Sunday, October 15, 2017
finalizing inri046
the core
of this was written in my parent's basement in the spring of 2001.
planning on going to a rave that weekend, i had previously purchased a
large amount of drugs; i was, however, forced to stay in due to having a
calculus test that sunday (the rave was out of town). well, my parents
were gone for the weekend, most of my friends were out of town and i had
a massive stash of drugs...
it is quite literally a symphony of psilocybin induced madness and was written directly into an ancient, hacked score-writing program. while it has been labelled as a symphony of drunken confusion in certain contexts to get around certain social stigmas, this is inaccurate.
around 2006 or so, i took a course in electronic music design that had a recorded component and pulled the score off of my hard drive with the intent of finally recording it properly. the dx7 i had available to me greatly improved the synth patches, enough that i'm willing to let the track rest that way.
i've included midi files of the original composition, if you'd like to mess with it on your own.
i now consider this my fifth symphony.
written in the spring of 2001. lent out for a different project in jan, 2004. reconstructed in the first quarter of 2006, especially over march. the vst mix was added on jan 10, 2015 and the two guitar mixes were added on may 29, 2015. finalized as symph005 on oct 15, 2017. as always, please use headphones.
the album version of this track appears on my fifth record:
jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj
the divine amoebas version also appears on my seventh record:
jasonparent.bandcamp.com/album/ftaa
this release also includes a printable jewel case insert and will also eventually include a comprehensive package of journal entries from all phases of production (2001, 2004, 2006, 2014, 2015, 2017).
it is quite literally a symphony of psilocybin induced madness and was written directly into an ancient, hacked score-writing program. while it has been labelled as a symphony of drunken confusion in certain contexts to get around certain social stigmas, this is inaccurate.
around 2006 or so, i took a course in electronic music design that had a recorded component and pulled the score off of my hard drive with the intent of finally recording it properly. the dx7 i had available to me greatly improved the synth patches, enough that i'm willing to let the track rest that way.
i've included midi files of the original composition, if you'd like to mess with it on your own.
i now consider this my fifth symphony.
written in the spring of 2001. lent out for a different project in jan, 2004. reconstructed in the first quarter of 2006, especially over march. the vst mix was added on jan 10, 2015 and the two guitar mixes were added on may 29, 2015. finalized as symph005 on oct 15, 2017. as always, please use headphones.
the album version of this track appears on my fifth record:
jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj
the divine amoebas version also appears on my seventh record:
jasonparent.bandcamp.com/album/ftaa
this release also includes a printable jewel case insert and will also eventually include a comprehensive package of journal entries from all phases of production (2001, 2004, 2006, 2014, 2015, 2017).
credits
released May 15, 2001
j - electric guitars, programming, digital effects & treatments, sampling, composition, production.
the rendered electronic orchestras variously include synthesizers, clavinet, kalimba, nylon guitar, acoustic guitar, electric guitar, bass guitar, piano, banjo, electronic drums, pc card, violin, cello, bamboo flute, flute, viola, soprano saxophone, tuba, trumpet, organ and music box.
j - electric guitars, programming, digital effects & treatments, sampling, composition, production.
the rendered electronic orchestras variously include synthesizers, clavinet, kalimba, nylon guitar, acoustic guitar, electric guitar, bass guitar, piano, banjo, electronic drums, pc card, violin, cello, bamboo flute, flute, viola, soprano saxophone, tuba, trumpet, organ and music box.
republishing inri044
(this was initially published on the morning of the 14th and fast forwarded to early on the 15th, to account for fixing a corrupted file.)
regarding this piece, my memory is blurry; yet, i have a vivid recollection of playing parts of it for my guitar teacher on a sunny day, where there was still snow on the ground. it's funny how we remember seemingly irrelevant details, but i guess the atmosphere of the performance is important because the performance is. that would date it to roughly march, 2001.
i switched the piece from classical guitar to piano halfway through writing it, and vaguely remember thinking that an impossible interval had something to do with it (a specific c# cannot be hit on a standard classical). yet, that doesn't change the fact that it's guitar music. the counterpoint is very guitar.
to further complicate things, i've long wanted to turn the piece into a jazzy idm romp. it has a kind of a jingly feel to it that belongs in the warp records sphere.
so, what is this? a classical guitar piece? a jazzy piano piece? a techno tune? all of the above! as with other pieces from this period, this is presented here in multiple formats: several rendered midi tracks, live guitar versions, a vst version and a "full band" version - as well as multiple remixes.
i have included the original midi file (and sheet music in pdf) as a bonus item in the download, if you want to play with it on your own.
conceptually, the time machine aspect referred simply to the slowed down guitar chords at the beginning of the song. if you play it a certain way, it sounds like time is collapsing in on itself. or, so i thought, anyways. the various versions i have created here have made an attempt to take that idea to it's logical conclusion. it's a mix of the vision i had at the time and a bit of hindsight.
six further mixes were added at the end of may, 2015. two of these are "techno" mixes of the song, three are interpretations of the piece on a solo instrument and one is a rearrangement for a full string orchestra. i've decided to present the material in a way that is really two eps combined together, with the first being arrangements for multiple instruments and the second being arrangements for solo instruments. note that there is a placeholder for the track as it was initially written for a 21-fret classical guitar.
four more mixes were added in mid oct, 2017: two orchestral mixes and two more interpretations for solo instrument.
written early 2001. drastically rearranged in june, 2014. rendered, arranged and performed over june and july, 2014. remixed and re-rendered several times over late may, 2015 and again over mid oct, 2017. this release cannot formally finalize at this time, but has been put into it's existing state as of oct 14, 2017. as always, please use headphones.
the album version of this track (the time machine + reprise) appears on my fifth record:
jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj
this release also includes a printable jewel case insert and will also eventually include a comprehensive package of journal entries from all phases of production (2001, 2014, 2015, 2017).
* download only
regarding this piece, my memory is blurry; yet, i have a vivid recollection of playing parts of it for my guitar teacher on a sunny day, where there was still snow on the ground. it's funny how we remember seemingly irrelevant details, but i guess the atmosphere of the performance is important because the performance is. that would date it to roughly march, 2001.
i switched the piece from classical guitar to piano halfway through writing it, and vaguely remember thinking that an impossible interval had something to do with it (a specific c# cannot be hit on a standard classical). yet, that doesn't change the fact that it's guitar music. the counterpoint is very guitar.
to further complicate things, i've long wanted to turn the piece into a jazzy idm romp. it has a kind of a jingly feel to it that belongs in the warp records sphere.
so, what is this? a classical guitar piece? a jazzy piano piece? a techno tune? all of the above! as with other pieces from this period, this is presented here in multiple formats: several rendered midi tracks, live guitar versions, a vst version and a "full band" version - as well as multiple remixes.
i have included the original midi file (and sheet music in pdf) as a bonus item in the download, if you want to play with it on your own.
conceptually, the time machine aspect referred simply to the slowed down guitar chords at the beginning of the song. if you play it a certain way, it sounds like time is collapsing in on itself. or, so i thought, anyways. the various versions i have created here have made an attempt to take that idea to it's logical conclusion. it's a mix of the vision i had at the time and a bit of hindsight.
six further mixes were added at the end of may, 2015. two of these are "techno" mixes of the song, three are interpretations of the piece on a solo instrument and one is a rearrangement for a full string orchestra. i've decided to present the material in a way that is really two eps combined together, with the first being arrangements for multiple instruments and the second being arrangements for solo instruments. note that there is a placeholder for the track as it was initially written for a 21-fret classical guitar.
four more mixes were added in mid oct, 2017: two orchestral mixes and two more interpretations for solo instrument.
written early 2001. drastically rearranged in june, 2014. rendered, arranged and performed over june and july, 2014. remixed and re-rendered several times over late may, 2015 and again over mid oct, 2017. this release cannot formally finalize at this time, but has been put into it's existing state as of oct 14, 2017. as always, please use headphones.
the album version of this track (the time machine + reprise) appears on my fifth record:
jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj
this release also includes a printable jewel case insert and will also eventually include a comprehensive package of journal entries from all phases of production (2001, 2014, 2015, 2017).
* download only
credits
released March 21, 2001
j - electric guitar, programming, digital effects & treatments, digital wave editing, loops, production, composition
the various rendered electronic orchestras include acoustic bass, synth bass, electric bass, upright bass, brass section, orchestra hit, drum machine, electronic drum kit, nylon guitar, electric guitar, violin, viola, cello, contrabass, french horn, trumpet, tuba, trombone, synthesizers, synthesizer effects, harp, music box, detuned piano, piano, bells, flute, hammered percussion, vibraphone, marimba and mellotron. it also includes choir.
j - electric guitar, programming, digital effects & treatments, digital wave editing, loops, production, composition
the various rendered electronic orchestras include acoustic bass, synth bass, electric bass, upright bass, brass section, orchestra hit, drum machine, electronic drum kit, nylon guitar, electric guitar, violin, viola, cello, contrabass, french horn, trumpet, tuba, trombone, synthesizers, synthesizer effects, harp, music box, detuned piano, piano, bells, flute, hammered percussion, vibraphone, marimba and mellotron. it also includes choir.
Saturday, October 14, 2017
when i remixed this last night, i just ran the guitars that i recorded in 2014 through a transform to slow them down from 180 bpm to 70 bpm - which is a good ways. midi is instructions, and that's not much to deal with. but, slowing down actual audio that much is going to create artifacts.
in fact, that was a part of the design of the thing - this was intentional. i want some blurriness in the guitar. it's trippy, and the thing is trippy - it's a good match, and it fits the aesthetic. i was also expecting it to come in a bit out of phase, as the part is doubled.
see, i really did play it in at 220 bpm, which is very fast. when you're playing that fast, you can be wrong by fractions of a note and not have anybody notice. but when you then slow the tape down, the distance between the notes becomes more audible - it's still the same fraction of a bar on paper, but it's been expanded to the point where you can hear it. that 32nd note botch that i didn't even notice at 220 becomes a huge problem at 70.
it's an easy enough fix; while these were live guitars at one point, now they're just samples and can be manipulated like any other.
i have a replacement for the slow mix coming that fixes some of the phasing issues, while keeping others for effect.
in fact, that was a part of the design of the thing - this was intentional. i want some blurriness in the guitar. it's trippy, and the thing is trippy - it's a good match, and it fits the aesthetic. i was also expecting it to come in a bit out of phase, as the part is doubled.
see, i really did play it in at 220 bpm, which is very fast. when you're playing that fast, you can be wrong by fractions of a note and not have anybody notice. but when you then slow the tape down, the distance between the notes becomes more audible - it's still the same fraction of a bar on paper, but it's been expanded to the point where you can hear it. that 32nd note botch that i didn't even notice at 220 becomes a huge problem at 70.
it's an easy enough fix; while these were live guitars at one point, now they're just samples and can be manipulated like any other.
i have a replacement for the slow mix coming that fixes some of the phasing issues, while keeping others for effect.
my first guitar teacher - in a music academy - used to dangle this in front of me as the piece i'd learn one day.
https://www.youtube.com/watch?v=b0aMCpRZPZE
i didn't get there. but, i enjoyed the style. and i'm a life long fan.
i was never able to get into anything in the metal spectrum though. it wasn't just the superfluous expressions of empty masculinity, it was the accompanying rigidity in playing - because men can't express emotions, maybe? i'm a feel player. i can enjoy the technicality, but truly intellectual technicality understands that the instrument is about expression, and that's what the best jazz players understood and almost every metal player never has.
the metalheads don't just lose that touch, they seem to take pride in not having it, and look down on anybody that does.
https://www.youtube.com/watch?v=b0aMCpRZPZE
i didn't get there. but, i enjoyed the style. and i'm a life long fan.
i was never able to get into anything in the metal spectrum though. it wasn't just the superfluous expressions of empty masculinity, it was the accompanying rigidity in playing - because men can't express emotions, maybe? i'm a feel player. i can enjoy the technicality, but truly intellectual technicality understands that the instrument is about expression, and that's what the best jazz players understood and almost every metal player never has.
the metalheads don't just lose that touch, they seem to take pride in not having it, and look down on anybody that does.
fwiw, if you're curious, the reason i didn't take instruction in
metal guitar is that i didn't enjoy listening to it, partly because i
didn't like the culture attached to it. i liked fusion, jazz, prog -
stuff that was more intellectual and less macho. metal was something i
interpreted as "music for idiots" from a very young age.
and, i started playing at too young an age to benefit from any kind of instruction in punk or grunge - by the time i started listening to it, i could already teach myself that stuff.
my instructional phase was in blues, mostly. hendrix. zeppelin. that pushed into jazz. i was actually playing zappa & crimson with ease by the time i was 15.
then i stopped, because i was having more fun teaching myself soundgarden songs out of guitar world and i wanted to write my own music.
and, i started playing at too young an age to benefit from any kind of instruction in punk or grunge - by the time i started listening to it, i could already teach myself that stuff.
my instructional phase was in blues, mostly. hendrix. zeppelin. that pushed into jazz. i was actually playing zappa & crimson with ease by the time i was 15.
then i stopped, because i was having more fun teaching myself soundgarden songs out of guitar world and i wanted to write my own music.
so, after
some months of denial, i've come to the sober realization that most of
my classical guitar monstrosities are now forever lost in the
consequences of a snow-flooded backyard shed. i would shed a tear, if it
weren't for the reality that they've been lost to my mind and my
fingers for far too many years to recover them, anyways.
i would have laughed at you if you would have told me i'd be sitting here, thirteen years later, lamenting the fact that i never recorded these pieces. yet, here i am.
there's not really a good reason why i never recorded these. i just didn't. it's true that i was distracted by other projects, and that i wanted to make sure they were perfectly imperfect before i let them out. that doesn't explain why i never bothered demoing them, or even just recording them half-assed for historical purposes. alas...now they are gone...
i took classical guitar lessons for about a year from spring '00 to spring '01. by that time, i'd been playing guitar for almost ten years and had been through many years of blues and jazz training, albeit not for several years before then. i didn't want to go back to rock-era instruction, but i felt i could benefit from approaching the guitar with a different perspective. i also wanted to learn a little about counterpoint. so, we went with renaissance pieces to start off with (and which comprise this short offering) and more avant pieces by the likes of leo brouwer near the end.
a punk with a classical guitar is still a punk, just a punk with a classical guitar. throughout the experience, my cobain instincts and hendrix flairs overpowered any demands to play nicely. the truth is the guy i was paying absolutely despised me, but he also had a muted level of respect for somebody with the panache to actually think about even trying to pull this shit off. i caught him open-jawed a few times, as impressed as he was shocked.
there were almost twenty of these things written out. he'd present me with a score and i'd just go to town with it, scrawling notes all over it, changing chords, making up notation symbols, just whatever i thought sounded better. the results were a legitimate fusion of noise rock and classical guitar music in a way that stressed technical playing over atmospheres. what is present here is the very tip of this iceberg.
yet, i didn't want to just record them. i wanted to recreate them. the version of little suite that is here is a good example of where i wanted to take these things. the problem i ran into was that i didn't know how to. which isn't to say that i didn't how to do what i wanted but that i couldn't conceive of what i wanted to do. so, i kept putting it off until that stroke of inspiration would finally come...
it never came, and is now lost.
there will be a second version of this; how far in the future that will be, i cannot say. i think a part of me wants to wait until i'm older and is happy i now have the excuse to do that. for now, though, i'm closing down this project, restricting it to this short ep and an album of unrealized dreams.
recorded in the first part of 2001. sequenced as is in january, 2014. as always, please use headphones.
the second & third tracks appear on my fifth record:
jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj
this release also includes a printable jewel case insert and will also eventually include a comprehensive package of journal entries from all phases of production (2001, 2014).
i would have laughed at you if you would have told me i'd be sitting here, thirteen years later, lamenting the fact that i never recorded these pieces. yet, here i am.
there's not really a good reason why i never recorded these. i just didn't. it's true that i was distracted by other projects, and that i wanted to make sure they were perfectly imperfect before i let them out. that doesn't explain why i never bothered demoing them, or even just recording them half-assed for historical purposes. alas...now they are gone...
i took classical guitar lessons for about a year from spring '00 to spring '01. by that time, i'd been playing guitar for almost ten years and had been through many years of blues and jazz training, albeit not for several years before then. i didn't want to go back to rock-era instruction, but i felt i could benefit from approaching the guitar with a different perspective. i also wanted to learn a little about counterpoint. so, we went with renaissance pieces to start off with (and which comprise this short offering) and more avant pieces by the likes of leo brouwer near the end.
a punk with a classical guitar is still a punk, just a punk with a classical guitar. throughout the experience, my cobain instincts and hendrix flairs overpowered any demands to play nicely. the truth is the guy i was paying absolutely despised me, but he also had a muted level of respect for somebody with the panache to actually think about even trying to pull this shit off. i caught him open-jawed a few times, as impressed as he was shocked.
there were almost twenty of these things written out. he'd present me with a score and i'd just go to town with it, scrawling notes all over it, changing chords, making up notation symbols, just whatever i thought sounded better. the results were a legitimate fusion of noise rock and classical guitar music in a way that stressed technical playing over atmospheres. what is present here is the very tip of this iceberg.
yet, i didn't want to just record them. i wanted to recreate them. the version of little suite that is here is a good example of where i wanted to take these things. the problem i ran into was that i didn't know how to. which isn't to say that i didn't how to do what i wanted but that i couldn't conceive of what i wanted to do. so, i kept putting it off until that stroke of inspiration would finally come...
it never came, and is now lost.
there will be a second version of this; how far in the future that will be, i cannot say. i think a part of me wants to wait until i'm older and is happy i now have the excuse to do that. for now, though, i'm closing down this project, restricting it to this short ep and an album of unrealized dreams.
recorded in the first part of 2001. sequenced as is in january, 2014. as always, please use headphones.
the second & third tracks appear on my fifth record:
jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj
this release also includes a printable jewel case insert and will also eventually include a comprehensive package of journal entries from all phases of production (2001, 2014).
credits
released May 10, 2001
j - classical and electric guitars, ebow, effects, organ, synthesizers, sound design, sampling, sequencing, drum programming, vocals, digital wave editing
original authors forgotten. please contact if you recognize these pieces.
j - classical and electric guitars, ebow, effects, organ, synthesizers, sound design, sampling, sequencing, drum programming, vocals, digital wave editing
original authors forgotten. please contact if you recognize these pieces.
when i resequenced this "single" (it's now at 19 tracks...the last one closed at 17...) in may of 2015, i set it up to alternate between slow and fast versions - then put the solo sections at the very end, after a pause. the initial orchestral mix that i set up last night is done, but it means i have one too many fast versions.
i'm just going to slow the full orchestra mix down to the same length as the string orchestra mix. it shouldn't take long.
i don't have a lot of days left to waste, but i guess i lost a day due to migraine and this taking longer than expected. what can you do...
i'm just going to slow the full orchestra mix down to the same length as the string orchestra mix. it shouldn't take long.
i don't have a lot of days left to waste, but i guess i lost a day due to migraine and this taking longer than expected. what can you do...
Friday, October 13, 2017
my head was still wonky after my tomato sandwich (i bought too much mayo for thanksgiving, and am probably going to need to get some more poultry to use it up), so i had to take a nap this evening. i took some aspirin around 9:00 and it's mostly cleared up.
the orchestral mix is firming up. i'm not going to town with this like i did with the other ones - it's a short romp, and everything is just going to push on, brute force, on top of itself. you should feel refreshed after listening to it, like you got a power wash.
i'm going to put a drum mix up, too. i mean, these are programmed drums, but they're interesting in and of themselves - like somebody caught a robot phil collins showing off in rehearsal.
and, of the pressing questions in humanity's history: robot vs gorilla?
the orchestral mix is firming up. i'm not going to town with this like i did with the other ones - it's a short romp, and everything is just going to push on, brute force, on top of itself. you should feel refreshed after listening to it, like you got a power wash.
i'm going to put a drum mix up, too. i mean, these are programmed drums, but they're interesting in and of themselves - like somebody caught a robot phil collins showing off in rehearsal.
and, of the pressing questions in humanity's history: robot vs gorilla?
it would be one thing if these migraines were random, but they seem
to happen every friday morning between midnight and 6:00, leading me to
conclude that there's something environmental about them.
i noticed the smell of dry air this morning, which i've tended to associate with the air conditioner. this morning was different than the last few weeks, because it is not warm out and the air should not be running.
i've long suspected that somebody in the building is smoking something dangerous, like crack or meth. it's a chemical smell. and, while i can't say i smelled it this morning (or all summer...), i'm starting to suspect that it has to do with that dry air.
i'm ok. and i'm staying in this weekend. but i guess we'll need to put this test down: will the migraines come back again next friday?
i had to abandon the mix this morning due to disorientation, but i think it's done. and i think this slab of consciousness should be productive in terms of results.
i noticed the smell of dry air this morning, which i've tended to associate with the air conditioner. this morning was different than the last few weeks, because it is not warm out and the air should not be running.
i've long suspected that somebody in the building is smoking something dangerous, like crack or meth. it's a chemical smell. and, while i can't say i smelled it this morning (or all summer...), i'm starting to suspect that it has to do with that dry air.
i'm ok. and i'm staying in this weekend. but i guess we'll need to put this test down: will the migraines come back again next friday?
i had to abandon the mix this morning due to disorientation, but i think it's done. and i think this slab of consciousness should be productive in terms of results.
i've spent the morning working out an orchestral version of the time machine (inri044). it's only three minutes; i only had three minutes on the disc. this is a track that is going to end up everywhere else, so this is a good add.
my head is oozy again.
45 is done. 46 needs a perusal, but is done. 47 + 48 need some work.
i'm obviously not going to ship this week like i wanted to. and monday is a hard deadline to pause for the week. i'm hoping i can ship on sunday or monday, still, but it's highly tentative and frankly unlikely. i'll be lucky if i get the first one done.
expect inri044 this morning.
my head is oozy again.
45 is done. 46 needs a perusal, but is done. 47 + 48 need some work.
i'm obviously not going to ship this week like i wanted to. and monday is a hard deadline to pause for the week. i'm hoping i can ship on sunday or monday, still, but it's highly tentative and frankly unlikely. i'll be lucky if i get the first one done.
expect inri044 this morning.
Thursday, October 12, 2017
republishing inri043
this is
one of the tracks that i can't date well. i do, however, remember
working on it during the winter, which means it must have been late '00
or early '01. i'm going to consequently deduce that it must have been
what i was working on over the 2000 christmas break and date it coming
out right after it.
actually, i have another reason to date it in early '01 rather than late '00: the introductory piano part was recorded live into my notation program on my dx100, which i was given over christmas (maybe a little before; it was a cheap garage sale pickup) to act as a controller for my recently broken jx-8p, that i had tried to take apart over the summer to clean a sticky key (a common problem with mid-80s roland analog synths) but failed and left keyless. it's still keyless. yet, the dx still drives it....
that introductory piano part formed the basis of the track, which built itself up fairly quickly. somewhere, i lost the nwc file by saving it as midi, which ruined all the formatting. it's been sitting on my drive ever since.
why put together seven different midi versions of the same track, and sequence them after a polished recorded version? well, this was never actually meant to be computer music. i was just composing something the old fashioned way with the intent of later giving it to some musicians to play. that never happened. what did happen was that i found myself playing it back on multiple sound cards over many years, trying to make it sound as good as possible in the short run - until i could finally get the chance to sit down and actually record it. while each of the different renders has it's strong and weak points, i ultimately don't feel that they form a total order. something i thought about doing was recording tracks independently on different cards and then pasting them together, but that would have just created another dozen incomparable mixes. rather than arbitrarily pick one, i decided to just upload all of them.
in hindsight, i think the format is interesting in itself in terms of it being a psychological experiment with sound. the differences from track to track are sometimes inaudible and sometimes extremely noticeable. stringing it all together in a row like this is challenging to any listener in the sense that it rips apart the process of becoming familiar with a piece. it means listening to exactly the same song through multiple different sound libraries. i think your brain would have to interpret that as a sort of a trip, especially when it comes to trying to build associations in sound within tracks that are both similar and different sounding, soundcard wise. i think that might be part of the reason i had so much difficulty isolating tracks in the first place.
so, listening to the ep through all the way is likely to be a bit disorienting and might ultimately be a strange experience. however, if you like the track for what it is as a collection of overlapping sequences of notes then i hope you get something out of the process of comparing and contrasting the renders together.
i have included the original midi file as a bonus item in the download, if you want to play with it on your own. the added guitar sections in the final version are recent additions and have not been written out.
thematically, the track is meant to orchestrate a feeling of claustrophobia with society pushing down on you too hard. it's meant to transmit a feeling of existential dread. at the time, i really felt stuck with life in general and not sure how i was going to get out of it.
four further remixes were added at the end of may, 2015, which initially forced me to move two of the midi renders to 'download only'. it also split the ep into jazz and orchestral components, with a glitch mix added on to the end. in oct of 2017, this separation was formalized by converting the release into a double ep with 'jazz' renders on the first disc and 'classical' renders on the second one. two jazz mixes (album mix, vocal mix) were added to disc one; three further mixes (percussion mix, string orchestra mix, guitar-only mix) were added to the second one.
written late 2000 & early 2001. the renders present here are all from either the early months of 2014, the second half of may, 2015 or the 11th/12th of october, 2017. minor instrumentation changes to facilitate a small wind section were implemented in late april, 2014. live guitars were layered into the final version over may 2014. four more mixes were added from may 19-26, 2015. five more mixes were added on oct 11/12, 2017. release finalized on oct 12, 2017. as always, please use headphones.
the album version of this track appears on my fifth record:
jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj
this release also includes a printable jewel case insert and will also eventually include a comprehensive package of journal entries from all phases of production (2001, 2014, 2015, 2017).
actually, i have another reason to date it in early '01 rather than late '00: the introductory piano part was recorded live into my notation program on my dx100, which i was given over christmas (maybe a little before; it was a cheap garage sale pickup) to act as a controller for my recently broken jx-8p, that i had tried to take apart over the summer to clean a sticky key (a common problem with mid-80s roland analog synths) but failed and left keyless. it's still keyless. yet, the dx still drives it....
that introductory piano part formed the basis of the track, which built itself up fairly quickly. somewhere, i lost the nwc file by saving it as midi, which ruined all the formatting. it's been sitting on my drive ever since.
why put together seven different midi versions of the same track, and sequence them after a polished recorded version? well, this was never actually meant to be computer music. i was just composing something the old fashioned way with the intent of later giving it to some musicians to play. that never happened. what did happen was that i found myself playing it back on multiple sound cards over many years, trying to make it sound as good as possible in the short run - until i could finally get the chance to sit down and actually record it. while each of the different renders has it's strong and weak points, i ultimately don't feel that they form a total order. something i thought about doing was recording tracks independently on different cards and then pasting them together, but that would have just created another dozen incomparable mixes. rather than arbitrarily pick one, i decided to just upload all of them.
in hindsight, i think the format is interesting in itself in terms of it being a psychological experiment with sound. the differences from track to track are sometimes inaudible and sometimes extremely noticeable. stringing it all together in a row like this is challenging to any listener in the sense that it rips apart the process of becoming familiar with a piece. it means listening to exactly the same song through multiple different sound libraries. i think your brain would have to interpret that as a sort of a trip, especially when it comes to trying to build associations in sound within tracks that are both similar and different sounding, soundcard wise. i think that might be part of the reason i had so much difficulty isolating tracks in the first place.
so, listening to the ep through all the way is likely to be a bit disorienting and might ultimately be a strange experience. however, if you like the track for what it is as a collection of overlapping sequences of notes then i hope you get something out of the process of comparing and contrasting the renders together.
i have included the original midi file as a bonus item in the download, if you want to play with it on your own. the added guitar sections in the final version are recent additions and have not been written out.
thematically, the track is meant to orchestrate a feeling of claustrophobia with society pushing down on you too hard. it's meant to transmit a feeling of existential dread. at the time, i really felt stuck with life in general and not sure how i was going to get out of it.
four further remixes were added at the end of may, 2015, which initially forced me to move two of the midi renders to 'download only'. it also split the ep into jazz and orchestral components, with a glitch mix added on to the end. in oct of 2017, this separation was formalized by converting the release into a double ep with 'jazz' renders on the first disc and 'classical' renders on the second one. two jazz mixes (album mix, vocal mix) were added to disc one; three further mixes (percussion mix, string orchestra mix, guitar-only mix) were added to the second one.
written late 2000 & early 2001. the renders present here are all from either the early months of 2014, the second half of may, 2015 or the 11th/12th of october, 2017. minor instrumentation changes to facilitate a small wind section were implemented in late april, 2014. live guitars were layered into the final version over may 2014. four more mixes were added from may 19-26, 2015. five more mixes were added on oct 11/12, 2017. release finalized on oct 12, 2017. as always, please use headphones.
the album version of this track appears on my fifth record:
jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj
this release also includes a printable jewel case insert and will also eventually include a comprehensive package of journal entries from all phases of production (2001, 2014, 2015, 2017).
credits
released January 10, 2001
j - electric piano, programming, electric guitar, acoustic guitar, vocals, vocoders, digital effects & treatments, digital wave editing, composition.
the rendered electronic orchestras variously include piano, bass, synth bass, distorted electric guitar, clean electric guitar, other guitar effects, steel string acoustic guitar, nylon string classical guitar, sitar, violin, viola, cello, contrabass, french horn, trumpet, trombone, tuba, oboe, english horn, bassoon, synthesizers, clarinet, flute, piccolo, xylophone, glockenspiel, woodblock, tubular bells, orchestra hit, jazz drum kit, hand drums, melodic toms, orchestral drum kit, hammered percussion, marimba, taiko drum, synthetic percussion and electronic drum kit.
j - electric piano, programming, electric guitar, acoustic guitar, vocals, vocoders, digital effects & treatments, digital wave editing, composition.
the rendered electronic orchestras variously include piano, bass, synth bass, distorted electric guitar, clean electric guitar, other guitar effects, steel string acoustic guitar, nylon string classical guitar, sitar, violin, viola, cello, contrabass, french horn, trumpet, trombone, tuba, oboe, english horn, bassoon, synthesizers, clarinet, flute, piccolo, xylophone, glockenspiel, woodblock, tubular bells, orchestra hit, jazz drum kit, hand drums, melodic toms, orchestral drum kit, hammered percussion, marimba, taiko drum, synthetic percussion and electronic drum kit.
flac dvd containing material originally recorded from 1999-2000
and completed between 2013 and 2017. inri030-inri042. numbered with a cd
printer and shipped in a jewel case. inriℵ8.
full contents:
/inri030: war
jasonparent.bandcamp.com/album/war
/inri031: liquify
jasonparent.bandcamp.com/album/liquify
/inri032: inrimake
jasonparent.bandcamp.com/album/inrimake
/inri033: inridiculous
jasonparent.bandcamp.com/album/inridiculous
/inri034: book it!
jasonparent.bandcamp.com/album/book-it
/inri035: ambient works vol 0
jasonparent.bandcamp.com/album/ambient-works-vol-0
/inri036: let freedom ring
jasonparent.bandcamp.com/album/let-freedom-ring
/inri037: the curious george suite
jasonparent.bandcamp.com/album/the-curious-george-suite
/inri038: ignorance is bliss
jasonparent.bandcamp.com/album/ignorance-is-bliss
/inri039: acidosis
jasonparent.bandcamp.com/album/acidosis
/inri040: curious george
jasonparent.bandcamp.com/album/curious-george-2
/inri041: deny everything
jasonparent.bandcamp.com/album/deny-everything
/inri042: inrimoved
jasonparent.bandcamp.com/album/inrimoved
total disc size is gb 4.013
total running time of official releases, inri030-inri042, is 11:44:59.
this release is a little smaller than average because inri043 is a long release around a dense track. it was initially intended for release here, but it would not fit on the dvd - it's almost 900 mb. the lower price reflects the smaller iso. less
full contents:
/inri030: war
jasonparent.bandcamp.com/album/war
/inri031: liquify
jasonparent.bandcamp.com/album/liquify
/inri032: inrimake
jasonparent.bandcamp.com/album/inrimake
/inri033: inridiculous
jasonparent.bandcamp.com/album/inridiculous
/inri034: book it!
jasonparent.bandcamp.com/album/book-it
/inri035: ambient works vol 0
jasonparent.bandcamp.com/album/ambient-works-vol-0
/inri036: let freedom ring
jasonparent.bandcamp.com/album/let-freedom-ring
/inri037: the curious george suite
jasonparent.bandcamp.com/album/the-curious-george-suite
/inri038: ignorance is bliss
jasonparent.bandcamp.com/album/ignorance-is-bliss
/inri039: acidosis
jasonparent.bandcamp.com/album/acidosis
/inri040: curious george
jasonparent.bandcamp.com/album/curious-george-2
/inri041: deny everything
jasonparent.bandcamp.com/album/deny-everything
/inri042: inrimoved
jasonparent.bandcamp.com/album/inrimoved
total disc size is gb 4.013
total running time of official releases, inri030-inri042, is 11:44:59.
this release is a little smaller than average because inri043 is a long release around a dense track. it was initially intended for release here, but it would not fit on the dvd - it's almost 900 mb. the lower price reflects the smaller iso. less
ships out within 3 days
edition of 5000
$118 CAD or more
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about
purchasing this release does not come with a download.
inri030: initially created in sept, 1997. remixed and reimagined repeatedly over 1998 and 1999. a failed rescue was attempted in 2013. partially reclaimed dec 8, 2014. rebuilt and resequenced on jan 9, 2016 out of material that had been remastered over 2013-2016. reimagined again on oct 26, 2016 out of material that was created in jan, 2016, but not released (and finalized) until sept 13, 2017, in order to properly fit into sequence.
inri031: recorded over the spring and summer of 1999. originally released on inrimake in october, 1999 (with an accidental phase reverse). the first section was modified further at the end of 1999. minimally altered and split into it's own ep in january, 2014. spliced further, appended to, remastered and finalized over sept, 2017. release finalized on sept 28, 2017.
inri032: recorded sporadically, and without cohesive intent, over '98 and '99. originally compiled in the fall of '99. augmented and minimally altered in january, 2014. finalized as lp006 on sept 21, 2017. as always, please use headphones - but note that they are especially mandatory for this recording.
inri033: written and demoed in multiple stages from 1996-1999. initially constructed in this form in dec, 1999. slightly resequenced in jan, 2014. finalized on sept 19, 2017. lp007.
inri034: written & recorded in the fall of 1999. originally released on inridiculous in december, 1999. split into it's own ep in january, 2014. remastered & finalized on sept 28, 2017.
inri035: initially written and recorded between 1996-1999 and remixed between 2013-2015. initially released as part zero of a three volume set on may 21, 2015. split into it's own release on june 14, 2015. finalized as lp008 on sept 29, 2017.
inri036: written and recorded in late 1999 and early 2000. these versions of these tracks were sequenced without further modification in jan, 2014. remainder of hummer added as a bonus track, and release finalized, on oct 3, 2017.
inri037: recorded in spring, 2000. released, unmodified, in jan, 2014. release finalized on oct 3, 2017.
inri038: written and recorded, 1999-2001. track 3 was reconstructed out of existing sound in june, 2004. initially sequenced in jan, 2014. four new mixes (maximal mix (2017), electronics only mix (2015), single mix for lp010 (2017), full instrumental mix from deny everything (2014)) were added on oct 5, 2017; release subsequently closed.
inri039: this was constructed over a little more than a month: from 7/7-8/20, 2000. it seems to have been recombined into one track around 2007 but has otherwise not been modified since it was completed. first released as an ep in jan 2014. release finalized on oct 8, 2017.
inri040: recorded in april, 2000. samples added in oct, 2000. album version reverted to original mix in sept, 2006
inri041: recorded over the space of the year 2000. remixed substantially in 2004, 2006, 2010 and 2014. existing version constructed in jan, 2014. finalized as lp009 on oct 9, 2017.
inri042: this record was recorded over the years 1999 and 2000, but did not take this form until mid september, 2017. the first track list dates to sept 14, 2017. these tracks are technically outtakes, but did not become outtakes until the remastering process removed them from their respective recordings. finalized as lp010 on oct 9, 2017.
originally created from 1999-2000. this compilation is dated to dec 2, 2000. slowly remastered, reconstituted, compiled, reconstructed, released and finalized from 2013-2017. compilation finalized on oct 12, 2017. as always, please use headphones.
inri030: initially created in sept, 1997. remixed and reimagined repeatedly over 1998 and 1999. a failed rescue was attempted in 2013. partially reclaimed dec 8, 2014. rebuilt and resequenced on jan 9, 2016 out of material that had been remastered over 2013-2016. reimagined again on oct 26, 2016 out of material that was created in jan, 2016, but not released (and finalized) until sept 13, 2017, in order to properly fit into sequence.
inri031: recorded over the spring and summer of 1999. originally released on inrimake in october, 1999 (with an accidental phase reverse). the first section was modified further at the end of 1999. minimally altered and split into it's own ep in january, 2014. spliced further, appended to, remastered and finalized over sept, 2017. release finalized on sept 28, 2017.
inri032: recorded sporadically, and without cohesive intent, over '98 and '99. originally compiled in the fall of '99. augmented and minimally altered in january, 2014. finalized as lp006 on sept 21, 2017. as always, please use headphones - but note that they are especially mandatory for this recording.
inri033: written and demoed in multiple stages from 1996-1999. initially constructed in this form in dec, 1999. slightly resequenced in jan, 2014. finalized on sept 19, 2017. lp007.
inri034: written & recorded in the fall of 1999. originally released on inridiculous in december, 1999. split into it's own ep in january, 2014. remastered & finalized on sept 28, 2017.
inri035: initially written and recorded between 1996-1999 and remixed between 2013-2015. initially released as part zero of a three volume set on may 21, 2015. split into it's own release on june 14, 2015. finalized as lp008 on sept 29, 2017.
inri036: written and recorded in late 1999 and early 2000. these versions of these tracks were sequenced without further modification in jan, 2014. remainder of hummer added as a bonus track, and release finalized, on oct 3, 2017.
inri037: recorded in spring, 2000. released, unmodified, in jan, 2014. release finalized on oct 3, 2017.
inri038: written and recorded, 1999-2001. track 3 was reconstructed out of existing sound in june, 2004. initially sequenced in jan, 2014. four new mixes (maximal mix (2017), electronics only mix (2015), single mix for lp010 (2017), full instrumental mix from deny everything (2014)) were added on oct 5, 2017; release subsequently closed.
inri039: this was constructed over a little more than a month: from 7/7-8/20, 2000. it seems to have been recombined into one track around 2007 but has otherwise not been modified since it was completed. first released as an ep in jan 2014. release finalized on oct 8, 2017.
inri040: recorded in april, 2000. samples added in oct, 2000. album version reverted to original mix in sept, 2006
inri041: recorded over the space of the year 2000. remixed substantially in 2004, 2006, 2010 and 2014. existing version constructed in jan, 2014. finalized as lp009 on oct 9, 2017.
inri042: this record was recorded over the years 1999 and 2000, but did not take this form until mid september, 2017. the first track list dates to sept 14, 2017. these tracks are technically outtakes, but did not become outtakes until the remastering process removed them from their respective recordings. finalized as lp010 on oct 9, 2017.
originally created from 1999-2000. this compilation is dated to dec 2, 2000. slowly remastered, reconstituted, compiled, reconstructed, released and finalized from 2013-2017. compilation finalized on oct 12, 2017. as always, please use headphones.
credits
released December 2, 2000
j - guitars of all types, effects, bass, synth, piano, organ, ebow, flute, mandolin, drum kit, drum programming, orchestral and other sequencing, hammerhead (909 emulator), pick scrapes, sound design, found sounds, granular synthesis, noise generators, generative synthesis, generative percussion, cool edit synthesis, light-sound synthesis, loops, films, tapes, metronome, sampling, vocals, vocoders, windows 95 sound recorder, digital wave editing, digital effects processing, treatments, coughs, a broken equalizer, text-to-speech synthesis, remixes, reconstructions, reinterpretations, production
the rendered electronic orchestra includess piano, electric guitar, orchestra hit, pizzicato strings, violin, viola, cello, contrabass, synth pad, ukelele, theremin, string ensemble, taiko drums, gongs, trumpet and saxophone.
j - guitars of all types, effects, bass, synth, piano, organ, ebow, flute, mandolin, drum kit, drum programming, orchestral and other sequencing, hammerhead (909 emulator), pick scrapes, sound design, found sounds, granular synthesis, noise generators, generative synthesis, generative percussion, cool edit synthesis, light-sound synthesis, loops, films, tapes, metronome, sampling, vocals, vocoders, windows 95 sound recorder, digital wave editing, digital effects processing, treatments, coughs, a broken equalizer, text-to-speech synthesis, remixes, reconstructions, reinterpretations, production
the rendered electronic orchestra includess piano, electric guitar, orchestra hit, pizzicato strings, violin, viola, cello, contrabass, synth pad, ukelele, theremin, string ensemble, taiko drums, gongs, trumpet and saxophone.
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