this is a big deal - the 7th record is now released.
and, i'm up to mid 2004 in terms of the rebuild structure.
i need to spend the night filing.
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when it was released in the summer of 2004, this would have been my fifth official recording, after inri, inriched, inridiculous and deny everything. sarah and i moved into a place for the beginning of may; she was working overnight (22:00-6:00) in a diner, so it gave me time to read and record. things seemed like they were starting anew, so i took the time to sort through the discography and reassemble what i actually had.
a decision was quickly made to unpublish the first three records in favour of a zappa/keneally-style disc of cut-up guitar shorts that i called inricycled, and start seriously at deny everything. the written music that now exists in this space only existed in the form of completed scores, during this period. so, the only other things i had were the rabit is wolf demo, the recently completed reflections ep, some classical guitar stuff and a bunch of these noise demos. this was consequently the extent of the truncated discography, in mid-2004: inricycled (as it was then), deny everything (as it existed then), the rabit is wolf demo, reflections and a 5-track version of this ftaa disc.
now that i have republished the three inri demos as instrumental recordings, stripped the deny everything lp of samples and converted the rabit is wolf material into two instrumental discs, taking this project to it's final conclusion becomes the process of removing samples from the 2004 demo, and converting it into my 7th completed original lp.
the ftaa project was supposed to be a combination of political poetry and sample art projects that presented a vaguely "anarchist" political messaging. my concept of anarchism in 2004 was mostly economic, and mostly about presenting an alter-globalization alternative to the rising tide of "free trade" blocs that focused more on local worker control than on the outsourcing of cheap labour to countries with poor labour standards, which is what this term "globalization" actually means, in an economic sense. so, it was supposed to be about syndicalism, and it was supposed to be a *very* noisy and very abstract project.
but, then 9/11 happened at about the same time as i was starting with this and the entire anti-nafta left just evaporated, as the war took over the popular movements and the more socially conservative aspects of the union movement dissented against the backlash and started looking elsewhere. we seem to forget that the real origins of the shift to the right amongst unionized workers is really cultural, and comes from a disconnect that developed in the anti-war left after 2001; a very large number of workers felt the country had been attacked, and wanted to respond with force.
i kind of came in somewhere between. i was certainly opposed to the war, and for the right reasons, but i also felt that globalization was a bigger problem and deserved more attention. i think a lot of organizers on the left kind of got tricked by the size of the anti-war protests, into thinking there was more of a path in opposing the war. and people just kind of forgot about the trade issues. and, i also felt that the civil rights breaches that the government was ramming through were bigger issues than either the war or the trade protests.
so, the record kind of shifted along with the realities around it's construction into something that retained a broadly anarchist ideology but was really more about reacting to the onset of fascism in the united states. so, the initial 5-track release included a track with a poem about the war in afghanistan, a sample collage about the incoherence of using more trade to undo the problems created by trade, a sample collage decrying rights lost in the 9/11 attacks, an instrumental noise collage raided from the then unreleased (and expected to remain unreleased) curious george suite and this sprawling 25-minute exploration of the collapse of liberal democracy into statist authoritarianism and cultural fascism.
but, as with the other recordings, the samples have been removed to leave an almost entirely instrumental recording. i have retained the poem in the first track because the track is much stronger with it, which is an unusual decision for me.
however, the initial intent of the record is salvaged on inri067, spoke:
jasonparent.bandcamp.com/album/spoke
now, if you want to hear the record exactly as it was initially released in 2004, you'll need to take a look at the aleph disc, as you would need to do in order to hear the initial pressings of my other early recordings, as well. this is intentional as i believe the record is stronger in it's current incarnation and want to present it that way as final.
i have added instrumental versions of atom's and taught to twist the affected so low as bonus tracks to the lp in order to make it comprehensive. that is, the lp now has the strongest versions of all of the ftaa material.
these tracks were written and recorded from 2000-2004, mostly as throwaway experiments over the course of an afternoon. the counter-example is the seventh symphony, trepanation nation, which was reconstructed repeatedly over the years 2001-2014. this record was initially constructed in this form (minus the last two tracks) in june, 2004. reconstructed and resequenced in theory (but not in fact) at the end of sept, 2019 from parts that were rebuilt over 2014, but not actually reconstructed, resequenced and uploaded until june of 2021. finally re-released on june 20, 2021. audio permanently closed on . finalized as lp025 on . this is my seventh official record; as always, please use headphones.
released june 1, 2004
j - electric & acoustic & classical guitars, effects, bass, synthesizers, vocals, electric mandolin, live drums, drum sample manipulation, drum programming, piano programming, noise generators, granular synthesis, ring modulators, sequencers, sampling, sound design, digital wave editing, composition, production
greg - drum performance sample source on track 5
sean - ring modulator on track 5
