installation file:
wlsetup-web.exe
Wednesday, January 15, 2014
Tuesday, January 14, 2014
jessica murray's Music & HypedSound
From: Jonathan Jaeger <hypedsoundteam@gmail.com>
To: death.to.koalas@gmail.com
Hi jessica murray,
I just checked out your music, very nice! I hope it's cool I mention a potential opportunity to share your music.
I run an online creative community that just relaunched called HypedSound -- we have a ton of music and a nice community going already. Some of the features of the site include the ability to upload all you audio/video/photos to one simple, clean profile as well as sync to your existing social networks. So, for example, you can pull in your YouTube, SoundCloud, and Instagram content all into one profile. A centralized hub for your creativity.
I'd love your feedback on the idea and the site if you have any interest. Always looking to get a conversation started. Here’s the link if you’d like to join the community or just want a profile as an easy way to centralize your content for your audience:
http://www.hypedsound.com
Thanks,
Jonathan@hypedsound.com
To: death.to.koalas@gmail.com
Hi jessica murray,
I just checked out your music, very nice! I hope it's cool I mention a potential opportunity to share your music.
I run an online creative community that just relaunched called HypedSound -- we have a ton of music and a nice community going already. Some of the features of the site include the ability to upload all you audio/video/photos to one simple, clean profile as well as sync to your existing social networks. So, for example, you can pull in your YouTube, SoundCloud, and Instagram content all into one profile. A centralized hub for your creativity.
I'd love your feedback on the idea and the site if you have any interest. Always looking to get a conversation started. Here’s the link if you’d like to join the community or just want a profile as an easy way to centralize your content for your audience:
http://www.hypedsound.com
Thanks,
Jonathan@hypedsound.com
publishing deny everything (inri041)
by posting a final final final final final version of this record, i'm transporting myself out of my deny everything phase and into a period where my main focus was playing the classical guitar.
this was the culmination of a year's worth of experiments in almost ideal working conditions, and as such represents a singular moment in my discography. the reason i've modified it so often is that i was in such a rush to get so many ideas out that i got sloppy. i'm confident that everything is resolved in this incarnation of the record, and the five eps i've spun off from it.
--
this is a project that has been through many incarnations and revisions, which should hopefully stabilize now that the tracks are entirely instrumental and the substantial number of outtakes have been categorized into companion eps. i don't expect to modify this further, but note that versions have been created roughly every 3.5 years since 2000 - in 2004, 2007, 2010 and now 2014. that slow, 15 year process of removing samples and reconstructing instrumental sections is now entirely complete.
what's left when the thematic ideas are stripped out is an eccentric and elaborate delve into psychedelic and electronic music that has no clear parallels that the author is aware of.
the record can be sectioned into 4 parts:
- ignorance is bliss [introduction]
- entropy/curious george/gravity's rainbow [program]
- a commercial break [intermission]
- acidosis [finale]
abridged versions of this record entitled 'symphony 1' should contain only the program and the finale, although condensed versions may leave out the beginning parts of the program.
recorded over the space of the year 2000. remixed substantially in 2004, 2007, 2010 and 2014. existing version finalized in jan, 2014. as always, please use headphones.
an audience exists somewhere that will cherish this as the truly unique monstrosity that it is.
credits:
j- guitars of all types, bass, programming, drum programming, sequencing, synthesizers, live drums, piano, loops, films, noise generation, organ, ebow, flute, mandolin, treatments, effects, found sounds, sampling, sound design, generative synthesis, granular synthesis, generative percussion, light-sound synthesis, digital wave editing, production, coughs, a broken equalizer, cover art
the star trek sample in 'gravity's rainbow' is from the episode "errand of mercy" (mar 23, 1967).
the rendered electronic orchestra includes theremin, ukelele, orchestra hit, string ensemble, taiko drums, gongs, trumpet & sax.
released november 11, 2000
this was the culmination of a year's worth of experiments in almost ideal working conditions, and as such represents a singular moment in my discography. the reason i've modified it so often is that i was in such a rush to get so many ideas out that i got sloppy. i'm confident that everything is resolved in this incarnation of the record, and the five eps i've spun off from it.
--
this is a project that has been through many incarnations and revisions, which should hopefully stabilize now that the tracks are entirely instrumental and the substantial number of outtakes have been categorized into companion eps. i don't expect to modify this further, but note that versions have been created roughly every 3.5 years since 2000 - in 2004, 2007, 2010 and now 2014. that slow, 15 year process of removing samples and reconstructing instrumental sections is now entirely complete.
what's left when the thematic ideas are stripped out is an eccentric and elaborate delve into psychedelic and electronic music that has no clear parallels that the author is aware of.
the record can be sectioned into 4 parts:
- ignorance is bliss [introduction]
- entropy/curious george/gravity's rainbow [program]
- a commercial break [intermission]
- acidosis [finale]
abridged versions of this record entitled 'symphony 1' should contain only the program and the finale, although condensed versions may leave out the beginning parts of the program.
recorded over the space of the year 2000. remixed substantially in 2004, 2007, 2010 and 2014. existing version finalized in jan, 2014. as always, please use headphones.
an audience exists somewhere that will cherish this as the truly unique monstrosity that it is.
credits:
j- guitars of all types, bass, programming, drum programming, sequencing, synthesizers, live drums, piano, loops, films, noise generation, organ, ebow, flute, mandolin, treatments, effects, found sounds, sampling, sound design, generative synthesis, granular synthesis, generative percussion, light-sound synthesis, digital wave editing, production, coughs, a broken equalizer, cover art
the star trek sample in 'gravity's rainbow' is from the episode "errand of mercy" (mar 23, 1967).
the rendered electronic orchestra includes theremin, ukelele, orchestra hit, string ensemble, taiko drums, gongs, trumpet & sax.
released november 11, 2000
a commercial break (original album mix)
the story behind the song is not very remarkable. the working title for the track was just 'progblues thing'. it was intended to be a structured instrumental guitar track that mixed the flair of hendrix with the minimalist structure of steve reich.
it was also the result of my dad getting himself a drumkit for christmas that year, which my step-mother promptly placed in my bedroom as a disincentive for further use. score, i guess. but it didn't survive the move a few months later. in the mean time, i got some recordings out of it - as well as a few moderately crazy drunken weekend jam sessions.
i'll note that that christmas also produced a grand piano a few feet outside my door, which is heard in acidosis. it's intended recipient was my sister, but she wasn't around much. me? new pc, with a convenient recording interface, and some more functional microphones. despite talk of family jam spaces, one might suspect my father was actually conspiring in my favour. there is probably a great deal of truth in this suspicion. these conditions held for less than a year, but i made the most of them.
so, the idea of the track was initially about experimenting with the new reverb system built into my new soundcard interface, by triggering it with the drumkit that had recently magically appeared out of good fortune. it had been a few years since i'd played the kit much, and, unfortunately, it kind of does show. i had spent a little time practicing along with "nevermind" and "siamese dream" for a few weeks to get back in shape, but i wasn't really "there" yet at the time of this recording. i didn't want to program loops into the song, so i compensated by splicing the track up. of special interest in this wave editing is the backwards cymbals, and especially how they intersect with the soaring guitars.
and of those soaring guitars? a fairly simple blues pattern. sure is lovely, though, isn't it?
the original version of this track has a lengthy mlk sample in it and is available over here:
jasonparent.bandcamp.com/track/let-freedom-ring
the speech became attached to the track when chance managed to have them playing simultaneously for me. i had cnn on in the corner. it was doing some kind of special on mlk, perhaps related to an anniversary that is related to a yearly holiday. placed together, it knocked me flat on my ass.
the idea in my mind from the start was integrationist, if not really consciously so. on the one hand, the guitar part is raw southern blues. on the other hand, the structure is sterile white minimalism. i didn't just realize this juxtaposition, i was trying to exploit it, even if the racial context hadn't occurred to me. when king's speech was played over it, though, the idea really exploded; the context became much deeper. it was an instant exponentiation in profundity.
in hindsight, there are some problems with this. i was a moderately wealthy white kid from canada. there was never much chance of me turning a profit on this, but if i did it would be a type of appropriation. the dr. king samples were removed from this track by the time this demo was initially packaged, which was november of 2000. that's probably for the best.
the second part of the track was recorded in june. it was a short that i had put aside for further development and then decided against further developing, so it ended up here as a sort of addendum to the track. it's really it's own thing, but it's been placed here so long that i don't want to separate it.
recorded over the course of the year 2000.
https://jasonparent.bandcamp.com/track/a-commercial-break
it was also the result of my dad getting himself a drumkit for christmas that year, which my step-mother promptly placed in my bedroom as a disincentive for further use. score, i guess. but it didn't survive the move a few months later. in the mean time, i got some recordings out of it - as well as a few moderately crazy drunken weekend jam sessions.
i'll note that that christmas also produced a grand piano a few feet outside my door, which is heard in acidosis. it's intended recipient was my sister, but she wasn't around much. me? new pc, with a convenient recording interface, and some more functional microphones. despite talk of family jam spaces, one might suspect my father was actually conspiring in my favour. there is probably a great deal of truth in this suspicion. these conditions held for less than a year, but i made the most of them.
so, the idea of the track was initially about experimenting with the new reverb system built into my new soundcard interface, by triggering it with the drumkit that had recently magically appeared out of good fortune. it had been a few years since i'd played the kit much, and, unfortunately, it kind of does show. i had spent a little time practicing along with "nevermind" and "siamese dream" for a few weeks to get back in shape, but i wasn't really "there" yet at the time of this recording. i didn't want to program loops into the song, so i compensated by splicing the track up. of special interest in this wave editing is the backwards cymbals, and especially how they intersect with the soaring guitars.
and of those soaring guitars? a fairly simple blues pattern. sure is lovely, though, isn't it?
the original version of this track has a lengthy mlk sample in it and is available over here:
jasonparent.bandcamp.com/track/let-freedom-ring
the speech became attached to the track when chance managed to have them playing simultaneously for me. i had cnn on in the corner. it was doing some kind of special on mlk, perhaps related to an anniversary that is related to a yearly holiday. placed together, it knocked me flat on my ass.
the idea in my mind from the start was integrationist, if not really consciously so. on the one hand, the guitar part is raw southern blues. on the other hand, the structure is sterile white minimalism. i didn't just realize this juxtaposition, i was trying to exploit it, even if the racial context hadn't occurred to me. when king's speech was played over it, though, the idea really exploded; the context became much deeper. it was an instant exponentiation in profundity.
in hindsight, there are some problems with this. i was a moderately wealthy white kid from canada. there was never much chance of me turning a profit on this, but if i did it would be a type of appropriation. the dr. king samples were removed from this track by the time this demo was initially packaged, which was november of 2000. that's probably for the best.
the second part of the track was recorded in june. it was a short that i had put aside for further development and then decided against further developing, so it ended up here as a sort of addendum to the track. it's really it's own thing, but it's been placed here so long that i don't want to separate it.
recorded over the course of the year 2000.
https://jasonparent.bandcamp.com/track/a-commercial-break
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