so, i'm just coming out of an extended christmas break, and i'm going
to be a little bit mentally wander-y for a bit, still. i lost the last
few days to distractions, really...
what are my tasks this weekend and into next week and for the rest of the season?
1)
i need to finish cleaning in here. this is still move-in cleaning. i
had to wait for the isp guy, and then the maintenance guy. floors,
especially. so, i'm going to take a few days to do this.
2) i
wanted to finish period 2, first, but not now. now, i want to clean
first so i can get to the next batch of writing in bed. what's left is
just the cover art for inri070-inri074, and i've already shipped
inri071, inri072 & inri074. cleaning won't be too long and this will
be quick...
3) i'm going to need to go back and finish the
outline for period 1. this is the third winter in a row i've tried to do
this. i have to actually do it, this time. this will include catching
up to the alter-reality. and, once the structure exists, i should be
able to carry forward with it. and, i might as well set up the structure
for period 2, too.
4) i'll have to do a lot of fixing of things
before i'm able to get to period 3. i have a stack of broken and
disassembled technology that needs attention. so, there will be an
extended studio set-up phase that will also include things like buying
bookshelves. basically, this is getting back to what i was doing in the
summer, pushing back into the spring. part of that will be catching up
on the vlogging, although that will also be a part of building the
period 1 disc.
5) notwithstanding any further problems, i should finally be able to start period 3 by summer, hopefully.
Wednesday, January 10, 2018
did the holocaust actually happen?
well, i might be a product of it. my paternal grandmother just kind of shows up as an orphan in the 30s, without much of any documented history. she was raised in an italian family, and one would no doubt make many errors if forced to differentiate between italians and jews out of a line-up, but i think most people would assume she looks pretty jewish. there's pictures of my dad from the 70s, full bearded, where he actually looks flat out arab, although he aged in a way that made him look not dissimilar to chomsky, in that eastern european jew kind of way - although he aged terribly. his physical appearance was described almost perfectly in the term 'italian jew'. although, when i say he aged in a way that made him look not dissimilar to chomsky, what i mean is that, at 50, he looked not dissimilar to chomsky at 70. i got my mom's genes, on that one; i remember bringing her to a field trip in the fourth grade, when she was almost 30. and having the entire school think she was my teenaged sister. this deduction, though, is ultimately not phenotypical - the two rumours on that side of the family are that she is in some unknown way a product of the holocaust (smuggled in, maybe?) and that she's the product of a mob hit, and sometimes these stories intersect in a tale of starcrossed lovers and racist slaughter by catholic mob bosses that couldn't deal with the interracial, and interreligious, eloping. my grandmother is a catholic. my aunt claims she found them in a newspaper clipping of young lovers tied to railroad tracks (and subsequently annihilated) in ottawa in the 30s, but the evidence is circumstantial, at best. my grandmother doesn't know.
between the time of her adoption and the time she was married, my paternal grandmother's last name was zito. and, ottawa was known to have an international mob presence, at the time. you can find pictures of the big bosses, i think including capone, existing in ottawa. it actually does add up. the fact that she seems to have no known history has led to the speculation that her adopted parents probably knew what happened - perhaps even knew the killers - and just didn't tell her. there is literally no trail. her adopted mother could have been her mother's sister, or something.
or maybe her parents managed to get her out, despite the attempts of north american governments to prevent jews from arriving. certainly, if you wanted to get your jewish infant or toddler child out of germany in 1937, you'd have had to have done something like smuggle it out. and, you wouldn't want a paper trail, because if it's found then the kid will get sent back.
maybe i'll look into it one day...
anyways, whether i'm the result of it or not, did the holocaust actually happen?
i run across this question from time-to-time, and i'm going to provide somewhat of a dodgy response: the holocaust is as well, or better, documented and convincingly demonstrated as any other event in accepted mainstream history. so, i can be as sure that the holocaust happened as i can be about any other event in history.
but, look at the words i'm using, the language, the context: event in history. history.
that is not the argument that my grandparents would provide. they may have been born as it was happening, and not remember it, but it was a part of their lives. this is not even the argument that my parents would provide, as they lived with people that lived it. three of my grandparents are even still alive, and all three of them could very well outlive my mother, between the heroin and the alcohol and the cigarettes, not to mention the half of a dozen duis.
but, the boomers are passing, and this is going to be the new reality around the holocaust: we are approaching the point where no living people have any connection to this any more, and it exists purely as history.
this is the situation that the holocaust memorial people have been preparing us for for the last 60 years, the point where the question is no longer about forgetting, because we don't have memories to forget. you can't forget what you never knew. instead, you need to ask the question: can you trust history?
well, can you?
punk?
it's exceedingly well documented. i understand this. but, so is the life of jesus.
a part of the problem is how central the holocaust story is to the western founding myth, at this point. it's intrinsically interconnected with the ascent of american hegemony, so it is consistently intertwined with narratives that are otherwise blatantly false. turning on cnn, you could very well have a holocaust memorial set sandwiched between a fraudulent expose on the syrian government gassing children and a jaw-droppingly bad interview with kellyanne conway that goes on for twenty minutes without managing to say a single true statement at all. association doesn't produce guilt, but it's a little unsatisfying to come to the conclusion that the only accurate information provided by the media is related to a historical event, even as they misrepresent every other kind of history on a hourly basis. the importance that the media places around it really does make the whole thing seem kind of fishy.
it's exceedingly well documented. i understand this. but, i think there will come a time when nobody really thinks this happened - or that the scale was exaggerated.
"6 million is an exaggeration. maybe it's an error by a scribe. i mean, look at the way that herodotus exaggerated the size of the persian army, for example. they probably added a few zeroes."
so, it's as well documented, or better documented, as any other event in history, sure.
but, analysing history is fundamentally different than analysing the present. this is something that's changing.
well, i might be a product of it. my paternal grandmother just kind of shows up as an orphan in the 30s, without much of any documented history. she was raised in an italian family, and one would no doubt make many errors if forced to differentiate between italians and jews out of a line-up, but i think most people would assume she looks pretty jewish. there's pictures of my dad from the 70s, full bearded, where he actually looks flat out arab, although he aged in a way that made him look not dissimilar to chomsky, in that eastern european jew kind of way - although he aged terribly. his physical appearance was described almost perfectly in the term 'italian jew'. although, when i say he aged in a way that made him look not dissimilar to chomsky, what i mean is that, at 50, he looked not dissimilar to chomsky at 70. i got my mom's genes, on that one; i remember bringing her to a field trip in the fourth grade, when she was almost 30. and having the entire school think she was my teenaged sister. this deduction, though, is ultimately not phenotypical - the two rumours on that side of the family are that she is in some unknown way a product of the holocaust (smuggled in, maybe?) and that she's the product of a mob hit, and sometimes these stories intersect in a tale of starcrossed lovers and racist slaughter by catholic mob bosses that couldn't deal with the interracial, and interreligious, eloping. my grandmother is a catholic. my aunt claims she found them in a newspaper clipping of young lovers tied to railroad tracks (and subsequently annihilated) in ottawa in the 30s, but the evidence is circumstantial, at best. my grandmother doesn't know.
between the time of her adoption and the time she was married, my paternal grandmother's last name was zito. and, ottawa was known to have an international mob presence, at the time. you can find pictures of the big bosses, i think including capone, existing in ottawa. it actually does add up. the fact that she seems to have no known history has led to the speculation that her adopted parents probably knew what happened - perhaps even knew the killers - and just didn't tell her. there is literally no trail. her adopted mother could have been her mother's sister, or something.
or maybe her parents managed to get her out, despite the attempts of north american governments to prevent jews from arriving. certainly, if you wanted to get your jewish infant or toddler child out of germany in 1937, you'd have had to have done something like smuggle it out. and, you wouldn't want a paper trail, because if it's found then the kid will get sent back.
maybe i'll look into it one day...
anyways, whether i'm the result of it or not, did the holocaust actually happen?
i run across this question from time-to-time, and i'm going to provide somewhat of a dodgy response: the holocaust is as well, or better, documented and convincingly demonstrated as any other event in accepted mainstream history. so, i can be as sure that the holocaust happened as i can be about any other event in history.
but, look at the words i'm using, the language, the context: event in history. history.
that is not the argument that my grandparents would provide. they may have been born as it was happening, and not remember it, but it was a part of their lives. this is not even the argument that my parents would provide, as they lived with people that lived it. three of my grandparents are even still alive, and all three of them could very well outlive my mother, between the heroin and the alcohol and the cigarettes, not to mention the half of a dozen duis.
but, the boomers are passing, and this is going to be the new reality around the holocaust: we are approaching the point where no living people have any connection to this any more, and it exists purely as history.
this is the situation that the holocaust memorial people have been preparing us for for the last 60 years, the point where the question is no longer about forgetting, because we don't have memories to forget. you can't forget what you never knew. instead, you need to ask the question: can you trust history?
well, can you?
punk?
it's exceedingly well documented. i understand this. but, so is the life of jesus.
a part of the problem is how central the holocaust story is to the western founding myth, at this point. it's intrinsically interconnected with the ascent of american hegemony, so it is consistently intertwined with narratives that are otherwise blatantly false. turning on cnn, you could very well have a holocaust memorial set sandwiched between a fraudulent expose on the syrian government gassing children and a jaw-droppingly bad interview with kellyanne conway that goes on for twenty minutes without managing to say a single true statement at all. association doesn't produce guilt, but it's a little unsatisfying to come to the conclusion that the only accurate information provided by the media is related to a historical event, even as they misrepresent every other kind of history on a hourly basis. the importance that the media places around it really does make the whole thing seem kind of fishy.
it's exceedingly well documented. i understand this. but, i think there will come a time when nobody really thinks this happened - or that the scale was exaggerated.
"6 million is an exaggeration. maybe it's an error by a scribe. i mean, look at the way that herodotus exaggerated the size of the persian army, for example. they probably added a few zeroes."
so, it's as well documented, or better documented, as any other event in history, sure.
but, analysing history is fundamentally different than analysing the present. this is something that's changing.
if german becomes a dead language, for example, we're going to lose incredible amounts of our scientific and broadly intellectual history, reliant on summaries in english and translations into russian. that is inevitable, though. we will forget this. we eventually won't be able to read it.
your precious hegel will eventually be illegible to even the most sophisticated idle bourgeoisie in berlin. perhaps this is when history implodes upon itself - it just swallows itself whole, and disappears into a wormhole, yelling taunts at humanity as it flees.
it reminds me a little of my argument that all history becomes poetry in the end, and that this relationship is determined by the co-efficient of poeticity, which is naturally pi. i'm not sure i've explored this here. that is for another time.
your precious hegel will eventually be illegible to even the most sophisticated idle bourgeoisie in berlin. perhaps this is when history implodes upon itself - it just swallows itself whole, and disappears into a wormhole, yelling taunts at humanity as it flees.
it reminds me a little of my argument that all history becomes poetry in the end, and that this relationship is determined by the co-efficient of poeticity, which is naturally pi. i'm not sure i've explored this here. that is for another time.
is human progress, civilization, inherently forgetful?
well, certainly a lot of humans are inherently forgetful. we forget to do things, and forget lessons taught to us, all of the time. maybe the idea that i'm really expressing is that many of us are stupid, but the way this manifests itself is largely as forgetfulness.
now, the individualist will point out that while many, perhaps most, people are forgetful, there are some people that are not and these people will carry on the thrust of human progress, no matter how forgetful we may collectively be. but, their argument relies on the ideological construct of independence, and this is an empirical question with little evidence supporting it. individualism, at best, seems to be rare. so, these individuals are really left with a curatorial task to remind people of what they've forgotten - they're really just the cleared registers in the collective, trying to avoid the garbage collection from clearing them away, urging for a second chance to exist in memory - and failing. it's like a broken system of error-correction; we can remember and forget at the same time. so, this question of the inherent forgetfulness of human progress does not reduce to a question around independent variables.
it's just a different intellectual conception of progress - not as a linear curve tilting off towards some windmill at infinity, but as this messy, chaotic step-function, full of unpredictable fragments.
there is, of course, a hierarchy of seriousness attached to the consequences of forgetting what is being forgotten. geography can be found easily. a lesson can be relearned. but, forgetting science can be devastating.
this is a potentially unrealized consequence of globalization - when the global culture falls, there will be nobody left to remember what was forgotten.
well, certainly a lot of humans are inherently forgetful. we forget to do things, and forget lessons taught to us, all of the time. maybe the idea that i'm really expressing is that many of us are stupid, but the way this manifests itself is largely as forgetfulness.
now, the individualist will point out that while many, perhaps most, people are forgetful, there are some people that are not and these people will carry on the thrust of human progress, no matter how forgetful we may collectively be. but, their argument relies on the ideological construct of independence, and this is an empirical question with little evidence supporting it. individualism, at best, seems to be rare. so, these individuals are really left with a curatorial task to remind people of what they've forgotten - they're really just the cleared registers in the collective, trying to avoid the garbage collection from clearing them away, urging for a second chance to exist in memory - and failing. it's like a broken system of error-correction; we can remember and forget at the same time. so, this question of the inherent forgetfulness of human progress does not reduce to a question around independent variables.
it's just a different intellectual conception of progress - not as a linear curve tilting off towards some windmill at infinity, but as this messy, chaotic step-function, full of unpredictable fragments.
there is, of course, a hierarchy of seriousness attached to the consequences of forgetting what is being forgotten. geography can be found easily. a lesson can be relearned. but, forgetting science can be devastating.
this is a potentially unrealized consequence of globalization - when the global culture falls, there will be nobody left to remember what was forgotten.
Tuesday, January 9, 2018
purchasing this release does not come with a download.
inri053: written late 2001 and early 2002. this file is ripped from a cd-r that was burnt around 2002, as that was the option that would produce the most accurate reproduction of the original composition. published without modification on oct 6, 2014. expanded, re-released and finalized as symph006 and lp012 on oct 23, 2017.
inri057: written and recorded in late 2001 and early 2002. initially sequenced in may, 2002. re-sequenced and first released in june, 2002. re-released in slightly different forms from 2002-2014. resequenced to mimic the original sequencing and re-released on november 8, 2014. except to sequence the record, these files have not been altered since 2002. disc finalized as lp013 on nov 3, 2017.
inri063: these tracks are all based on existing demos from 2001-2002 that were initially intended to be completed with vocal parts and were remixed from july, 2014 to may, 2015 as purely instrumental recordings. released may 2, 2015. disc finalized as lp014 on nov 21, 2017. this is my sixth official record.
inri066: originally written, programmed and recorded from 1996-2002. reclaimed & remixed from june to december of 2015. initial completion date was december 31, 2015. disc finally released, closed and finalized on nov 26, 2017. lp015.
inri067: written and recorded between dec, 1999 and july, 2002, except the hidden track (which was created in the summer of 1998). none of these tracks were remastered or otherwise modified after 2002. disc simultaneously created and finalized as lp016 on nov 26, 2017.
inri068: originally written, programmed and recorded in varying states of finality over 2001 and 2002, except the hidden track (which was programmed in 1997). the associated tracks were completed between february, 2014 and may, 2015; these mixes, however, were spun off as late as nov, 2017. released as lp017 on nov 27, 2017. expanded and finalized on jan 1, 2018.
inri069: initially written and recorded between 1997-2003. this compilation idea was developed and expanded upon as an intended full record release between 2006 and 2011. reinterpreted, reconstructed and remixed between 2014-2018. sequenced over december, 2017 and january, 2018. disc released & finalized as lp018 and tetris I-IV on jan 7, 2018.
originally created from 1997-2003. this compilation is dated to april 28, 2003. slowly remastered, reconstituted, compiled, reconstructed, released and finalized from 2013-2018. compilation finalized on jan 9, 2018. as always, please use headphones.
inri053: written late 2001 and early 2002. this file is ripped from a cd-r that was burnt around 2002, as that was the option that would produce the most accurate reproduction of the original composition. published without modification on oct 6, 2014. expanded, re-released and finalized as symph006 and lp012 on oct 23, 2017.
inri057: written and recorded in late 2001 and early 2002. initially sequenced in may, 2002. re-sequenced and first released in june, 2002. re-released in slightly different forms from 2002-2014. resequenced to mimic the original sequencing and re-released on november 8, 2014. except to sequence the record, these files have not been altered since 2002. disc finalized as lp013 on nov 3, 2017.
inri063: these tracks are all based on existing demos from 2001-2002 that were initially intended to be completed with vocal parts and were remixed from july, 2014 to may, 2015 as purely instrumental recordings. released may 2, 2015. disc finalized as lp014 on nov 21, 2017. this is my sixth official record.
inri066: originally written, programmed and recorded from 1996-2002. reclaimed & remixed from june to december of 2015. initial completion date was december 31, 2015. disc finally released, closed and finalized on nov 26, 2017. lp015.
inri067: written and recorded between dec, 1999 and july, 2002, except the hidden track (which was created in the summer of 1998). none of these tracks were remastered or otherwise modified after 2002. disc simultaneously created and finalized as lp016 on nov 26, 2017.
inri068: originally written, programmed and recorded in varying states of finality over 2001 and 2002, except the hidden track (which was programmed in 1997). the associated tracks were completed between february, 2014 and may, 2015; these mixes, however, were spun off as late as nov, 2017. released as lp017 on nov 27, 2017. expanded and finalized on jan 1, 2018.
inri069: initially written and recorded between 1997-2003. this compilation idea was developed and expanded upon as an intended full record release between 2006 and 2011. reinterpreted, reconstructed and remixed between 2014-2018. sequenced over december, 2017 and january, 2018. disc released & finalized as lp018 and tetris I-IV on jan 7, 2018.
originally created from 1997-2003. this compilation is dated to april 28, 2003. slowly remastered, reconstituted, compiled, reconstructed, released and finalized from 2013-2018. compilation finalized on jan 9, 2018. as always, please use headphones.
credits
released April 28, 2003
j - guitars (electric, acoustic, classical), digital & analog effest processing, bass, bass synth, synthesizers, electric & grand pianos, electric air reed organ, digital piano, flute, mandolin, voice, vocal noises & relics, electronic & analog drum kits, drum programming, drum manipulations, drum sampling, vocal manipulations, loops, orchestral & other sequencing, sampling, equalization, sound raider, found sounds, octavers, noise generators, cool edit synthesis, granular synthesis, generative synthesis, coughs, digital wave editing, production, composition, cover art.
sean - vocals, lyrics (inri053, inri057), harmonica (inri057, inri063, inri069), ring modulator (inri057, inri067, inri069).
greg - drum performance sample source (inri057, inri063, inri067-inri069)
jon - guitar performance (inri057)
the various rendered electronic orchestras include acoustic bass, synth bass, electric bass, brass, ftuba, french horn, trombone, trumpet, english horn, saxophone, oboe, clarinet, bassoon, flute, bamboo flute, piccolo, organ, sitar, bells, orchestra hit, melodic toms, timpani, orchestral drum set, drum machine, electrmoic drum kit, piano, clavinet, kalimba, hand drums, nylon guitar, distorted & clean electric guitars, guitar effects, guitar noises, synthesizers, synthesizer effects, music box, agogo, tubular bells, glockenspiel, koto, violin, viola, cello, contrabass and various full string sections. it also includes choir.
j - guitars (electric, acoustic, classical), digital & analog effest processing, bass, bass synth, synthesizers, electric & grand pianos, electric air reed organ, digital piano, flute, mandolin, voice, vocal noises & relics, electronic & analog drum kits, drum programming, drum manipulations, drum sampling, vocal manipulations, loops, orchestral & other sequencing, sampling, equalization, sound raider, found sounds, octavers, noise generators, cool edit synthesis, granular synthesis, generative synthesis, coughs, digital wave editing, production, composition, cover art.
sean - vocals, lyrics (inri053, inri057), harmonica (inri057, inri063, inri069), ring modulator (inri057, inri067, inri069).
greg - drum performance sample source (inri057, inri063, inri067-inri069)
jon - guitar performance (inri057)
the various rendered electronic orchestras include acoustic bass, synth bass, electric bass, brass, ftuba, french horn, trombone, trumpet, english horn, saxophone, oboe, clarinet, bassoon, flute, bamboo flute, piccolo, organ, sitar, bells, orchestra hit, melodic toms, timpani, orchestral drum set, drum machine, electrmoic drum kit, piano, clavinet, kalimba, hand drums, nylon guitar, distorted & clean electric guitars, guitar effects, guitar noises, synthesizers, synthesizer effects, music box, agogo, tubular bells, glockenspiel, koto, violin, viola, cello, contrabass and various full string sections. it also includes choir.
inri063: these tracks are all based on existing demos from 2001-2002
that were initially intended to be completed with vocal parts and were
remixed from july, 2014 to may, 2015 as purely instrumental recordings.
released may 2, 2015. disc finalized as lp014 on nov 21, 2017. this is
my sixth official record.
inri064: these tracks were written and recorded over november and december of 2002 and uploaded, unmodified, in may of 2015. released on may 2, 2015. re-released on physical media and finalized on nov 24, 2017.
inri065: written and recorded in early 2003. transcribed, slightly rearranged, remixed repeatedly and re-rendered repeatedly over may, 2015. released on may 16, 2015. expanded & finalized on nov 25, 2017.
inri066: originally written, programmed and recorded from 1996-2002. reclaimed & remixed from june to december of 2015. initial completion date was december 31, 2015. disc finally released, closed and finalized on nov 26, 2017. lp015.
inri067: written and recorded between dec, 1999 and july, 2002, except the hidden track (which was created in the summer of 1998). none of these tracks were remastered or otherwise modified after 2002. disc simultaneously created and finalized as lp016 on nov 26, 2017.
inri068: originally written, programmed and recorded in varying states of finality over 2001 and 2002, except the hidden track (which was programmed in 1997). the associated tracks were completed between february, 2014 and may, 2015; these mixes, however, were spun off as late as nov, 2017. released as lp017 on nov 27, 2017. expanded and finalized on jan 1, 2018.
inri069: initially written and recorded between 1997-2003. this compilation idea was developed and expanded upon as an intended full record release between 2006 and 2011. reinterpreted, reconstructed and remixed between 2014-2018. sequenced over december, 2017 and january, 2018. disc released & finalized as lp018 and tetris I-IV on jan 7, 2018.
originally created from 1997-2003. this compilation is dated to april 26, 2003. slowly remastered, reconstituted, compiled, reconstructed, released and finalized from 2014-2017. compilation finalized on jan 9, 2018. as always, please use headphones.
inri064: these tracks were written and recorded over november and december of 2002 and uploaded, unmodified, in may of 2015. released on may 2, 2015. re-released on physical media and finalized on nov 24, 2017.
inri065: written and recorded in early 2003. transcribed, slightly rearranged, remixed repeatedly and re-rendered repeatedly over may, 2015. released on may 16, 2015. expanded & finalized on nov 25, 2017.
inri066: originally written, programmed and recorded from 1996-2002. reclaimed & remixed from june to december of 2015. initial completion date was december 31, 2015. disc finally released, closed and finalized on nov 26, 2017. lp015.
inri067: written and recorded between dec, 1999 and july, 2002, except the hidden track (which was created in the summer of 1998). none of these tracks were remastered or otherwise modified after 2002. disc simultaneously created and finalized as lp016 on nov 26, 2017.
inri068: originally written, programmed and recorded in varying states of finality over 2001 and 2002, except the hidden track (which was programmed in 1997). the associated tracks were completed between february, 2014 and may, 2015; these mixes, however, were spun off as late as nov, 2017. released as lp017 on nov 27, 2017. expanded and finalized on jan 1, 2018.
inri069: initially written and recorded between 1997-2003. this compilation idea was developed and expanded upon as an intended full record release between 2006 and 2011. reinterpreted, reconstructed and remixed between 2014-2018. sequenced over december, 2017 and january, 2018. disc released & finalized as lp018 and tetris I-IV on jan 7, 2018.
originally created from 1997-2003. this compilation is dated to april 26, 2003. slowly remastered, reconstituted, compiled, reconstructed, released and finalized from 2014-2017. compilation finalized on jan 9, 2018. as always, please use headphones.
credits
released April 26, 2003
j - electric & acoustic & classical guitars, electric bass guitar, bass synth, digital & analog effects processing, synthesizers, electric air reed organ, electric & grand pianos, flute, voice, vocal noises & relics, analog & electronic drum kits, drum programming, drum manipulations, drum sampling, bowls, claps, tables, ebow, mandolin, orchestral & other sequencing, sampling, loops, equalization, light-sound synthesis, generative programming, granular synthesis, sound raider, noise generators, cool edit sequencing, found sounds, octavers, coughs, digital wave editing, sound design, production, composition.
sean - harmonica (inri063, inri069), ring modulator (inri067, inri069)
greg - drum performance sample source (inri063, inri067-inri069)
the various rendered electronic orchestras include tuba, french horn, trombone, trumpet, english horn, saxophone, brass section, oboe, clarinet, bassoon, flute, bamboo flute, piccolo, orchestra hit, melodic toms, hand drums, timpani, orchestral drum set, piano, agogo, celesta, xylophone, marimba, clavinet, kalimba, vibraphone, glockenspiel, tubular & other bells, music box, woodblock, mallet, electronic drum kit, drum machine, jazz drum kit, koto, synth pad, synth bass, synthesizer, synthesizer effects, mellotron, organ, sitar, acoustic bass, synth bass, electric bass, fingered bass guitar, picked electric guitar, nylon guitar, distorted & clean electric guitars, guitar effects, bowed electric guitar, guitar noises (fret noises, knocks, pick scrapes), violin, viola, cello, contrabass and various full string sections. it also includes choir.
j - electric & acoustic & classical guitars, electric bass guitar, bass synth, digital & analog effects processing, synthesizers, electric air reed organ, electric & grand pianos, flute, voice, vocal noises & relics, analog & electronic drum kits, drum programming, drum manipulations, drum sampling, bowls, claps, tables, ebow, mandolin, orchestral & other sequencing, sampling, loops, equalization, light-sound synthesis, generative programming, granular synthesis, sound raider, noise generators, cool edit sequencing, found sounds, octavers, coughs, digital wave editing, sound design, production, composition.
sean - harmonica (inri063, inri069), ring modulator (inri067, inri069)
greg - drum performance sample source (inri063, inri067-inri069)
the various rendered electronic orchestras include tuba, french horn, trombone, trumpet, english horn, saxophone, brass section, oboe, clarinet, bassoon, flute, bamboo flute, piccolo, orchestra hit, melodic toms, hand drums, timpani, orchestral drum set, piano, agogo, celesta, xylophone, marimba, clavinet, kalimba, vibraphone, glockenspiel, tubular & other bells, music box, woodblock, mallet, electronic drum kit, drum machine, jazz drum kit, koto, synth pad, synth bass, synthesizer, synthesizer effects, mellotron, organ, sitar, acoustic bass, synth bass, electric bass, fingered bass guitar, picked electric guitar, nylon guitar, distorted & clean electric guitars, guitar effects, bowed electric guitar, guitar noises (fret noises, knocks, pick scrapes), violin, viola, cello, contrabass and various full string sections. it also includes choir.
i spent the day creating purchase options on the bandcamp site - another thing that is kind of boring but need to be done.
i should be back to inri070, soon.
but, the update is that i added a lot of physical bundles around the alephs and the now four sequences i'm running: symph, lp, ambient and tetris. there's also some new bundles, so that most lps now have a pairing in a rational potential double record. i always intended to do this eventually, and here it is.
it's a big step in closing down period 2.
https://jasonparent.bandcamp.com/merch
i should be back to inri070, soon.
but, the update is that i added a lot of physical bundles around the alephs and the now four sequences i'm running: symph, lp, ambient and tetris. there's also some new bundles, so that most lps now have a pairing in a rational potential double record. i always intended to do this eventually, and here it is.
it's a big step in closing down period 2.
https://jasonparent.bandcamp.com/merch
Monday, January 8, 2018
publishing inri069
the
origins of the tetris project emerge in my records some time in
mid-2006. i must have been filing some things on my hard drive, and
wanting to put a bunch of the loose ends in the same folder, because
what i remember is having a lot of loose tracks and trying to find a way
to fit them together. the best commonality i could find in these tracks
is that they all attempted to merge guitar music with electronic music,
so i devised a project that would utilize these tracks by exploring
this theme to it's fullest.
tetris is the idea of combining guitar music with technology. it just sat that way, for years, as a folder on my hard drive, with little progress towards actual completion.
when i set up the bandcamp site in 2010, i uploaded a number of these loose tracks under the album header 'tetris', with a promise to add tracks to it, slowly, until it completes. this was intended to be an eventual official record with an explicit techno flavour, and some tracks were, in fact, added to it. as of january, 2018, the majority of these tracks have been completed and re-released on my fifth or sixth records. so, this project has been dismantled, as it initially existed.
upon initial completion of my second period in may of 2015, i sat down to create a guitar volume. some work was completed on a mix tape of solo parts, but this was ultimately where i left off to go back to complete period 1. before i put it aside, i had decided on a three-volume set: a mix tape and a 2xcd set, with one cd being a tetris volume 1 (converted to an end-of-period compilation) and the other cd being of atmospheric, political and noise sections.
i didn't get back to this until late december, 2017 and sat down to create a tetris volume 1 as i had decided upon in 2015. but, what i started to realize as i was compiling it was that the reason that this connection presented itself amongst the scattered tracks i initially applied it to was that it is a fundamental aspect of my art - nearly every track i've written since 1998 takes the guitar through an exploration in the world of electronic music. i started to think more abstractly about it, this combination of technology with guitars, so that the definition fit across more genres than techno and idm. this wider interpretation of the project's mandate created a larger pool of tracks to choose from, and i eventually settled on two volumes for tetris: one with a faster tempo and more danceable tracks and one with a slower tempo and jazzier or more psychedelic tracks. some tracks that i identified as 'orchestral' were also put aside for future release on a later tetris volume.
the atmospheric disc wasn't initially contemplated of as a tetris release, it was rather meant to make the release an inclusive guitar works, as that is also a major component of my guitar presentation. but, my wider interpretation of the mandate allowed me to see that the tracks i had put aside for this compilation were also an exploration of guitars and technology. so, i created this disc as a tetris volume. a strategic decision was made to not include tracks on the first ambient works, but rather to defer to it as the ambient component of my second period guitar work.
i had also decided in late 2017 that i would create a compilation of guitar-only mixes for the lp sequence to close period 2, to draw special attention to the primary focus of my creations, which is the guitar work. i strongly contemplated releasing only disc 4 in this space of inri069, and leaving the other three for a later release, as a coherent multi-disc part tetris. however, the need to include inri071a in the tetris sequence necessitated releasing these tetris volumes in this space. further, a standalone release of disc 4 would also require a tetris number - it is certainly an integration of technology and guitars.
that makes inri071a tetris 5. i've also decided that inri072, the orchestral works, should be tetris 6.
as a six volume set, this compilation touches upon nearly every track that was written between 1998-2003 and has guitars in it by placing it into one or more of these six slightly overlapping categories. as such, this is a comprehensive introduction to my first two periods, from the perspective off my work as a guitarist.
initially written and recorded between 1997-2003. this compilation idea was developed and expanded upon as an intended full record release between 2006 and 2011. reinterpreted, reconstructed and remixed between 2014-2018. sequenced over december, 2017 and january, 2018. disc released & finalized as lp018 and tetris 1-4 on jan 7, 2018. as always, please use headphones.
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 (2015, 2017-2018).
tetris is the idea of combining guitar music with technology. it just sat that way, for years, as a folder on my hard drive, with little progress towards actual completion.
when i set up the bandcamp site in 2010, i uploaded a number of these loose tracks under the album header 'tetris', with a promise to add tracks to it, slowly, until it completes. this was intended to be an eventual official record with an explicit techno flavour, and some tracks were, in fact, added to it. as of january, 2018, the majority of these tracks have been completed and re-released on my fifth or sixth records. so, this project has been dismantled, as it initially existed.
upon initial completion of my second period in may of 2015, i sat down to create a guitar volume. some work was completed on a mix tape of solo parts, but this was ultimately where i left off to go back to complete period 1. before i put it aside, i had decided on a three-volume set: a mix tape and a 2xcd set, with one cd being a tetris volume 1 (converted to an end-of-period compilation) and the other cd being of atmospheric, political and noise sections.
i didn't get back to this until late december, 2017 and sat down to create a tetris volume 1 as i had decided upon in 2015. but, what i started to realize as i was compiling it was that the reason that this connection presented itself amongst the scattered tracks i initially applied it to was that it is a fundamental aspect of my art - nearly every track i've written since 1998 takes the guitar through an exploration in the world of electronic music. i started to think more abstractly about it, this combination of technology with guitars, so that the definition fit across more genres than techno and idm. this wider interpretation of the project's mandate created a larger pool of tracks to choose from, and i eventually settled on two volumes for tetris: one with a faster tempo and more danceable tracks and one with a slower tempo and jazzier or more psychedelic tracks. some tracks that i identified as 'orchestral' were also put aside for future release on a later tetris volume.
the atmospheric disc wasn't initially contemplated of as a tetris release, it was rather meant to make the release an inclusive guitar works, as that is also a major component of my guitar presentation. but, my wider interpretation of the mandate allowed me to see that the tracks i had put aside for this compilation were also an exploration of guitars and technology. so, i created this disc as a tetris volume. a strategic decision was made to not include tracks on the first ambient works, but rather to defer to it as the ambient component of my second period guitar work.
i had also decided in late 2017 that i would create a compilation of guitar-only mixes for the lp sequence to close period 2, to draw special attention to the primary focus of my creations, which is the guitar work. i strongly contemplated releasing only disc 4 in this space of inri069, and leaving the other three for a later release, as a coherent multi-disc part tetris. however, the need to include inri071a in the tetris sequence necessitated releasing these tetris volumes in this space. further, a standalone release of disc 4 would also require a tetris number - it is certainly an integration of technology and guitars.
that makes inri071a tetris 5. i've also decided that inri072, the orchestral works, should be tetris 6.
as a six volume set, this compilation touches upon nearly every track that was written between 1998-2003 and has guitars in it by placing it into one or more of these six slightly overlapping categories. as such, this is a comprehensive introduction to my first two periods, from the perspective off my work as a guitarist.
initially written and recorded between 1997-2003. this compilation idea was developed and expanded upon as an intended full record release between 2006 and 2011. reinterpreted, reconstructed and remixed between 2014-2018. sequenced over december, 2017 and january, 2018. disc released & finalized as lp018 and tetris 1-4 on jan 7, 2018. as always, please use headphones.
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 (2015, 2017-2018).
credits
released April 26, 2003
j - guitars (electric, acoustic, nylon), digital & analog effects processing, ebow, mandolin, bass, bass synth, drum programming, analog & electronic drum kits, drum sampling, drum manipulations, vocals, vocal noises, sampling, orchestral & other sequencing, soundscaping, sound design, synthesizers, electric & grand pianos, electric reed organ, found sounds, octavers, noise generators, cool edit synthesis, granular synthesis, generative synthesis, loops, flute, coughs, digital wave editing, production
sean - harmonica (track 19), ring modulator (track 36)
greg - drum performance sample source (track 21)
the rendered electronic orchestra includes acoustic bass, synth bass, electric bass, brass, french horn, trombone, trumpet, tuba, english horn, saxophone, flute, bamboo flute, oboe, piccolo, clarinet, bassoon, orchestra hit, drum machine, electronic drum kit, agogo, tubular bells, glockenspiel, clavinet, kalimba, piano, melodic toms, hand drums, timpani, orchestral drum set, koto, nylon guitar, distorted & clean electric guitars, guitar effects, guitar noises, synthesizers, synthesizer effects, music box, piano, bells, organ, sitar, violin, viola, cello, contrabass, full string sections and mellotron. it also includes choir.
j - guitars (electric, acoustic, nylon), digital & analog effects processing, ebow, mandolin, bass, bass synth, drum programming, analog & electronic drum kits, drum sampling, drum manipulations, vocals, vocal noises, sampling, orchestral & other sequencing, soundscaping, sound design, synthesizers, electric & grand pianos, electric reed organ, found sounds, octavers, noise generators, cool edit synthesis, granular synthesis, generative synthesis, loops, flute, coughs, digital wave editing, production
sean - harmonica (track 19), ring modulator (track 36)
greg - drum performance sample source (track 21)
the rendered electronic orchestra includes acoustic bass, synth bass, electric bass, brass, french horn, trombone, trumpet, tuba, english horn, saxophone, flute, bamboo flute, oboe, piccolo, clarinet, bassoon, orchestra hit, drum machine, electronic drum kit, agogo, tubular bells, glockenspiel, clavinet, kalimba, piano, melodic toms, hand drums, timpani, orchestral drum set, koto, nylon guitar, distorted & clean electric guitars, guitar effects, guitar noises, synthesizers, synthesizer effects, music box, piano, bells, organ, sitar, violin, viola, cello, contrabass, full string sections and mellotron. it also includes choir.
Sunday, January 7, 2018
tetris 1-4 (inri069) is now completed.
tetris 5 will be the ambient works, vol 1 (inri071a). tetris 6 will be the orchestral works (inri072). there's no use in recreating these as tetris volumes, but they are developed guitar ideas in my discography that ought to be catalogued. further tetris volumes will follow at the ends of periods 3 (2003-2007) and 4 (2007-2011).
to recap, tetris is the idea of fusing guitar music with technology. it is also one of the central themes of my work, as a composer. the tetris series catalogues my various approaches towards this theme.
tetris 1: guitar-driven dance music.
tetris 2: guitar driven electro-psych.
tetris 3: guitar driven noise collages.
tetris 4: guitar-only mixes of selected period 2 tracks
tetris 5: guitar driven ambient music
tetris 6: guitar driven orchestral music
tetris 7: guitar driven 'epic rock' - extended pieces.
the ideas in volumes 1-3, 5-6 may be reprised for further volumes.
formal close to follow.
tetris 5 will be the ambient works, vol 1 (inri071a). tetris 6 will be the orchestral works (inri072). there's no use in recreating these as tetris volumes, but they are developed guitar ideas in my discography that ought to be catalogued. further tetris volumes will follow at the ends of periods 3 (2003-2007) and 4 (2007-2011).
to recap, tetris is the idea of fusing guitar music with technology. it is also one of the central themes of my work, as a composer. the tetris series catalogues my various approaches towards this theme.
tetris 1: guitar-driven dance music.
tetris 2: guitar driven electro-psych.
tetris 3: guitar driven noise collages.
tetris 4: guitar-only mixes of selected period 2 tracks
tetris 5: guitar driven ambient music
tetris 6: guitar driven orchestral music
tetris 7: guitar driven 'epic rock' - extended pieces.
the ideas in volumes 1-3, 5-6 may be reprised for further volumes.
formal close to follow.
so, where am i with things?
i've finished up the fourth tetris disc, and have a rough listing for the third. the last mix had to be reconstructed to finish it...
the third disc is going to be a compilation of tracks where the guitar is used to create a wash of noise, or something otherwise atmospheric.
i've finished up the fourth tetris disc, and have a rough listing for the third. the last mix had to be reconstructed to finish it...
the third disc is going to be a compilation of tracks where the guitar is used to create a wash of noise, or something otherwise atmospheric.
Saturday, January 6, 2018
i had to replace this track.
the deleted mix was actually intended to be temporary; it was done a few days before i finished the main track, and i was going to then go back and re-render it when i finished it. this didn't happen. so, the mix ended up with some synthesizers in it that had to be taken out. it's now also an accurate "guitar only mix" for the final version of the track.
this mix will also appear on tetris. the discarded mix will be moved to the alephs.
the deleted mix was actually intended to be temporary; it was done a few days before i finished the main track, and i was going to then go back and re-render it when i finished it. this didn't happen. so, the mix ended up with some synthesizers in it that had to be taken out. it's now also an accurate "guitar only mix" for the final version of the track.
this mix will also appear on tetris. the discarded mix will be moved to the alephs.
republishing inri058
there are a few ideas in my discography that i've explored from multiple angles, but nothing else at all like this track, which has been through multiple complete rethinks involving multiple people over the course of sixteen years. as the revisions are so diverse, i think that a comprehensive collection of interpretations is a proper entry within my discography.
in the end, this emerges as my seventh symphony.
the collection is to be arranged chronologically in four discs consisting of two 2xcd sets, with the first two discs consisting of mixes that were meant for inclusion in band projects and the third and fourth consisting of mixes that were created after the track was moved into my own various one-person projects. further discussions of the various incarnations of the tracks appear on the track pages.
written over 2001 and 2002 and rethought repeatedly between 2002-2014, with no clear resolution in a final mix. reconstructed from source in late 2014 and then rendered at multiple stages to create a series of snapshots. final mixes were completed over the last week of november and the first week of december. released as a two-volume set on dec 7, 2014. the concept was rethought on nov 3, 2017, which led to the inclusion of five more mixes and an expansion to four cds. re-released in four volumes & finalized as symph007 on nov 12, 2017. the raw guitar mix was corrected on jan 6, 2018. as always, please use headphones.
credits
j - electric & acoustic & classical guitars, analog & digital effects & processing, electric bass guitar, synthesizers, drum programming, orchestral sequencing (12), drum manipulation, vocal manipulation, voice (9), digital wave editing, loops, equalizers, soundscaping, sampling, composition, production, cover art
sean - vocals/lyrics (2,5,7), ring modulator (7-9, 11, 13-14, 16)
greg - drum performance sample source (4, 6-9, 11, 13)
bob - hammering (3)
the rendered electronic orchestra on track 12 includes tuba, saxophone, flute, clarinet, orchestra hit, piano, violin, viola, cello, contrabass and various full string sections.
released july 4, 2002
Friday, January 5, 2018
another decision: i had included a few 'orchestral' works in the epic
rock compilation, because it sort of fit, but i've taken them out. the
way i'm going to do this is that the guitar disc for the orchestral
pieces will be the orchestral works, and i'll add the slow version of
the time machine as a bonus track.
there will be material from the orchestral works in the tetris compilation, but where it fits.
i just felt forced to include the guitar concerto on a guitar works, but it doesn't really fit the description of tetris well - it's an overture and concerto and should be catalogued accordingly.
and, so, i should be explicit, and rename the release to tetris, 1-4.
there will be material from the orchestral works in the tetris compilation, but where it fits.
i just felt forced to include the guitar concerto on a guitar works, but it doesn't really fit the description of tetris well - it's an overture and concerto and should be catalogued accordingly.
and, so, i should be explicit, and rename the release to tetris, 1-4.
on second thought, now that i've put the third disc aside as two
further potential volumes, i can release a four volume set, if i include
the guitar mixes, and why not, it fits the theme.
four is just permanent.
i still need to determine what i actually am going to create and then order it afterwards...
four is just permanent.
i still need to determine what i actually am going to create and then order it afterwards...
the most recent update is that the second tetris disc is sequenced,
but the third has been put aside; it may end up as two discs. there is
at least one more tetris disc to sequence, but i won't be releasing any
of them in the inri069 space. as of now. i think. they will likely have a
release date of something like 2011, in something like a 6 disc set.
but, i could still decide that it's worthwhile to release a double in
this space.
right now, what i'm wanting to do is sequence the guitar collage disc, as it kind of has to be sequenced before the next tetris disc. and, i'm realizing that one of my guitar mixes isn't a guitar mix at all.
so, i'm going to have to update inri058. i wish i would have caught this in november, but so be it.
it looks like this guitar collage disc will be what is published in inri069, unless i get a good 4 disc tetris set, in which case i can release the remaining volumes later.
right now, what i'm wanting to do is sequence the guitar collage disc, as it kind of has to be sequenced before the next tetris disc. and, i'm realizing that one of my guitar mixes isn't a guitar mix at all.
so, i'm going to have to update inri058. i wish i would have caught this in november, but so be it.
it looks like this guitar collage disc will be what is published in inri069, unless i get a good 4 disc tetris set, in which case i can release the remaining volumes later.
so, where am i with things?
i've got the second and third tetris discs created, i just have to sequence them. but, i'm leaning towards not releasing this for a while, perhaps positioning it as late as 2013 in a 5 or 6 volume set.
tetris is the idea of mixing technology with guitar music. the three compiled expressions of this are in the form of a dance music setlist, a psychedelic music setlist and an epic rock setlist. a fourth expression of this in the form of atmospheric guitar music may follow shortly.
the only thing i've put aside for definite release in the inri069 space is the disc of guitar mixes - that is, songs stripped down only to the guitar parts. i'm also going to be getting a head start on a number of mix tapes, with the possibility of a release, but the likelihood of half-releases, to be put aside for later.
what i'm doing right now is sequencing these two discs and taking a look at the fourth volume.
i've got the second and third tetris discs created, i just have to sequence them. but, i'm leaning towards not releasing this for a while, perhaps positioning it as late as 2013 in a 5 or 6 volume set.
tetris is the idea of mixing technology with guitar music. the three compiled expressions of this are in the form of a dance music setlist, a psychedelic music setlist and an epic rock setlist. a fourth expression of this in the form of atmospheric guitar music may follow shortly.
the only thing i've put aside for definite release in the inri069 space is the disc of guitar mixes - that is, songs stripped down only to the guitar parts. i'm also going to be getting a head start on a number of mix tapes, with the possibility of a release, but the likelihood of half-releases, to be put aside for later.
what i'm doing right now is sequencing these two discs and taking a look at the fourth volume.
Thursday, January 4, 2018
i was just using my compass to pull a piece of lint out of my lighter (it's the worst when that happens...), when i started to realize that the ancient greeks probably used compasses for pretty much everything. if you can imagine this bearded greek old man, using this giant compass as a claw in his daily tasks - holding pita bread sandwiches, swapping away flies, getting that itch in that hard to reach spot. it's almost like that edward scissor-hands, isn't it?
i'm now fully convinced that all greeks lived like this, with compass as primary general utensil.
i'm now fully convinced that all greeks lived like this, with compass as primary general utensil.
what we understand in the universe is largely restricted to concepts of motion. unfortunately, a fairly good understanding of motion may have led us to a false conclusion that we understand the universe well because we understand it's motions well.
most objects in the universe still perplex us at the most basic levels - we don't really know what they do, and if we do know then we don't know why, and if we don't know then we propose mathematical theories about them.
take the sun. we can measure how the sun moves fairly well. and, we know it shines. but, we don't really have any predictive theory to explain how the fluctuations in the sun's strength vary. this is a total mystery.
we may in the end find out that the laws of motion are actually not particularly useful in understanding the universe at all.
most objects in the universe still perplex us at the most basic levels - we don't really know what they do, and if we do know then we don't know why, and if we don't know then we propose mathematical theories about them.
take the sun. we can measure how the sun moves fairly well. and, we know it shines. but, we don't really have any predictive theory to explain how the fluctuations in the sun's strength vary. this is a total mystery.
we may in the end find out that the laws of motion are actually not particularly useful in understanding the universe at all.
Wednesday, January 3, 2018
so, i put my upload of this mix on hold, to explore the possibility of adding another track, to spin inside dull aberrations. this would have required some strategic cuts to fit on to one cd, but it was plausible, and a cut was made. but, the track just doesn't fit the aesthetic on the disc, as much as i want it to.
so, what is this, then? this is the first officially complete volume of tetris, an idea i've been kicking around for a while, since i think 2007. and, it may in the end end up separated from inri069, and placed in a release sequence deep in 2011 instead, as the first part of a two or four cd set. but, this is a volume in a set of some sort, at least.
tetris is an idea that is meant to combine technology with lead guitar work, which i realized around ten years ago is a dominant theme in my work, worth separately cataloguing. many rough lists of tracks intended for a tetris release have circulated, over the years. there will be a tetris release of some sort that documents 2003-2011, potentially several.
the first tetris release is intended to focus on danceable tracks driven with a lead guitar part. spin is just too much of a rock song. i'm considering a second immediate tetris release, focused on trip-hop, but it may be put off until 2007.
i'm considering a third volume of atmospheric guitar music, but that too may be put off - as might the mix tape of solos.
so, there's still a lot of work to do in compiling and organizing the components of this release. but, this cd will be a completed segment, moving forwards.
so, what is this, then? this is the first officially complete volume of tetris, an idea i've been kicking around for a while, since i think 2007. and, it may in the end end up separated from inri069, and placed in a release sequence deep in 2011 instead, as the first part of a two or four cd set. but, this is a volume in a set of some sort, at least.
tetris is an idea that is meant to combine technology with lead guitar work, which i realized around ten years ago is a dominant theme in my work, worth separately cataloguing. many rough lists of tracks intended for a tetris release have circulated, over the years. there will be a tetris release of some sort that documents 2003-2011, potentially several.
the first tetris release is intended to focus on danceable tracks driven with a lead guitar part. spin is just too much of a rock song. i'm considering a second immediate tetris release, focused on trip-hop, but it may be put off until 2007.
i'm considering a third volume of atmospheric guitar music, but that too may be put off - as might the mix tape of solos.
so, there's still a lot of work to do in compiling and organizing the components of this release. but, this cd will be a completed segment, moving forwards.
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