purchasing this release comes with the immediate download of the release that you linked to it off of. be sure you make the right choice.

inri036: written and recorded in late 1999 and early 2000. these versions of these tracks were sequenced without further modification in jan, 2014. remainder of hummer added as a bonus track, and release finalized, on oct 3, 2017.

inri037: recorded in spring, 2000. released, unmodified, in jan, 2014. release finalized on oct 3, 2017.

inri038: written and recorded, 1999-2001. track 3 was reconstructed out of existing sound in june, 2004. initially sequenced in jan, 2014. four new mixes (maximal mix (2017), electronics only mix (2015), single mix for lp010 (2017), full instrumental mix from deny everything (2014)) were added on oct 5, 2017; release subsequently closed.

inri039: this was constructed over a little more than a month: from 7/7-8/20, 2000. it seems to have been recombined into one track around 2007 but has otherwise not been modified since it was completed. first released as an ep in jan 2014. release finalized on oct 8, 2017.

inri040: recorded in april, 2000. samples added in oct, 2000. album version reverted to original mix in sept, 2006

inri041: recorded over the space of the year 2000. remixed substantially in 2004, 2006, 2010 and 2014. existing version constructed in jan, 2014. finalized as lp009 on oct 9, 2017.

inri042: this record was recorded over the years 1999 and 2000, but did not take this form until mid september, 2017. the first track list dates to sept 14, 2017. these tracks are technically outtakes, but did not become outtakes until the remastering process removed them from their respective recordings. finalized as lp010 on oct 9, 2017.

originally created from 1999-2000. this compilation is dated to dec 1, 2000. slowly remastered, reconstituted, compiled, reconstructed, released and finalized from 2013-2017. compilation finalized on oct 9, 2017. as always, please use headphones. 

credits

released December 1, 2000

j - guitars of all types, effects, bass, synth, piano, organ, ebow, flute, mandolin, drum kit, drum programming, sequencing, sound design, found sounds, granular synthesis, noise generators, generative synthesis, generative percussion, cool edit synthesis, light-sound synthesis, loops, films, tapes, sampling, vocals, vocoders, digital wave editing, digital effects processing, treatments, coughs, a broken equalizer, production

the rendered electronic orchestra includes ukelele, theremin, orchestra hit, string ensemble, taiko drums, gongs, trumpet and saxophone. 

 

 

https://jasonparent.bandcamp.com/album/deny-everything-box-set

publishing inri042

i initially began the process of completing the second period of my discography in the first weeks of 2014, and soon realized that the sequencing decisions i made upon initial release required a revisiting. i had unfortunately placed an original progressive rock song (liquify) on a covers disc, and a fruity techno song (book it) at the end of a noise compilation; it was immediately clear that i needed to remove these tracks from their respective official records, but that unfortunately othered them - both liquify and book it then became stranded outtakes, existing only as non-album singles.

in early 2014, i republished the vocal mix of ignorance is bliss as a standalone single; it had been unpublished since i removed it from deny everything in the summer of 2004. in early 2016, i decided i could reconstruct my first two records from scratch as instrumental electronic works after all, but i would have to remove the 14th track from the second record, too cold, in order to do so. this was also split off as a single, which was completed in the fall of 2017.

upon running through the first two periods of my discography one final time in the fall of 2017, i realized that i had removed enough material from my first four official records to compile an outtakes disc and that this material was even conceptually linked - all four of these tracks were some kind of guitar-driven electro-prog, and three of the four had somewhat embarrassing vocal parts that i wanted to remove from the tracks but was unable to due to having lost the original source material. together, these were the tracks that existed in the transition past inri, and into something else; each of these might have been a post-inri track, but the first three were initially pulled back, only to be removed again and left without records.

i strongly considered making this an official record and releasing it before deny everything in the sequence, but i cannot do this. the fact that i can't remove these vocals make these tracks outtakes, necessarily. as my first two records are now entirely instrumental, and remastered from scratch, these tracks would absolutely need to be properly remastered as instrumental recordings to fit into any kind of album sequence. this can consequently only be an outtakes disc.

the curious george suite has also been added to the compilation because it fits the aesthetic, it is not on an official record and it would have been a part of deny everything if i didn't think i had lost it; in that sense, it was sort of removed. the hidden track is added solely due to aesthetic similarities with the rest of the disc. 

this is an outtakes record of discarded and rejected material recorded over periods 1.3 (1999) & 2.1 (2000) that was all removed from some completed, official recording. it can be thought of as an outtakes disc for my fourth official record, deny everything.

this record was written and recorded over the years 1999 and 2000, but did not take this form until mid september, 2017. the first track list dates to sept 14, 2017. these tracks are all very thoroughly rejected outtakes, but did not become outtakes until the remastering process removed them from their respective recordings. finalized as lp010 on oct 9, 2017.

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 (1997, 1999, 2000, 2013, 2014, 2016, 2017). 

credits

released November 12, 2000

j - guitar, effects, bass, synths, piano, flute, loops, drum kit, drum programming, vocals, vocoders, sampling, cool edit synthesis, sequencing, sound design, found sounds, granular synthesis, noise generators, tapes, digital wave editing, digital effects processing, production

the rendered electronic orchestra includes theremin, ukelele & orchestra hit.

this is a project that has been through many incarnations and reversions, which should hopefully stabilize now that the tracks are entirely instrumental and the substantial number of outtakes have been categorized into companion eps. i don't expect to modify this further; as of jan, 2014, the slow, 15 year process of removing samples and reconstructing instrumental sections is now entirely complete.

what's left when the thematic ideas are stripped out is an eccentric and elaborate delve into psychedelic and electronic music that has no clear parallels that the author is aware of.

the record can be sectioned into 4 parts:

- ignorance is bliss [introduction]
- entropy/curious george/gravity's rainbow [program]
- a commercial break [intermission]
- acidosis [finale]

recorded over the space of the year 2000. remixed substantially in 2004, 2006, 2010 and 2014. existing version constructed in jan, 2014. finalized as lp009 on oct 9, 2017. as always, please use headphones.

an audience exists somewhere that will cherish this as the truly unique monstrosity that it is.

credits

released November 11, 2000

j- guitars of all types, bass, programming, drum programming, sequencing, synthesizers, live drums, piano, loops, films, noise generation, organ, ebow, flute, mandolin, treatments, effects, found sounds, sampling, sound design, generative synthesis, granular synthesis, generative percussion, light-sound synthesis, digital wave editing, production, coughs, a broken equalizer, cover art

the star trek sample in 'gravity's rainbow' is from the episode "errand of mercy" (mar 23, 1967).

the rendered electronic orchestra includes theremin, ukelele, orchestra hit, string ensemble, taiko drums, gongs, trumpet & sax. 

this track was taken from the then lost curious george suite (jasonparent.bandcamp.com/track/chimpanzees-cant-dance) and loaded up with samples to raise awareness. the impression i was trying to create was that bush wasn't going to be a president who was particularly concerned with civil liberties because he had stated as much rather clearly. this is still pre-9/11, it was right before the election, and i still had no idea what was coming. i was just conscious of the fact that this is a guy that isn't going to stand up for anybody's rights, have much interest in maintaining the rule of law (international or otherwise) or have much respect for the democratic process.

even listening to it today, a lot of it is really surreal. at the time, i was focusing a bit on the irony. for example, his "people who are going to commit crimes shouldn't have guns" quote is cited in reference to himself - by that logic, he should have overseen an american disarmament. "this guy's not elected, he just took over office" quip was also meant to apply to him. i think it's largely forgotten that the news of a possible attempted coup hit before the 2000 election did. there was a buzz on the internet that the people behind bush (military contractors) weren't going to let him lose. the "court battle" in florida wasn't a completely surprising turn of events. it was gore's disinterest in fighting the legal battle (because it would "destabilize" the country) that hit people by surprise.

i've split this into it's own space because it belongs in it's own space. deny everything (jasonparent.bandcamp.com/album/deny-everything) has been converted into abstract instrumental music; the samples don't belong there. it also seems disingenuous to insert it into the lost suite.

i think i need to be careful in stating that historical hindsight inoculates me in explaining what i hoped was obvious: that this is a thinly veiled call for the assassination of bush before he takes over. a tree fell in a forest here. alas.

recorded in april, 2000. samples added in oct, 2000. album version reverted to original mix in sept, 2006. as always, please use headphones.

the album version appears on my fourth record:
jasonparent.bandcamp.com/album/deny-everything

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 (2000, 2006, 2014, 2017). 

credits

released October 13, 2000

j - guitars, effects, drum programming, sampling, sound design, digital wave editing 

this is my fourth symphony.

it's a sort of a pun; it uses the medical condition of acidosis, which is when the ph level of a person's blood dips to a level that causes complications or death, to draw an analogy to the environmental destruction being carried out by industrial civilization. it also forwards my intuitive hypothesis that homo sapiens will ultimately end up as an evolutionary dead-end. more specifically, my view is that intelligence, as a trait, is ultimately an evolutionary disadvantage. well somebody else probably has that view too.

(...i learned later that it turns out to be the seminal evolutionary biologist, ernst mayr, in fact. he made evolutionary syntheses, not hot dogs....)

the material is presented here in fragmented format to properly outline the structure of the piece.

that sexy cover art is a couple of bitmaps of neurons played with in paint and superimposed onto each other in coagula. the sound of that sexy bitmap is heard in the song.

i think i'd rather let the piece stand by title alone, other than to point out that the reaction explored in the piece is really more general than any specific narrative justifies. it's a systems break down.

the music is half generated algorithmically and half played. the half random, largely atonal notes i had programmed into the generator created unusual jam circumstances that were fun to play with. as an example, the piano part is live, but it's being spurred on by the random synth bass underneath it. the computer was driving me, creatively; i think it produced interesting results, both out of me and in itself. as a rhythm section, the computer holds it's own here - as random as the notes are.

what centres the track, though, is a classical guitar part that i recorded very late one night. i was weirded out about things and wanted to get some shit out, so i recorded myself playing for close to a half hour. i think a lot of people don't realize just how powerful a guitar can be as an alternate outlet for aggression. psychologically, that's powerful shit.

i listened to the jam when i got my head clear and i was sort of fascinated by it's just raw emotion. it didn't make any musical sense, but it expressed an idea through it's dynamics. i ran it backwards through an effect designed to simulate a record player dying over exaggerated lengths of times and that became the idea to build around. the shape grew slowly, all the way into the analogy, from there.

this was constructed over a little more than a month: from 7/7-8/20, 2000. it seems to have been recombined into one track around 2007 but has otherwise not been modified since it was completed. first released as an ep in jan 2014. release finalized on oct 8, 2017. as always, please use headphones.

this ep appears as a single track on my fourth record:
jasonparent.bandcamp.com/album/deny-everything  

credits

released August 20, 2000

j - guitars of all types, bass, drum programming, synthesizers, piano, loops, noise generation, organ, ebow, flute, mandolin, treatments, effects, found sounds, sound design, generative synthesis, generative percussion, light-sound synthesis, digital wave editing, production, coughs, a broken equalizer, cover art 

the touche amore show last night was the last show before the court date. so, i'll be more focused for the next two weeks.

i should be able to ship the second package some time during the week. the gap will then be bridged, and the rest should come much faster.

that said, i'm going to have to put this on hold on the 16th until at least the 19th. if everything works out well, i'll get right back to it and think i can be done before hallowe'en.

republishing inri038

this is a collection of versions of a track that was important to me around the turn of the century: five electronic versions (seven including the downloads) and an electric folk version that i often played as a sort of a drunken party trick. after the lead track, the electronic versions are arranged in decreasing complexity, and the electric folk version is at the end. the extra tracks are both vocal mixes; i felt that only one was really necessary, but included them here for scope.

it's sort of about me, and sort of about my dad, and sort of about caricatures. we never had a dog drown, and i simply have no knowledge of the dynamics of my parents' sexual relationship. that's just an old country song. yet, there were a lot of stressful problems in both his work and family life, and that was being pointed to as a cause of his heart problems.

in hindsight, i'd tend to lean more towards genetics (and perhaps lifestyle) than stress. of course, that's something i have an interest in understanding further as i age. at the time, though, the focus was all about reducing the amount of stress he was dealing with.

i really just sort of didn't get it. i still don't *really* get it. stressed? well, chill out then. spark one up. put on a tune. it's maybe not as easy as snapping a finger, but it has to be about a general philosophy of life. see, i guess i place a lot less faith in the idea of free will than most people do - and my father, being a rush fan, and don't get me started on that travesty, put far more faith in it. when one is absolutely convinced that their entire life is determined by the choices they make, including the ones they don't make, it produces a lot of pressure to make or not make the right choices. meaning? he did it to himself - his atlas never shrugged.

ultimately, universe gonna hate. your so-called free will is doomed to be crushed in a wave of stochastics. the universe is a random, chaotic place defined by poorly understood probabilities. so, why bother concerning yourself so deeply with the consequences of your actions in this pointless existence, to the point that it might cut that existence short? it was the idea of him driving himself to cardiac arrest that pissed me off. you could be hit by an asteroid in your sleep. you could spontaneously combust. you could even wake up one day to find that aliens have landed and are taking over the world using robot gunships. once you get *that*, trying to fight for control seems pointless. embrace the random, and spiral out....

or, so, the debate went. i wasn't really comfortable writing a song *about* my old man, so i took a fictional first-person perspective and went to town with it a bit.

the cover art bitmap is one of the files i put through coagula to produce sound out of light. inristart was a working title for the piece.

written and recorded, 1999-2001. track 3 was reconstructed out of existing sound in june, 2004. initially sequenced in jan, 2014. four new mixes (maximal mix (2017), electronics only mix (2015), single mix for lp010 (2017), full instrumental mix from deny everything (2014)) were added on oct 5, 2017; release subsequently closed. as always, please use headphones.

the full instrumental mix of this track appears on my fourth record:
https://jasonparent.bandcamp.com/album/deny-everything

the lead track also appears on the inrimoved compilation, which is a lost record of discarded vocal pieces:
jasonparent.bandcamp.com/album/inrimoved

...and the folk version appears on my fifth record:
jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj

*download only 

credits

released July 11, 2000

j - guitars, effects, bass, synthesizers, sequencing, drum programming, vocals, vocoders, sound design, sampling, digital wave editing, production 

i think the crux of it is passed.

i wanted to get a lot more done this morning, but all i was able to do was curl up in a ball.

i guess i need to try some aspirin before i determine if i'm in for the night or not. i'm about 50/50 right now.  at least the weather looks navigable.

another paralyzing migraine (w/ aura, this time) this morning. these are no longer isolated events; they've become recurring.

my plans this weekend might have to change, a little.

oct 5, 2017 vlog, which is just an in between day.

i think this is done, but i need a nap.

so, i've been working on inri038 this afternoon and i want to get some thoughts down.

what have i got for this already? 6 mixes.

1 -- album mix (reconstructed, 2014)
2 -- original vocal mix (2000, after hard drive crash)
3 -- minimal mix (2004 reconstriction)
4 -- base mix (2000, before hard drive crash)
5 -- electronics only mix (2015 reconstruction)
6 -- stress (2001 electric folk version - total rerecording)

i was initially going to take the vocals and past them over (1). but, that doesn't make sense for a couple of reasons. the first is that i actually moved the parts around a little. in the initial mix, the vocals come in after a short guitar solo; the 2014 reconstruction, which is now the album mix, pushes that guitar solo forward by 8 bars, so that they come in at the same time. on top of that, the guitar solo is then reversed and played backwards for 8 more bars. i did this to fill the space, cognizant of a lack of vocals. it would be kind of crazy to put the vocals back in.

further, why am i doing this? the reason is so that i can put the mix on the vocal prog comp. the other three tracks on this comp were remastered, but not remixed.; i didn't have source material. it would be weird for me to completely remix this, in context; i should restrict myself to the same kind of sourceless remaster.

so, i'm going to be adding a "single mix" to the front, based on the original vocal mix. but, then the thing is 5 minutes too long to fit on a disc.

i double checked, and i don't have extra remixes - maybe from failed remasters. they're not there. so, i'm going to have to leave a track as download only.

i'm currently leaning towards the original vocal mix, buti'll need to listen.

this should be done by the end of the night, and the remaining releases should not require any work.

oct 4th, 2017 vlog, where i close some discs in the morning (inri036-inri037), and go over to detroit to fix my bike, then go see sadie dupuis & deerhoof at the magic stick.

i've added two 'already done' mixes to this, and will add at least one more, soon.

https://jasonparent.bandcamp.com/album/ignorance-is-bliss

so, i was absolutely mortified of george w. bush considerably before it was cool.

clinton had some problems, and gore was, at the time, a cartoon character; if you want to blame it on something other than the rain (and the moon and the stars), you should blame it on low turnout - something that was largely probably spurred on by the assumption that bush couldn't possibly actually win. well, maybe it was a fitting way to end the 90s. here's your apathy, kids. served cold. ice cold. cold as the blood of a shape-shifting lizard person...and cold as the blood on it's hands.

of course, standing in the spring of 2000, i had no way of knowing what was about to be unleashed. i was mostly still just pissed at clinton for bombing medicine factories in the sudan. i mean, the level of assholery underlying it was just.....the threat of "terrorism" could hardly justify that kind of indiscriminate bombing....fucking medicine factories...

the way i interpreted it was something more along the lines of this half-evolved hominid of undisclosed type slowly riding into town on horseback (with cronies in tow, including one with a yellow hat). it felt like you could see him coming days in the distance. it was unclear what was going to happen when he got to town, but it felt ominous. there was nothing to do but just wait, maybe prepare a little and ultimately hope for the best, even while bracing for the worst.

so, i did what i do - i wrote a conceptual piece about it with the intent of raising awareness. even just amongst friends would help, if they'd talk. etc.

...or, well, i sort of did, anyways. see, i lost a hard drive around this period, and most of the song along with it. what is posted here is a 90% done version that i thought i had lost completely but stumbled upon a few months after the election, after i had moved. given the circumstances, i'm lucky that i found this at all. however, it's remained unreleased as a cohesive piece all of these years.

well, the election was over. it was no longer worthwhile to finish it. i suppose that if i was operating on a profit motive, or a desire for control, i would have finished it. instead, i just felt like i failed to warn people, and it actually put me into a pretty deep depression for a while. it was too late, i blew it, we're fucking doomed....finishing it wouldn't matter....nothing mattered anymore...

listening to it now, it could maybe use a bass part. all this was really missing, though, were the vocals - which were also lost on the hard drive. i have no recollection of them at all at this point and don't see the value in making new ones up.

i did have the first and second section put aside somewhere, on a cd-r. i was able to fill that up with samples and get it out just before the election, and it also ended up sequenced into deny everything. so, it wasn't a total loss.

as for this suite, though? i present it as i've recovered it, with no further comment than that it accurately represents the deep, foreboding fear of the future that was in the air around the period that bush was elected.

this is a song cycle.

recorded in spring, 2000. released, unmodified, in jan, 2014. release finalized on oct 3, 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, 2014, 2017).
credits
released May 10, 2000

j - guitar, effects, bass, synth, drums, drum programming, sequencing, sound design (sound raider, audiomulch, granular synthesis, noise generators), loops, digital wave editing, production

====

track 1...

i can date this well, and report that this was the initial idea of the track. if you read the books (and i'd advise against reading these to your kids), there's actually a fairly graphic section at the beginning where george is captured from the jungle by the man with the yellow hat.

the man with the yellow hat really comes off as a dick.

anyways, that's what's going on here with this.

the cd-r i found has an early version of acidosis followed by this suite. over time, i began to interpret the jungle sounds as being more connected to acidosis than to this suite and this did end up there, in modified form, as 'life goes on' (jasonparent.bandcamp.com/track/life-goes-on). that being said, the version attached to acidosis was reconstructed from the initial samples because i lost this collage when my hard drive crashed...

the source files (along with the files for part 2) are dated to the end of april, which seems roughly right.

what i did was get a bunch of jungle sounds together and let sound raider mess with them. i then created a file in audiomulch that produced some exotic drum effects and adds in some unusual noises.

it's an atmospheric track in either context.

credits
from the curious george suite, track released April 24, 2000
j - sound design: soundscaping with found sound (sound raider), drum programming & noise generation (audiomulch), digital wave editing, production.

===

track 2...

this section was augmented with samples:
jasonparent.bandcamp.com/album/curious-george-2

it was also released on deny everything:
jasonparent.bandcamp.com/album/deny-everything

musically, the track is a combination of an experiment with an idea. i should note that this suite together is maybe the first original track in the style that dominates my output over the next few years, even if it's incomplete (albeit hereby decreed complete). the idea was about creating "guitar symphonies" (and while i was aware of the work of oldfield and fripp, and of sonic youth and gybe!, branca was a black hole for me at the time) in a minimalist, electronic framework that most readily draws to mind the work of trent reznor. this is the first of many expressions and evolutions of that idea. the experiment was with a program called "leaf drums", which is a fairly basic drum machine except in it's ability to manipulate samples with effects in realtime (remember that this is the spring of 2000). once i had that loop running, i started playing some of the riffs i had put aside for the guitar symphony, mostly just to play around with them. it stuck far better than i expected....and that's really the extent of the track.

the bush sample at the beginning is a constructed loop rather than a direct quote. he was talking about gore - "this guy would say anything to get elected, i'd...". that was flipped around to "i'd say anything to get elected" and looped. well, at this point i don't think anybody is going to stand up for bush' honesty or credibility. regardless, the way i looped it purposefully pans it to make it obvious that it's not a direct quote.

the lost version was built up considerably further than this; this version has three guitar parts, the lost version had closer to ten. i was too focused on getting the samples together to worry about re-recording the guitar parts. i don't remember them at this point and will not make up new ones. to be honest, this is far easier to listen to, and, while i mourn the loss of the completed version, i'm actually happy that i kept a more stripped down one.

credits
from the curious george suite, track released April 24, 2000
j - guitars, effects, drum programming, digital wave editing

===

track 3....

if i could find a source for the "people who are going to commit crimes shouldn't have guns" quote, i could maybe date this better. unfortunately, i suspect google has done some scrubbing for the bush family, which is a scary thought. i think it was early may, but it may be a little later.

i can't remember if i finished most of this, put it aside for later, recorded acidosis and then lost the hard drive OR if i finished the very beginning of this, recorded acidosis, then recorded the second half of this and then lost the drive. meaning, this is either early may or it's mid-september.

there's a number of reasons to lean towards may, though. the drums, firstly. there are not live drum parts in any of the material recorded from mid-may forwards. that indicates that they weren't available to play. second, i remember the early summer sun hitting me when recording the fourth part - and specifically in the hilliard basement, rather than the lexington basement i'd move to over the fall. there's a kind of nausea attached to the mid -season sun that only occurs in april/may and sept/oct.

musically, this extends out of the previous experiment, but it's easy to hear that that is an introduction to this, that this was meant to be the song that that leads into. as the big, ridiculous arena-rock tune it is? it holds up well. note that the aim was to push a message, and the arena rock theme wasn't an accident. this was supposed to be the take-away, the radio play, the thing that got stuck in your head.

i never added a bass track and don't see a point in doing so now. however, what is actually lost is really solely a heavily vocoded vocal track. i won't re-do it. i'll explain it a little. the theme underlying the curious george analogy was one of seeing bush as a corporate puppet. wherever george went, the man in the yellow hat would follow - to oversee, influence and ultimately dominate. i wasn't taking the analogy very far, i was simply drawing it with the aim of hoping that people would educate themselves about the dangers that he posed. 

===

track 4...

this was meant to be instrumental, and wouldn't have been modified in any way except maybe to embiggen the end part. i didn't expect to ever release this, so i raided the track for inclusion in ftaa:
jasonparent.bandcamp.com/track/through-the-looking-glass

credits
from the curious george suite, track released May 1, 2000
j - guitars, effects, drums, synthesizers, sequencers, granular synthesis, noise generators, digital wave editing

republishing inri036

this is a collection of three tracks that were recorded in late '99 and early '00 with the intent of being included on record number three ('trinri') but were either discarded or stripped of samples on the way there. the purpose of this ep is not to be comprehensive, but to act as a transitional time capsule: this is the sound of exiting one project and entering another. as such, the narratives are scattered and better told separately.

trinri eventually became deny everything:
jasonparent.bandcamp.com/album/deny-everything

written and recorded in late 1999 and early 2000. these versions of these tracks were sequenced without further modification in jan, 2014. remainder of hummer added as a bonus track, and release finalized, on oct 3, 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, 2014, 2017).
credits
released January 25, 2000

j - guitar, effects, synth, drumkit, drum programming, sequencing, sampling, digital wave manipulation, treatments, production

===

track 1...

this was initially written to be the first track on my third record, which i was calling trinri as a working title. yet, it was written about the same time as i was finishing up my covers disc. i wanted to add at least one more track to the disc to make it a bit longer. for whatever reason, i ended up using it as an introduction to the hummer cover, rather than as it's own track.

record number three, deny everything, ended up with it's own introduction. however, i've pulled it out here, in instrumental form - and as an introduction to this ep.

the hummer cover is here:
jasonparent.bandcamp.com/track/05-hummer

written in the fall of 1999. isolated in jan, 2014.

===

track 2...

so, this is an interesting thing to have sitting on my shelf. it's the 'i have a dream' speech, orchestrated with some soaring guitars.

i should point out immediately that i got a lawsuit thrown at me by the king estate when i tried to upload this to mp3.com back in early '00. i thought that was really trite, but it's not really a legal battle i want to have. i would react more or less the same way should i be threatened a second time, except to point out this time that it's fair use so long as i remove the price tag and basically just do that.

the story behind the song is not very remarkable. the working title for the track was just 'progblues thing'. it was intended to be a structured instrumental guitar track that mixed the flair of hendrix with the minimalist structure of steve reich. the speech sort of came to it by accident.

it was also the result of my dad getting himself a drumkit for christmas that year, which my step-mother promptly placed in my bedroom as a disincentive for further use. score, i guess. but it didn't survive the move a few months later. in the mean time, i got some recordings out of it - as well as a few moderately crazy drunken weekend jam sessions.

i'll note that that christmas also produced a grand piano a few feet outside my door. it's intended recipient was my sister, but she wasn't around much. me? new pc, with a convenient recording interface, and some more functional microphones. despite talk of family jam spaces, one might suspect my father was actually conspiring in my favour. there is probably a great deal of truth in this suspicion. these conditions held for less than a year, but i made the most of them.

so, the idea of the track was initially about experimenting with the new reverb system built into my new soundcard interface, by triggering it with the drumkit that had recently magically appeared out of good fortune. it had been a few years since i'd played the kit much, and, unfortunately, it kind of does show. i had spent a little time practicing along with "nevermind" and "siamese dream" for a few weeks to get back in shape, but i wasn't really "there" yet at the time of this recording. i didn't want to program loops into the song, so i compensated by splicing the track up. of special interest in this wave editing is the backwards cymbals, and especially how they intersect with the soaring guitars.

and of those soaring guitars? a fairly simple blues pattern. sure is lovely, though, isn't it?

the speech became attached to the track when chance managed to have them playing simultaneously for me. i had cnn on in the corner. it was doing some kind of special on mlk, perhaps related to an anniversary that is related to a yearly holiday. placed together, it knocked me flat on my ass.

the idea in my mind from the start was integrationist, if not really consciously so. on the one hand, the guitar part is raw southern blues. on the other hand, the structure is sterile white minimalism. i didn't just realize this juxtaposition, i was trying to exploit it, even if the racial context hadn't occurred to me. when king's speech was played over it, though, the idea really exploded; the context became much deeper. it was an instant exponentiation in profundity.

i also thought it would work well as a foil to the doonesbury sample that is in the track that follows this one [entropy (original mix)].

in hindsight, there are some problems with this. i was a moderately wealthy white kid from canada. there was never much chance of me turning a profit on this, but if i did it would be a type of appropriation. this track does appear on the deny everything demo (jasonparent.bandcamp.com/track/a-commercial-break) but under the title of "a commercial break" - and without the dr. king samples. that's probably for the best.

that doesn't change the feeling i got when i first heard the two things together, or take away any of the power that the pairing produces.

i think this is worth sharing.

---

this was initially released as a download only ep. as of the fall of 2017, i have revisited this decision and reversed it: i need to have this release available in some capacity, and it follows that i'm being kind of silly in not offering the full range of options.

for example, if i were to offer the release as a download only, i'd have to offer it at $7, because it is original music, one way or the other. then, why wouldn't i offer it as a physical item? or, if i were to offer it as a $1 download and a normal physical offer, what am i doing besides punishing myself, really?

maybe i could say something about how it might have been better if i didn't create this, although i don't think that's really fair, either, as i do think it's worth sharing. but, i can't undo time. there's no "undo" button in reality. really. i've looked. strenuously.

i suppose that if i get sued i'll have to react, but i'm just going to treat this as any other release and carry on.

written and recorded in the winter of 1999/2000. 


====

track 3...

this is an augmented experiment with a program called "sounder" that takes advantage of some obscure midi qualities to transport the act of triggering a note into the physical world. imagine a midi tennis ball that triggers at different intensities based on how hard the ball is thrown at a wall. now, imagine a frictionless space where that ball can bounce around indefinitely. sounder virtualizes this reality.

the experiment was augmented with synthesizer and guitar parts, and a sample of garry trudeau posing as a political candidate and being interviewed by larry king. i first interacted with that sample early in the morning in a deeply altered state and came to attach certain feelings to it that are difficult to describe. while it's clearly parody, it hit me as being frighteningly representative of reality. i suppose that all effective parody has this quality. perhaps my reaction speaks more of where i was at this point than anything else. i wasn't reacting well to the return of republicanism; i was very much dreading the future that i had no control in preventing. the absurd truth, here, cut me right down.

i was fucking baked.

eventually, i decided that the sample is just not worth listening to repeatedly and removed it from the track. an instrumental version is available on deny everything:
jasonparent.bandcamp.com/track/entropy

written and recorded at the very end of 1999.
credits
from let freedom ring, track released December 17, 1999
j - guitars, effects, synths, sampling, pythagorean sequencing (sounder), digital wave editing

====

track 4...

this is the second half of the instrumental version of the hummer cover, presented as a hidden track.

the hummer cover is here:
jasonparent.bandcamp.com/track/05-hummer

written in the fall of 1999. isolated in oct, 2017.

i'm procrastinating; i don't want to make a choice about this.

i think the closest precedent i have is to inri003, the inrisampled disc. that was transitional, and a self-contained ep, but it was used in the upcoming lp.

one thing i'm deciding upon: this is not an ep single, but an ep. that gives me the freedom to avoid making it comprehensive.

let me list my options:

1) download $1 + no physical, like inri032.

- this isn't consistent, because there is original music on this disc. only the hidden track is truly a cover.

2) download $1 + regular physical. hybrid. unique.

- i liked this at first, but it's kind of a cop-out: i'm just punishing myself, really. it's sort of silly.

3) download only at $7, like inri022. this was the initial choice.

 but, i i'm going to put it up as a download, why not manufacture it?

4) download & physical at normal price, like any other ep.

yeah. after all.

i'm not 100% comfortable with this.

and i'll finish my write-up carefully.

but i'll do it.....

this...

...i'm torn over what to do with this.

i understand why i shouldn't be selling it, but i also want the release inside of my physical discography. and the truth is that i'm not actually solving any problems if i put the thing up for download for the price of a physical disc, then don't offer it - i'm not actually addressing the problem i've posed for myself.

i have three releases that are cassette only. besides that, the only recordings i've left download only are inri022 (which is rejected tracks; this is not a really interesting release) and inri032 (which is a covers disc, and may be released some day - this is potentially temporary). these tracks were discarded, but they are not rejected in the same way that the ones on the rejected comp were. they were just remixed, actually.

i'm toying with the idea of flipping it around, and providing the download at a trivial price ($1) and offering the recording at a normal price. that would allow for the physical disc to exist in the collection, and yet allow for (almost) free downloads.

i need to nap. i'll work this out when i wake up.

i spent friday dotting is, saturday partying and sunday sleeping.

i'm back to work today, and i should get through the deny everything period relatively fast.

sept 29-30, 2017 vlog, where i start by formally closing inri026-inri035 on the vlog, then go to screaming females, and then go dancing in a warehouse until the sun comes up.