so, i've tried a few different things with this track, but nothing's stuck. nor do i want to publish any of the vocals at all. there are actually some decent lines in the track, but i just don't see any value in producing a vocal version to hold to them out of context and don't see any point in including any of the previous vocal versions in the main presentation....
i guess there just isn't the same kind of thematic continuity. with the more ridiculous tracks, the one-liners really plowed the tracks forwards. there's nothing really like that, here. the chorus isn't really lyrically memorable. the better line is in the bridge:
"god's a fucking commie, but he still doesn't want me.
like russia, his demise is on the way: killed by the usa."
but, saving those two lines just isn't worth it. the original mixes will be available in the download and on the aleph disc, but not for streaming and not on any physical disc.
it's really just going to be a two-track single. pointless? no. because the flip has some value in isolation. this is a neat little tune, in the way that the guitars and bass intersect. check it out through phones.
Sunday, July 24, 2016
working on inri012 today
this is what i'm working on today...
https://jasonparent.bandcamp.com/album/i-think-i-feel-much-better-now
https://jasonparent.bandcamp.com/album/i-think-i-feel-much-better-now
it's funny that whenever i say i'm awake, i fall asleep within minutes.
whatever i end up releasing for wish, i'm going to wait. it was actually one of the first tracks i did with my keyboard; the vocal mix is dated to jan, 1998. yeah. the instrumental is dated to april. the glitch mix is dated to may. but, it didn't really get released until record #2 and i'd already decided i was going to release the first three tracks of the record as a single, dated to the summer of 1998.
i skipped this track during the reclamation process last summer because it was already instrumental, anyways. we'll see what happens. but i'm jumping over it, for now.
that means i'm back to the track 'think', which i'm going to do something or other for. there should be a lead track up soon, anyways.
whatever i end up releasing for wish, i'm going to wait. it was actually one of the first tracks i did with my keyboard; the vocal mix is dated to jan, 1998. yeah. the instrumental is dated to april. the glitch mix is dated to may. but, it didn't really get released until record #2 and i'd already decided i was going to release the first three tracks of the record as a single, dated to the summer of 1998.
i skipped this track during the reclamation process last summer because it was already instrumental, anyways. we'll see what happens. but i'm jumping over it, for now.
that means i'm back to the track 'think', which i'm going to do something or other for. there should be a lead track up soon, anyways.
23-07-2016: closing inri011, working through may/98 and defining inri012
tracks worked on in this vlog:
https://jasonparent.bandcamp.com/album/nope-2
https://jasonparent.bandcamp.com/album/i-think-i-feel-much-better-now
https://jasonparent.bandcamp.com/track/slipping-away
https://jasonparent.bandcamp.com/track/weedin-the-yard
https://jasonparent.bandcamp.com/track/wish-r2d2-mix
https://jasonparent.bandcamp.com/track/the-phantom-of-the-washing-machine
https://jasonparent.bandcamp.com/album/period-1
https://jasonparent.bandcamp.com/album/nope-2
https://jasonparent.bandcamp.com/album/i-think-i-feel-much-better-now
https://jasonparent.bandcamp.com/track/slipping-away
https://jasonparent.bandcamp.com/track/weedin-the-yard
https://jasonparent.bandcamp.com/track/wish-r2d2-mix
https://jasonparent.bandcamp.com/track/the-phantom-of-the-washing-machine
https://jasonparent.bandcamp.com/album/period-1
Saturday, July 23, 2016
finalizing nope (inri011)
it's often remarked that there's a fine line between genius and idiocy.
it's less often remarked that there's an equally fine line between
wisdom and depression.
in early 1998, i was generating quite a bit of concern about my mental well being. ironically, i think this actually coincided with a period of very rapid mental development and maturation. i kind of just went to sleep one night as an immature teen and woke up the next morning as an overmature young adult. i can't really assign any kind of catalyst to it, either. while i haven't looked into this at all, i suspect it's a less uncommon phenomenon than might be imagined.
i should maybe give my parents, which at this point in time means my father and step-mother but primarily my father, a little bit of credit for at least being aware that my character underwent a fast and drastic shift from being kind of hyperactive and full of snarky wit to being quiet and sort of withdrawn. the immediate interpretation of such a shift is inevitably going to be that it is at least consistent with the onset of some kind of depression. so, i ended up dealing with the spanish inquisition for a while, regarding my shift in demeanor. was i alright? if i wasn't, would i tell him? would i agree to talk to somebody?
i did agree to talk to somebody, mostly to ease his own concerns. i mean, i just didn't see the need for him to be worrying about me like this.
the reality of the situation was that i had simply matured a little bit. sure: there were some real life concerns happening around me. life at 17 is not childhood any longer; it can be stressful. maybe that had affected me a little bit. but, depression? i didn't feel that i was suffering from anything. i just felt that my personality was asserting itself as something that was kind of stoic. i don't want to call myself a sociopath, exactly: stoicism gets the point across better. what's the point of getting irritable? what does it solve?
the doctor keyed in on some of the music i was listening to. now, it's the late 90s: right after grunge. people are still reeling from, like, kurt cobain copycat suicides. i was in a bit of a different musical head space than that, one defined mostly by nine inch nails (and including influences on nin and offshoots from it). that's actually considerably worse, on first glance, although i was aware of the fact that reznor was writing from the perspective of a character rather than from personal experience. the point is that i understood where the concern was coming from and was able to effectively articulate that point to the doctor. we agreed that i didn't necessarily need to be put on anti-depressants right away, but that i should accept a prescription and fill it at some point if i get overwhelmed.
so, i came home with a prescription and immediately hit the internet to research it. i didn't like what i found. i had explicitly told the doctor that i was experiencing a lack of emotional instability, not an excess of it. so, i didn't need to turn my emotions off; if anything, i would have benefited more from something that amplified my emotions more. the idea that i was depressed was just a misperception. nonetheless, the mere *idea* of taking drugs that would suppress my emotions and may have long term or permanent effects scared the hell out of me. the xfiles sample that appears on the original mix was something that i had put aside for future pro-atheist use but, after doing this research, became very relevant in a completely different context.
so, i wasn't keen on taking these drugs that were going to at best turn me into a zombie and at worst turn me into a mass murderer. nope. no thanks...
my dad pushed the point for quite a while, though. in his mind, i came home with a prescription and ought to fill it. this song is a reaction to his insistence, which i always knew was coming from a good place. in fact, he never really dropped the argument.
the doctor and i also talked a little bit about my own music, and how it was an outlet for various frustrations. i made the argument that, while i didn't feel depressed, i was nonetheless better off working out issues of the sort through art than i was taking pills. so, this song also exists on that kind of meta level.
in hindsight, i don't want to give off the impression that i reject psychology or the medicalization of depression. that is simply untrue. the honest truth is that i simply did not feel that i was suffering from any kind of depression. yet, i've also always been very uncomfortable with the way that this process unfolded. we talked for less than an hour, and i walked out with a prescription for a mind-altering substance that could have dramatically damaged me. why is there not more oversight in this process? one would think that i should have been given a blood test to determine if i actually had an imbalance or not. no doctor can determine an imbalance through intuition. that is flat out quackery! an imbalance must be measured. if it can be determined empirically, it ought to be reacted to. yet, i was never even tested.
as an artist, i'm glad that i had the presence of mind to reject the drugs at this age. i simply don't know what they would have done to me, or who i would be today had i taken them.
originally created in april, 1998. a failed rescue was attempted in 2013. reclaimed july 4, 2015. remixed july 15, 2015. vocals added jan 6, 2016. finalized on july 23, 2016. as always, please use headphones.
the album version of this track appears on my first record, inri (inri015): jasonparent.bandcamp.com/album/inri-3
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 (1998, 2013, 2015, 2016).
credits:
j - guitars, effects, synth bass, synths, drum programming, sequencing, vocals, sampling, digital wave editing, production
in early 1998, i was generating quite a bit of concern about my mental well being. ironically, i think this actually coincided with a period of very rapid mental development and maturation. i kind of just went to sleep one night as an immature teen and woke up the next morning as an overmature young adult. i can't really assign any kind of catalyst to it, either. while i haven't looked into this at all, i suspect it's a less uncommon phenomenon than might be imagined.
i should maybe give my parents, which at this point in time means my father and step-mother but primarily my father, a little bit of credit for at least being aware that my character underwent a fast and drastic shift from being kind of hyperactive and full of snarky wit to being quiet and sort of withdrawn. the immediate interpretation of such a shift is inevitably going to be that it is at least consistent with the onset of some kind of depression. so, i ended up dealing with the spanish inquisition for a while, regarding my shift in demeanor. was i alright? if i wasn't, would i tell him? would i agree to talk to somebody?
i did agree to talk to somebody, mostly to ease his own concerns. i mean, i just didn't see the need for him to be worrying about me like this.
the reality of the situation was that i had simply matured a little bit. sure: there were some real life concerns happening around me. life at 17 is not childhood any longer; it can be stressful. maybe that had affected me a little bit. but, depression? i didn't feel that i was suffering from anything. i just felt that my personality was asserting itself as something that was kind of stoic. i don't want to call myself a sociopath, exactly: stoicism gets the point across better. what's the point of getting irritable? what does it solve?
the doctor keyed in on some of the music i was listening to. now, it's the late 90s: right after grunge. people are still reeling from, like, kurt cobain copycat suicides. i was in a bit of a different musical head space than that, one defined mostly by nine inch nails (and including influences on nin and offshoots from it). that's actually considerably worse, on first glance, although i was aware of the fact that reznor was writing from the perspective of a character rather than from personal experience. the point is that i understood where the concern was coming from and was able to effectively articulate that point to the doctor. we agreed that i didn't necessarily need to be put on anti-depressants right away, but that i should accept a prescription and fill it at some point if i get overwhelmed.
so, i came home with a prescription and immediately hit the internet to research it. i didn't like what i found. i had explicitly told the doctor that i was experiencing a lack of emotional instability, not an excess of it. so, i didn't need to turn my emotions off; if anything, i would have benefited more from something that amplified my emotions more. the idea that i was depressed was just a misperception. nonetheless, the mere *idea* of taking drugs that would suppress my emotions and may have long term or permanent effects scared the hell out of me. the xfiles sample that appears on the original mix was something that i had put aside for future pro-atheist use but, after doing this research, became very relevant in a completely different context.
so, i wasn't keen on taking these drugs that were going to at best turn me into a zombie and at worst turn me into a mass murderer. nope. no thanks...
my dad pushed the point for quite a while, though. in his mind, i came home with a prescription and ought to fill it. this song is a reaction to his insistence, which i always knew was coming from a good place. in fact, he never really dropped the argument.
the doctor and i also talked a little bit about my own music, and how it was an outlet for various frustrations. i made the argument that, while i didn't feel depressed, i was nonetheless better off working out issues of the sort through art than i was taking pills. so, this song also exists on that kind of meta level.
in hindsight, i don't want to give off the impression that i reject psychology or the medicalization of depression. that is simply untrue. the honest truth is that i simply did not feel that i was suffering from any kind of depression. yet, i've also always been very uncomfortable with the way that this process unfolded. we talked for less than an hour, and i walked out with a prescription for a mind-altering substance that could have dramatically damaged me. why is there not more oversight in this process? one would think that i should have been given a blood test to determine if i actually had an imbalance or not. no doctor can determine an imbalance through intuition. that is flat out quackery! an imbalance must be measured. if it can be determined empirically, it ought to be reacted to. yet, i was never even tested.
as an artist, i'm glad that i had the presence of mind to reject the drugs at this age. i simply don't know what they would have done to me, or who i would be today had i taken them.
originally created in april, 1998. a failed rescue was attempted in 2013. reclaimed july 4, 2015. remixed july 15, 2015. vocals added jan 6, 2016. finalized on july 23, 2016. as always, please use headphones.
the album version of this track appears on my first record, inri (inri015): jasonparent.bandcamp.com/album/inri-3
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 (1998, 2013, 2015, 2016).
credits:
j - guitars, effects, synth bass, synths, drum programming, sequencing, vocals, sampling, digital wave editing, production
released april 29, 1998
i spent the morning making up the liner notes for inri010 (why) and the afternoon closing inri011 (nope). i've been a little distracted for the last few days. kind of anxious. i wish the weather would just stay around 30 in here, but i'm in a really epic war with the a/c upstairs. i keep turning the heat up to 32 or 33, then turning it off - it's the only way to avoid the refrigeration effect, without overheating. on some level, it's fucking awful. but, what else can i do? i don't want to wear a sweater in july. i don't even want to wear fucking pants.
i've had some difficulty with writing this up, but i'm getting to it. i think it should be up soon.
i've had some difficulty with writing this up, but i'm getting to it. i think it should be up soon.
yeah, but i don't care about "views". i'm not a vlogger, i'm a musician. the vlogs are ads for the music. and the store is over here. i've said it a thousand times, too.
https://jasonparent.bandcamp.com/
i'd put some products up directly on youtube, but they demand that you use google wallet, which doesn't accept my debit card information because it's from a small bank in canada. nor do i have a credit card.
so, the store is at bandcamp. it's pinned, even. and, i'm openly transparent about this.
i mean, i could in theory use pay pal - which can interface with my bank account. but, google will not allow it. you must use wallet. which cannot interface with my bank account...
i don't want to sell you shirts or buttons or dildos or whatever the fuck else, either. you'll notice i don't wear logos, myself. ever. i just don't want to run a business selling merchandise. i have no interest in it...
the discography is currently a little bare, but it's coming up quickly and when i get over the hump in finishing period 1.2 it's going to really explode forwards to the end of period 2. so, give me a few more weeks, at the most. i'm just about caught up, finally, after the interference breakdown.
and, that mri is on monday morning. what i'm expecting to find is that my jaw is growing in crooked and it's fucking with my ear. i'll have to see what kind of remedies they can provide. but, i'll have to react further based on the scans...
https://jasonparent.bandcamp.com/
i'd put some products up directly on youtube, but they demand that you use google wallet, which doesn't accept my debit card information because it's from a small bank in canada. nor do i have a credit card.
so, the store is at bandcamp. it's pinned, even. and, i'm openly transparent about this.
i mean, i could in theory use pay pal - which can interface with my bank account. but, google will not allow it. you must use wallet. which cannot interface with my bank account...
i don't want to sell you shirts or buttons or dildos or whatever the fuck else, either. you'll notice i don't wear logos, myself. ever. i just don't want to run a business selling merchandise. i have no interest in it...
the discography is currently a little bare, but it's coming up quickly and when i get over the hump in finishing period 1.2 it's going to really explode forwards to the end of period 2. so, give me a few more weeks, at the most. i'm just about caught up, finally, after the interference breakdown.
and, that mri is on monday morning. what i'm expecting to find is that my jaw is growing in crooked and it's fucking with my ear. i'll have to see what kind of remedies they can provide. but, i'll have to react further based on the scans...
nope (inri011) is up next
this is next, and i don't expect to modify this release much - i just need to write the liner notes.
https://jasonparent.bandcamp.com/album/nope-2
https://jasonparent.bandcamp.com/album/nope-2
22-07-2016: inri010.
tracks worked on in this vlog:
https://jasonparent.bandcamp.com/album/why
https://jasonparent.bandcamp.com/album/period-1
https://jasonparent.bandcamp.com/album/why
https://jasonparent.bandcamp.com/album/period-1
Friday, July 22, 2016
publishing why (inri010)
audio permanently closed for inri010.
===
here's the biting, satirical, misanthropic anarchist jessica that you know and love! finally...
this is the first thing that shows up that's explicitly political in more than a social sense. the lyrics are clear, obvious and mixed very much to the front. here's the story on that: i'm emulating a beat-box situation. i'm a politician, tongue-in-cheek, with a sound system in the back. the paper crumpling sound in the middle is meant to represent me spoiling a ballot.
in hindsight, i suppose that the idea that i'm trying to get across is largely gramscian. in the language of modern memes, the track simply tells us to keep calm and vote for the status quo. but, you'll note that i'm focusing a lot on the deficit of discourse. this could be interpreted a few ways. you could think about how the function of advertising is to suppress thought, for example. however, what i was thinking at the time intersects most cleanly with the idea of the state functioning as the modern church. in this system, which does not only exist on the right, the politician is also a priest and enforces the same role of thought suppression that the church did in the middle ages. the politician herds the sheep into the polls to uphold the status quo; democracy consequently leads to stasis, and prevents any kind of real change. what i had actually read at this age was not gramsci or chomsky but orwell. yet, what's actually driving me is something closer to what we would today associate with dawkins - largely through asimov.
you'll note that i'm not particularly hopeful about the process, either - i don't have a lot of faith in humans to transcend this process of control. it's a deep form of misanthropy, with little way out. yet, my idea of human nature is that we are very malleable, not that we are fixed in perpetual assholery. even at this age, i realize that we are not doomed....
....we're just very poorly equipped to get our shit together.
initially written in 1996. recreated in april, 1998. a failed rescue was attempted in 2013. reclaimed july 12, 2015. vocals added july 15, 2015. sequenced, released and finalized on july 22, 2016. as always, please use headphones.
credits:
j - guitars, effects, bass, drum programming, drum kit, synthesizers, found sound (paper crumpling), pick scrapes, tapes, noise generators, cool edit synthesis, sampling, vocals, digital wave editing, production
released april 19, 1998
https://jasonparent.bandcamp.com/album/why
1) when i reclaimed this track in the summer of 2015, i output a vocal version for the fun of it and then left it to sit for several months. no single was constructed on the initial run through in early 2016 because i had made the decision to not release vocal mixes. however, with the creation of the epic "on sexual confusion in adolescence", i have reversed that decision and decided to release select vocal tracks as singles. this track makes the cut. initially written in 1996. recreated in april, 1998. a failed rescue was attempted in 2013. reclaimed july 12, 2015. vocals added july 15, 2015.
https://jasonparent.bandcamp.com/track/why-3
2) this version has been edited and sequenced for inclusion on my second record, inriched (inri021). initially written in 1996. recreated in april, 1998. a failed rescue was attempted in 2013. reclaimed july 12, 2015. sequenced and finalized on july 22, 2016.
https://jasonparent.bandcamp.com/track/why-album-version
3) version reconstructed in 2015 from tape. initially written in 1996. recreated in april, 1998. a failed rescue was attempted in 2013. reclaimed july 12, 2015.
https://jasonparent.bandcamp.com/track/why-2015-reconstruction-from-1998-source-tapes
4) this is a glitchy, instrumental remix of the track that i only vaguely recall putting together. initially written in 1996. recreated in april, 1998. converted to stereo on sept 24, 2014.
https://jasonparent.bandcamp.com/track/why-wtf-mix-2
5) from inricycled. initially written in 1996. remastered in 2013. dated dec 11, 2013.
https://jasonparent.bandcamp.com/track/phased-out-a-robots-lament-2
6) deleted 2013 remaster of the 1998 demo, which would later appear on my second record, inriched (inri021). initially written in 1996. recreated in april, 1998. a failed rescue was attempted in 2013. dated dec 24, 2013.
https://jasonparent.bandcamp.com/track/why-2013-remaster-of-1998-demo
7) deleted 1998 edit, which would later appear on my second record, inriched (inri021). initially written in 1996. recreated and edited in april, 1998.
https://jasonparent.bandcamp.com/track/why-original-1999-album-edit
8) 2013 remaster of 1996 demo cassette. initially written in 1996. remastered in 2013. dated oct 12, 2013.
https://jasonparent.bandcamp.com/track/why-2013-remaster-of-1996-demo-mix-2
9) deleted 1998 original, unsequenced mix. initially written in 1996. recreated in april, 1998. dated april 19, 1998.
https://jasonparent.bandcamp.com/track/why-full-1998-mix-2
10) deleted original 1996 mix. initially written in 1996. dated oct 20, 1996.
https://jasonparent.bandcamp.com/track/end-sequence-of-side-a-of-the-1996-demo-tape-2
===
here's the biting, satirical, misanthropic anarchist jessica that you know and love! finally...
this is the first thing that shows up that's explicitly political in more than a social sense. the lyrics are clear, obvious and mixed very much to the front. here's the story on that: i'm emulating a beat-box situation. i'm a politician, tongue-in-cheek, with a sound system in the back. the paper crumpling sound in the middle is meant to represent me spoiling a ballot.
in hindsight, i suppose that the idea that i'm trying to get across is largely gramscian. in the language of modern memes, the track simply tells us to keep calm and vote for the status quo. but, you'll note that i'm focusing a lot on the deficit of discourse. this could be interpreted a few ways. you could think about how the function of advertising is to suppress thought, for example. however, what i was thinking at the time intersects most cleanly with the idea of the state functioning as the modern church. in this system, which does not only exist on the right, the politician is also a priest and enforces the same role of thought suppression that the church did in the middle ages. the politician herds the sheep into the polls to uphold the status quo; democracy consequently leads to stasis, and prevents any kind of real change. what i had actually read at this age was not gramsci or chomsky but orwell. yet, what's actually driving me is something closer to what we would today associate with dawkins - largely through asimov.
you'll note that i'm not particularly hopeful about the process, either - i don't have a lot of faith in humans to transcend this process of control. it's a deep form of misanthropy, with little way out. yet, my idea of human nature is that we are very malleable, not that we are fixed in perpetual assholery. even at this age, i realize that we are not doomed....
....we're just very poorly equipped to get our shit together.
initially written in 1996. recreated in april, 1998. a failed rescue was attempted in 2013. reclaimed july 12, 2015. vocals added july 15, 2015. sequenced, released and finalized on july 22, 2016. as always, please use headphones.
credits:
j - guitars, effects, bass, drum programming, drum kit, synthesizers, found sound (paper crumpling), pick scrapes, tapes, noise generators, cool edit synthesis, sampling, vocals, digital wave editing, production
released april 19, 1998
https://jasonparent.bandcamp.com/album/why
1) when i reclaimed this track in the summer of 2015, i output a vocal version for the fun of it and then left it to sit for several months. no single was constructed on the initial run through in early 2016 because i had made the decision to not release vocal mixes. however, with the creation of the epic "on sexual confusion in adolescence", i have reversed that decision and decided to release select vocal tracks as singles. this track makes the cut. initially written in 1996. recreated in april, 1998. a failed rescue was attempted in 2013. reclaimed july 12, 2015. vocals added july 15, 2015.
https://jasonparent.bandcamp.com/track/why-3
2) this version has been edited and sequenced for inclusion on my second record, inriched (inri021). initially written in 1996. recreated in april, 1998. a failed rescue was attempted in 2013. reclaimed july 12, 2015. sequenced and finalized on july 22, 2016.
https://jasonparent.bandcamp.com/track/why-album-version
3) version reconstructed in 2015 from tape. initially written in 1996. recreated in april, 1998. a failed rescue was attempted in 2013. reclaimed july 12, 2015.
https://jasonparent.bandcamp.com/track/why-2015-reconstruction-from-1998-source-tapes
4) this is a glitchy, instrumental remix of the track that i only vaguely recall putting together. initially written in 1996. recreated in april, 1998. converted to stereo on sept 24, 2014.
https://jasonparent.bandcamp.com/track/why-wtf-mix-2
5) from inricycled. initially written in 1996. remastered in 2013. dated dec 11, 2013.
https://jasonparent.bandcamp.com/track/phased-out-a-robots-lament-2
6) deleted 2013 remaster of the 1998 demo, which would later appear on my second record, inriched (inri021). initially written in 1996. recreated in april, 1998. a failed rescue was attempted in 2013. dated dec 24, 2013.
https://jasonparent.bandcamp.com/track/why-2013-remaster-of-1998-demo
7) deleted 1998 edit, which would later appear on my second record, inriched (inri021). initially written in 1996. recreated and edited in april, 1998.
https://jasonparent.bandcamp.com/track/why-original-1999-album-edit
8) 2013 remaster of 1996 demo cassette. initially written in 1996. remastered in 2013. dated oct 12, 2013.
https://jasonparent.bandcamp.com/track/why-2013-remaster-of-1996-demo-mix-2
9) deleted 1998 original, unsequenced mix. initially written in 1996. recreated in april, 1998. dated april 19, 1998.
https://jasonparent.bandcamp.com/track/why-full-1998-mix-2
10) deleted original 1996 mix. initially written in 1996. dated oct 20, 1996.
https://jasonparent.bandcamp.com/track/end-sequence-of-side-a-of-the-1996-demo-tape-2
the first seven tracks are pretty final, for the physical cd. the last three uploads will be download-only bonus tracks.
re: the hip-hop thing - those are guitars, not tables. it's called "muting". you can hear the same sound in virtually any funk song. a related concept, the palm mute, is uses widely in metal. i acknowledge it sounds a little like a scratch, but it's again accidental - it's just meant to be a syncopated guitar muting.
re: the hip-hop thing - those are guitars, not tables. it's called "muting". you can hear the same sound in virtually any funk song. a related concept, the palm mute, is uses widely in metal. i acknowledge it sounds a little like a scratch, but it's again accidental - it's just meant to be a syncopated guitar muting.
why (album mix)
this version has been edited and sequenced for inclusion on my second record, inriched (inri021). initially written in 1996. recreated in april, 1998. a failed rescue was attempted in 2013. reclaimed july 12, 2015. sequenced and finalized on july 22, 2016.
https://jasonparent.bandcamp.com/track/why-album-version
https://jasonparent.bandcamp.com/track/why-album-version
21-07-2016: fixing inri007, closing inri009, working through april/98 and defining inri010
tracks worked on in this vlog:
https://jasonparent.bandcamp.com/album/i-did-your-mom-2
https://jasonparent.bandcamp.com/album/i-think-i-feel-much-better-now
https://jasonparent.bandcamp.com/track/convoy
https://jasonparent.bandcamp.com/track/wish
https://jasonparent.bandcamp.com/album/why
https://jasonparent.bandcamp.com/album/period-1
https://jasonparent.bandcamp.com/album/i-did-your-mom-2
https://jasonparent.bandcamp.com/album/i-think-i-feel-much-better-now
https://jasonparent.bandcamp.com/track/convoy
https://jasonparent.bandcamp.com/track/wish
https://jasonparent.bandcamp.com/album/why
https://jasonparent.bandcamp.com/album/period-1
Thursday, July 21, 2016
i mother earth & tea party at edgefest ninety.....bluesfest 2016?
i remember reading an article a few years ago about how the iconic canadian rock band, the tea party (often cited in the short list of best canadian rock bands of all time), refused to sell it's domain name to the corporate-dominated american political movement of the same name. rumours were running up to seven figures. yeah, they could have used the cash. but, which koch would have written that cheque?
i missed most of the preamble, but this combined track of an original (requiem) and a well known cover that he does regularly (hurt, by nine inch nails) was dedicated to the united states in the wake of rising racial tensions and police shootings. a requiem. it's not smug. you can dwell on "what have they become?". or you could dwell on "my sweetest friends". it's more about concern than superiority. but, it's a requiem, nonetheless - a requiem in the face of what is increasingly obvious american decline. would eight figures have shut him up?
how many times have i seen the band? i don't know. lots. so, getting a chance to see jeff martin play an acoustic set opening for a reformed i mother earth was a nice addition to the show, in the sense of it being a throw back. he played mostly tea party songs, and i don't think anybody was upset about it. but, i want to point out that seeing jeff martin play acoustic is not your average folk performance. i don' check setlists; i happened to catch a more toned down track, even as it was presented kind of heavily. most of the tracks featured foot driven percussion. he was playing a 12 string at one point (the badger). the truth is that he can fill the sound up on his own: he didn't really need to bring a band with him.
as it turns out, he brought one with him, anyways.
here is a full set from the same week:
given that jeff martin was coming home from australia for the set (something he pointed out as he was playing 'coming home'), it was sort of obvious that he would at least try and get his bandmates up on stage. and, it happened to work out. this is the complete band set, at the end of his solo set. the first track is a led zeppelin cover, and the second is a track from their first record, splendor solis.
yeah. you're not seeing things.
they're on a twenty year anniversary tour for scenery and fish, and i enjoyed every second of it. again: how many times did i see this band in the 90s? i don't know. lots. the setlist was pulled from both of their records. you can pick up from the footage that the audience knew all the words...
this show was pure nostalgia, and nobody pretended otherwise. i got everything i wanted out of it: some sing-alongs, some guitar freakouts, some drum circles - and even some pot floating around through the audience. score.
you can probably pick out almost immediately that this wasn't your average 90s alt rock band. i've argued pretty strongly that they really foreshadowed the sound developed by the mars volta, although they themselves were drawing heavily on the more progressive side of alternative rock: rhcp, jane's addiction, the smashing pumpkins. with a dash of rush, for canadiana? sure, even if the lyrical references are largely on the level of satirical post-modernism rather than serious objectivism. they were and remain viciously virtuosic on their instruments, and worth the price of admission simply for that fact.
if you weren't around to see it the first time, you're not going to get as much out of this. but, it's something that kind of got lost. to be clear: they were huge in canada. when they played edgefest '98, they co-headlined a concert that included green day and foofighters as opening acts. that's right: they didn't open for foofighters and green day. green day and foofighters opened for them. that's how big they were in canada, for a few years in the 90s.
they then completely imploded before they got a chance to build an audience outside of canada - the singer bolted and the band didn't recover. this is the original singer, apparently performing with the band for the first time in 18 years. so, it's something special for us old 90s canucks.
here is a full set from earlier in the month:
i walked out of this concert completely fried due to minimal sleep, overexposure to my ears (remember: i saw swans on tuesday, too), alcohol, nicotine and the other one that's still a few months away from open mention. so, i'm not done sleeping yet. but there was an experience near the end of the show that i want to say something about. it was one of those really surreal moments of racism that you just can't do much about besides point out loudly and shake your head about. so, i'm going to scream about it for a few paragraphs.
i mother earth were a kind of iconic canadian band in the 90s, and they were uniting here with a singer they hadn't played with in many years. the announcer said 18 years. i'm not sure if that's literally true or not, but it's been a while. the audience was consequently full of nostalgia: an older and mostly white crowd rocking out to records released in 1993 and 1996. much drinking, yes.
now, everybody knows you're not supposed to smoke anything at all in these kinds of outdoor bank concerts. you're just supposed to shut up and drink your over-priced beer. that is, of course, the economic purpose of this event: to sell over-priced beer. but, you can't actually enforce this rule once the sun comes down a little, the least important reason being that most people in the crowd at rock concerts like this actually don't agree with bans on smoking at outdoor concerts. many of them actually even smoke. and, not just cigarettes.
the smell of marijuana is pretty normal at outdoor rock concerts. it's a part of the experience - whether you're actually inhaling, or just taking in the aroma. it wouldn't be a real festival, without it. whatever the eventual legality of the substance in canada, that smell is not going to lift from the concerts of the nation. there will simply be a trail of corrected signs "thank you for pot smoking".
the spirit of this event, combined with the nature of the audience, actually at one point near the end of the set had joints passing around amongst strangers. somebody decided everybody at the show ought to be high. or it seemed that way. they were just circling around. my nose and eyes caught multiple burning around me.
so, i will acknowledge that there were people smoking pot in the audience. see, but that's just it - *everybody* in the audience was smoking pot. no exaggeration. nine out of ten, anyways.
so, you'll imagine how absurd it was to watch security swoop in, walk past several burning joints and key in on the only black guy in eyesight - who, yes, was caught green-handed. like, they took it out of his hand. ok. drug abuse. but, they had to blatantly walk by scores of stoned white folks to do this, and then scores more as they were escorting him out. 90 out of 100 people in the immediate audience were stoned. it was being openly passed around. but, only one person in the audience was black.
i didn't stay for the literal headliner, so i don't know if they came back later for more minorities, or even for some white folk - or maybe if they just backed off and let people have a good time. but i know what i saw and how obvious it was.
i don't really have any point besides the obvious one: it's really not ok. i don't know exactly who the security personnel were (mall cops?), either, but....i guess the way i should articulate this to organizers is that i don't want to see anything like that ever again.
of course, this has nothing to do with the band. the actual show was excellent, for what it was. tight. no fuck-ups. the tracks were identifiable, but expanded upon enough to play out. i'd need at least two hands to count the number of times i saw this band in the 90s, and they were always a strong live set like that. so, i will actually have some footage coming up in the next few days of i mother earth with edwin in 2016. that's something that is actually happening. there's some teaparty footage, too.
here is the vlog for the day:
http://dghjdfsghkrdghdgja.appspot.com/categories/shows/2016/07/14.html
i missed most of the preamble, but this combined track of an original (requiem) and a well known cover that he does regularly (hurt, by nine inch nails) was dedicated to the united states in the wake of rising racial tensions and police shootings. a requiem. it's not smug. you can dwell on "what have they become?". or you could dwell on "my sweetest friends". it's more about concern than superiority. but, it's a requiem, nonetheless - a requiem in the face of what is increasingly obvious american decline. would eight figures have shut him up?
how many times have i seen the band? i don't know. lots. so, getting a chance to see jeff martin play an acoustic set opening for a reformed i mother earth was a nice addition to the show, in the sense of it being a throw back. he played mostly tea party songs, and i don't think anybody was upset about it. but, i want to point out that seeing jeff martin play acoustic is not your average folk performance. i don' check setlists; i happened to catch a more toned down track, even as it was presented kind of heavily. most of the tracks featured foot driven percussion. he was playing a 12 string at one point (the badger). the truth is that he can fill the sound up on his own: he didn't really need to bring a band with him.
as it turns out, he brought one with him, anyways.
here is a full set from the same week:
given that jeff martin was coming home from australia for the set (something he pointed out as he was playing 'coming home'), it was sort of obvious that he would at least try and get his bandmates up on stage. and, it happened to work out. this is the complete band set, at the end of his solo set. the first track is a led zeppelin cover, and the second is a track from their first record, splendor solis.
yeah. you're not seeing things.
they're on a twenty year anniversary tour for scenery and fish, and i enjoyed every second of it. again: how many times did i see this band in the 90s? i don't know. lots. the setlist was pulled from both of their records. you can pick up from the footage that the audience knew all the words...
this show was pure nostalgia, and nobody pretended otherwise. i got everything i wanted out of it: some sing-alongs, some guitar freakouts, some drum circles - and even some pot floating around through the audience. score.
you can probably pick out almost immediately that this wasn't your average 90s alt rock band. i've argued pretty strongly that they really foreshadowed the sound developed by the mars volta, although they themselves were drawing heavily on the more progressive side of alternative rock: rhcp, jane's addiction, the smashing pumpkins. with a dash of rush, for canadiana? sure, even if the lyrical references are largely on the level of satirical post-modernism rather than serious objectivism. they were and remain viciously virtuosic on their instruments, and worth the price of admission simply for that fact.
if you weren't around to see it the first time, you're not going to get as much out of this. but, it's something that kind of got lost. to be clear: they were huge in canada. when they played edgefest '98, they co-headlined a concert that included green day and foofighters as opening acts. that's right: they didn't open for foofighters and green day. green day and foofighters opened for them. that's how big they were in canada, for a few years in the 90s.
they then completely imploded before they got a chance to build an audience outside of canada - the singer bolted and the band didn't recover. this is the original singer, apparently performing with the band for the first time in 18 years. so, it's something special for us old 90s canucks.
here is a full set from earlier in the month:
i walked out of this concert completely fried due to minimal sleep, overexposure to my ears (remember: i saw swans on tuesday, too), alcohol, nicotine and the other one that's still a few months away from open mention. so, i'm not done sleeping yet. but there was an experience near the end of the show that i want to say something about. it was one of those really surreal moments of racism that you just can't do much about besides point out loudly and shake your head about. so, i'm going to scream about it for a few paragraphs.
i mother earth were a kind of iconic canadian band in the 90s, and they were uniting here with a singer they hadn't played with in many years. the announcer said 18 years. i'm not sure if that's literally true or not, but it's been a while. the audience was consequently full of nostalgia: an older and mostly white crowd rocking out to records released in 1993 and 1996. much drinking, yes.
now, everybody knows you're not supposed to smoke anything at all in these kinds of outdoor bank concerts. you're just supposed to shut up and drink your over-priced beer. that is, of course, the economic purpose of this event: to sell over-priced beer. but, you can't actually enforce this rule once the sun comes down a little, the least important reason being that most people in the crowd at rock concerts like this actually don't agree with bans on smoking at outdoor concerts. many of them actually even smoke. and, not just cigarettes.
the smell of marijuana is pretty normal at outdoor rock concerts. it's a part of the experience - whether you're actually inhaling, or just taking in the aroma. it wouldn't be a real festival, without it. whatever the eventual legality of the substance in canada, that smell is not going to lift from the concerts of the nation. there will simply be a trail of corrected signs "thank you for pot smoking".
the spirit of this event, combined with the nature of the audience, actually at one point near the end of the set had joints passing around amongst strangers. somebody decided everybody at the show ought to be high. or it seemed that way. they were just circling around. my nose and eyes caught multiple burning around me.
so, i will acknowledge that there were people smoking pot in the audience. see, but that's just it - *everybody* in the audience was smoking pot. no exaggeration. nine out of ten, anyways.
so, you'll imagine how absurd it was to watch security swoop in, walk past several burning joints and key in on the only black guy in eyesight - who, yes, was caught green-handed. like, they took it out of his hand. ok. drug abuse. but, they had to blatantly walk by scores of stoned white folks to do this, and then scores more as they were escorting him out. 90 out of 100 people in the immediate audience were stoned. it was being openly passed around. but, only one person in the audience was black.
i didn't stay for the literal headliner, so i don't know if they came back later for more minorities, or even for some white folk - or maybe if they just backed off and let people have a good time. but i know what i saw and how obvious it was.
i don't really have any point besides the obvious one: it's really not ok. i don't know exactly who the security personnel were (mall cops?), either, but....i guess the way i should articulate this to organizers is that i don't want to see anything like that ever again.
of course, this has nothing to do with the band. the actual show was excellent, for what it was. tight. no fuck-ups. the tracks were identifiable, but expanded upon enough to play out. i'd need at least two hands to count the number of times i saw this band in the 90s, and they were always a strong live set like that. so, i will actually have some footage coming up in the next few days of i mother earth with edwin in 2016. that's something that is actually happening. there's some teaparty footage, too.
here is the vlog for the day:
http://dghjdfsghkrdghdgja.appspot.com/categories/shows/2016/07/14.html
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