as that puts me at the end of my initial initial demo phase (i still have a year of inri material to work out), it's maybe a reasonable time to post the youtube playlist.
i don't know why it took so long to get my shit up on youtube, but here it is.
the difference between youtube and bandcamp is that bandcamp documents everything and youtube pulls out the stuff i think holds up independently outside of any context. what that means is that if you're worried about running into something that may offend the fuck out of you or make you cringe then checking out the youtube playlist is the way to avoid that - it's just the listenable stuff.
http://www.youtube.com/playlist?list=PL3JSjmqp0cbv12RNZ8VDtPUXFnfloQvvj
Tuesday, December 24, 2013
publishing first remaster & re-release of inriched (inri021)
and here it is, finally - done.
the editing here was much deeper than the first cd demo. while i was initially less excited about this one, the end result is comparable - there's one specific track, the 6th, that i just wish didn't exist.
in every way, it's a bit more extreme. the bad decisions were worse; in the sense that i've removed them, it doesn't matter, but in the sense that they remain they're painful. it's mostly related to vocal tracks. but where the first failed on content, this one fails more often on singing. thankfully, there's only two or three tracks that are painful.
the rest of it is actually pretty good. the noisy/experimental/glitch sections are more extreme. the techy parts are more elaborate. the ambient sections are thicker. the silliness is sillier...
as before, the record/demo bounces back and forth between "songs" and "experiments". on this demo, though, the songs are no less interesting than the noise.
the problem with the sixth track is explained on the page. i was being ironic, but not obviously, and it's kind of left me in the awkward position of identifying as queer and yet having a queer-bashing song. *shrug*. it's not queer-bashing, but it would be easier if it just didn't exist...
for the rest of it, i need to reiterate that it is valid, even when it's trite, because it's real. that is to say that it sounds like i'm 18 and less than well-adjusted. if it could be better than it is, it would lack the authenticity of being a demo produced by a troubled teenager. i might not articulate my feelings of being ignored at a very high level of thought or with much compelling poetry, but i'm certainly feeling them and that feeling certainly gets across in my unique and goofy sort of way. likewise, when i go into juvenile shock rock i am actually convincingly juvenile and convincingly shocking (unless i'm trying to be ridiculous, in which case i pull that off just as well).
that means you have to listen to it from a certain distance because a big part of what you're listening to is the spectacle of a demented child being demented, but when you do that it comes off as some of the most idiosyncratic leftfield synth pop i'm aware of. you've never heard anything quite like this.
so, if i could remove the 6th track without killing the flow of the disc, i would. beyond that, the edits that i've made have left me comfortable with throwing this out there as it is - under the existing caveats.
https://jasonparent.bandcamp.com/album/inriched-lp
==
this is very much a follow-up to the previous demo (there's a pun, here) and in fact is largely constructed of "leftover tracks" from that period. this demo may be a bit glitchier/noisier than the last one, jasonparent.bandcamp.com/album/inri-lp.
some of these songs are reworked versions of tracks i had recorded previously. in almost all cases, i consider the versions here (and on the previous demo, inri) to be the authoritative versions of these tracks.
the demo is consciously constructed to alternate between "conventional songs" and "experimental pieces", although both definitions are stretched. it generally takes the form of connecting passages. it's meant to give the record the feel of a cohesive work rather than a collection of songs.
lyrically, i'm still a teenager, but i'm starting to grow into myself a little more. there are some points of significant embarrassment on this recording, but it's really only the sixth track that makes me cringe to the point of regret. i was also experimenting with an "ironic distance" type of spoken word style that, in hindsight, doesn't come off so well.
the guitar work is one of the things that separates the sound from a typical industrial aesthetic. i've never been a fan of heavy metal and largely shied away from creating that kind of thing. yet, i found myself connecting more with psychedelic guitar at this point than punk rock. industrial psych generally implies something like trance, but it need not to. industrial hendrix? well, maybe it ends up sounding more like synth pop, which has historical roots in psychedelic music and progressive rock. the point is that the music does manage to carve out a unique space between industrial music and synth pop that i don't know of any clear comparisons to. people have suggested mid-period swans, the legendary pink dots and nine inch nails - only the last of which was a significant influence, and none of which are really that close. a better comparison, although still not a significant influence at this time, would be joy division - who would become a significant influence after this phase. my actual influences at the time would have been more like brian eno (through his 70s and 90s work with david bowie, as well as his work with u2), early prog (genesis/floyd/crimson), peter gabriel, the beatles, radiohead, the smashing pumpkins, REM, sonic youth, the tea party and a bit of contemporary electronic music (prodigy, nin, coil, foetus, autechre, nitzer ebb, ministry, econoline crush, gravity kills, stabbing westward, skinny puppy and side projects). the sense of humour is coming from frank zappa and matt groening, if they are not actually the same person. i wasn't listening to much tears for fears, i don't think, but you can hear them lurking underneath everything.
this material was recorded throughout 1998 and the very beginning of 1999, but some of it was written as far back as 1994. unfortunately, i decided that the songs sounded better in mp3 and consequently compressed everything before burning. i understand now that i was hobbling together a crude mastering process, but it means (unfortunately) that the closest thing i have to the finished tracks are low quality mp3s and a cd-r. these tracks were taken off of a cd-r and run through digital post-production in dec, 2013 in a process that also included minimal editing (mostly the removal of badly placed samples, but also the removal of some vocal sections where it was possible). as always, please use headphones.
credits:
j - guitars, effects, bass, synthesizers, drum programming, sequencing, sampling, digital wave editing, vocals, cool edit synthesis, production, found sounds, strategies
released feb 10, 1999
https://jasonparent.bandcamp.com/album/inriched-lp
the editing here was much deeper than the first cd demo. while i was initially less excited about this one, the end result is comparable - there's one specific track, the 6th, that i just wish didn't exist.
in every way, it's a bit more extreme. the bad decisions were worse; in the sense that i've removed them, it doesn't matter, but in the sense that they remain they're painful. it's mostly related to vocal tracks. but where the first failed on content, this one fails more often on singing. thankfully, there's only two or three tracks that are painful.
the rest of it is actually pretty good. the noisy/experimental/glitch sections are more extreme. the techy parts are more elaborate. the ambient sections are thicker. the silliness is sillier...
as before, the record/demo bounces back and forth between "songs" and "experiments". on this demo, though, the songs are no less interesting than the noise.
the problem with the sixth track is explained on the page. i was being ironic, but not obviously, and it's kind of left me in the awkward position of identifying as queer and yet having a queer-bashing song. *shrug*. it's not queer-bashing, but it would be easier if it just didn't exist...
for the rest of it, i need to reiterate that it is valid, even when it's trite, because it's real. that is to say that it sounds like i'm 18 and less than well-adjusted. if it could be better than it is, it would lack the authenticity of being a demo produced by a troubled teenager. i might not articulate my feelings of being ignored at a very high level of thought or with much compelling poetry, but i'm certainly feeling them and that feeling certainly gets across in my unique and goofy sort of way. likewise, when i go into juvenile shock rock i am actually convincingly juvenile and convincingly shocking (unless i'm trying to be ridiculous, in which case i pull that off just as well).
that means you have to listen to it from a certain distance because a big part of what you're listening to is the spectacle of a demented child being demented, but when you do that it comes off as some of the most idiosyncratic leftfield synth pop i'm aware of. you've never heard anything quite like this.
so, if i could remove the 6th track without killing the flow of the disc, i would. beyond that, the edits that i've made have left me comfortable with throwing this out there as it is - under the existing caveats.
https://jasonparent.bandcamp.com/album/inriched-lp
==
this is very much a follow-up to the previous demo (there's a pun, here) and in fact is largely constructed of "leftover tracks" from that period. this demo may be a bit glitchier/noisier than the last one, jasonparent.bandcamp.com/album/inri-lp.
some of these songs are reworked versions of tracks i had recorded previously. in almost all cases, i consider the versions here (and on the previous demo, inri) to be the authoritative versions of these tracks.
the demo is consciously constructed to alternate between "conventional songs" and "experimental pieces", although both definitions are stretched. it generally takes the form of connecting passages. it's meant to give the record the feel of a cohesive work rather than a collection of songs.
lyrically, i'm still a teenager, but i'm starting to grow into myself a little more. there are some points of significant embarrassment on this recording, but it's really only the sixth track that makes me cringe to the point of regret. i was also experimenting with an "ironic distance" type of spoken word style that, in hindsight, doesn't come off so well.
the guitar work is one of the things that separates the sound from a typical industrial aesthetic. i've never been a fan of heavy metal and largely shied away from creating that kind of thing. yet, i found myself connecting more with psychedelic guitar at this point than punk rock. industrial psych generally implies something like trance, but it need not to. industrial hendrix? well, maybe it ends up sounding more like synth pop, which has historical roots in psychedelic music and progressive rock. the point is that the music does manage to carve out a unique space between industrial music and synth pop that i don't know of any clear comparisons to. people have suggested mid-period swans, the legendary pink dots and nine inch nails - only the last of which was a significant influence, and none of which are really that close. a better comparison, although still not a significant influence at this time, would be joy division - who would become a significant influence after this phase. my actual influences at the time would have been more like brian eno (through his 70s and 90s work with david bowie, as well as his work with u2), early prog (genesis/floyd/crimson), peter gabriel, the beatles, radiohead, the smashing pumpkins, REM, sonic youth, the tea party and a bit of contemporary electronic music (prodigy, nin, coil, foetus, autechre, nitzer ebb, ministry, econoline crush, gravity kills, stabbing westward, skinny puppy and side projects). the sense of humour is coming from frank zappa and matt groening, if they are not actually the same person. i wasn't listening to much tears for fears, i don't think, but you can hear them lurking underneath everything.
this material was recorded throughout 1998 and the very beginning of 1999, but some of it was written as far back as 1994. unfortunately, i decided that the songs sounded better in mp3 and consequently compressed everything before burning. i understand now that i was hobbling together a crude mastering process, but it means (unfortunately) that the closest thing i have to the finished tracks are low quality mp3s and a cd-r. these tracks were taken off of a cd-r and run through digital post-production in dec, 2013 in a process that also included minimal editing (mostly the removal of badly placed samples, but also the removal of some vocal sections where it was possible). as always, please use headphones.
credits:
j - guitars, effects, bass, synthesizers, drum programming, sequencing, sampling, digital wave editing, vocals, cool edit synthesis, production, found sounds, strategies
released feb 10, 1999
https://jasonparent.bandcamp.com/album/inriched-lp
jessica amber murray
....and, now, to attempt to have a few drinks without smoking any cigarettes. considering the temperature outside (along with my absolute aversion to indoor smoking), i think i'm likely to do well. we'll see.
regarding the smoking thing...
the packs have been almost entirely cut out. i've bought probably around ten packs, total, since the beginning of september. what i've been doing instead is falling back to these single cigars that can be picked up at the corner store for around $1 whenever i'm about to crack. it's a little more costly on the face of it, but it's a good shot of nicotine so it works for a while. one of the problems quitters will run into is that when they crack once they want another one almost right away; the cigars seem to mitigate that. more importantly, it has broken me of a lot of routines, like smoking after meals. to me, that's the harder part. i know nicotine is a physical addiction (meaning that coming off of it will produce physical effects, like drowsiness) but i don't really feel hooked on that level. it's more about breaking routine...
...and not drinking. i've always been a social drinker, so no people has meant no drinking. i mean, i spend most of my time reading, and i'd rather be sober for that. i prefer marijuana as a creative aid. what i'm about to do is uncharacteristic.
so, i can't claim i'm nicotine-free. but i *have* broken the routine, to the point where i can honestly state that i'm not a habitual smoker anymore.
which is all i really wanted to accomplish in the first place. i don't mind being a social smoker that specifically smokes around alcohol and marijuana. what i no longer wanted to be was a solo smoker. on that point, mission accomplished.
(meaning i'm not going to get too mad at myself if i buy a pack on christmas, just like i didn't get too mad when i bought a pack a few weeks ago when it was over 10 degrees, just as an excuse to hang out outside for the day. stuff like that is enjoying the drug, not being a slave to it.)
mom
Wow! That's Great!...Wish, I could have that much self-control!
jessica amber murray
i don't think it's a question of self-control so much as it's a question of doing what one wants. i kind of strongly believe that smokers smoke because they want to, not because they're zombies. the physical withdrawals are coercive, no doubt, but it comes down to wanting or not wanting to quit.
mom
Addiction Stinks!....And in the end it WILL TAKE CONTROL!.....DENIAL is an addicts BEST FRIEND.
jessica amber murray
well, sure. but the semantics break down when you speak of control. what i'm really doing is giving myself permission to indulge, not controlling myself from indulging.
i guess i have a level of broad consistency in my concept of "self-control" that goes into a lot of areas and that my perspective regarding drugs is more of a consequence of how i see things more broadly. consider governments and this idea that their laws dissuade anti-social behaviour, the idea that laws act as disincentives to control people's desires. this is an idea that is, i think, very wrong. sure, on the one hand, you have the logic of poverty that often triumphs over the laws of social order. circumstances where property crimes exist are often circumstances where it's logical for an impoverished person to steal something or otherwise break property laws. governments can produce laws to catch people when they do this, but the laws don't actually succeed in preventing property crime. they merely succeed in criminalizing poverty. rather, eliminating that sort of crime requires a lot of social work to both eliminate the conditions that lead to it as logical and to create a populace that sees it as morally wrong. once you get to that ideal point, preventing crime is less of a process of people controlling themselves from committing crimes and more of a process of people choosing not to behave in a way that is anti-social. that's the ideal.
the way we treat addiction is sort of a cop-out. i mean, i'm not denying that addicts need to admit their addictions. i agree that acknowledgement is the first step. but actually working through it is a process of transcending the desire, not repressing it.
i think it's possible to use drugs without abusing them.
with alcoholism (and for random readers, that's not something i feel i have a problem with), the way to get beyond it is not to have the "self-control" to avoid it but to develop a desire to be sober.
(and i think i'm being a little bit buddhist, but it's something i connect to accidentally and intuitively rather than consciously)
in a moral sense, i find buddhism more rational than western religion. in the west, we've fallen into a sort of false dichotomy between "master morality" and "slave morality". the irony is that the dude that developed that false dichotomy is also the dude that transferred a lot of eastern ideas into the western sphere. he completely missed the obvious synthesis that was sitting right in front of him.
you need to be careful studying buddhism in the west, though, because most of the literature is misinterpreted hippie nonsense. there's a danger of turning into a new age weirdo.
for example, avoid anything that tries to connect buddhism with science.
i kind of like the idea that "only lost people require religion". which is to say that walking into a church or a temple or a synagogue isn't likely to find you people that understand how to behave morally on an intuitive level, but people that are struggling with it. people that "get it" find the whole thing boring and trivial.
not to put myself above it or anything. not declaring myself perfect. but there's a lot of truth to it. and if one can separate the social help from the control and brainwashing [which is difficult, especially for people in fragile states], i'll accept it could have some value.
what i'd rather see, though, is a resurgence of secular social institutions that strip out the brainwashing. i think there's a really open space here for socialist thinkers to walk into and am not really sure why they haven't, given that it connects quite well to the idea that "the social revolution must come first".
....and, now, to attempt to have a few drinks without smoking any cigarettes. considering the temperature outside (along with my absolute aversion to indoor smoking), i think i'm likely to do well. we'll see.
regarding the smoking thing...
the packs have been almost entirely cut out. i've bought probably around ten packs, total, since the beginning of september. what i've been doing instead is falling back to these single cigars that can be picked up at the corner store for around $1 whenever i'm about to crack. it's a little more costly on the face of it, but it's a good shot of nicotine so it works for a while. one of the problems quitters will run into is that when they crack once they want another one almost right away; the cigars seem to mitigate that. more importantly, it has broken me of a lot of routines, like smoking after meals. to me, that's the harder part. i know nicotine is a physical addiction (meaning that coming off of it will produce physical effects, like drowsiness) but i don't really feel hooked on that level. it's more about breaking routine...
...and not drinking. i've always been a social drinker, so no people has meant no drinking. i mean, i spend most of my time reading, and i'd rather be sober for that. i prefer marijuana as a creative aid. what i'm about to do is uncharacteristic.
so, i can't claim i'm nicotine-free. but i *have* broken the routine, to the point where i can honestly state that i'm not a habitual smoker anymore.
which is all i really wanted to accomplish in the first place. i don't mind being a social smoker that specifically smokes around alcohol and marijuana. what i no longer wanted to be was a solo smoker. on that point, mission accomplished.
(meaning i'm not going to get too mad at myself if i buy a pack on christmas, just like i didn't get too mad when i bought a pack a few weeks ago when it was over 10 degrees, just as an excuse to hang out outside for the day. stuff like that is enjoying the drug, not being a slave to it.)
mom
Wow! That's Great!...Wish, I could have that much self-control!
jessica amber murray
i don't think it's a question of self-control so much as it's a question of doing what one wants. i kind of strongly believe that smokers smoke because they want to, not because they're zombies. the physical withdrawals are coercive, no doubt, but it comes down to wanting or not wanting to quit.
mom
Addiction Stinks!....And in the end it WILL TAKE CONTROL!.....DENIAL is an addicts BEST FRIEND.
jessica amber murray
well, sure. but the semantics break down when you speak of control. what i'm really doing is giving myself permission to indulge, not controlling myself from indulging.
i guess i have a level of broad consistency in my concept of "self-control" that goes into a lot of areas and that my perspective regarding drugs is more of a consequence of how i see things more broadly. consider governments and this idea that their laws dissuade anti-social behaviour, the idea that laws act as disincentives to control people's desires. this is an idea that is, i think, very wrong. sure, on the one hand, you have the logic of poverty that often triumphs over the laws of social order. circumstances where property crimes exist are often circumstances where it's logical for an impoverished person to steal something or otherwise break property laws. governments can produce laws to catch people when they do this, but the laws don't actually succeed in preventing property crime. they merely succeed in criminalizing poverty. rather, eliminating that sort of crime requires a lot of social work to both eliminate the conditions that lead to it as logical and to create a populace that sees it as morally wrong. once you get to that ideal point, preventing crime is less of a process of people controlling themselves from committing crimes and more of a process of people choosing not to behave in a way that is anti-social. that's the ideal.
the way we treat addiction is sort of a cop-out. i mean, i'm not denying that addicts need to admit their addictions. i agree that acknowledgement is the first step. but actually working through it is a process of transcending the desire, not repressing it.
i think it's possible to use drugs without abusing them.
with alcoholism (and for random readers, that's not something i feel i have a problem with), the way to get beyond it is not to have the "self-control" to avoid it but to develop a desire to be sober.
(and i think i'm being a little bit buddhist, but it's something i connect to accidentally and intuitively rather than consciously)
in a moral sense, i find buddhism more rational than western religion. in the west, we've fallen into a sort of false dichotomy between "master morality" and "slave morality". the irony is that the dude that developed that false dichotomy is also the dude that transferred a lot of eastern ideas into the western sphere. he completely missed the obvious synthesis that was sitting right in front of him.
you need to be careful studying buddhism in the west, though, because most of the literature is misinterpreted hippie nonsense. there's a danger of turning into a new age weirdo.
for example, avoid anything that tries to connect buddhism with science.
i kind of like the idea that "only lost people require religion". which is to say that walking into a church or a temple or a synagogue isn't likely to find you people that understand how to behave morally on an intuitive level, but people that are struggling with it. people that "get it" find the whole thing boring and trivial.
not to put myself above it or anything. not declaring myself perfect. but there's a lot of truth to it. and if one can separate the social help from the control and brainwashing [which is difficult, especially for people in fragile states], i'll accept it could have some value.
what i'd rather see, though, is a resurgence of secular social institutions that strip out the brainwashing. i think there's a really open space here for socialist thinkers to walk into and am not really sure why they haven't, given that it connects quite well to the idea that "the social revolution must come first".
Monday, December 23, 2013
roach situation
From: Jessica Murray <death.to.koalas@gmail.com>
To: the initial landlord
hi.
i just want to say things are going well here. and merry christmas.
there's actually not what i'd call a "roach problem" in the unit itself. i've seen a few here and there, exclusively where there are cracks in the wall. that is to say that i don't think there are roaches in the unit, but it is certainly the case that sometimes roaches wander into the unit from elsewhere in the building. i saw one the other day near the dead heater in the kitchen, and hadn't seen one before that since about october - when i had seen a few near the hole for the pipe in the closet. when i covered up the pipe, they went away. so, i've filled the cracks around the dead heater up with a pile of old hole-ridden socks i had hanging around for rags and expect that will keep them out of there. it seemed like the roach i saw in the kitchen was actually looking for water, not food. it was attracted to the sink. i'm very careful to ensure all the food in the unit is in the fridge - even like bread and stuff.
i do, however, feel a responsibility to point out that there are roaches in the building. my perspective regarding that is that there are bugs everywhere; i'm content to simply patch up holes when i see them and keep them out that way. but, as a tenant, i think i have a responsibility to inform you that they do seem to have a nest in the building somewhere.
j
To: the initial landlord
hi.
i just want to say things are going well here. and merry christmas.
there's actually not what i'd call a "roach problem" in the unit itself. i've seen a few here and there, exclusively where there are cracks in the wall. that is to say that i don't think there are roaches in the unit, but it is certainly the case that sometimes roaches wander into the unit from elsewhere in the building. i saw one the other day near the dead heater in the kitchen, and hadn't seen one before that since about october - when i had seen a few near the hole for the pipe in the closet. when i covered up the pipe, they went away. so, i've filled the cracks around the dead heater up with a pile of old hole-ridden socks i had hanging around for rags and expect that will keep them out of there. it seemed like the roach i saw in the kitchen was actually looking for water, not food. it was attracted to the sink. i'm very careful to ensure all the food in the unit is in the fridge - even like bread and stuff.
i do, however, feel a responsibility to point out that there are roaches in the building. my perspective regarding that is that there are bugs everywhere; i'm content to simply patch up holes when i see them and keep them out that way. but, as a tenant, i think i have a responsibility to inform you that they do seem to have a nest in the building somewhere.
j
mom
Hi J....How are you? I am fine(fucked up, insecure, neurotic, emotional)...lol. Oh Well....Hate this time of the year! For Sure! Anyways....Did you ever activate that XP? Just wondering? I have a friend that I was going to give it to, if you haven't, of course...Although...I am hearing from a few different people that when it is a home edition...One can have multiple activations of it?? Not sure? You would prolly know for sure...
jessica amber murray
the purpose of activation is to ensure that the purchased product key is used on one, and only one, computer. i'm not currently using it, and don't really see how i could use it, to be honest. i'm running pirated versions...
mom
So, it would be safe to give it to my friend then? But, if you feel that you want it, I will not give it to him.
jessica amber murray
no, go ahead.
mom
K...Thanks!...It will be his Christmas gift then. Just a friend. Not a boyfriend...Very nice older fellow...He just hates his windows 8, and was wanting a copy of XP.
But, You didn't answer me about how you are!?....This time of the year kinda sucks a bit(more than a bit!)...I am living in the bottom of a brown bottle right now...I know....Pathetic!....I have a few left and then am going to go through a bit(more than a bit) of horrible with-drawl...And then will be going to my friends place(his name is Paul)(He is the one I want to give my XP to,(but only if you are sure you don't want it) to cook up the Traditional Christmas Dinner...Nanny&Leo are coming too...Will be soooooo nice to see her(not so sure about Leo though)..LOL... Do you have any plans for that Annoying Day?
jessica amber murray
i actually haven't been to a christmas dinner in a few years, now. for me, it's just wednesday. if anything, i'm irked that the recycle doesn't come until friday, because i couldn't get it all out last pickup.
i'll probably have a sandwich and listen to music.
mom
That sounds quite peaceful to me.... I kinda wish I could just do the same...I have spent more than a few Christmas Days the same...And rather enjoyed it that way. I am a little stressed about my Christmas Day this year. Just hate that feeling!
jessica amber murray
i just have no patience for religious holidays or hallmark holidays. it's merely a wednesday.
mom
I hear you for sure!...Feeling quite the same!.....The only thing I am looking forward to is the yummy turkey dinner(as I am going to be the one cooking it!..And, I do make a yummy dinner for sure!)...What, I am finding that I am feeling a bit stressful about, is that...They are ALL depending on ME to get my old(fairly undependable ass) over there to prepare it!...LOL...What if, I decide to change my mind!(I won't, of course)...Just hate the feeling of it all.
Hi J....How are you? I am fine(fucked up, insecure, neurotic, emotional)...lol. Oh Well....Hate this time of the year! For Sure! Anyways....Did you ever activate that XP? Just wondering? I have a friend that I was going to give it to, if you haven't, of course...Although...I am hearing from a few different people that when it is a home edition...One can have multiple activations of it?? Not sure? You would prolly know for sure...
jessica amber murray
the purpose of activation is to ensure that the purchased product key is used on one, and only one, computer. i'm not currently using it, and don't really see how i could use it, to be honest. i'm running pirated versions...
mom
So, it would be safe to give it to my friend then? But, if you feel that you want it, I will not give it to him.
jessica amber murray
no, go ahead.
mom
K...Thanks!...It will be his Christmas gift then. Just a friend. Not a boyfriend...Very nice older fellow...He just hates his windows 8, and was wanting a copy of XP.
But, You didn't answer me about how you are!?....This time of the year kinda sucks a bit(more than a bit!)...I am living in the bottom of a brown bottle right now...I know....Pathetic!....I have a few left and then am going to go through a bit(more than a bit) of horrible with-drawl...And then will be going to my friends place(his name is Paul)(He is the one I want to give my XP to,(but only if you are sure you don't want it) to cook up the Traditional Christmas Dinner...Nanny&Leo are coming too...Will be soooooo nice to see her(not so sure about Leo though)..LOL... Do you have any plans for that Annoying Day?
jessica amber murray
i actually haven't been to a christmas dinner in a few years, now. for me, it's just wednesday. if anything, i'm irked that the recycle doesn't come until friday, because i couldn't get it all out last pickup.
i'll probably have a sandwich and listen to music.
mom
That sounds quite peaceful to me.... I kinda wish I could just do the same...I have spent more than a few Christmas Days the same...And rather enjoyed it that way. I am a little stressed about my Christmas Day this year. Just hate that feeling!
jessica amber murray
i just have no patience for religious holidays or hallmark holidays. it's merely a wednesday.
mom
I hear you for sure!...Feeling quite the same!.....The only thing I am looking forward to is the yummy turkey dinner(as I am going to be the one cooking it!..And, I do make a yummy dinner for sure!)...What, I am finding that I am feeling a bit stressful about, is that...They are ALL depending on ME to get my old(fairly undependable ass) over there to prepare it!...LOL...What if, I decide to change my mind!(I won't, of course)...Just hate the feeling of it all.
on the question of john mclaughlin's underacknowledged importance in the development of guitar rock
deathtokoalas
only the levee breaks would stand up in court. except it wasn't plagiarism 'cause it was a cover.
page is definitely guilty of ripping off mclaughlin and clapton and beck. and plant was definitely trying very hard to do the aretha thing. there's no need to make things up.
gonzocurt
Yeah, and Clapton, The Stones and Beck "ripped off" B.B.King, Freddie King, Chuck Berry, Elmore James, Robert Johnson, etc. Or was it they just loved that stuff so much they had to play it? And it influenced their musical language just like you pick up accents etc. In most cases, they worked their own creative process on it and honed it into something the young whites of the time loved.
deathtokoalas
well, it's sort of exaggerated, really. my point was that page wasn't really a guy that copied black artists, he was a guy that copied white artists that were heavily influenced by black artists. the synthesis had already been established by the time page came along...he built his sound on top of a fusion that had already happened....
but, to the extent that those other players were copying? there's a far stronger "cultural appropriation" accusation leveled at the rnb sound of the stones, the early beatles, etc than there is at the heavy blues of cream, yardbirds, zeppelin or sabbath. they operated in the same (lack of) theoretical space, sure. but cream didn't steal any more from robert johnson than jimi hendrix did. they were both working with extrapolations of a pre-existing sound, but they were also both entirely unique. delta blues simply doesn't have a psychedelic quality or a baroque quality, or any influence from eastern music.
MICHAEL HAMILTON BERRY
mclaughlin ? Page was on recordings long Before he was even heard of....what do you have to offer about music history ?
taking some one Else's song and presenting it as your own is dishonest and is actually theft of intellectual copy write. It is Illegal and morally wrong .
I like Led Zep but I think this is a rotten thing they have done over and over again.
The other poor bastards are probably broke and dead with nothing to show for a life in music. nothing to pass on to us and their descendants.
THATS why if is a ROTTEN thing to do !
deathtokoalas
i hate led zeppelin, but it's not because of the plagiarism (that doesn't truly exist), it's because robert plant is just not enjoyable to listen to. it's really a shame that page decided to work with such an annoying vocalist.
mclaughlin was even page's biggest influence, at least in the sense of who we understand jimmy page as today. mclaughlin actually gave jimmy page guitar lessons in the mid-60s. he's the architect of the sound.
page started off doing session work for country musicians, while mclaughlin was playing for graham bond. graham bond's rhythm section was made up of ginger baker and jack bruce, who would later form cream with eric clapton. this is where the fusion sound developed; mclaughlin did some early jazz recordings with bruce & baker....
when baker & bruce formed cream, clapton was very much their replacement for mclaughlin.
davis wanted hendrix to work with him, initially. hendrix couldn't commit. so, he picked mclaughlin. not page. not clapton...
page first intersected with mclaughlin when they were doing (uncredited) session work for the rolling stones. mclaughlin was the primary session guy, page was the second. there are apparently mid 60s stones tracks where mclaughlin is playing lead and page is playing rhythm.
i'm not adding anything to music history, i'm merely teaching it to somebody who doesn't know it.
only the levee breaks would stand up in court. except it wasn't plagiarism 'cause it was a cover.
page is definitely guilty of ripping off mclaughlin and clapton and beck. and plant was definitely trying very hard to do the aretha thing. there's no need to make things up.
gonzocurt
Yeah, and Clapton, The Stones and Beck "ripped off" B.B.King, Freddie King, Chuck Berry, Elmore James, Robert Johnson, etc. Or was it they just loved that stuff so much they had to play it? And it influenced their musical language just like you pick up accents etc. In most cases, they worked their own creative process on it and honed it into something the young whites of the time loved.
deathtokoalas
well, it's sort of exaggerated, really. my point was that page wasn't really a guy that copied black artists, he was a guy that copied white artists that were heavily influenced by black artists. the synthesis had already been established by the time page came along...he built his sound on top of a fusion that had already happened....
but, to the extent that those other players were copying? there's a far stronger "cultural appropriation" accusation leveled at the rnb sound of the stones, the early beatles, etc than there is at the heavy blues of cream, yardbirds, zeppelin or sabbath. they operated in the same (lack of) theoretical space, sure. but cream didn't steal any more from robert johnson than jimi hendrix did. they were both working with extrapolations of a pre-existing sound, but they were also both entirely unique. delta blues simply doesn't have a psychedelic quality or a baroque quality, or any influence from eastern music.
MICHAEL HAMILTON BERRY
mclaughlin ? Page was on recordings long Before he was even heard of....what do you have to offer about music history ?
taking some one Else's song and presenting it as your own is dishonest and is actually theft of intellectual copy write. It is Illegal and morally wrong .
I like Led Zep but I think this is a rotten thing they have done over and over again.
The other poor bastards are probably broke and dead with nothing to show for a life in music. nothing to pass on to us and their descendants.
THATS why if is a ROTTEN thing to do !
deathtokoalas
i hate led zeppelin, but it's not because of the plagiarism (that doesn't truly exist), it's because robert plant is just not enjoyable to listen to. it's really a shame that page decided to work with such an annoying vocalist.
mclaughlin was even page's biggest influence, at least in the sense of who we understand jimmy page as today. mclaughlin actually gave jimmy page guitar lessons in the mid-60s. he's the architect of the sound.
page started off doing session work for country musicians, while mclaughlin was playing for graham bond. graham bond's rhythm section was made up of ginger baker and jack bruce, who would later form cream with eric clapton. this is where the fusion sound developed; mclaughlin did some early jazz recordings with bruce & baker....
when baker & bruce formed cream, clapton was very much their replacement for mclaughlin.
davis wanted hendrix to work with him, initially. hendrix couldn't commit. so, he picked mclaughlin. not page. not clapton...
page first intersected with mclaughlin when they were doing (uncredited) session work for the rolling stones. mclaughlin was the primary session guy, page was the second. there are apparently mid 60s stones tracks where mclaughlin is playing lead and page is playing rhythm.
i'm not adding anything to music history, i'm merely teaching it to somebody who doesn't know it.
Sunday, December 22, 2013
heavy dream...
i wish people would be a little less coercive in enforcing conformist concepts that reject being square. being square is a personality trait, but it's also often a reaction to events. the quality of being square exists at the core of a square person's individuality.
square people exist.
so, instead of enforcing norms through insults and coercion, why don't we just accept that people have different value systems?
i'm consequently reclaiming the term.
i wish people would be a little less coercive in enforcing conformist concepts that reject being square. being square is a personality trait, but it's also often a reaction to events. the quality of being square exists at the core of a square person's individuality.
square people exist.
so, instead of enforcing norms through insults and coercion, why don't we just accept that people have different value systems?
i'm consequently reclaiming the term.
Saturday, December 21, 2013
publishing first remaster & re-release of inri (inri015)
so, this is completely, totally done now, no going back to it. i boosted the bass in a few places and actually reverted back to the cd rip for a few of the sound collages. i think it sounds pretty good, actually, for the most part.
there's one specific track, the 8th, on the second demo that is causing me headaches. the mix is just so saturated and muddy that i'm constantly getting information overload listening to it. i'm having a hard time building reference points. i want this done with by the end of the day, so i can move on, so soon.
====
it took a little longer than i wanted it to, but i've finally got this cleaned up to a final state.
....and now that it is mastered decently and has had a handful of bad decisions removed, i have to say it holds up fairly well. when comparing it to other late 90s electro-rock hybrids, it carves out a really unique space in it's exploration of more abstract electronics. i'm not content to recycle depeche mode or new order yet again; i want to mix in elements of glitch, throw in sound collages and even get a little proggy sometimes. really, i wish there were more people working in this removed a space, both then and now. it's really rather refreshingly creative.
the record/demo bounces back and forth between "songs" and "experiments". while some of the songs are more compelling than others, the more consistently interesting material is actually the experiments.
where it drags is in the vocals, but only to an extent. the eighth track is indefensibly bad; incoherent to the point that i don't even remember what it was about, if it was about anything at all. the rest of it is valid, even when it's trite, because it's real. that is to say that it sounds like i'm 17 and less than well-adjusted. if it could be better than it is, it would lack the authenticity of being a demo produced by a troubled teenager. i might not articulate my feelings of being useless at a very high level of thought or with much compelling poetry, but i'm certainly feeling them and that feeling certainly gets across in my unique and goofy sort of way. likewise, when i go into juvenile shock rock i am actually convincingly juvenile and convincingly shocking (unless i'm trying to be ridiculous, in which case i pull that off just as well).
that means you have to listen to it from a certain distance because a big part of what you're listening to is the spectacle of a demented child being demented, but when you do that it comes off as some of the most idiosyncratic leftfield synth pop i'm aware of. you've never heard anything quite like this.
so, if i could remove the 8th track without killing the flow of the disc, i would. beyond that, the edits that i've made have left me comfortable with throwing this out there as it is - under the existing caveats.
https://jasonparent.bandcamp.com/album/inri-lp
====
my first cd demo represents a dramatic shift in sound that, at the time, was meant to be permanent but that ended up being merely a step in a long journey. on one hand, the shift in sound reflected my changing tastes away from alternative rock and towards industrial music. on another level, it was a return to my childhood roots in 80s synthpop. i was also expanding my tastes into glitch, noise and what could be called "musique concrete".
the shift to using drum machines was dominant in the new sound, as was the reality that i had a synthesizer available to me starting in the beginning of 1998. another major factor was the use of a pc. however, my main songwriting tool remained the guitar and these are still mostly guitar-driven pieces.
the guitar work is one of the things that separates the sound from a typical industrial aesthetic. i've never been a fan of heavy metal and largely shied away from creating that kind of thing. yet, i found myself connecting more with psychedelic guitar at this point than punk rock. industrial psych generally implies something like trance, but it need not to. industrial hendrix? well, maybe it ends up sounding more like synth pop, which has historical roots in psychedelic music and progressive rock. the point is that the music does manage to carve out a unique space between industrial music and synth pop that i don't know of any clear comparisons to. people have suggested mid-period swans, the legendary pink dots and nine inch nails - only the last of which was a significant influence, and none of which are really that close. a better comparison, although still not a significant influence at this time, would be joy division - who would become a significant influence after this phase. my actual influences at the time would have been more like brian eno (through his 70s and 90s work with david bowie, as well as his work with u2), early prog (genesis/floyd/crimson), peter gabriel, the beatles, radiohead, the smashing pumpkins, REM, sonic youth, the tea party and a bit of contemporary electronic music (prodigy, nin, coil, foetus, autechre, nitzer ebb, ministry, econoline crush, gravity kills, stabbing westward, skinny puppy and side projects). the sense of humour is coming from frank zappa and matt groening, if they are not actually the same person. i wasn't listening to much tears for fears, i don't think, but you can hear them lurking underneath everything.
some of these songs are reworked versions of tracks i had recorded previously. in almost all cases, i consider the versions here (and on the follow-up demo, inriched) to be the authoritative versions of these tracks.
the demo is consciously constructed to alternate between "conventional songs" and "experimental pieces", although both definitions are stretched. it generally takes the form of connecting passages. it's meant to give the record the feel of a cohesive work rather than a collection of songs.
lyrically, i'm still a teenager, but i'm starting to grow into myself a little more. there are still some points of embarrassment, but it's really only the 8th track that is causing me any serious grief. my singing style has changed quite a bit though - most of the lyrics here are in a spoken word style, rather than sung. it's partially the result of insecurities with my voice, but it's mostly due to the shift to something electronic. i found the dead pan vocal delivery more appropriate. it's something that stuck with me though until relatively recently.
some of this material was written as far back as 1994, but was only sequenced in the second half of 1997 and recorded in the first half of 1998. unfortunately, i decided that the songs sounded better in mp3 and consequently compressed everything before burning. i understand now that i was hobbling together a crude mastering process, but it means (unfortunately) that the closest thing i have to the finished tracks are low quality mp3s and a cd-r. these tracks were taken off of a cd-r and run through digital post-production in dec, 2013 in a process that also included minimal editing (mostly the removal of badly placed simpsons samples). this is my first official record; as always, please use headphones.
credits:
j - guitars, effects, bass, synthesizers, drum programming, sequencing, sampling, vocals, cool edit synthesis, windows 95 sound recorder, found sounds, strategies, soundraider, hammerhead, sound design, metronome, digital wave editing, production
released june 20, 1998
https://jasonparent.bandcamp.com/album/inri-lp
there's one specific track, the 8th, on the second demo that is causing me headaches. the mix is just so saturated and muddy that i'm constantly getting information overload listening to it. i'm having a hard time building reference points. i want this done with by the end of the day, so i can move on, so soon.
====
it took a little longer than i wanted it to, but i've finally got this cleaned up to a final state.
....and now that it is mastered decently and has had a handful of bad decisions removed, i have to say it holds up fairly well. when comparing it to other late 90s electro-rock hybrids, it carves out a really unique space in it's exploration of more abstract electronics. i'm not content to recycle depeche mode or new order yet again; i want to mix in elements of glitch, throw in sound collages and even get a little proggy sometimes. really, i wish there were more people working in this removed a space, both then and now. it's really rather refreshingly creative.
the record/demo bounces back and forth between "songs" and "experiments". while some of the songs are more compelling than others, the more consistently interesting material is actually the experiments.
where it drags is in the vocals, but only to an extent. the eighth track is indefensibly bad; incoherent to the point that i don't even remember what it was about, if it was about anything at all. the rest of it is valid, even when it's trite, because it's real. that is to say that it sounds like i'm 17 and less than well-adjusted. if it could be better than it is, it would lack the authenticity of being a demo produced by a troubled teenager. i might not articulate my feelings of being useless at a very high level of thought or with much compelling poetry, but i'm certainly feeling them and that feeling certainly gets across in my unique and goofy sort of way. likewise, when i go into juvenile shock rock i am actually convincingly juvenile and convincingly shocking (unless i'm trying to be ridiculous, in which case i pull that off just as well).
that means you have to listen to it from a certain distance because a big part of what you're listening to is the spectacle of a demented child being demented, but when you do that it comes off as some of the most idiosyncratic leftfield synth pop i'm aware of. you've never heard anything quite like this.
so, if i could remove the 8th track without killing the flow of the disc, i would. beyond that, the edits that i've made have left me comfortable with throwing this out there as it is - under the existing caveats.
https://jasonparent.bandcamp.com/album/inri-lp
====
my first cd demo represents a dramatic shift in sound that, at the time, was meant to be permanent but that ended up being merely a step in a long journey. on one hand, the shift in sound reflected my changing tastes away from alternative rock and towards industrial music. on another level, it was a return to my childhood roots in 80s synthpop. i was also expanding my tastes into glitch, noise and what could be called "musique concrete".
the shift to using drum machines was dominant in the new sound, as was the reality that i had a synthesizer available to me starting in the beginning of 1998. another major factor was the use of a pc. however, my main songwriting tool remained the guitar and these are still mostly guitar-driven pieces.
the guitar work is one of the things that separates the sound from a typical industrial aesthetic. i've never been a fan of heavy metal and largely shied away from creating that kind of thing. yet, i found myself connecting more with psychedelic guitar at this point than punk rock. industrial psych generally implies something like trance, but it need not to. industrial hendrix? well, maybe it ends up sounding more like synth pop, which has historical roots in psychedelic music and progressive rock. the point is that the music does manage to carve out a unique space between industrial music and synth pop that i don't know of any clear comparisons to. people have suggested mid-period swans, the legendary pink dots and nine inch nails - only the last of which was a significant influence, and none of which are really that close. a better comparison, although still not a significant influence at this time, would be joy division - who would become a significant influence after this phase. my actual influences at the time would have been more like brian eno (through his 70s and 90s work with david bowie, as well as his work with u2), early prog (genesis/floyd/crimson), peter gabriel, the beatles, radiohead, the smashing pumpkins, REM, sonic youth, the tea party and a bit of contemporary electronic music (prodigy, nin, coil, foetus, autechre, nitzer ebb, ministry, econoline crush, gravity kills, stabbing westward, skinny puppy and side projects). the sense of humour is coming from frank zappa and matt groening, if they are not actually the same person. i wasn't listening to much tears for fears, i don't think, but you can hear them lurking underneath everything.
some of these songs are reworked versions of tracks i had recorded previously. in almost all cases, i consider the versions here (and on the follow-up demo, inriched) to be the authoritative versions of these tracks.
the demo is consciously constructed to alternate between "conventional songs" and "experimental pieces", although both definitions are stretched. it generally takes the form of connecting passages. it's meant to give the record the feel of a cohesive work rather than a collection of songs.
lyrically, i'm still a teenager, but i'm starting to grow into myself a little more. there are still some points of embarrassment, but it's really only the 8th track that is causing me any serious grief. my singing style has changed quite a bit though - most of the lyrics here are in a spoken word style, rather than sung. it's partially the result of insecurities with my voice, but it's mostly due to the shift to something electronic. i found the dead pan vocal delivery more appropriate. it's something that stuck with me though until relatively recently.
some of this material was written as far back as 1994, but was only sequenced in the second half of 1997 and recorded in the first half of 1998. unfortunately, i decided that the songs sounded better in mp3 and consequently compressed everything before burning. i understand now that i was hobbling together a crude mastering process, but it means (unfortunately) that the closest thing i have to the finished tracks are low quality mp3s and a cd-r. these tracks were taken off of a cd-r and run through digital post-production in dec, 2013 in a process that also included minimal editing (mostly the removal of badly placed simpsons samples). this is my first official record; as always, please use headphones.
credits:
j - guitars, effects, bass, synthesizers, drum programming, sequencing, sampling, vocals, cool edit synthesis, windows 95 sound recorder, found sounds, strategies, soundraider, hammerhead, sound design, metronome, digital wave editing, production
released june 20, 1998
https://jasonparent.bandcamp.com/album/inri-lp
Subscribe to:
Posts (Atom)