep (a different version will be on the imaginary tour ep)
5) unique to this ep
6) not a song
you could look at it as though i'm burying two obscure tracks on the ep, but the way i'm looking at it is that i'm constructing a thematic listening experience, and there's no rule that says you have to buy the ep if you don't want to. that's what the records are for, if that's what you want. see, i grew up listening to remix records; i like to hear a handful of different versions of a song i like flow together, and in that sense i'm providing what i would want as a consumer.
but you could also look at it as though i'm stopping you from having to buy three albums to get all the versions of the track - and tossing in some bonus material on top of it.
another thing i'll do is split off ten or twenty conceptually linked minutes of a record and put it up as an ep. you could argue it's redundant, but what if somebody only wants that concept rather than the whole record? even that's not the point of why i'm doing this, though. i'm doing this to catalogue that idea as separate from the record, for thematic or chronological reasons. one example is the classical guitar ep. it's on the fifth disc. but, what if you just want the guitar pieces?
the current standard industry solution to this problem is to allow per track downloads but i really find this distasteful. i don't allow this for the specific reason that i don't like it. and, in the end buying multiple scattered mixes of a track is going to cost more than buying an ep, anyways, so i'm actually undercharging rather than overcharging if you directly contrast these options.
i know i'm doing this the way i want, and i know i'm doing it for the right reasons. but that perception bothers me. not that anybody has brought it up. but don't think it...it's not the right way to look at what i'm compiling, or interpret why i'm doing it this way...
i'm otherwise done for the night. the next thing up is the time remix, and this is going to be a little different because i don't have a clear plan to construct it. i have some rough ideas of things i wanted to play with, but it's not at all formed.
i think i'm going to reconstruct the track as it was, first, and then splice it up from there.
publishing 9:46 outside of the magenta box (inri055)
inri036 is now complete.
there's two new instrumental mixes here, and three vocal mixes from 2002. overall, it's sort of a psychedelic folk release, which is a bit of an anomaly for me. it was never done, never felt right. until now...
i'm quite happy with the two instrumental mixes here, so do check them out.
--
my memory is a little fuzzy with this track, other than that it was constructed all at once in the middle of the night on a cold february morning in a basement that wasn't well heated.
i believe that sean initially brought in the a capella vocal that is heard in the acoustic demo under the request that it be developed in a folky style, and the track was built from there. we seem to have done the live version the next week, meaning i must have written it over the week.
there was some hard drive corruption as the demo was being recorded. i was in a glitchy mindset at the time and decided the skips ought to be interpreted musically. i'm not sure i'd make the same choice now, but i'm not willing to second guess myself, either. so, i skittered up the bass and organ parts to make the entire track sound glitchy to compensate for the skips. i also ran the vocal file through a musical algorithm that involved slowing it down and pasting it over itself to create a collage of voices somewhat similar to a robotic choir. as the track is otherwise rather pastoral, all of this glitch provides for an unusual juxtaposition.
as mentioned, the track was built up quickly, but it was always meant as a demo. that is to say that the vocal-driven 2002 version of the track was not complete, and was never completed.
i came around to completing it as an instrumental work in mid october, 2014. the removal of sean's vocals required some mild rethinks in terms of melodic content, but the real additions are threefold. first, it is substantially remixed to make it sound thicker. second, some sound design or soundscaping was constructed, mostly for the beginning of the track, but some guitar parts were also added throughout. third, drums were added. this converts the track out of folk (a genre i spend almost no time in) and back into psychedelic pop (my usual home) with hints of fusion, prog and idm. as it is, this can be viewed as the definitive (if non-comprehensive) third incarnation of rabit is wolf, which was being torn between freak folk and folk punk tendencies in it's general tumbling towards "folk".
written in early 2002 and recorded in early 2002 and late 2014. the final fuck boxes mixes were finished on nov 15, 2014. as always, please use headphones.
credits:
j - guitars, effects, bass, electric air reed organ, electronic drum kit, voice (1, 5), sampling, sound design, vocal manipulations, digital wave editing, production
sean - vocals/lyrics (2,3,4)
released february 20, 2002
https://jasonparent.bandcamp.com/album/9-46-outside-the-magenta-box
there's two new instrumental mixes here, and three vocal mixes from 2002. overall, it's sort of a psychedelic folk release, which is a bit of an anomaly for me. it was never done, never felt right. until now...
i'm quite happy with the two instrumental mixes here, so do check them out.
--
my memory is a little fuzzy with this track, other than that it was constructed all at once in the middle of the night on a cold february morning in a basement that wasn't well heated.
i believe that sean initially brought in the a capella vocal that is heard in the acoustic demo under the request that it be developed in a folky style, and the track was built from there. we seem to have done the live version the next week, meaning i must have written it over the week.
there was some hard drive corruption as the demo was being recorded. i was in a glitchy mindset at the time and decided the skips ought to be interpreted musically. i'm not sure i'd make the same choice now, but i'm not willing to second guess myself, either. so, i skittered up the bass and organ parts to make the entire track sound glitchy to compensate for the skips. i also ran the vocal file through a musical algorithm that involved slowing it down and pasting it over itself to create a collage of voices somewhat similar to a robotic choir. as the track is otherwise rather pastoral, all of this glitch provides for an unusual juxtaposition.
as mentioned, the track was built up quickly, but it was always meant as a demo. that is to say that the vocal-driven 2002 version of the track was not complete, and was never completed.
i came around to completing it as an instrumental work in mid october, 2014. the removal of sean's vocals required some mild rethinks in terms of melodic content, but the real additions are threefold. first, it is substantially remixed to make it sound thicker. second, some sound design or soundscaping was constructed, mostly for the beginning of the track, but some guitar parts were also added throughout. third, drums were added. this converts the track out of folk (a genre i spend almost no time in) and back into psychedelic pop (my usual home) with hints of fusion, prog and idm. as it is, this can be viewed as the definitive (if non-comprehensive) third incarnation of rabit is wolf, which was being torn between freak folk and folk punk tendencies in it's general tumbling towards "folk".
written in early 2002 and recorded in early 2002 and late 2014. the final fuck boxes mixes were finished on nov 15, 2014. as always, please use headphones.
credits:
j - guitars, effects, bass, electric air reed organ, electronic drum kit, voice (1, 5), sampling, sound design, vocal manipulations, digital wave editing, production
sean - vocals/lyrics (2,3,4)
released february 20, 2002
https://jasonparent.bandcamp.com/album/9-46-outside-the-magenta-box
fuck boxes (overdub mix) and fuck boxes (final mix)
1) this mix removes the acoustic guitar(s) and integrates an electric guitar line into the end of the piece. it gives the track a very different, almost dubby, kind of glitch-hop sort of feel. written in early 2002 and recorded in early 2002 and late 2014. this mix was finished on nov 15, 2014.
http://jasonparent.bandcamp.com/track/fuck-boxes-overdub-mix
2) this is the final instrumental mix of the track, encapsulating all instrumental parts written and recorded for the piece except for a guitar line that is unique to the overdub mix. written in early 2002 and recorded in early 2002 and late 2014. final mix completed on nov 15, 2014.
http://jasonparent.bandcamp.com/track/fuck-boxes
3) the final mix is also on the j^2 record.
http://jasonparent.bandcamp.com/track/fuck-boxes-2
http://jasonparent.bandcamp.com/track/fuck-boxes-overdub-mix
2) this is the final instrumental mix of the track, encapsulating all instrumental parts written and recorded for the piece except for a guitar line that is unique to the overdub mix. written in early 2002 and recorded in early 2002 and late 2014. final mix completed on nov 15, 2014.
http://jasonparent.bandcamp.com/track/fuck-boxes
3) the final mix is also on the j^2 record.
http://jasonparent.bandcamp.com/track/fuck-boxes-2
on
third thought, the dub mix can and will be done - i really want this,
so i'm forcing it a little. the only thing i'm taking out is the
acoustic, which makes it a universal overdub (that is, it includes the
original overdubs). acoustic guitars are beastly instruments when it
comes to the mix, hogging the whole spectrum. and i made sure the
acoustic guitars really did hog the spectrum, mixing it through three
separate eq paths. what that means is taking it out opens up immense
room in the mix, and i'm able to get the feel i want for this.
merely ripping those out created three parts very quickly. so, that's what i need to do, here - mix these extra parts into the dub mix, then see which ones i can take over to the final mix.
i should eat lunch first.
merely ripping those out created three parts very quickly. so, that's what i need to do, here - mix these extra parts into the dub mix, then see which ones i can take over to the final mix.
i should eat lunch first.
forget it....the dub mix sounds goofy...the track has a glitch
quality, and i thought it would be fun to exploit that, but it's too
long and disconnected to the point that it honestly just sounds like a
reggae band that's so stoned they can't stay in time. i'm not getting
anywhere by blaring leads over this, or even releasing it at all. so,
scratch that idea.
i think it's done, but let me mull it over first.
i think it's done, but let me mull it over first.
ok, i've got what i think may be a final mix done, but i need to experiment with some lead parts.
the problem is that the end of the track is a little boxy, and it's restricting what's possible in terms of lead parts. if i loop something, it's going to feel cluttered. if i do some flashy lead parts, it's going to become a fusion track, and that's not really where i wanted to take the song. so, i'm probably going to leave the end section void of those lead parts.
however, i wanted to make a dub mix consisting of the overdubs i added to the track, and i'd be comfortable taking that in a more fusion direction.
so, i'm going to finish that up first, then mix the lead parts into the main track and see what it sounds like. i'm not expecting them to stick, but i'll have to hear it before i make a final decision.
so, it may be a little later than noon, but i still expect to be done by the end of the day....
the problem is that the end of the track is a little boxy, and it's restricting what's possible in terms of lead parts. if i loop something, it's going to feel cluttered. if i do some flashy lead parts, it's going to become a fusion track, and that's not really where i wanted to take the song. so, i'm probably going to leave the end section void of those lead parts.
however, i wanted to make a dub mix consisting of the overdubs i added to the track, and i'd be comfortable taking that in a more fusion direction.
so, i'm going to finish that up first, then mix the lead parts into the main track and see what it sounds like. i'm not expecting them to stick, but i'll have to hear it before i make a final decision.
so, it may be a little later than noon, but i still expect to be done by the end of the day....
uploading already completed tracks to inri056
1) this is the rabit is wolf version. written & recorded in late 2001 and early 2002 and mixed in early 2002. track released march 2, 2002.
http://jasonparent.bandcamp.com/track/time-2
2) this is the rabit is wolf version. written & recorded in early 2002. track released march 8, 2002.
http://jasonparent.bandcamp.com/track/psi-2
3) this is included for thematic purposes, and otherwise has nothing to do with rabit is wolf. written in early 2001. drastically rearranged in june, 2014. further constructed, warped and appended to over july, 2014. track released july 19, 2014.
http://jasonparent.bandcamp.com/track/the-time-machine-4
three of what is currently four tracks slated for inri037. there's nothing new here, but this timeline will eventually be moved to my own site, so i'm documenting dates.
tentative writeup:
time remixes. inri037.
time & psi were partially a rejection of the folk idea in favour of glossy, somewhat experimental pop. i realized that it was reasonable to move in a more commercial direction, but folk wasn't something i understood well, so it was a weird direction for me to be moving in. experimental or psychedelic pop, on the other hand, was something i had a solid grasp on...
time had been initially recorded in the fall and was remixed in late february to integrate a drum part. no original files exist. psi was recorded quickly in early march.
the track, as it existed in rabit, was a conscious pop compromise. i had ideas that weren't explored to keep it poppy and that will be explored in the remix.
the time machine is added here as a bonus track. it's based on an earlier classical guitar composition that was always meant to be reinterpreted as an idm tune and finally was in early 2014. the thematic overlap makes it relevant, but there is otherwise no connection between the two songs.
i started working on what would become my fourth symphony very shortly after the material on this ep was completed, and it really represents the point where i lost interest in rabit as a concept, under pressure to continue moving in a direction i didn't have any interest in. there are folk and psych versions of the track; sean never caught on to the psych version, and i never had my heart in the folk version. there were final folk demos recorded as late as the fall, but the disconnect was not solvable. the vocal version of the fourth symphony is in some way a corollary of but is ultimately too separate from these files to include here. psi & time, together, consequently comprise what is the fourth and final ("psychedelic pop") phase of rabit.
written in late 2001 and 2002 and recorded in early 2002 and late 2014. the final mix was finished on nov , 2014. as always, please use headphones.
https://jasonparent.bandcamp.com/album/time
http://jasonparent.bandcamp.com/track/time-2
2) this is the rabit is wolf version. written & recorded in early 2002. track released march 8, 2002.
http://jasonparent.bandcamp.com/track/psi-2
3) this is included for thematic purposes, and otherwise has nothing to do with rabit is wolf. written in early 2001. drastically rearranged in june, 2014. further constructed, warped and appended to over july, 2014. track released july 19, 2014.
http://jasonparent.bandcamp.com/track/the-time-machine-4
three of what is currently four tracks slated for inri037. there's nothing new here, but this timeline will eventually be moved to my own site, so i'm documenting dates.
tentative writeup:
time remixes. inri037.
time & psi were partially a rejection of the folk idea in favour of glossy, somewhat experimental pop. i realized that it was reasonable to move in a more commercial direction, but folk wasn't something i understood well, so it was a weird direction for me to be moving in. experimental or psychedelic pop, on the other hand, was something i had a solid grasp on...
time had been initially recorded in the fall and was remixed in late february to integrate a drum part. no original files exist. psi was recorded quickly in early march.
the track, as it existed in rabit, was a conscious pop compromise. i had ideas that weren't explored to keep it poppy and that will be explored in the remix.
the time machine is added here as a bonus track. it's based on an earlier classical guitar composition that was always meant to be reinterpreted as an idm tune and finally was in early 2014. the thematic overlap makes it relevant, but there is otherwise no connection between the two songs.
i started working on what would become my fourth symphony very shortly after the material on this ep was completed, and it really represents the point where i lost interest in rabit as a concept, under pressure to continue moving in a direction i didn't have any interest in. there are folk and psych versions of the track; sean never caught on to the psych version, and i never had my heart in the folk version. there were final folk demos recorded as late as the fall, but the disconnect was not solvable. the vocal version of the fourth symphony is in some way a corollary of but is ultimately too separate from these files to include here. psi & time, together, consequently comprise what is the fourth and final ("psychedelic pop") phase of rabit.
written in late 2001 and 2002 and recorded in early 2002 and late 2014. the final mix was finished on nov , 2014. as always, please use headphones.
https://jasonparent.bandcamp.com/album/time
Subscribe to:
Posts (Atom)