where'd the week go?
i had to go through every single release to integrate the blu-ray component. maybe there's a bulk edit option; maybe i just demonstrated the wisdom in using it. but, i also wanted to take the opportunity to check for typos and just generally reorder the liner notes, and this has turned into a more time consuming project than anticipated.
in fact, i'm feeling like i'm going to need to do a second run, but i'm going to fill in the details after the blu-ray disc, to inri074 and a bit beyond it, before i go through the sources, separately this time, just looking for problems in a more self-contained way. it's a second pass. i think it will be a bit quicker.
i'm almost done. and i could even get a volume of the guitar project up before i crash, we'll see.
the electricity thing seems to have worked itself out; i got approved on christmas. thanks. and, i had to call in to get the isp to pro-rate, to start - they say they'll do it for next month, and then let's go from there.
it's otherwise been a typical christmas week: full of distractions but ultimately productive, in some sense.
Thursday, December 28, 2017
but, it's about changing the definition of work, or really unchanging it - throughout the centuries, poets and musicians and gardeners have all considered themselves to have been doing work. when were these vocations deemed void, exactly?
we don't have to pull out the engels, here, and explain how the city became full of workers who had migrated in from the countryside, where their lives were far less ordered - about how the existence of the machines created the working class, which is now left abandoned with their withdraw. if you want to talk about morality, that is.
we just need to ask questions about what work is, about how it is defined, about how use is calculated and whatnot. this leads us to questions about markets, primarily. if a thing does not have a market value, is it void of value? so, is it only work if it produces market value, then? this has to be wrong. and, so, if we are going to organize our societies as markets, some counter-force needs to correct this obvious absurdity.
i like a guaranteed income because it's a blind arts grant. it comes with no obligations, no test of value and no requirements to check speech or content for alignment. it allows the artist to access a source of funds without any strings attached, and to then create at will - as much or as little as is felt appropriate.
but, let us have this debate about work. we need to get on the other side of this.
https://www.theguardian.com/money/2017/dec/28/tory-mp-condemns-universal-basic-income-on-moral-grounds
we don't have to pull out the engels, here, and explain how the city became full of workers who had migrated in from the countryside, where their lives were far less ordered - about how the existence of the machines created the working class, which is now left abandoned with their withdraw. if you want to talk about morality, that is.
we just need to ask questions about what work is, about how it is defined, about how use is calculated and whatnot. this leads us to questions about markets, primarily. if a thing does not have a market value, is it void of value? so, is it only work if it produces market value, then? this has to be wrong. and, so, if we are going to organize our societies as markets, some counter-force needs to correct this obvious absurdity.
i like a guaranteed income because it's a blind arts grant. it comes with no obligations, no test of value and no requirements to check speech or content for alignment. it allows the artist to access a source of funds without any strings attached, and to then create at will - as much or as little as is felt appropriate.
but, let us have this debate about work. we need to get on the other side of this.
https://www.theguardian.com/money/2017/dec/28/tory-mp-condemns-universal-basic-income-on-moral-grounds
Monday, December 25, 2017
but, isn't the lesson taught in christianity that if you try and live a good life and be a good person that you'll be betrayed by your friends and torn down in bloodlust by an angry lynch mob?
there's this story going around amongst jewish historians that maybe the entire history before the captivity was entirely fictional, and that the people that were moved into the levant were an entirely fabricated ethnicity - that the jewish race was a fabrication of the dying sumerian civilization under the direction of it's new iranian overlords, meant to colonize and replace an existing civilization with a colonial outpost. this would explain judaism's apparent connections to zoroastrianism.
and, what would that destroyed civilization be? it would have been phoenician. what happened, then, was that the persians came in, cleared the phoenicians out and brought in this imagined ethnicity, the jews - who were peoples indigenous to mesopotamia, following a newly invented ideology with a totally fabricated history.
but, some source would exist to describe this? well, perhaps some source did, perhaps many did. but, centuries later, the roman destruction of carthage was total - and such histories would have been destroyed in the process, if they existed. hey, that is true, isn't it?
it was the carthaginian connection that intrigued me as i was having a cigarette and wanted to get written down. i like it when disparate parts of history intersect like that, and it just made a connection in my head. hey, it's christmas.
there's this story going around amongst jewish historians that maybe the entire history before the captivity was entirely fictional, and that the people that were moved into the levant were an entirely fabricated ethnicity - that the jewish race was a fabrication of the dying sumerian civilization under the direction of it's new iranian overlords, meant to colonize and replace an existing civilization with a colonial outpost. this would explain judaism's apparent connections to zoroastrianism.
and, what would that destroyed civilization be? it would have been phoenician. what happened, then, was that the persians came in, cleared the phoenicians out and brought in this imagined ethnicity, the jews - who were peoples indigenous to mesopotamia, following a newly invented ideology with a totally fabricated history.
but, some source would exist to describe this? well, perhaps some source did, perhaps many did. but, centuries later, the roman destruction of carthage was total - and such histories would have been destroyed in the process, if they existed. hey, that is true, isn't it?
it was the carthaginian connection that intrigued me as i was having a cigarette and wanted to get written down. i like it when disparate parts of history intersect like that, and it just made a connection in my head. hey, it's christmas.
i've actually long been swayed by the hypothesis that religion, as we understand it, is basically an elaborately distorted ufo cult. these stories of contacts with ancient beings in the sky may have an empirical basis, if you allow for contact with extra-terrestrial life. well, it's a naturalistic explanation, is it not? the sky is at the core of so much religion...
i don't claim to be able to rigorously demonstrate this, but i think it's probably actually true, nonetheless. it's kind of unfalsifiable, right? but that doesn't necessarily mean it's wrong - i'm post-godel, i'm sorry, it really doesn't. errr. bzzzztt. wrong.
it's certainly less convincing if it's unfalsifiable, i'll grant you that - it's not science. it's speculation. but, it might be science one day.
so, i don't find claims of entities in the sky to be particularly absurd or hard to believe - they've happened all throughout history, have they not?
i don't claim to be able to rigorously demonstrate this, but i think it's probably actually true, nonetheless. it's kind of unfalsifiable, right? but that doesn't necessarily mean it's wrong - i'm post-godel, i'm sorry, it really doesn't. errr. bzzzztt. wrong.
it's certainly less convincing if it's unfalsifiable, i'll grant you that - it's not science. it's speculation. but, it might be science one day.
so, i don't find claims of entities in the sky to be particularly absurd or hard to believe - they've happened all throughout history, have they not?
ok, i'm going to put away my skeptic hat for a moment and put on my marxist cape.
i just think the marxist article of clothing should be a cape. it just makes sense, some how. i dunno. but it's obvious.
religion is supposed to be this thing that governments use to control masses of people into compliance with. so, it strikes me as kind of weird to speak of it in terms of resistance. now, i need to rip off my marxist cape because my paranoid anarchist heart wants to look for evidence of alliance with power structures, as that is, in truth, occam's razor. yet, the possibility of a simple slick preacher also always exists - and these aren't mutually exclusive.
at the least, any activist on the left should be particularly weary of any kind of religious movement trying to involve itself with politics. there is a 100% chance that they are trying to take over your movement for one nefarious aim or the other.
the problem that marx (where's my cape?...) saw with christianity is that it promises salvation in an afterlife, thereby leaving workers in delusional states of fantasies about life and death. i'm supposed to point out that marx saw this as an obstacle to movement building and leave it at that, but think about the psychology in what he's suggesting. think about how that breaks a human's soul into two, having them turn an active desire for death into a virtue. to convince humans that they should believe that all of the misery and all of the struggle is worth it because it will be paid off in an afterlife, which certainly doesn't exist. this is a truly dangerous cult.
i don't feel that buddhism escapes this general description of a pacifying force, but rather in a way just transcribes it. buddhism also teaches that life is meaningless, and that there is some preferable place in the hierarchy in the next life. this is incompatible with a revolutionary politic.
Saturday, December 23, 2017
so, what am i doing this weekend?
well, i've got four days of cheap electricity, so i can work at a normal pace. i don't know what my electrical costs are going to be in this unit. i know that i'll get a credit applied eventually, but the process appears to be cumbersome and inefficient, so i don't know when. i tried to get them the information for mid-november, but they're telling me i need to wait two cycles, and not providing a coherent answer as to why. i got the thing escalated, at least. i don't know when to expect a response.
but, i'm conserving electricity in the mean time. my first bill should not be high, at least. the major cost is the fridge. i don't know after that. i need to get data before i can react to it.
i'm probably going to get some solar lamps and put them in the windows, then never turn the lights on. i have five giant windows in this apartment, six including the one in the bathroom. i really don't need lights at all. i'm going to need to check costs and crunch numbers to see if it makes sense, but it no doubt does. if they're around $20 each, it will make sense immediately. if they get to more than that i'll need to see...
i'm also considering getting a ups and using it as a battery, but that's going to again be determined by how much it costs and what my actual electrical costs end up being. what i could do with this is suck down electricity over night for use in the day, ensuring that i'm only paying off peak costs (except for the fridge and the cable modem), and i'm able to operate at will with the electrical.
the other thing i'm considering is just getting some solar panels and hooking them up to a battery. this would be intended for extraneous usage, like extra guitar effects or synthesizers. i'm just going to need to get an understanding of base usage, first.
the way this works is that they calculate the bill - and i have to pay something like $25/month just to use it - and then subtract $68 from the end of it. so, i'll get something like $40/month for free once it's set up. i actually don't expect my base usage to exceed this: fridge, other kitchen appliances, computers, tv, etc. but, if i decide that i want to spend all night every night for a month recording guitar parts through five processors, that's when it starts to add up - and where a solar source could be useful. like i say, i have these huge windows. but, i don't know where the technology is, and i don't know if i'll really need it.
see, the credit is cumulative. so, if it comes in at less than $68, i can transfer what's left to the next month. i don't actually expect this to be uncommon, especially if i get the solar lights up. that will mean i could see myself building credits - and that i can use those for my recording spurts.
right now, i really have no idea at all how this is going to play out.
but, i'm going to pick up where i left off, which is at compiling the blu-ray disc. i'm going to use it as an opportunity to double check all of the liner notes. that should be a day or two, at least...
well, i've got four days of cheap electricity, so i can work at a normal pace. i don't know what my electrical costs are going to be in this unit. i know that i'll get a credit applied eventually, but the process appears to be cumbersome and inefficient, so i don't know when. i tried to get them the information for mid-november, but they're telling me i need to wait two cycles, and not providing a coherent answer as to why. i got the thing escalated, at least. i don't know when to expect a response.
but, i'm conserving electricity in the mean time. my first bill should not be high, at least. the major cost is the fridge. i don't know after that. i need to get data before i can react to it.
i'm probably going to get some solar lamps and put them in the windows, then never turn the lights on. i have five giant windows in this apartment, six including the one in the bathroom. i really don't need lights at all. i'm going to need to check costs and crunch numbers to see if it makes sense, but it no doubt does. if they're around $20 each, it will make sense immediately. if they get to more than that i'll need to see...
i'm also considering getting a ups and using it as a battery, but that's going to again be determined by how much it costs and what my actual electrical costs end up being. what i could do with this is suck down electricity over night for use in the day, ensuring that i'm only paying off peak costs (except for the fridge and the cable modem), and i'm able to operate at will with the electrical.
the other thing i'm considering is just getting some solar panels and hooking them up to a battery. this would be intended for extraneous usage, like extra guitar effects or synthesizers. i'm just going to need to get an understanding of base usage, first.
the way this works is that they calculate the bill - and i have to pay something like $25/month just to use it - and then subtract $68 from the end of it. so, i'll get something like $40/month for free once it's set up. i actually don't expect my base usage to exceed this: fridge, other kitchen appliances, computers, tv, etc. but, if i decide that i want to spend all night every night for a month recording guitar parts through five processors, that's when it starts to add up - and where a solar source could be useful. like i say, i have these huge windows. but, i don't know where the technology is, and i don't know if i'll really need it.
see, the credit is cumulative. so, if it comes in at less than $68, i can transfer what's left to the next month. i don't actually expect this to be uncommon, especially if i get the solar lights up. that will mean i could see myself building credits - and that i can use those for my recording spurts.
right now, i really have no idea at all how this is going to play out.
but, i'm going to pick up where i left off, which is at compiling the blu-ray disc. i'm going to use it as an opportunity to double check all of the liner notes. that should be a day or two, at least...
Friday, December 22, 2017
hi.
so, the internet was hooked up late on the afternoon of the 21st. i
trust that the proper pro-rations will apply. i think this ought to be
straight forward. and, i'm happy to be back online and have things
back to normal.
but, i can't help but feel that a great deal of my time was wasted.
listen: i'm a highly patient individual and i'm highly adaptive to
situations. i could have and would have waited patiently until the
21st with nary a second thought, if that was the required action. and,
i would have been happy to see the tech when he finally arrived. but,
that's not what happened.
i called in in november to move the services and was told that they
could schedule me on the 1st of december, but it's often busy so if
they don't show up then i should wait on the 4th. so, i waited all day
on the 1st and all day on the 4th - a total of 18 hours. it later came
to my attention that cogeco had already informed your agent that they
would not be coming, but nobody relayed that information to me. so,
this 18 hours of waiting was preventable, and could have been
prevented by contacting me.
and, i would have been eminently reasonable had i been contacted and
asked to wait, as well.
a second install date was eventually arranged on the 12th. i expressed
repeatedly that i needed a technician to come in and crimp the ends
(the final process took mere minutes) and was told on the day before
the install that a technician would be there to do this. i waited
another 9 hours and did not see a tech, and was later told that none
was scheduled - that what was scheduled was a 'no truck' install, and
that a technician had indeed come, fiddled with the box and then left.
this was again preventable.
i was then told that the agent responsible for these lost 27 hours was
let go. i hope she finds a job that better suits her talents.
i could say something about my time being worth a dollar amount, and
attempt to charge you at a reasonable wage - at $10/hr (after taxes),
that would amount to $270, which would be nearly ten months of
service. but, i can see that this is too much.
i think that a more reasonable suggestion is to look at the three days
that were lost as events requiring some form of compensation, and i do
hope that i am effectively projecting that i aim to be reasonable. had
the cogeco agents not shown up due to any unforeseen event, from a
family emergency to an act of god, i could cite the fact of a
stochastic universe and wave it away as bad luck. but, your agents
were sitting on the correct information all three times.
there was no reason for me to wait on any of these days, as your
agents should have told me that nobody was scheduled.
my proposal is therefore this: that if each day spent waiting is a
separate event to require compensation, and i only purchase one thing
from you, then it follows that i ought to get three of the things that
i bought from you, which would work out to three months credit.
i live in a building with twenty other tenants, and they all saw me
sitting there for four days in december. i'm an honest person. and,
your self-interest is ultimately in damage control.
j
so, the internet was hooked up late on the afternoon of the 21st. i
trust that the proper pro-rations will apply. i think this ought to be
straight forward. and, i'm happy to be back online and have things
back to normal.
but, i can't help but feel that a great deal of my time was wasted.
listen: i'm a highly patient individual and i'm highly adaptive to
situations. i could have and would have waited patiently until the
21st with nary a second thought, if that was the required action. and,
i would have been happy to see the tech when he finally arrived. but,
that's not what happened.
i called in in november to move the services and was told that they
could schedule me on the 1st of december, but it's often busy so if
they don't show up then i should wait on the 4th. so, i waited all day
on the 1st and all day on the 4th - a total of 18 hours. it later came
to my attention that cogeco had already informed your agent that they
would not be coming, but nobody relayed that information to me. so,
this 18 hours of waiting was preventable, and could have been
prevented by contacting me.
and, i would have been eminently reasonable had i been contacted and
asked to wait, as well.
a second install date was eventually arranged on the 12th. i expressed
repeatedly that i needed a technician to come in and crimp the ends
(the final process took mere minutes) and was told on the day before
the install that a technician would be there to do this. i waited
another 9 hours and did not see a tech, and was later told that none
was scheduled - that what was scheduled was a 'no truck' install, and
that a technician had indeed come, fiddled with the box and then left.
this was again preventable.
i was then told that the agent responsible for these lost 27 hours was
let go. i hope she finds a job that better suits her talents.
i could say something about my time being worth a dollar amount, and
attempt to charge you at a reasonable wage - at $10/hr (after taxes),
that would amount to $270, which would be nearly ten months of
service. but, i can see that this is too much.
i think that a more reasonable suggestion is to look at the three days
that were lost as events requiring some form of compensation, and i do
hope that i am effectively projecting that i aim to be reasonable. had
the cogeco agents not shown up due to any unforeseen event, from a
family emergency to an act of god, i could cite the fact of a
stochastic universe and wave it away as bad luck. but, your agents
were sitting on the correct information all three times.
there was no reason for me to wait on any of these days, as your
agents should have told me that nobody was scheduled.
my proposal is therefore this: that if each day spent waiting is a
separate event to require compensation, and i only purchase one thing
from you, then it follows that i ought to get three of the things that
i bought from you, which would work out to three months credit.
i live in a building with twenty other tenants, and they all saw me
sitting there for four days in december. i'm an honest person. and,
your self-interest is ultimately in damage control.
j
so, what happened to me?
well, i moved on the 1st, and my isp couldn't or wouldn't connect me until the 21st. i spent four full days waiting in my lobby before it got resolved. i spent a lot of days accomplishing little besides yelling at people on the phone. and, all i've really done besides that is clean in here and set the place up.
i can at least report that i've done a lot of thinking about what's going to happen, next.
i have a few remaining things to finish for period 2. it should be in a few days, i hope. then, i have to catch up on the alter-reality, and i'm aiming for a jan 13th date on that - we'll see. right now, i'm not expecting to upload any vlogs until july 1st, and i'm expecting the stagger to be a year, but i'm purposefully prioritizing this as least important, because it actually is. i need to get caught up in everything else, first, then fix that laptop, then get the vlogs edited...
so, i'm kind of just picking up where i left off.
the one thing i was following was this franken bit...
i tried to make the point clear enough, but let me repeat it: what happened to al franken has nothing to do with....what are they calling it? "sexual misconduct"? it's basically an accusation of deviance, or subversion , or something. "corrupting the youth". but, that's not what happened to al franken. what happened to al franken is that he ran his mouth off in the senate, and the bastards took him down for speaking truth to power. al franken was purged. and, the democrats didn't even give him the disrespect of putting him through an unfair mock trial.
so, yes: what the democrats did to al franken is truly a disgrace, but i'm not remotely surprised, because the democrats have always been the conservative party. i'm not sure if i explicitly predicted it, but i got pretty close; i predicted the resignation, at least.
what gets me about it is that the democrats then have the audacity to stand up and promote their behaviour as upholding a system of values. it is a system of values, i suppose, but it's a system of puritanical, right-wing and conservative values; these are not my values. i am a liberal. my values are not the fire and brimstone of retributive justice, but due process of law and the presumption of innocence. again: i'm not surprised that the democrats are not upholding my values, but i am a little surprised to see them upheld by right-wing demagogues that i don't usually have anything in common with.
but, i've been over this in this space. the democrats are and always have been the conservative party in the american political system. the republicans used to be the liberal party, but have become some kind of post-truth nihilist catastrophe. this has left a small number of liberals scattered across either party, and american liberals in a hopeless state of utter disenfranchisement. and, despite telling me what i want to hear, i know that the likes of tucker carlson are ultimately just disingenuously pushing buttons.
but, we can have this discussion of values, if you want, sure. i look at what the democrats did to al franken, and i see a conservative party obsessed with retribution that does not at all represent my values. then, i looked at the roy moore situation, and i see a liberal republican party that is willing to hold to the presumption of innocence in even the most extreme scenarios. i think roy moore probably deserves to be punished, and al fanken certainly doesn't - granted. but, it is the republicans that better reflect my liberal values, here - and the democrats that do not.
and, while it is true that the democrats were always the conservative party, they may want to think this through a little more carefully.
i expect the republicans to take al franken's seat and hold it for at least a generation.
well, i moved on the 1st, and my isp couldn't or wouldn't connect me until the 21st. i spent four full days waiting in my lobby before it got resolved. i spent a lot of days accomplishing little besides yelling at people on the phone. and, all i've really done besides that is clean in here and set the place up.
i can at least report that i've done a lot of thinking about what's going to happen, next.
i have a few remaining things to finish for period 2. it should be in a few days, i hope. then, i have to catch up on the alter-reality, and i'm aiming for a jan 13th date on that - we'll see. right now, i'm not expecting to upload any vlogs until july 1st, and i'm expecting the stagger to be a year, but i'm purposefully prioritizing this as least important, because it actually is. i need to get caught up in everything else, first, then fix that laptop, then get the vlogs edited...
so, i'm kind of just picking up where i left off.
the one thing i was following was this franken bit...
i tried to make the point clear enough, but let me repeat it: what happened to al franken has nothing to do with....what are they calling it? "sexual misconduct"? it's basically an accusation of deviance, or subversion , or something. "corrupting the youth". but, that's not what happened to al franken. what happened to al franken is that he ran his mouth off in the senate, and the bastards took him down for speaking truth to power. al franken was purged. and, the democrats didn't even give him the disrespect of putting him through an unfair mock trial.
so, yes: what the democrats did to al franken is truly a disgrace, but i'm not remotely surprised, because the democrats have always been the conservative party. i'm not sure if i explicitly predicted it, but i got pretty close; i predicted the resignation, at least.
what gets me about it is that the democrats then have the audacity to stand up and promote their behaviour as upholding a system of values. it is a system of values, i suppose, but it's a system of puritanical, right-wing and conservative values; these are not my values. i am a liberal. my values are not the fire and brimstone of retributive justice, but due process of law and the presumption of innocence. again: i'm not surprised that the democrats are not upholding my values, but i am a little surprised to see them upheld by right-wing demagogues that i don't usually have anything in common with.
but, i've been over this in this space. the democrats are and always have been the conservative party in the american political system. the republicans used to be the liberal party, but have become some kind of post-truth nihilist catastrophe. this has left a small number of liberals scattered across either party, and american liberals in a hopeless state of utter disenfranchisement. and, despite telling me what i want to hear, i know that the likes of tucker carlson are ultimately just disingenuously pushing buttons.
but, we can have this discussion of values, if you want, sure. i look at what the democrats did to al franken, and i see a conservative party obsessed with retribution that does not at all represent my values. then, i looked at the roy moore situation, and i see a liberal republican party that is willing to hold to the presumption of innocence in even the most extreme scenarios. i think roy moore probably deserves to be punished, and al fanken certainly doesn't - granted. but, it is the republicans that better reflect my liberal values, here - and the democrats that do not.
and, while it is true that the democrats were always the conservative party, they may want to think this through a little more carefully.
i expect the republicans to take al franken's seat and hold it for at least a generation.
Wednesday, November 29, 2017
so, i have completed the order.
sort of.
the cover art has been printed, but i need to wait for it to dry. and, i won't have time to ship it until probably tomorrow, if i can stay awake long enough. but, it exists.
i get the keys in less than an hour. hopefully. and, then i need to spend the next 24-48 hours transiting items out of here.
i won't get back to completing the sequence until things are moved, but i'm going to make it a priority to do so, as well. it will be the first thing i do, before i even unpack everything else. and, it shouldn't take more than a few days.
period 2 is really legitimately nearly final.
and, then i'm on to the alter-reality, and a year worth of journal entries from my 16 year old self.
sort of.
the cover art has been printed, but i need to wait for it to dry. and, i won't have time to ship it until probably tomorrow, if i can stay awake long enough. but, it exists.
i get the keys in less than an hour. hopefully. and, then i need to spend the next 24-48 hours transiting items out of here.
i won't get back to completing the sequence until things are moved, but i'm going to make it a priority to do so, as well. it will be the first thing i do, before i even unpack everything else. and, it shouldn't take more than a few days.
period 2 is really legitimately nearly final.
and, then i'm on to the alter-reality, and a year worth of journal entries from my 16 year old self.
publishing inri071
i've taken
to splitting my discography into phases, and my hitch-hiking trip to
british columbia is a very important separation point - both in terms of
the nature of the material that came out afterwards and what is now a
substantial body of work that came before it. that makes it a natural
point to look backwards and build compilations of intersecting ideas.
a characteristic of my work is that it does not conform well to genre norms. this is not an accident; when compiling a record, i'm guided more by the late beatles' philosophy of vast diversity in a small space than i am by any kind of desire to collect together nice singles, or by some kind of compulsive organizing into categories or concepts. i write psychedelic music. that means something different in 2015 than it did in 1966, but the commonality is that it's necessarily challenging. i want all of my records to do everything at once, and accomplish everything by their end point. that makes compilations of this sort inherently difficult, because every song touches on every compilation idea at the same time. the jazz record would have the same tracklisting as the punk record, the classical record and the folk record - and none would really be what they're claimed to be.
the one exception to this conundrum is how i interacted with ambient music in this period. i very regularly utilized ideas from the genre, but i tended to interpret ambience as something that is necessarily obscure. in this period, ambient pieces are almost always outtakes or b sides. i tended to interpret covers and remixes as ambient pieces, probably because that was unexpected. when ambient ideas make it on to the record, they're almost always for effect: introductions, endings, connecting passages, that sort of thing.
when i began reconstructing my discography in early 2014, i came across a handful of songs i'd written out into midi format and put aside for later. a number of these ended up reworked into ambient pieces, and released as b sides. i also ended up converting some of the material i wrote in this period into ambient sound collages that are more in the style of music i created after 2003.
the end result is enough bsides and remixes to put together two full cds of ambient music. none of the tracks on volumes one or two are on any official record as they appear here; this is technically a collection of remixes and outtakes.
this package was initially released with a mix tape of fragments from 1996-1999, but it has since been moved into it's own release (inri035): jasonparent.bandcamp.com/album/ambient-works-vol-0
initially written and recorded between 2000-2003 and remixed between 2014-2015. sequenced over mid may, 2015. the final compilation date was initially may 20, 2015, but both discs were mildly updated with some more appropriate mixes of the same tracks on nov 29, 2017; disc subsequently finalized as lp020. 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 (2014, 2015, 2017).
a characteristic of my work is that it does not conform well to genre norms. this is not an accident; when compiling a record, i'm guided more by the late beatles' philosophy of vast diversity in a small space than i am by any kind of desire to collect together nice singles, or by some kind of compulsive organizing into categories or concepts. i write psychedelic music. that means something different in 2015 than it did in 1966, but the commonality is that it's necessarily challenging. i want all of my records to do everything at once, and accomplish everything by their end point. that makes compilations of this sort inherently difficult, because every song touches on every compilation idea at the same time. the jazz record would have the same tracklisting as the punk record, the classical record and the folk record - and none would really be what they're claimed to be.
the one exception to this conundrum is how i interacted with ambient music in this period. i very regularly utilized ideas from the genre, but i tended to interpret ambience as something that is necessarily obscure. in this period, ambient pieces are almost always outtakes or b sides. i tended to interpret covers and remixes as ambient pieces, probably because that was unexpected. when ambient ideas make it on to the record, they're almost always for effect: introductions, endings, connecting passages, that sort of thing.
when i began reconstructing my discography in early 2014, i came across a handful of songs i'd written out into midi format and put aside for later. a number of these ended up reworked into ambient pieces, and released as b sides. i also ended up converting some of the material i wrote in this period into ambient sound collages that are more in the style of music i created after 2003.
the end result is enough bsides and remixes to put together two full cds of ambient music. none of the tracks on volumes one or two are on any official record as they appear here; this is technically a collection of remixes and outtakes.
this package was initially released with a mix tape of fragments from 1996-1999, but it has since been moved into it's own release (inri035): jasonparent.bandcamp.com/album/ambient-works-vol-0
initially written and recorded between 2000-2003 and remixed between 2014-2015. sequenced over mid may, 2015. the final compilation date was initially may 20, 2015, but both discs were mildly updated with some more appropriate mixes of the same tracks on nov 29, 2017; disc subsequently finalized as lp020. 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 (2014, 2015, 2017).
credits
released April 28, 2003
j - guitars (acoustic, electric, nylon), effects & treatments, bass, synthesizers, electric air reed organ, orchestral & other sequencing, drum & other programming, generative programming (sounder), "projectile synthesis" (audiomulch), granular synthesis (granulab), sound design, electronic and conventional drum kits, sampling, loops, films, voice, digital wave editing, composition, production.
sean - vocal ideas (tracks 4 & 7, disc 1), ring modulator (track 9, disc 1)
jon - background guitar performance (track 4, disc 1)
greg - drum performance sample source (track 5, disc 1)
the various rendered electronic orchestras include synth bass, electric bass, acoustic bass, electric guitar, acoustic guitar, nylon guitar, guitar effects, guitar noises (fret noises, pick scrapes, knocks), synthesizer, synth pads, mellotron, choir, violin, viola, cello, contrabass, string section, pizzicato strings, french horn, trumpet, trombone, tuba, oboe, english horn, bassoon, clarinet, flute, piccolo, mallet, piano, woodblock, music box, xylophone, tubular bells, other bells, orchestra hit, electronic drum kit, melodic toms, drum machine and orchestral drum kit.
j - guitars (acoustic, electric, nylon), effects & treatments, bass, synthesizers, electric air reed organ, orchestral & other sequencing, drum & other programming, generative programming (sounder), "projectile synthesis" (audiomulch), granular synthesis (granulab), sound design, electronic and conventional drum kits, sampling, loops, films, voice, digital wave editing, composition, production.
sean - vocal ideas (tracks 4 & 7, disc 1), ring modulator (track 9, disc 1)
jon - background guitar performance (track 4, disc 1)
greg - drum performance sample source (track 5, disc 1)
the various rendered electronic orchestras include synth bass, electric bass, acoustic bass, electric guitar, acoustic guitar, nylon guitar, guitar effects, guitar noises (fret noises, pick scrapes, knocks), synthesizer, synth pads, mellotron, choir, violin, viola, cello, contrabass, string section, pizzicato strings, french horn, trumpet, trombone, tuba, oboe, english horn, bassoon, clarinet, flute, piccolo, mallet, piano, woodblock, music box, xylophone, tubular bells, other bells, orchestra hit, electronic drum kit, melodic toms, drum machine and orchestral drum kit.
publishing inri072
an
unexpected result of the project to complete my discography, undertaken
in late 2013, has been the construction of a handful of orchestral
pieces, mostly as remixes of original tracks from the
jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj period. while these
tracks were initially written out as scored pieces for expanded
instrumentation, they were generally written around the guitar and the
expanded instrumentation was largely meant simply for colour. the
exception to this is the psilocybin symphony, which was written as a
piano concerto from the start and previously completed in early 2006.
the ability to expand these pieces into orchestral works is the result of the advances in vst sampling technology that have occurred since 2003. while changes in instrumentation have been accompanied by extra writing (mostly on the guitar), tempo shifts and other general rearrangement choices, the existing technology makes it very easy to rearrange a rock song for an orchestra, by simply multiplying staves and changing the sound fonts.
the condition i've set for a piece to be "orchestral" is that it must utilize the entire orchestra: it must have percussion, piano, horns, woodwinds/reeds and strings. guitars are generally treated like "first violins", whereas violins are generally not considered to be more special than other similar string instruments. some of the tracks also have prominent choral sections. all of these pieces meet this condition, except the last one which does not have a woodwind/reed section.
my delve into scorewriting ended in 2003; the material in my third phase is more focused on live and manipulated guitars and synthesizers. i consequently feel that this is an interesting summary of my second period, taken from a specific angle that is otherwise largely relegated to single-only remixes.
initially written and recorded between 2001-2003 and remixed and recorded further over 2014-2015, except track 2 which was completed in early 2006 and track 5 which was completed in 2017. the initial final compilation date was may 23, 2015, but track five was then added on oct 14, 2017 and the disc was finalized as lp021 on nov 29, 2017. track 7 was added as a download-only bonus track on jan 14, 2018. 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 (2014, 2015, 2017, 2018).
* download only
the ability to expand these pieces into orchestral works is the result of the advances in vst sampling technology that have occurred since 2003. while changes in instrumentation have been accompanied by extra writing (mostly on the guitar), tempo shifts and other general rearrangement choices, the existing technology makes it very easy to rearrange a rock song for an orchestra, by simply multiplying staves and changing the sound fonts.
the condition i've set for a piece to be "orchestral" is that it must utilize the entire orchestra: it must have percussion, piano, horns, woodwinds/reeds and strings. guitars are generally treated like "first violins", whereas violins are generally not considered to be more special than other similar string instruments. some of the tracks also have prominent choral sections. all of these pieces meet this condition, except the last one which does not have a woodwind/reed section.
my delve into scorewriting ended in 2003; the material in my third phase is more focused on live and manipulated guitars and synthesizers. i consequently feel that this is an interesting summary of my second period, taken from a specific angle that is otherwise largely relegated to single-only remixes.
initially written and recorded between 2001-2003 and remixed and recorded further over 2014-2015, except track 2 which was completed in early 2006 and track 5 which was completed in 2017. the initial final compilation date was may 23, 2015, but track five was then added on oct 14, 2017 and the disc was finalized as lp021 on nov 29, 2017. track 7 was added as a download-only bonus track on jan 14, 2018. 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 (2014, 2015, 2017, 2018).
* download only
credits
released May 1, 2003
j - controller inputs, drum & other programming, orchestral & other sequencing, live guitars, live bass, live synths, effects, sound design, digital wave editing, composition, production.
the various rendered electronic orchestras includes violin, viola, cello, contrabass, electric guitar, nylon guitar, guitar fret noise, bass guitar, synthesizer bass, french horn, trumpet, trombone, tuba, english horn, oboe, bassoon, clarinet, saxophone, bamboo flute, flute, piccolo, synthesizers, mellotron, organ, piano, harp, koto, music box, clavinet, kalimba, xylophone, agogo, mallet, hammered percussion, woodblock, tubular bells, tinkle bells, glockenspiel, orchestra hit, melodic toms, electronic drum kit, timpani, orchestral drum kit and choir.
j - controller inputs, drum & other programming, orchestral & other sequencing, live guitars, live bass, live synths, effects, sound design, digital wave editing, composition, production.
the various rendered electronic orchestras includes violin, viola, cello, contrabass, electric guitar, nylon guitar, guitar fret noise, bass guitar, synthesizer bass, french horn, trumpet, trombone, tuba, english horn, oboe, bassoon, clarinet, saxophone, bamboo flute, flute, piccolo, synthesizers, mellotron, organ, piano, harp, koto, music box, clavinet, kalimba, xylophone, agogo, mallet, hammered percussion, woodblock, tubular bells, tinkle bells, glockenspiel, orchestra hit, melodic toms, electronic drum kit, timpani, orchestral drum kit and choir.
republishing inri074
around
october, 2002 i met a friend. i was sort of in need of a friend, and i
mean that in the friend sense. but, the mental condition i was in was
the explanation of why i needed a friend, if you see what i mean; i was
completely unstable in this period and did all kinds of absurd things,
which isolated me - and i wasn't getting any better.
i dropped out of school under the realization that i was walking down a path that wasn't getting me anywhere close to what i wanted out of life. i ended up working three jobs to raise money for gender reassignment, and it crossed me paths with somebody that was also trying to think of ways to get out of the box in terms of ways to exist.
she was trying to save up money to go to british columbia. it was some kind of warped take on the grapes of wrath, where everything works out perfectly. but, the rent was eating into her savings, which was making the goal seem impossible. well, unless we stopped having fun.
so, i suggested she should just stay at my parents place. part of it was a hope that she would move her drum kit in, although that didn't happen. and, i might add that this was done with all of the reckless abandon that could be contemplated - we were moving stuff in without even asking, it was really remarkable.
and, it seemed to me that we were getting pretty close over that period.
so, when the time came that she had all that money put aside to go to bc, it was kind of a downer to let her go. and, she initially wanted to go with a friend who dropped out. so, i ended up going across the country with her.
now, i need to be clear: we weren't planning on coming back. we were going to pick fruit or something - we didn't know, exactly, we'd figure it out when we got there.
so, this was meant as a sort of farewell to certain people i hadn't talked to in months and didn't care if i was leaving, anyways. i think it let me work some things out on weird subconscious levels, but the truth is that these songs really aren't about anybody except me, and there's no use in pretending they are - i just liked the idea of a farewell disc.
this disc was initially passed around with a cut up version of the pretentious untitled mix at the end, but this was almost immediately ejected from future burns and is not present on this ep due to the poor quality of the mix. the remaining five tracks became combined into what i now call my eighth symphony.
written and recorded in late 2002 and early 2003. this was initially uploaded unmodified from a cd-r rip in may, 2015, but this was replaced with a version from source on nov 29, 2017 due to clipping due to an unrealized normalization on the burn. disc finalized as symph008 on nov 29, 2017. as always, please use headphones.
the hidden track is the final version and also appears on my ninth record, {e} (inri08x): jasonparent.bandcamp.com/album/e
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 (2003, 2015, 2017).
i dropped out of school under the realization that i was walking down a path that wasn't getting me anywhere close to what i wanted out of life. i ended up working three jobs to raise money for gender reassignment, and it crossed me paths with somebody that was also trying to think of ways to get out of the box in terms of ways to exist.
she was trying to save up money to go to british columbia. it was some kind of warped take on the grapes of wrath, where everything works out perfectly. but, the rent was eating into her savings, which was making the goal seem impossible. well, unless we stopped having fun.
so, i suggested she should just stay at my parents place. part of it was a hope that she would move her drum kit in, although that didn't happen. and, i might add that this was done with all of the reckless abandon that could be contemplated - we were moving stuff in without even asking, it was really remarkable.
and, it seemed to me that we were getting pretty close over that period.
so, when the time came that she had all that money put aside to go to bc, it was kind of a downer to let her go. and, she initially wanted to go with a friend who dropped out. so, i ended up going across the country with her.
now, i need to be clear: we weren't planning on coming back. we were going to pick fruit or something - we didn't know, exactly, we'd figure it out when we got there.
so, this was meant as a sort of farewell to certain people i hadn't talked to in months and didn't care if i was leaving, anyways. i think it let me work some things out on weird subconscious levels, but the truth is that these songs really aren't about anybody except me, and there's no use in pretending they are - i just liked the idea of a farewell disc.
this disc was initially passed around with a cut up version of the pretentious untitled mix at the end, but this was almost immediately ejected from future burns and is not present on this ep due to the poor quality of the mix. the remaining five tracks became combined into what i now call my eighth symphony.
written and recorded in late 2002 and early 2003. this was initially uploaded unmodified from a cd-r rip in may, 2015, but this was replaced with a version from source on nov 29, 2017 due to clipping due to an unrealized normalization on the burn. disc finalized as symph008 on nov 29, 2017. as always, please use headphones.
the hidden track is the final version and also appears on my ninth record, {e} (inri08x): jasonparent.bandcamp.com/album/e
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 (2003, 2015, 2017).
credits
released May 3, 2003
j - guitar, effects, bass, synth, voice, piano, drum programming, generative programming (sounder), granular synthesis, sound design, soundscaping, loops, bowls, claps, tables, ebow, orchestral sequencing, digital wave editing, sampling, production, composition
j - guitar, effects, bass, synth, voice, piano, drum programming, generative programming (sounder), granular synthesis, sound design, soundscaping, loops, bowls, claps, tables, ebow, orchestral sequencing, digital wave editing, sampling, production, composition
Tuesday, November 28, 2017
so, what happened today?
i got the discs printed, and then i realized i was out of paper, or didn't have enough paper to complete the process. so, i decided to do a compost run, only to get there and realize that they've shut it down.
i got my paper, but i haven't created any liner notes yet.
i get the keys tomorrow at 1:30, so that should give me time to ship in the morning. and, then, i'm going to be moving all night. sorry, jessica moss & ben shemie. i'm not sure what you're even up to, but you're in town on the one day this decade that i can't spend at phog. them's the cards, i guess.
i need to eat. then i'm going to shower. and then i'm actually going to throw myself back into sequence.
the ambient works got rearranged a little: i put the ambient mix of fuck boxes where it was intended to go, and replaced the version of the intersection i initially used with a more appropriate one. i also reconstructed reflections from the source; i had previously used a rip that was normalized on the burn, and that was a bad idea.
but, i'm going to actually try to get this done in sequence. i think i can.
i got the discs printed, and then i realized i was out of paper, or didn't have enough paper to complete the process. so, i decided to do a compost run, only to get there and realize that they've shut it down.
i got my paper, but i haven't created any liner notes yet.
i get the keys tomorrow at 1:30, so that should give me time to ship in the morning. and, then, i'm going to be moving all night. sorry, jessica moss & ben shemie. i'm not sure what you're even up to, but you're in town on the one day this decade that i can't spend at phog. them's the cards, i guess.
i need to eat. then i'm going to shower. and then i'm actually going to throw myself back into sequence.
the ambient works got rearranged a little: i put the ambient mix of fuck boxes where it was intended to go, and replaced the version of the intersection i initially used with a more appropriate one. i also reconstructed reflections from the source; i had previously used a rip that was normalized on the burn, and that was a bad idea.
but, i'm going to actually try to get this done in sequence. i think i can.
ok, so today's the last day for this, until i move, so i want to finish what i'm doing.
i'm not closing the blu-ray disc, yet.
i'm not doing the guitar works (inri069), yet. the idea is developed.
i'm not closing thru, yet (inri070).
the 6th flac disc will close around here. as will the second lp only disc. it's not clear where, exactly.
i will be printing inri071 (ambient works). but i won't finalize it until it gets to sequence.
i will be printing inri072 (reflections), but i won't finalize it until it gets to sequence.
i'm not closing the chamber works, yet (inri073).
i will be printing inri074 (reflections).
the numbers are finally clear. that's what i needed to print the parts at the end.
this order isn't completely done yet. he overpaid for shipping, and he bought two items twice, so he'll get another shipment, after i move.
but i need to get this out...
i might get the keys today. if i do, i'll need to get this going. if i don't, i'll start filling i the pieces this evening.
i'm not closing the blu-ray disc, yet.
i'm not doing the guitar works (inri069), yet. the idea is developed.
i'm not closing thru, yet (inri070).
the 6th flac disc will close around here. as will the second lp only disc. it's not clear where, exactly.
i will be printing inri071 (ambient works). but i won't finalize it until it gets to sequence.
i will be printing inri072 (reflections), but i won't finalize it until it gets to sequence.
i'm not closing the chamber works, yet (inri073).
i will be printing inri074 (reflections).
the numbers are finally clear. that's what i needed to print the parts at the end.
this order isn't completely done yet. he overpaid for shipping, and he bought two items twice, so he'll get another shipment, after i move.
but i need to get this out...
i might get the keys today. if i do, i'll need to get this going. if i don't, i'll start filling i the pieces this evening.
Monday, November 27, 2017
publishing inri068
in the
summer of 2013, two formative things happened at almost exactly the same
time: my father died after a lengthy battle with brain cancer and i
moved from ottawa, ontario to windsor, ontario. they were within a week
from each other; my father died while i was camped out in a tim horton's
on tecumseh, waiting to sign a lease and catch a bus back 'home'. but,
dad was really the only remaining thing that made ottawa home, in the
first place.
the reasons underlying my move were legitimate, if somewhat forced. my gear was stored in my father's garage, and i had been given notice that i would not be able to keep it there more than a moment past his death. my stepmother and i haven't spoken since. i legitimately couldn't find anything in ottawa, so finding the place in windsor was actually somewhat of a stroke of luck, given the urgency of the situation. i had hitched down there to meet friends, but in the end they couldn't sign a lease, so i went by myself.
the culmination of occurrences had me in the mindset of fresh beginnings. i finally had a stable income source on odsp, and a new apartment in a new city. so, i almost immediately set about completing all of the music that i had been putting aside for so long, in preparation for my own imminent demise, relative to the immense expanse that is time.
through whatever coincidence, i am permanently closing my second period during the week that i am being evicted from this same apartment, for the supposed reason of personal use. this apartment will consequently forever be associated with the completion of my second period.
yet, the bulk of the work done in this apartment - through immense difficulties with malfunctioning gear, questionable electrical outlets and a probable atmospheric magnetic field - has been in the realm of (re)mixing, orchestrating, programming and rearranging. it was just the nature of what needed to be done around an assortment of midi compositions and flat mixes from the early 00s. the really heavy lifting in completing my discography will come in finishing the third period, which i will not start until i move into a new apartment, around the corner from here.
with the exception of two vocal tracks (for inri020 and inri062), this disc is a comprehensive document of what was actually written as it was being recorded in the basement at 805 marion ave, in windsor, ontario, canada, in the form of a collection of overdub mixes that can be pasted on top of the existing demos in order to create the final products. it is mostly guitar and bass tracks, but also includes some orchestral and other sequencing and some electronic drum parts. everything else that was done in this basement was either created from existing sound or was constructed from existing midi instructions, however elaborately and however abstractly.
in hindsight, i can state with some force that this basement is not well suited for a recording studio. yet, these problems will be forever embedded within my own history, as well.
with those words, my tenure here ends. so long.
originally written, programmed and recorded in varying states of finality over 2001 and 2002, except the hidden track (which was programmed in 1997). the associated tracks were completed between february, 2014 and may, 2015; these mixes, however, were spun off as late as nov, 2017. this compilation is dated to nov 27, 2017; disc simultaneously created and finalized as lp017 on nov 27, 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 (2001, 2002, 2014, 2015, 2016, 2017).
the reasons underlying my move were legitimate, if somewhat forced. my gear was stored in my father's garage, and i had been given notice that i would not be able to keep it there more than a moment past his death. my stepmother and i haven't spoken since. i legitimately couldn't find anything in ottawa, so finding the place in windsor was actually somewhat of a stroke of luck, given the urgency of the situation. i had hitched down there to meet friends, but in the end they couldn't sign a lease, so i went by myself.
the culmination of occurrences had me in the mindset of fresh beginnings. i finally had a stable income source on odsp, and a new apartment in a new city. so, i almost immediately set about completing all of the music that i had been putting aside for so long, in preparation for my own imminent demise, relative to the immense expanse that is time.
through whatever coincidence, i am permanently closing my second period during the week that i am being evicted from this same apartment, for the supposed reason of personal use. this apartment will consequently forever be associated with the completion of my second period.
yet, the bulk of the work done in this apartment - through immense difficulties with malfunctioning gear, questionable electrical outlets and a probable atmospheric magnetic field - has been in the realm of (re)mixing, orchestrating, programming and rearranging. it was just the nature of what needed to be done around an assortment of midi compositions and flat mixes from the early 00s. the really heavy lifting in completing my discography will come in finishing the third period, which i will not start until i move into a new apartment, around the corner from here.
with the exception of two vocal tracks (for inri020 and inri062), this disc is a comprehensive document of what was actually written as it was being recorded in the basement at 805 marion ave, in windsor, ontario, canada, in the form of a collection of overdub mixes that can be pasted on top of the existing demos in order to create the final products. it is mostly guitar and bass tracks, but also includes some orchestral and other sequencing and some electronic drum parts. everything else that was done in this basement was either created from existing sound or was constructed from existing midi instructions, however elaborately and however abstractly.
in hindsight, i can state with some force that this basement is not well suited for a recording studio. yet, these problems will be forever embedded within my own history, as well.
with those words, my tenure here ends. so long.
originally written, programmed and recorded in varying states of finality over 2001 and 2002, except the hidden track (which was programmed in 1997). the associated tracks were completed between february, 2014 and may, 2015; these mixes, however, were spun off as late as nov, 2017. this compilation is dated to nov 27, 2017; disc simultaneously created and finalized as lp017 on nov 27, 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 (2001, 2002, 2014, 2015, 2016, 2017).
credits
released April 24, 2003
j - electric guitars, digital & analog effects & treatments, bass, synthesizers, electric air reed organ, drum & other sampling, drum programming, drum manipulations, electronic drum kit, orchestral & other sequencing, sound design, soundscaping, loops, digital wave editing, voice, production, composition.
greg - drum performance sample source (2)
the rendered electronic orchestra includes at least one of each of the following: violin, viola, cello, contrabass, koto, french horn, trombone, trumpet, tuba, english horn, saxophone, flute, oboe, piccolo, clarinet, bassoon, agogo, tubular bells, glockenspiel, piano, melodic toms, timpani, orchestral hit, orchestral drum set and various full string sections. it also includes choir.
j - electric guitars, digital & analog effects & treatments, bass, synthesizers, electric air reed organ, drum & other sampling, drum programming, drum manipulations, electronic drum kit, orchestral & other sequencing, sound design, soundscaping, loops, digital wave editing, voice, production, composition.
greg - drum performance sample source (2)
the rendered electronic orchestra includes at least one of each of the following: violin, viola, cello, contrabass, koto, french horn, trombone, trumpet, tuba, english horn, saxophone, flute, oboe, piccolo, clarinet, bassoon, agogo, tubular bells, glockenspiel, piano, melodic toms, timpani, orchestral hit, orchestral drum set and various full string sections. it also includes choir.
ok, i got it up as a stub.
to be continued...
https://jasonparent.bandcamp.com/album/percussive-works
to be continued...
https://jasonparent.bandcamp.com/album/percussive-works
i didn't get as much as i wanted done yesterday, but the situation
remains the same: i need to ship either tonight or tomorrow morning,
probably tomorrow morning, and absolutely still can finish before then.
if not, i guess i'll have a few items to ship next week.
the only other thing i need to do before i move is a compost run. and, worst case, i could always do it after i move. i don't want to do that, though; i want the compost out tomorrow.
it's not year clear what inri068 is going to be. but, i've just pushed the percussive works forward. i feel like the material i've compiled for this is very strong, but there's only a half hour of it. this can and should be an epic release, but it just needs more material in order to bring it there. the beginning of the ninth symphony, as well as an unreleased track from early 2007 called 'the crash', should effectively add to this release. so, i'm planning to release this at the end of period 3, instead. period 3 will run from summer, 2003 to spring, 2007.
if there weren't existing ideas in the discography to flesh this out, i'd consider releasing it as an ep. but, there actually are good ideas to explore for this, and the end result will be better if i wait it out.
if not, i guess i'll have a few items to ship next week.
the only other thing i need to do before i move is a compost run. and, worst case, i could always do it after i move. i don't want to do that, though; i want the compost out tomorrow.
it's not year clear what inri068 is going to be. but, i've just pushed the percussive works forward. i feel like the material i've compiled for this is very strong, but there's only a half hour of it. this can and should be an epic release, but it just needs more material in order to bring it there. the beginning of the ninth symphony, as well as an unreleased track from early 2007 called 'the crash', should effectively add to this release. so, i'm planning to release this at the end of period 3, instead. period 3 will run from summer, 2003 to spring, 2007.
if there weren't existing ideas in the discography to flesh this out, i'd consider releasing it as an ep. but, there actually are good ideas to explore for this, and the end result will be better if i wait it out.
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