Tuesday, July 19, 2016

j reacts to a longstanding recurring dream (thirty years....)

i just woke up from a recurring dream that i've been having for a really, really long time. thirty years? it's not every night or anything, but i definitely recognize it when i have it. i'm not going to add this to the liner notes for confused because it's kind of tangential, but it's a good example of the kind of thing that will end up on the aleph-disc. i've also had this discussion quite a bit over various fora, so it should be familiar to secret admirers.

despite what certain christian apologists may argue, this genetic v. environment debate is largely rejected altogether by science. christian apologists? well, this you-don't-have-a-choice nonsense is not science but a "progressive" opinion coming out of the religious fundamentalism of everybody following "god's plan". if you paid close attention in sunday school, this denial of agency in gender roles should be entirely logical to you. yet, it's truly hard to make sense of it, otherwise.

remember: i'm not a christian progressive. i'm an anarchist. so, i have a strong attachment to the idea of a tabula rasa. my politics make no sense if we're all genetically determined. if that were true, i'd have to concede to some conservative concept of "human nature" and fall into the standard hobbesian apologism for deep totalitarianism. i readily concede that humans are assholes, but i blame capitalism and not biology. that's the point of being an anarchist: that abolishing capitalism will abolish this right-wing concept of "human nature" and allow us the freedom to decide how and what we want to be. if we have no way out of this, we're stuck with the police state - and the most violent forms of repression and surveillance become justified. i don't have any patience for this middle-of-the-road liberal nonsense: we can either transcend capitalism or we can't.

and, i believe that we can. but, we need to be able to change. the technically correct statement comes from chomsky: we don't yet understand humans well enough to know if we have a nature or not. yeah, well you probably fell for a strawman. your source probably sucks, and that's your epiphany, there. the term is currently meaningless. but, the way it's thrown around has to essentially be right-wing propaganda. otherwise, just give me a gun and get the fuck off my lawn.

so, because i'm an anarchist and not a christian progressive, my biases are towards tabula rasa rather than genetic predetermination. and, because i don't get my science from left-wing political rallies, i've run into quite a bit of push back on my refusal to uphold certain types of loaded sloganeering. let's be clear on that point.

real scientists will tell you that there's no evidence for a genetic basis for gender nonconformity. in fact, it's not even considered to be a psychological condition, let alone a genetic one. think of it like this: suppose your daughter wants to wear pants. nobody even cares anymore. you might even buy your daughter pants without even thinking about it. but, suppose your son wants to wear a dress. well, that's seen as some kind of mental illness. the only mental illness here is repressed misogyny in the parents! yet, i'll acknowledge that it's an empirical question. sort of. what do the studies say?

the truth is that they're all terrible. one of the studies you see thrown around to argue it's genetic relies on the reversal of flawed notes. so, the doctor that did the study has acknowledged that he falsified data and even sexually assaulted the participants. such a study ought to be completely discarded. instead, advocates of the genetic theory just negate all of the notes. this is their core argument. see, the staunch truth is that this is the best they can do in terms of presenting evidence in favour of a genetic basis for gender non-conformity. they may also throw some studies about twins at you, but if you look at the data closely it invariably actually contradicts their argument.

what i can't make sense of is why any scientifically literate person would consider it to be a valid hypothesis in the first place. it's behavioural. genes don't code for behaviours. that's religious thinking. but, in the sense that it remains an empirical question, i need to see a properly designed study. unfortunately, such a study would no doubt be unethical.

i can accept some concept of hormonal imbalance as a complicating factor, but i remain convinced that the issue is primarily environmental. so, we have another straw man: i'm arguing it's a choice and that conversion therapy should be attempted. which is completely ridiculous...

the argument that we are shaped by our environment is not in any way the same as the argument that we have a choice in our sexual orientation or sexual identification. that should not need to be stated. i often have a difficult time arguing this point, because i can't even make sense of the implication. the reason, again, is that i'm not a christian progressive. i'm an anarchist. the only reason you would come up with such a ridiculous assertion is if you're framing the issue in terms of a religious debate. so, these christians come at you with this idea that it's a choice and you're evil or something (i don't even know...), and your response is "no. it's genetic.". so, if i'm rejecting the idea that it's genetic, i'm taking the side of the christians you're arguing with.

i've made this argument about nihilism. i've been accused of nihilism, because i'm so openly atheist. but, an atheist cannot even make sense of nihilism, because it's framed in religious terms. likewise, i cannot make sense of these arguments from progressives because they are framed in religious terms.

so, no i don't think it's a choice. not exactly. i think it's a consequence of the stochastic processes of the universe. see, that's another atheist thing: i believe in chaos and randomness. your life is not determined by some supernatural force. you were not "programmed" by anything or anyone. you are a consequence of chance, and may have come out entirely differently had certain events in your life been different.

so, when i think back to being a girly boy at the age of four or five, i think it's obvious that the reason is that i spent all of my time with girls. i had a mother, a grandmother, two aunts, a sister, a female cousin and little girls living in the houses around me. dad was around, but kind of distant. that's not genetic, and it's not a choice. it's just a function of chance. if i had an uncle or a boy cousin or there was a little boy across the path, things may have been different.

but, that doesn't mean it's a good idea to enforce an arbitrary  gender binary, either. remember: not a christian progressive. an anarchist. i reject the nuclear family, too.

the recurring dream places me in a field with a baseball glove. it was t-ball, technically, not baseball. i'm very young - 4. 5. i'm supposed to be paying attention, waiting for a ball from the sky, but i don't really care. i'm more interested in picking flowers. well, i'm in a field. that's what i usually do when i'm in a field with my grandmother. a ball rolls by me, and i choose not to respond to it. my dad whirls in in a rage, scoops me up and brings me to the car. he's ashamed. that's the dream: remembering his shame.

it's a quiet drive back to my mom's.

when we get home, he takes me out of the car, walks me to the door and promises he'll never make me stand in a field by myself ever again.

--

my parents were both libertarians, although they wouldn't have identified that way. my mom was a poorly educated white person, and had political perspectives (or lack thereof) that would be stereotypically associated with a poorly educated white person - support for social services and redistribution, peppered with a lot of xenophobia and social exclusion. not so much into the gays. but, my grandmother was far more liberal (small and big l - card carrying, in fact) and had a bigger effect on me. my mom struggled with addictions and would disappear for weeks at a time. i have almost no recollection of the elder trudeau, other than that my grandmother loved him and my mother hated him.

my dad wasn't really white, but he was more of the typical canadian - "fiscally conservative and socially liberal". he was, for a time, this strange canadian political animal: a progressive conservative. not an old tory. a pc, meaning he had strong support for progressive social policies but demanded that they be paid for through responsible taxation. you could maybe call him a tax and spend liberal, except to point out that he demanded the tax as much as the spend, which is usually a straw man when applied to liberals (who don't actually care about deficits). he was the only person i've ever met that was in support of the gst in the 90s - because he didn't want to see spending cuts. he voted for kim campbell, and defended it until the day he died. yet, he was also in the group that was highly critical of the reform party and never dropped his opposition to harper, instead opting for the right-leaning side of the liberal party. his perspective on social issues was always staunchly libertarian, whether he ever really realized it or not. the gays never bothered him, so he didn't bother them. the chinese never bothered him, so he didn't bother them. the blacks....well, maybe they bothered him a couple of times, but it's better to just get out of their way.

the point is that they were both into hands-off parenting. i had huge free rein from a very young age. this is another reason why i'm decidedly gen x: they were both very opposed to helicopter parenting and very much into letting me develop "naturally". i've grown up as an advocate of free range parenting, as well (i am an anarchist, after all). but, i think that this perspective is important to point out in the environment v genetics debate.

the reason is that the assumption was always that i'd grow out of it - which is genetic determinism. after all, i have male chromosomes, so my inner male tendencies should eventually over power and i'll in the end grow into a man. i'm just being a kid.

what i was trying to get across in my liner notes is that this is a type of naturalistic fallacy. in the end, i would not just magically become a boy in the absence of any instruction due to genetic determinism. but, it leaves open the question: if there was stronger instruction, might i have?
 
i don't know. i really don't.

what i do think that i can state with a lot of certainty is that the segregation was a bad idea, and i reacted pretty strongly to it. my parents never did this, but the school system did. the more that the teachers told me i wasn't allowed to be a girl, the more i insisted upon it. but, if you understand kids, you know that's how kids are - they want what they can't have, and the more you say "no" the more they push back.

i would propose that the error in approach was less in telling me what i can't be and more in failing to teach me what i "ought" to be. "you can't have this candy" is one thing. "have this apple instead" is another. the kid can't just magically fill in the blank that it should have an apple instead of the candy, it just dwells on not having the candy. the apple has to be presented as an option before it can be accepted.

of course, the apple can also be rejected. might i have rejected the apple and insisted on the candy? see, if you take my position on this, you have to realize that this is not pre-determined. the choices i would have made would not have been in a vacuum - they would have depended on the people around me. i can't consequently know if i would have rejected the apple had it been presented to me. i can just point out that it was never really presented. i was just told i can't have the candy.

and, yes i do think this is the right way to think about gender roles in kids.

so, i'm left with a complicated set of alternate outcomes:

1) had the system not tried to beat the girl out of me,

a) i might very well have grown out of it on my own.
b) or, i might have grown into it younger.

that would have depended on the environment around me. but, at least i wouldn't have internalized it and it wouldn't have become this thing i struggled with.

2) on the other hand, had the system more rigorously enforced maleness in addition to penalizing femaleness,

a) i may have been more effectively masculinized.
b)  or the internalization may have been that much worse.

i think the key thing is in rejecting 2a) as some kind of ideal. this "ought" ought not be an ought. randomness is what it is. shit happens. but, kids need positive reinforcement one way or the other, and the ability to make these choices in a way that is free of shame or coercion.

so, i can't say what choices i would have made in the absence of coercion. i can only point out how the presence of coercion affected the choices i did make.

Monday, July 18, 2016

18-07-2016: talking through some sequencing decisions for inri004-inri009 (new inri009...)

tracks worked on in this vlog:
https://jasonparent.bandcamp.com/album/fuck-the-dead
https://jasonparent.bandcamp.com/album/skaters
https://jasonparent.bandcamp.com/album/useless
https://jasonparent.bandcamp.com/album/confused-2
https://jasonparent.bandcamp.com/album/hey-god-2
https://jasonparent.bandcamp.com/album/schizoid-terrorist-2
https://jasonparent.bandcamp.com/album/i-did-your-mom-2

https://jasonparent.bandcamp.com/track/relax
https://jasonparent.bandcamp.com/track/hurricane

https://jasonparent.bandcamp.com/album/period-1

i think i'm done for the day, and while it was less productive in terms of quantity than i'd have liked, i think it was nonetheless productive in terms of quality.

i have added a hidden tracks to inri006, upheld my tracklisting for inri007, added bonus tracks to inri008 and first finalized and then moved the previous inri009 forwards to june (and likely into the place of inri012). the new inri009 will need to be 'i did your mom', which will need to be rebuilt tomorrow. i think that should be relatively quick.

refinalizing hey god (inri008)

bonus tracks added to inri008. audio permanently closed.

==

my recollection of the initial recording of this track is unfortunately somewhat vague. when we push our memories like i'm trying to, we become more likely to imagine the past in terms that never actually existed. so, how real is this vague memory of wanting to hear some backwards guitars? i fear that it's perilous to try and force my mind to be more specific.

it's at least fully consistent with what i know about the situation. this was initially the second track recorded in my basement studio in the fall of 1996. so, i was still at the point where i was looking to try things in the studio for the first time. as for backwards guitars? i was very interested in both zappa and hendrix (two of my biggest guitar influences) at the time, and that is actually blatantly obvious if you listen to inri000. they both used backwards guitars. there are multiple occasions on inri000 (and afterwards...) where the nods to both of these players are beyond heavy-sleeved. so, my vague memory at the very least makes sense.

how i made the jump from trying to create a backwards guitar solo to turning a song into a palindrome is another question and i don't really have a good answer besides stumbling upon it as i was listening to it. clearly, it is the case that this struck me as a good idea at some point along the way.

when i went to recreate the track in early 1998, i felt the need to recreate the palindrome effect. so, i never saved any version of the track in forward order (without the backwards overdub) or released it in any kind of way. for all these years, there has simply never been a forwards version of the track.

the remastering process over 2015 has finally given me the opportunity to create a forwards version and spin it off as a single for the express reason of documenting the track as it was actually initially written, which was as a fairly straight forward alternative pop song. that's a description that i do believe is very old. yet, i may be imagining the past, too...

the new album mix is a palindrome, as it always has been. the electronics mix is constructed using the same algorithm. the backwards mix is just literally that. combined together, the forwards and backwards mixes create the album version. the 2013 remasters are appended as bonuses.

initially written in 1996. recreated in feb, 1998. a failed rescue was attempted in 2013. reclaimed june 29, 2015. remixed july 15, 2015. compiled on jan 4, 2016. finalized on july 11, 2016. bonus tracks added and re-finalized on july 18, 2016. as always, please use headphones.

regarding the subject matter of the deleted vocals/lyrics, please see the following vlog (which is also available on inriℵ0).

credits
j - guitars, effects, bass, drum programming, digital wave editing, loops, vocals, drum kit, tapes, production

released february 11, 1998

refinalizing useless (inri006)

hidden track added to inri006. audio permanently closed

==

the christmas of 1997 was a good one. in addition to getting a four-track recorder to multitrack with, i also ended up with a jx-8p for my birthday, which is in early january. now that i could use the computer a little bit, i decided that i was finally ready to do some serious recording.

i had committed myself to reapproaching the first demo tapes and rerecording certain tracks to reflect the uplift that they got from the drum machine; that is, i had already dramatically rewritten most of the tracks around the drum machine, so i felt i should rerecord them. now, i was going to need to uplift some of those tracks a second time with synthesizer parts. i knew which tracks i wanted to approach and how, but i wanted to ease myself in a little. so, i picked a new track as my first synthesizer experiment.

that is a large part of what this track is. i had the lyrics pre-written, actually, and knew that i wanted a spooky kind of atmosphere to the track. so, i was approaching the synth with the question of how to manipulate it into sounding "haunted". that may seem trivial, but please realize that i had never seen an actual synthesizer before - i'd just always used the presets on my sister's electronic piano. it was a small victory to get the patch by increasing the sustain on the preset, but it was a hard-fought battle.

after i got the track mixed down through the 4-track and mastered into the pc by sending the signal into the back of the soundblaster, some listening had me wishing that i had slowed the tape down a little. the track is a kind of a child's understanding of the existential, which i just felt would be more aesthetically in balance if i slowed the tape down and made it seem a bit more mournful. so, i wanted to go back and remaster it with the speed set a little slower.

i decided i should test it by slowing the track down digitally, first. what i was trying to do was get an estimate to use to remaster it at a different speed. i took a guess on half-speed to try and was going to incrementally reduce the reduction through trial and error until i got to a good point. then, i could set the tape speed by ear. i did not go through that process; i stopped at half-speed. for several weeks in 1998, the half-speed version was the final product for the track. i believe i even uploaded it to mp3.com slowed down this way.

i just instantly stopped at half-speed because, while the effect was more exaggerated than intended, that exaggeration was to greater effect than i imagined. i wasn't expecting the guitars to get that grungy, or the vocals to get that deep. when i heard it, though, i knew that this was the track.

in the end, i reverted back to the normal speed version, but this was done with much internal division. the reason that this is the last track on the demo is because i was holding out for space for the lengthier version. it was only due to a combination of space requirements and pull for conformity of sound through the demo that had me relent at the very end.

in hindsight, i do think that the short version fits better on the flow of the cd, and it will remain there - minus the vocals. yet, i also think that this slowed down version deserves it's own document. i've slowed down two other versions of the track, as well, to drag out the fun. the album version closes this collection.

originally created in 1998. a failed rescue was attempted in 2013. reconstructed in the summer of 2015 and then manipulated further in the summer of 2016. released & finalized on july 7, 2016. hidden track added and re-finalized on july 18, 2016. as always, please use headphones.

this release is compiled on inriℵ0.
jasonparent.bandcamp.com/merch/inri-box-set

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 (1997, 2013, 2016).

credits:
j - guitars, effects, bass, synths, drum programming, vocals, digital wave manipulation, production

released january 22, 1998

....but, where was i? wow. ok. give me a few minutes to re-orient...
i got bogged down yesterday, but i'm just about to get back to work right now. so, expect some closures today.

009 and 010 are the slower ones - 011, 012 and 013 are basically unmodifiable. the bigger question is whether i'll be adding releases (for why, wish).

j reacts to her own political irrelevance for the remainder of this century

listen, i've actually been over this repeatedly.

i do not feel that my politics are realistically attainable within my life time. this is why i would prefer to reject society and live in poverty in order to focus on art. i am entirely aware that i am so far outside of the status quo, that i cannot be coherently understood - except in a revolutionary context.

i consequently offer a kind of acid test, right. i would expect the status quo to reject virtually everything i say. so, if you find yourself of the opinion that i'm kind of extreme? sure. i agree with you. and, you're the status quo.

just understand two things:

(1) i expect a very small audience, because of the nature of my comments. i would be the first person to be shocked by the prospect of my audience growing. this would imply that my analysis is incorrect.

(2) the size of my audience has not and will continue to not have any effect on my comments.

i'm a musician. check out my tunes.

Sunday, July 17, 2016

so, the vlog for the 8th is uploading, the vlog for the 9th is rendering and the vlog for the 10th will be published at 00:30 on the 18th. so, i'm caught up. it may be most of the day before i get back to work, but i'm at least back on schedule.
ok, i'll be caught up by the time i'm done eating and switching back to listening for the week. that was actually a needed rest for my ears, and i'll be better off for it. i have nothing scheduled until the 21st (a play)/23rd (psychic tv)/25th (mri). i should be up to inri014 before the 21st, and ready to pivot some time in that period. i think...

expect some closures over the next few days.

Saturday, July 16, 2016

new post at the alter-reality

july 16, 1996

scenery and fish and building rooms in basements and other things.


good morning. i've been up all night playing civ 2. how was your night?

it's been a pretty good summer, so far. i've very much gotten into the routine of staying up all night and sleeping during the afternoon, which is a habit i can trace back a few years to when i used to live with my mom. when she got a new tv, she moved the old one into the basement, which is where my bedroom was. it was a nice, big tv - but very old. wood frame, with two dials on the front. uhf/vhf. it was around as long as i can remember, so it must have been from the 70s. at first, i used to stay up to watch conan and then get tired and fall asleep right after or even during it. i had to, because conan was the funniest thing to ever exist in the history of the universe. but, the habit of staying up late is something that builds on itself. you stay up a little later, you sleep in a little later; eventually, you're up all night. soon, i found myself watching muchmusic after conan; they always played better music at night. then, i was staying up even later to watch reruns of the original star trek series, which they were interestingly playing on cbc kingston. maybe somebody in the station went to high school with shatner, or something. kingston used to be the capital of canada, but it was eventually moved up the rideau river here to ottawa because kingston was considered to be too vulnerable to a sneak attack by american forces. those bastards are always trying to invade us, so we have to be careful. it's about half way to toronto, which is still close enough to get channels here in ottawa on basic cable. within a few years, i'd guess i'd seen pretty much the entire series - much of it several times.

i even found myself staying up even later, mostly for the purposes of reading. by the time i'd got to high school, i'd read almost everything that stephen king had ever written. i also read a lot of science fiction including a lot of isaac asimov, especially the foundation series. the gaia theory narrative was very interesting to me. some nights, i would stay up reading until lunch time. this wasn't always really a choice, either - sometimes i just got lost in it.

so, the idea of staying up all night is not something that's new to me. i'm only 15, but i've been doing this regularly over the summer for many years, already.

it is a little different this year, though, for a few reasons. one is that i'm not living at my mom's this summer. mom didn't really care when i went to bed. dad doesn't either, really, but my stepmother claims she is a light sleeper and doesn't want to be woken up because she has to work in the morning. also, i might wake the dogs up (we have two golden retrievers). i'm well aware that there's an unwritten and unenforced rule that i should be in bed, but i also know that nobody is going to give me grief so long as i don't wake anybody up. the other reason it's different this year is that there's central air here. my mom has never had an air conditioner, and in fact there were even no windows in the basement. so, conan or not, there was some greater value in sleeping through the hot days and living in the cooler evenings. it can actually get pretty hot in canada in the summer!

this has been my schedule for most of the summer:

1. wake up after 2:00 pm. 3:00, often. 4:00, sometimes, even.
2. eat. well, usually. sometimes, dad says not to eat before he goes because he's making something. or, he might leave a note. sometimes, he even phones to tell me not to eat - and, i'd better not, too. he gets strangely depressed when you won't eat his food, like he's failed at life or something. i think it's some kind of repressed italian cultural thing. that's the exception, though. usually, they eat out on their way home from work. so, i usually feed myself. i expect to feed myself.
3. play guitar until everybody goes to bed.
4. play civ 2 until the sun comes up, or later.
5. sleep until the afternoon and start again.  

is that a pretty good summer? i think it is, actually. although, i'm not sure if they're really aware of my sleeping schedules. i think they mostly think that i just get up early, and am awake all day.

one of the things i enjoy about playing civ 2 all night is listening to music when i'm playing. the newest, greatest thing in my walkman is the new i mother earth record, scenery and fish. i did already have the first record, dig, although i found it a little dense to get into, at first. it was just a little more challenging than the grunge that came out in '93 and '94. so, it kind of sat for a while until i went back to it. right now, i'm actually listening to both of them.

i find that the lyrics are really quirky at points, which i kind of like. they kind of want to tell a story, but they're kind of tongue-in-cheek about it, too. it's kind of like that they know they're cliched and are simultaneously revelling in it and poking fun at themselves for it. i think that's called post-modernism, but i'm not completely sure. what i really, really like are the guitars on the record. the fact that the guitars on this record are just a bit more advanced than the grunge records i've been listening to for the last few years puts them in just about the right space for me, right now. it's kind of more like the stuff my guitar teacher shows me: jimi hendrix, stevie ray vaughn, eric clapton, carlos santana. or, maybe it's kind of like that it's half-way between the blues that i'm being trained in and the alternative rock (pearl jam, smashing pumpkins, soundgarden) that i'm listening to a lot of. either way, tracks like pisser and earth, sky and c are immensely fun to rock out to through headphones.

i mentioned in the last update that i was helping my dad build a room in the basement. it's something we've been doing on the weekends, mostly - and it's almost done. he already bought his drum kit, so he has to build it, now. that's what he said, anyways. we put all this pink insulation in between the walls, and then we put in sound-proof ceiling tiles to stop the sound from traveling upstairs. the last thing we have to do is put an outside layer of drywall around the wood joists. i tried to do as much as i could, but i really only had two tasks: (1) hold things still and (2) stay out of the way.

he says that it should be done by august. he seems really excited by the prospect that i may bring some people over, as he's a little concerned about how much time i spend by myself. i don't really know anybody that would want to come over and start a band, though.

it's past my bed time, so i'm going to sleep. enjoy the i mother earth: it's something special, i think.




http://therealinri.blogspot.ca/1996/07/scenery-and-fish-and-building-rooms-in.html

the vlogs will also be catching up over the next few hours:
https://www.youtube.com/channel/UCinQSeEtF0vSN1XVhQGfwKA
so, i came home from the show on tuesday night and was awake until late wednesday morning. then, i slept for a few hours and woke up on wednesday evening, around the time of the sunset. that was actually a very nice sleep. a hot, sweaty sleep. those are the best kind...

i spent the overnight arranging two weeks worth of video content into folders, and narrating some of the political rants. i then spent the morning shaving, and the rest of the day at the bluesfest in windsor. the i mother earth set was solid, and jeff martin also got the rest of the band up on stage for a few minutes (which was mostly expected, if not advertised). good show. glad i went. but it was a long day that ended with me completely baked, so i crashed pretty hard. my ears still hadn't entirely recovered from swans, so the culmination of things meant i had to sleep.

i was awake for a few hours in the morning yesterday, but i did actually sleep for pretty much the entire day of the 15th. i woke up at almost exactly midnight. so, i'm starting on saturday right now rather than winding down friday.

there was an editing fuck-up on the vlog for the 30th (of june) and therefore also for the 1st of july, so i had to redo and reupload them. the initial plan was that i'd actually be mostly caught up by now because the vlogs up until the 12th are going to be relatively short. but, that screwed the whole thing up. i'm currently rendering the vlog for the 3rd and also about to get something to eat.

i never did get that filing done. that's still something that i should stop to do. so, i don't really plan on doing any listening today, either. near the end, maybe. rather, it's going to mostly be filing and editing, as i get back into a schedule that i plan to hold to this time.

Friday, July 15, 2016

i walked out of that concert completely fried due to minimal sleep, overexposure to my ears (remember: i saw swans on tuesday, too), alcohol, nicotine and the other one that's still a few months away from open mention. so, i'm not done sleeping yet. but there was an experience near the end of the show that i want to say something about. it was one of those really surreal moments of racism that you just can't do much about besides point out loudly and shake your head about. so, i'm going to scream about it for a few paragraphs.

i mother earth were a kind of iconic canadian band in the 90s, and they were uniting here with a singer they hadn't played with in many years. the announcer said 18 years. i'm not sure if that's literally true or not, but it's been a while. the audience was consequently full of nostalgia: an older and mostly white crowd rocking out to records released in 1993 and 1996. much drinking, yes.

now, everybody knows you're not supposed to smoke anything at all in these kinds of outdoor bank concerts. you're just supposed to shut up and drink your over-priced beer. that is, of course, the economic purpose of this event: to sell over-priced beer. but, you can't actually enforce this rule once the sun comes down a little, the least important reason being that most people in the crowd at rock concerts like this actually don't agree with bans on smoking at outdoor concerts. many of them actually even smoke. and, not just cigarettes.

the smell of marijuana is pretty normal at outdoor rock concerts. it's a part of the experience - whether you're actually inhaling, or just taking in the aroma. it wouldn't be a real festival, without it. whatever the eventual legality of the substance in canada, that smell is not going to lift from the concerts of the nation. there will simply be a trail of corrected signs "thank you for pot smoking".

the spirit of this event, combined with the nature of the audience, actually at one point near the end of the set had joints passing around amongst strangers. somebody decided everybody at the show ought to be high. or it seemed that way. they were just circling around. my nose and eyes caught multiple burning around me.

so, i will acknowledge that there were people smoking pot in the audience. see, but that's just it - *everybody* in the audience was smoking pot. no exaggeration. nine out of ten, anyways.

so, you'll imagine how absurd it was to watch security swoop in, walk past several burning joints and key in on the only black guy in eyesight - who, yes, was caught green-handed. like, they took it out of his hand. ok. drug abuse. but, they had to blatantly walk by scores of stoned white folks to do this, and then scores more as they were escorting him out. 90 out of 100 people in the immediate audience were stoned. it was being openly passed around. but, only one person in the audience was black.

i didn't stay for the literal headliner, so i don't know if they came back later for more minorities, or even for some white folk - or maybe if they just backed off and let people have a good time. but i know what i saw and how obvious it was.

i don't really have any point besides the obvious one: it's really not ok. i don't know exactly who the security personnel were (mall cops?), either, but....i guess the way i should articulate this to organizers is that i don't want to see anything like that ever again.

of course, this has nothing to do with the band. the actual show was excellent, for what it was. tight. no fuck-ups. the tracks were identifiable, but expanded upon enough to play out. i'd need at least two hands to count the number of times i saw this band in the 90s, and they were always a strong live set like that. so, i will actually have some footage coming up in the next few days of i mother earth with edwin in 2016. that's something that is actually happening. there's some teaparty footage, too.

right now, back to sleep....

Thursday, July 14, 2016

13/14-07-2016: i mother earth & tea party at edgefest ninety.....bluesfest 2016?

concert footage:
1) jeff martin: https://www.youtube.com/watch?v=fEEpUJAofbY
2) tea party: https://www.youtube.com/watch?v=T7Jtjw6U39Q
3) i mother earth: https://www.youtube.com/watch?v=6FTEh-Xiij0

review:
http://dghjdfsghkrdghdgja.appspot.com/categories/shows/2016/07/14.html

tracks worked on in this vlog:
https://jasonparent.bandcamp.com/album/period-1

so, i'm going to let my ears rest for the day, and do a little bit of editing. there could very well be a few vlogs for early july up.

remember - this is documentation, mostly for historical reasons. i'm a composer. could you imagine vlogs for beethoven? this would be of the ultimate historical value. i actually don't know if we have journal writing. we very well might. but, video evidence is a different level of documentation.

this can double as a kind of advertisement, so it's useful for me to upload it - so long as it's not eating into too much of my time.

the point is just that this wasn't the first time i disappeared for a few weeks, and it won't be the last time. don't take extended periods of inactivity as some kind of sign of disinterest. it's not likely that these vlogs are going to stop any time soon, even if they're paused for weeks at a time.

Wednesday, July 13, 2016

12-07-2016: swans.

show footage:
https://www.youtube.com/watch?v=meMFTR8eAJc

review:
http://dghjdfsghkrdghdgja.appspot.com/categories/shows/2016/07/12.html

tracks worked on in this vlog:
https://jasonparent.bandcamp.com/album/period-1

my ears are a little fatigued; swans are known to play kind of loud, sometimes. ear plugs are such a terrible solution. it's like listening to the show underwater. so, i go ear-commando. always.

i'm still toying with i mother earth on thursday. it's likely, but not certain. i'll need to crunch the numbers and see how they come out.

for the short term, i'm going to give my ears some rest. i had a nap yesterday afternoon, but i'm otherwise running on a 36 hour day. i'm going to get something to eat, get some rest and then spend the overnight doing some filing. we'll see how i feel about the show tomorrow. i wouldn't expect it to be nearly as loud, so if i go i should be back to mixing on friday.

listening to swans tonight

swans were expectedly awesome. but, my brain is confused. it just dealt with two hours of ridiculous noise. it doesn't know whether to be excited or to shut down. i'm consequently kind of floating.

i haven't heard the new disc yet. i'm kind of thinking that what i want to do for the rest of the night is listen to it in the fetal position.

https://swans.bandcamp.com/album/the-glowing-man

Monday, July 11, 2016

10-07-2016: closing inri007 & inri008 & discussing inri009

tracks worked on in this vlog:
https://jasonparent.bandcamp.com/album/confused-2
https://jasonparent.bandcamp.com/track/a-sickening-obsession
https://jasonparent.bandcamp.com/album/hey-god-2
https://jasonparent.bandcamp.com/album/period-1

finalizing hey god (inri008)

audio permanently closed for inri008.

==

my recollection of the initial recording of this track is unfortunately somewhat vague. when we push our memories like i'm trying to, we become more likely to imagine the past in terms that never actually existed. so, how real is this vague memory of wanting to hear some backwards guitars? i fear that it's perilous to try and force my mind to be more specific.

it's at least fully consistent with what i know about the situation. this was initially the second track recorded in my basement studio in the fall of 1996. so, i was still at the point where i was looking to try things in the studio for the first time. as for backwards guitars? i was very interested in both zappa and hendrix (two of my biggest guitar influences) at the time, and that is actually blatantly obvious if you listen to inri000. they both used backwards guitars. there are multiple occasions on inri000 (and afterwards...) where the nods to both of these players are beyond heavy-sleeved. so, my vague memory at the very least makes sense.

how i made the jump from trying to create a backwards guitar solo to turning a song into a palindrome is another question and i don't really have a good answer besides stumbling upon it as i was listening to it. clearly, it is the case that this struck me as a good idea at some point along the way.

when i went to recreate the track in early 1998, i felt the need to recreate the palindrome effect. so, i never saved any version of the track in forward order (without the backwards overdub) or released it in any kind of way. for all these years, there has simply never been a forwards version of the track.

the remastering process over 2015 has finally given me the opportunity to create a forwards version and spin it off as a single for the express reason of documenting the track as it was actually initially written, which was as a fairly straight forward alternative pop song. that's a description that i do believe is very old. yet, i may be imagining the past, too...

the new album mix is a palindrome, as it always has been. the electronics mix is constructed using the same algorithm. the backwards mix is just literally that. combined together, the forwards and backwards mixes create the album version. the 2013 remasters are appended as bonuses.

initially written in 1996. recreated in feb, 1998. a failed rescue was attempted in 2013. reclaimed june 29, 2015. remixed july 15, 2015. compiled on jan 4, 2016. finalized on july 11, 2016. as always, please use headphones.

regarding the subject matter of the deleted vocals/lyrics, please see the following vlog (which is also available on inriℵ0).

credits
j - guitars, effects, bass, drum programming, digital wave editing, loops, vocals, drum kit, tapes, production

released february 11, 1998

there's going to be some links posted to the facebook timeline that are being temporarily renamed in order to get a proper embed. from what i can tell, it seems like bandcamp seems to have a messy backend and redirects are interfering with each other. i don't really care about facebook - i mean, it's a useful presentation tool but it's useless for promotion. so, it's not worth my time to get past the most basic hack i can find. but, that's the explanation, anyways.

Sunday, July 10, 2016

09-07-2016: finalizing inri007 and ranting about some things

tracks worked on in this vlog:
https://jasonparent.bandcamp.com/album/confused-2
https://jasonparent.bandcamp.com/album/period-1

so, confused is completely closed, now.

that was a big one, actually. probably the most important track in this demo sequence.

i think the next batch should be a little quicker, but i'm not sure how much longer i'll be awake for.

finalizing confused (inri007)

audio permanently closed for inri007.

===

so, how exactly does one go about being transgendered, anyways? i mean, like anything else, i guess you have to come to terms with it, first. then, what?

it was the "what next?" part that took me a very long time to grapple with before i was able to come to some kind of course of action. i don't remember exactly how old i was when i realized that i was more like a girl than a boy, but i will state that my thought process was always that i was like a girl, rather than that i was a girl. i have to be blunt: i was a precocious child. i understood the biology of sexual organs at a pretty young age. i knew which organ i had, that it was the same as the one my dad had and that it was different than my mom. i never felt as though i was in the wrong body - that's not how i'd articulate it. i knew i was male. but, all my friends were girls. i preferred to do "girl things". so, i realized at a very, very young age that i was more similar to the girls in my life than to the boys, despite being well aware that i was genetically a boy. it functioned more on the level of social inclusion and conscious choice of gender role than it did on the level of anything biological. am i really that atypical? i don't know. but, i know that i never had any difficulty at all, whatsoever, in separating between sex, gender and gender roles. so, for example: i have very early memories of asking my mom to let me wear lipstick, and of asking to get my ears pierced (3,4 years old) but i don't attach those memories to feelings of gender dysphoria. i didn't see any reason why boys couldn't wear make-up. further, nobody really "corrected" me on it. so, i grew up without any shame or second thoughts attached to being a boy that was more like a girl, and consequently without any particularly strong urges to become a girl. my very early life actually finds it's best explanation in the theories of radical feminism: because the gender binary was never enforced on me, i never felt oppressed by it. i have to argue for a very healthy early upbringing.

what screwed me up and set me back a good ten years was the school system. when i got there at the age of four and a half, i wouldn't talk to the boys. i wanted to skip rope and play hopscotch with the girls. well, all my friends were girls. i didn't know how to play with the boys. what's a marble? i just didn't know. i got stuck with a fossil of a kindergarten teacher that actually flat out banned me from skipping rope. worse, she banned me from reading books. my absolutely docile and clinically rational temperament at that age probably worked against me. but, i had two choices: i could play with the trucks with the boys in the corner or i could go to sleep.

in fact, i slept a lot.

but, gradually, the system socialized me as a male. or, at least it seemed like it did.

my path through elementary school didn't really ease up on the gender segregation until the seventh grade, at which point it was essentially too late. the system had successfully prevented me from socializing with girls, but had never taught me how to socialize with boys. so, i had spent the last twelve years of school in social isolation, usually without any friends at all. i'd lost the opportunity to have all the gendered experiences one associates with childhood - which means i was deeply socially stunted. i was still pretty smart, academically speaking. however, i was operating at the social level of a much younger child because the school system had arrested my social development through segregating me into a gender role that i didn't understand how to fulfill.

by the time i got around to writing this song at the age of 16, i'd just become entirely stoic about the whole thing. i knew i was more like a girl, but what exactly was i going to do about it? i guess i had the perspective, at 16, that life was largely about managing misfortune and you just have to deal with shit, whether you like it or not.

rational? perhaps, from a certain perspective. it gnawed at me, though. the trauma underlying the track was the realization that i was a good part of the way through puberty, without ever having signed up for it. this was by no means unexpected, either, and i didn't ultimately feel that i had any recourse of action in preventing it. but, i felt like i'd been cheated out of something and was being forced into something i didn't remotely want.

as with the rest of the early tracks, the lyrics here are at their core the exploration of a morbid fantasy. i'm taking things too far, i'm taking any excuse i can to keep taking things too far and i'm enjoying watching you squirm when i do it. in one sense, it's a sarcastic allegory on the question of thinking with one's cock, which is a bio-chemical problem that all testosterone producers are forced to come to terms with at some point. in another sense, it's a transgendered teenager carrying out a sort of morbid fantasy and desperately looking for a way to prevent the masculinization of my body.

it took me another five years or so of internal struggle before i could get to the point where i saw hormone therapy as a realistic option, rather than a kind of utopian fantasy that would be perpetually out of reach until i finally expired.

this is the only period 1 piece that was further expanded through the addition of some bass and piano sequencing near the start of the piece. the vocals were also brought back in without redaction. so, this ep starts off with a full reconstruction of the piece that is only available on this single. the ep further comprehensively documents all other released versions of the track.

initially written in 1997. recreated in feb, 1998. a failed rescue was attempted in 2013. reclaimed july 5, 2015. remixed july 12, 2015. electronics added on july 16, 2015. compiled on jan 4, 2016. sequenced on jan 6-8, 2016. finalized on july 10, 2016. as always, please use headphones.

credits:
j - guitars, effects, bass, vocals, synthesizers, drum programming, drum kit, sequencing, sampling, digital wave editing, production

released february 6, 1998

Mastering service

distonart
Hi Jessica

Im a freelance mastering artist from Sweden.

I work online with bands /artists from around the world.

I really like your music!

Do you do mastering yourself or have you considered hiring someone too master your music?

If so I love too work with you!

I charge 30 Euro/ single , 120 Euro / EP 3-5 tracks and 300 Euro/ Album.

If you are looking for someone too master a EP/Album I can do a 30 seconds “demo” master of a track free of charge. Too see if you like my style.

Contact me on info@distonart.com if your interested and we take it from there.

Here is my webpage for some samples of my work:

www.distonart.com

Hope too hear from you and stay creative!

jessica
you know, i have thousands of physical records and i don't think any of them are from sweden. at least, i can't think of a single musician that i like from sweden. jaga jazzist is from norway. gustav holst was english.

i'm curious. how would you feel about mastering something to give it a really 90s and overwhelmingly american GRUNGE sound? i want good range, mind you. the way bands master their material nowadays through limiters and compressors is just horrendous. but that really raw, live sound is absolutely key.

i might be willing to let you pick a track and send it back to me, just out of curiosity, if you think you can get that really dirty, american punk rock sound. no promises that i'l actually use it, though. let me know what track you'd like to play with.

distonart
Hi Jessica and thanks for replying!

It would be awesome to try mastering one of your tracks. I get what you mean by compression since that is kinda the norm nowadays in mastering and music production overall.

I do like raw kind of productions as well and it would be cool to really try too aim for that sound.

Can you give me the link too your bandcamp since I didnt save your page?

Or why dont you send me a track that you would think fit the sound you are aiming for.

Just send me a download link and I can get started. Speaking about limiters, maybe you can give me a reference in terms of loudness of some other production since that affects how much dynamics that should be left in the music. From what you describe I think you want too keep as much of the dynamics in the music as possible, right?

Also I want too check that you are willing to pay for a one track master since I dont do free work, ok with you?

Cheers and again, nice too hear from you / Jonas (Distonart)

compiling a tracklisting for confused

i'm pretty solid on this tracklisting. i've swapped releases with the stub to allow the tracks to stream over facebook, removed the 1998 duplicate, dumped the original tracks to bonus-only and moved the inricycled cut from a secret ending up to a transitional movement of conceptual segregation.

https://jasonparent.bandcamp.com/album/confused-2

Saturday, July 9, 2016

am i finally awake? i'm a little groggy, but i think it's the air. overall, i think i'm feeling refreshed.

it's taken me some careful listening to decide how i want to organize the confused ep. i almost immediately removed the duplicate from 1998, as it was immediately clear that this was pointless. i've noticed repeatedly, now, that the archived 112 kbps mp3 sounds better than the cd-r - probably because it was converted to mp3 one less time. i keep blaming everything on the fact that i'm 17. but i really am 17. in fact, i just turned 17. you can't expect kids to get through life without making mistakes. further, i know that the music is very intricate at points, but this whole technology thing was still a different world. it's not just that i'm 17. it's that i'm 17 in 1998. back then, using a computer was still something that got you taunted for being a nerd. this was before the concept of hipster geekdom - nerds were really just flat out fucking nerds. so, digital media still had this taint to it, by way of being associated with a circuit board. in 1998, i'm still the elite nerd kid that even knew what an mp3 even was in the first place. and, fuck napster, by the way - you get the good stuff through private ftp servers.

the point is just that i didn't really know how badly an mp3 breaks the audio quality. in fact, i thought that the result actually sounded better over mp3. i had seriously convinced myself that an mp3 compression was a crude mastering process. psycho-acoustics, indeed. this excuse will go away soon, but right now it's still very real.

what's left can be partitioned into three sections.

1) the first five tracks, which were all remastered and finished in 2015/2016.
2.1) original mixes from 1997/1998 (this track was written in '97 and recreated with the machine in '98).
2.2) remasters of those mixes from 2013, including the inricycled cut.

the question is whether i want to cut the disc off at section 1, leaving all of section 2 for bonus material, or whether i want to cut section two in half. i've opted for the latter - keeping 2.2 on the disc, and 2.1 off of it.

on the one hand, it may be easy to argue that i don't need any of the vocal parts because i remastered the vocal version for this track. but, it's also true that the 1998 vocal mix is very different than any of the first five tracks, and the 1997 mix is practically a different song. i did not find that also holding on to the original mixes was worthwhile, but i do think that they should be accounted for.

i want to separate them out a little bit, though. just a gap in the audio, making the last two tracks seem like they're hidden in plain sight. so, what i'm going to do is drop the inricycled mix in to track 6, and then leave an audio gap in between. the original versions will then be bonus mixes, in addition to that.

i am pretty much certain on that track listing, but i will need to listen to the material before i finalize it.

08-07-2016: burning out repeatedly at the end of the head clear (some inri007 listening)

tracks worked on in this vlog:
https://jasonparent.bandcamp.com/album/confused-2
https://jasonparent.bandcamp.com/album/period-1

well, i'm awake for now...

i'm going back to a concept of time that is more familiar to me, which is to order time around the completion of a task. the last year or so has just been so chaotic....i reject the concept of scheduling with the strongest amount of disdain possible, but a more flexible concept of organizing time and prioritizing outcomes is really essential. of course, i haven't exactly lacked this over the last year - i was consistently meandering in one direction or another, half-blind and often inebriated. what i lacked was the order that comes from organizing yourself around small victories. before i shifted to reconstructing the aleph-disc, and closing all of the discs one-by-one, the last new project that i started was really back in january. life over the last few months of 2015 was likewise related to ending a project i had started in june of that year - and was bogged down by what was eventually isolated as interference from an environmental magnetic field.

i should also point out that i went through a stressful process of disability renewal over 2015. in august, i was finally given five years. that was after almost two years of medical review. i found myself living as though i had nothing to lose, due to the increasing certainty that i was going to run out of time. getting the extension was a complicated thing, emotionally, and i think the results demonstrate that. i lost a source of stress, which is good, but i also lost the sense of urgency attached to it. that in itself was a kind of trauma. quitting smoking was both a function of that and a factor in how things developed. however you want to analyze the situation, it appears that i'm in the process of reasserting a more ordered existence for myself.

as mentioned, my concept of order is probably still insane for most. i do not want a daily schedule. i do not want a weekly schedule, either. but, a more familiar way for me to live is to segment time in such a way that isolates ideas and events within it.

i think you get a little bit of a taste of this in the way i've broken the vlogs into episodes. as of right now, these are imprecise. but, normally, my life would actually decompose pretty efficiently into sets defined by different purposes.

my immediate task is to get my energy back up, and while i may have short days for the weekend i think i'm actually most of the way there. while i am catching on sleep, i will be completing up until the end of my first record. right now, that is up until inri013. i cannot commit to numbers.

when that is done, i will need to stop and clean. this will include a compost run and full run through the living space. this is also when i will start the vlog catch-up.

i will then need to begin on the next project, which is completing the string of singles for the second record (currently thought to be inri018) and the resequencing the second record, itself.

so, that's three upcoming segments of time. it's unclear where they begin or end. they don't have lunch hours or smoke breaks. they may be measured in days or weeks, but hopefully not months. yet, as loose as they are, they are an ordering of time - and that is required, in some abstraction, or no work will ever get done.

i don't know what i'll want to do directly after i finish the second record (and offshoots of it). i suppose that the next chunk of time will be about finishing period 1.3. and then period 2. but, real life things will no doubt assert themselves in between. what i do know is that it is likely that this stronger ordering of time will reassert itself, until some further crisis (temporarily) collapses the concept of order back into irrelevance.

inri007-inri014 are actually basically done. i'm sober this weekend. so, this will be comparably fast. i'll be republishing mar-july, 1998 tonight and then working to make sense of it over the next week or so.

Friday, July 8, 2016

listening to confused (inri007) for the night.

this is the only track from this pile that got expanded as i was remixing it. it now includes some sequenced bass and piano parts at the start. it's pretty snazzy. the single for this track was also meant to preserve the vocals, so i don't expect to pare the ep down. i may remove the duplicate 1998 file, as i did with skaters. otherwise, this single is another narration and needs to be comprehensive, so paring it down or splitting it off wouldn't make much sense.

i'll be listening to this (inri007) and inri006 (useless) for the night.

https://jasonparent.bandcamp.com/album/confused
i ended up burning out three times in a row at the end of the head clear. it's what happens when you go for more when you haven't truly slept it off yet - you just fall back asleep again. i was stuck in that ambiguous area where it just wasn't clear if i should get up or fall asleep, but i wanted to push myself to carry out the the binge. i'm still not sure if i should get up or not, but i'm hungry enough that i'm going to try.

i'm not going to push myself, now. it's gone. i'm going to catch up on my sleep. that's the whole point.

now, i must eat. but i may sleep most of the weekend, to catch-up.

the last week seems productive in contrast to the several previously, but the truth is that i could have worked more quickly if i was less baked. that's ok. the point of the last week was not efficiency, but establishment of clarity. once i wake up, i'll be more productive than i would have been otherwise.

07-07-2016: closing inri006 & beginning to understand the clinton email case a little bit better

tracks worked on in this vlog:
https://jasonparent.bandcamp.com/album/skaters
https://jasonparent.bandcamp.com/album/useless
https://jasonparent.bandcamp.com/album/period-1

Thursday, July 7, 2016

finalizing useless (inri006)

audio permanently closed for inri006.

==

the christmas of 1997 was a good one. in addition to getting a four-track recorder to multitrack with, i also ended up with a jx-8p for my birthday, which is in early january. now that i could use the computer a little bit, i decided that i was finally ready to do some serious recording.

i had committed myself to reapproaching the first demo tapes and rerecording certain tracks to reflect the uplift that they got from the drum machine; that is, i had already dramatically rewritten most of the tracks around the drum machine, so i felt i should rerecord them. now, i was going to need to uplift some of those tracks a second time with synthesizer parts. i knew which tracks i wanted to approach and how, but i wanted to ease myself in a little. so, i picked a new track as my first synthesizer experiment.

that is a large part of what this track is. i had the lyrics pre-written, actually, and knew that i wanted a spooky kind of atmosphere to the track. so, i was approaching the synth with the question of how to manipulate it into sounding "haunted". that may seem trivial, but please realize that i had never seen an actual synthesizer before - i'd just always used the presets on my sister's electronic piano. it was a small victory to get the patch by increasing the sustain on the preset, but it was a hard-fought battle.

after i got the track mixed down through the 4-track and mastered into the pc by sending the signal into the back of the soundblaster, some listening had me wishing that i had slowed the tape down a little. the track is a kind of a child's understanding of the existential, which i just felt would be more aesthetically in balance if i slowed the tape down and made it seem a bit more mournful. so, i wanted to go back and remaster it with the speed set a little slower.

i decided i should test it by slowing the track down digitally, first. what i was trying to do was get an estimate to use to remaster it at a different speed. i took a guess on half-speed to try and was going to incrementally reduce the reduction through trial and error until i got to a good point. then, i could set the tape speed by ear. i did not go through that process; i stopped at half-speed. for several weeks in 1998, the half-speed version was the final product for the track. i believe i even uploaded it to mp3.com slowed down this way.

i just instantly stopped at half-speed because, while the effect was more exaggerated than intended, that exaggeration was to greater effect than i imagined. i wasn't expecting the guitars to get that grungy, or the vocals to get that deep. when i heard it, though, i knew that this was the track.

in the end, i reverted back to the normal speed version, but this was done with much internal division. the reason that this is the last track on the demo is because i was holding out for space for the lengthier version. it was only due to a combination of space requirements and pull for conformity of sound through the demo that had me relent at the very end.

in hindsight, i do think that the short version fits better on the flow of the cd, and it will remain there - minus the vocals. yet, i also think that this slowed down version deserves it's own document. i've slowed down two other versions of the track, as well, to drag out the fun. the album version closes this collection.

originally created in 1998. a failed rescue was attempted in 2013. reconstructed in the summer of 2015 and then manipulated further in the summer of 2016. released & finalized on july 7, 2016. as always, please use headphones.

this release is compiled on inriℵ0.
jasonparent.bandcamp.com/merch/inri-box-set

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 (1997, 2013, 2016).

credits:
j - guitars, effects, bass, synths, drum programming, vocals, digital wave manipulation, production

released january 22, 1998

publishing useless (inri006)

inri006.

this is totally self-indulgent, but so long as i'm generating releases with wanton disregard, i figured i'd might as well.

when i mixed this track in 1998, i was drawn to the idea of slowing it down. i reversed that decision for the sake of the flow of the record, which turned out to be very synth-pop. but, i always wanted to release the track tuned down like this.

i've had this slow version sitting on my hard drive, waiting for a use, since 1998. in mono. i've listened to it over this period. it's truly the better embodiment of the piece. the absurdity is more powerful.

i've put together an ep consisting of three valium mixes and the instrumental mix that will end up on the record. remember: this is how i always wanted to release this track.

===

the christmas of 1997 was a good one. in addition to getting a four-track recorder to multitrack with, i also ended up with a jx-8p for my birthday, which is in early january. now that i could use the computer a little bit, i decided that i was finally ready to do some serious recording.

i had committed myself to reapproaching the first demo tapes and rerecording certain tracks to reflect the uplift that they got from the drum machine; that is, i had already dramatically rewritten most of the tracks around the drum machine, so i felt i should rerecord them. now, i was going to need to uplift some of those tracks a second time with synthesizer parts. i knew which tracks i wanted to approach and how, but i wanted to ease myself in a little. so, i picked a new track as my first synthesizer experiment.

that is a large part of what this track is. i had the lyrics pre-written, actually, and knew that i wanted a spooky kind of atmosphere to the track. so, i was approaching the synth with the question of how to manipulate it into sounding "haunted". that may seem trivial, but please realize that i had never seen an actual synthesizer before - i'd just always used the presets on my sister's electronic piano. it was a small victory to get the patch by increasing the sustain on the preset, but it was a hard-fought battle.

after i got the track mixed down through the 4-track and mastered into the pc by sending the signal into the back of the soundblaster, some listening had me wishing that i had slowed the tape down a little. the track is a kind of a child's understanding of the existential, which i just felt would be more aesthetically in balance if i slowed the tape down and made it seem a bit more mournful. so, i wanted to go back and remaster it with the speed set a little slower.

i decided i should test it by slowing the track down digitally, first. what i was trying to do was get an estimate to use to remaster it at a different speed. i took a guess on half-speed to try and was going to incrementally reduce the reduction through trial and error until i got to a good point. then, i could set the tape speed by ear. i did not go through that process; i stopped at half-speed. for several weeks in 1998, the half-speed version was the final product for the track. i believe i even uploaded it to mp3.com slowed down this way.

i just instantly stopped at half-speed because, while the effect was more exaggerated than intended, that exaggeration was to greater effect than i imagined. i wasn't expecting the guitars to get that grungy, or the vocals to get that deep. when i heard it, though, i knew that this was the track.

in the end, i reverted back to the normal speed version, but this was done with much internal division. the reason that this is the last track on the demo is because i was holding out for space for the lengthier version. it was only due to a combination of space requirements and pull for conformity of sound through the demo that had me relent at the very end.

in hindsight, i do think that the short version fits better on the flow of the cd, and it will remain there - minus the vocals. yet, i also think that this slowed down version deserves it's own document. i've slowed down two other versions of the track, as well, to drag out the fun. the album version closes this collection.

originally created in 1998. a failed rescue was attempted in 2013. reconstructed in the summer of 2015 and then manipulated further in the summer of 2016. released on july 7, 2016. as always, please use headphones.

this release is compiled on inriℵ0.
jasonparent.bandcamp.com/merch/inri-box-set

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 (1997, 2013, 2016).

credits
j - guitars, effects, bass, synths, drum programming, vocals, digital wave manipulation, production

released january 22, 1998

https://jasonparent.bandcamp.com/album/useless


1) this is the original version slowed down to half speed. created on jan 21, 1998. converted to stereo on sept 24, 2014.
https://jasonparent.bandcamp.com/track/useless-valium-2


2) originally created in 1998. a failed rescue was attempted in 2013. slowed down and run through a click reducer on july 7, 2016.
https://jasonparent.bandcamp.com/track/useless-valium-from-2013-remaster


3) recorded in jan, 1998. reclaimed june 29, 2015. remixed july 2, 2015. slowed down july 7, 2016.
https://jasonparent.bandcamp.com/track/use-value-is-somewhat-difficult-to-define-in-the-human-propensity-towards-artistic-expression-slowed-down


4) recorded in jan, 1998. reclaimed june 29, 2015. remixed july 2, 2015.
https://jasonparent.bandcamp.com/track/use-value-is-somewhat-difficult-to-define-in-the-human-propensity-towards-artistic-expression-2


5) kind of a new wave / synth pop track. this is the first track with my new synth on it. that's a large part of what the track is. recorded in jan, 1998. sped-up on july 7, 2016.
https://jasonparent.bandcamp.com/track/useless-valium-sped-up-2

6) deleted 2013 remaster of 1998 demo cd. originally created in 1998. a failed rescue was attempted in 2013.
https://jasonparent.bandcamp.com/track/useless-2013-remaster-2
should i create a two-track single for useless - the instrumental mix and the valium mix? do i want the lyrical version available for download-only? do i want it to be a purely digital release? if so, then why have bonus tracks? then, do i want to have that available for streaming? so, should i have a physical release after all? hrmmn. contemplations on useless.

finalizing skaters (inri005)

audio permanently closed for inri005.

i've presented this track in chronological ordering because i wanted to tell the story of the track itself. looking through my releases, it may be difficult to tell what is an ep from what is a single, and what is an ep from what is a record. this is an ep, and not a single. it's an ep because it's a conceptual ordering of the tracks, rather than just an exploration of a single incarnation of a specific track.

i don't deny that the lyrics are painful. and, wasn't i supposed to be getting rid of painful vocals? well, perhaps. but, note that no vocal takes of this track make it on to any of the abum-format presentations of it, excepting inricycled. the vocals are tied into the concept of the ep, which is a narration of the song as it developed.

so, chronological ordering is the only rational way to present the tracks. further, a comprehensive exploration of the track's development actually becomes necessary, in order to narrate it's entire development.

i'm not going to take this approach to every single. i just think that this track had to be preserved in this kind of way.

===

this is maybe a little hard to understand, if you weren't a teenager in a very specific period - about '91-'99, the 90s i guess, when the nu metal shift "corrected" things and tough guys went backing to being metalheads.

that period overlaps with a period when punk fashion moved from subculture to dominant culture. as with any other failed social revolution, the period is more defined by certain subculture traits being co-opted than it was by any meaningful change in social attitudes, even if it did correspond with a move towards liberalizing social attitudes in the older members of gen x.

i remember playing this for my aunt, who was a teenager in the 80s, and she was just confused by it. in her day, the skaters were the skinny punk kids that got picked on by the meathead jock metal heads. as mentioned, i think people that were teenagers in the 00s may more readily associate with this as well.

but the 90s were weird in this sense. skater culture in the 90s was defined by a sort of thuggish machismo gang mentality that overlapped more into gangster rap than punk rock. what you had where i grew up was a lot of upper middle class white kids skating because it was advertised to them as the "cool thing to do" and in the process co-opting this sort of survivalist 'hood mentality into a tool of oppression that they used to bully and intimidate the kids that, a decade before, would have identified as skateboarders. those kids may have maintained an interest in punk rock, but weren't generally accepted into the skater clique - which was essentially the "in group".

the culmination may seem a little surreal nowadays, if for no other reason than that it's been forgotten. but i remember sneaking through back alleys, evading skateboarding gangs made up of kids into slayer, while i had socal punk music blasting through my headphones. and i'm sure you'll get similar stories if you ask around - or maybe you were also that kid.

on one hand, this track was constructed to be sort of precious, and i think that it is. it's a pretty catchy pop song, really. on the other hand, i think i was trying to be a bit tougher than i actually was. i wasn't one to back down from confrontation - i'm still not. while i think it's true that i could have taken most of these brats one-on-one, i probably would have mostly chosen not to. see, the fear was always more that they'd convert the boards into weapons and then jump you. in canada, guns aren't much of a concern, but knives are.

...and the fear often came out of trivial reasons. talking with somebody's girlfriend. having a pair of headphones or a pair of shoes that might be worth something. basic thug shit.

in hindsight, the analysis here is a little simplistic. suggesting that these kids are going to grow up into pimps is problematic on numerous levels, although i can state with blunt honesty that a number of the people the song was about have grown up to be petty criminals with lengthy criminal records. i have to own that lack of depth and how it comes out in sometimes less than ideal statements, but i'm going to once again blame that on my age.

overall, i like this track on both a musical and thematic level. i just wish i had articulated myself a little bit better.

--

there was a specific story that influenced the track. when i was in the ninth grade, one of these skater bro types took it upon himself to start body-checking me into lockers. it was well understood that this person was older, but that just gave him more clout in the school's skater clique; he knew the older kids that they looked up to. i was never certain if he was on his second or third try at grade 9.

this wasn't the first time somebody had tried to get physical with me, but it was an escalation that i couldn't really tolerate. people flicking my ears was an annoyance, and especially so when it was a game, but it's the kind of thing one withstands. these were full on, run-at-me body checks that seemed to be designed with intent to harm.

i actually tried a few different tactics before i reacted. i tried sitting behind in class until he left, but it was visibly starting to make the female teacher uncomfortable that i was just sitting around waiting after class - and perhaps not unreasonably so. as for bringing it up with the teacher? well, this guy went out of his way to look for a teacher watching before he took a run. i couldn't be followed around by a teacher all day. i had to react on my own.

so, i tricked him into running at my open leg, which had him fall face first into the locker. he did not see the retribution in the act; he got up looking for a fight. as i was walking toward the exit, which was a staircase downwards, he took another run at me - which i dodged. that was an adrenaline filled movement, i tell you - he was full of stupid, hot rage and sidestepped like an angry bull. but, i still had to time it. there was no escape. he ended up falling down several flights of stairs and breaking his leg. consider what would have happened if i hadn't moved - even considering that i may have helped him lose his balance, a little.

from that point onwards, i lived in fear of being swarmed. rumours were floating around that i'd better stay away from certain people - which was a broadcast to me to stay low. i got the message, and spent the next several years sneaking around back passageways in and out of the school. i learned where the cuts in the fences were, how to detour across floor levels to follow the crowd, how to time the bus (we had public transit passes - and that fact alone probably spared me broken bones) to come in to class during the national anthem and other various scheduling and transiting tactics to avoid being alone at critical junctures. and, then i started to enjoy living that way, too.

i don't think that student came back the next year, so i'm not sure if he ever finished grade 9. but, part of the reason i'm telling you this story is that it helps paint a clearer demographic picture of the narrative that i'm presenting. if you remove the "skater" designation, this could be a story about gangs in schools that could be applied equally well across any other grouping. it just happened to be that the gangs at my school were populated by white skater kids, some from the welfare projects and others comfortably middle class. that might help to explain what some might see as a difficult reference point.

initially written in 1997. recreated in jan, 1998. a failed rescue was attempted in 2013. reclaimed july 1, 2015. deconstructed dec 18, 2015. compiled on jan 4, 2016. finalized on july 6, 2016. as always, please use headphones.

this release is compiled on inriℵ0:
jasonparent.bandcamp.com/merch/inri-box-set

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 (1997, 1998, 2013, 2016).

credits:
j - guitars, effects, bass, drum programming, drum kit, sequencing, vocal noises, vocals, samples, production

released january 12, 1998

Tuesday, July 5, 2016

looking forward to skaters (inri005)

this is the next ep release, and what i'll be considering before i close it is whether or not it needs to have all of these tracks, or if they might be better left as download only. for this ep, i think i will likely stick with the full treatment, but we'll see.

https://jasonparent.bandcamp.com/album/skaters

finalizing fuck the dead (inri004)

audio permanently closed for inri004.

i've created a new single release on my final administrative run through the material, and i want to defend the decision to do so. when i was creating the singles in january, this track didn't have any alternate cuts from the new session - i just had the remaster and a bunch of failed versions. there was no drum machine remix and no original demo. so, it wasn't fit for single treatment.

but, material for this track generated as i explored the different ways to present the record. i recreated the middle section for the record. then, i brought in limited vocals for the on sexual confusion in adolescence mini-epic. so, now i do have a couple of alternate versions, and it does make sense to release a single.

i should stress that the single is the vocal cut, which does not make it's way on to any of the album-type configurations.

===

"wait - do you, like, fuck the dead, or something?"

i wasn't the target; i was merely an observer. but, i kind of lived it, too. so, i had to suggest a proper response.

see, i think the absurdity of the response follows from the absurdity of the question, and the proper way to react is to acknowledge the absurdity of the exchange by playing along. my proposal would be to take the topic to it's most absurd logical conclusion by engaging in a logical defense of the absurd accusation, and then annoying that person by bringing it up all of the time. if i saw him walking in the halls, i'd run up to him and loudly tell him that i've got a great argument for necrophilia if he wants to hear it....

now, i wasn't the person being taunted. so, i never got to act on those impulses. nor was the person that was being taunted nearly as indifferent to social conventions as i was. so, my suggestions were never interpreted seriously - despite their sincerity. i think i should acknowledge that i didn't properly understand what this person wanted. see, if it were me, my goal would be to have this person never ever look at me ever again. i would react by providing a set of disincentives to bother me. the more infamous, the more effective. but, i just wanted for them to leave me the fuck alone. this person wanted some kind of "acceptance", so those kinds of belligerent actions were counter-productive in seeking a final resolution.

so, the song is imagining how i would react if i were to be taunted in such a way.

i've created a new single release on my final administrative run through the material, and i want to defend the decision to do so. when i was creating the singles in january, this track didn't have any alternate cuts from the new session - i just had the remaster and a bunch of failed versions. there was no drum machine remix and no original demo. so, it wasn't fit for single treatment.

but, material for this track generated as i explored the different ways to present the record. i recreated the middle section for the record. then, i brought in limited vocals for the on sexual confusion in adolescence mini-epic. so, now i do have a couple of alternate versions, and it does make sense to release a single.

this is not the very first track that i recorded with my new four-track in 1998, but it's the first cut that made the record. something that got lost in the multiple transfers of the file was that the track was built up around a lot of guitar effects and was meant to have a swirling, shoegaze-y kind of feel. i then cut that recording up and inserted a short collage of computer generated sound, followed by a short jam of me playing guitar over a sample of the spiderman theme song - the original one, from 1967. the recorded track then clicks in and concludes itself in some more layered guitar harmonies. i draw attention to this because it is the juxtaposition of folk-y guitars with oppressive, synthesized percussion that forms the basis of interest in this, musically. it's structurally a blues guitar piece, it's just been ported substantially through technology.

originally created in late 1997 and early 1998. a failed rescue was attempted in 2013. finally reconstructed in the summer of 2015 and extrapolated upon over the first half of 2016. released on july 4, 2016. finalized on july 5, 2016. as always, please use headphones.

the album version of this track appears on my first record, inri (inri015): 
jasonparent.bandcamp.com/album/inri-3

this release also includes a printable jewel case insert and will also eventually include a comprehensive package of journal entries from all phases of production (1998, 2013, 2015, 2016).


credits:
j - guitars, effects, bass, drum programming, vocals, samples, digital wave manipulation, cool edit synthesis, production

released january 9, 1998

finalizing inrisampled (inri003)

that was a nice clean listen. but as far as i can tell, it's just luck. i'm going to let things stabilize in here further before i start bringing in any more gear, as i don't fully understand the fluctuations, yet. i hope my luck lasts indefinitely, but then it wouldn't be luck - something would have changed. i saw the crews coming to put in led lights on the street, and i'd think that should turn the volume down a little, anyways. but, i'm not jumping to conclusions. right now, it's just luck.

i'm going to close inri003.

this is a collection of sound experiments from 1997 that i split off into a self-contained ep in the fall of 2013. the initial idea was for it to comprehensively fill the time gap over the fall of 1997, which meant including some of the drum machine tracks that i was programming at the time, but i quickly split that idea off into a different project, leaving a kind of skeleton of sound art experiments. i then found myself listening to a playlist of those tracks on repeat, as i was trying to figure out how to organize them. the most obvious choice became apparent.

there is actually a thematic continuity across these tracks, as they were all constructed entirely out of samples of existing sound that were layered over top of each other after being looped, time-manipulated, distorted and whatever else. so, the projects split cleanly. as a self-contained unit of sound, this is certainly about as weird a piece of music that you could imagine, which just made it that much more appealing to listen to. as the tracks are all short, they come off more as sections of a longer piece when run directly into each other, despite being nowhere related.

so, the main purpose of this release remains autobiographical, but i'll stand by it as a compelling piece of music, nonetheless.

==

i spent the summer and fall of 1997 programming drum tracks into an ry30, notating them into a tablature program and sequencing them using noteworthy composer. i did not know how i was going to record these tracks. i think i was expecting to use the computer, but that was probably naive; instead, i was gifted a 4-track recording machine. i then spent the next year and a half rearranging and rerecording the songs i programmed over that period. as these tracks were recorded into my pc, they are time stamped...so i have a much clearer understanding of when they were finished.

the jump to incorporating computers into the recording process is something i always wanted to do, it's just that it wasn't really previously feasible. first, there was a learning curve. i was a smart kid, though; the learning curve was just a time concern. the larger problem was simply access to a pc. i did have a pc at my disposal, but it did not have a modem and it was only equipped to run windows 3.1, which basically meant i could run civ 2 and wolfenstein and little else. the windows 95 computer had dial up but it was in a central location for family use.

when we moved across the city, my dad bought a new computer and i happily inherited his old one. this gave me internet access, which allowed me to download some freeware. it also gave me the time i needed to learn how to do certain things.

i'm separating out a handful of my first electronic sound experiments and collecting them together into an ep. what these blasts of noise have in common is that they were constructed on a windows 95 computer out of samples or generated sound and with very primitive software while i was waiting to get some kind of recording equipment. most of it was pasted together meticulously using the windows 95 sound recorder; the rest of it was constructed in cool edit, which i used as a sort of a synthesizer.

for the most part, these weren't really ever meant to be songs. i ended up using them as connectors, introductions, background. "continuity". yet, i find the idea of throwing them together here to be interesting from an autobiographical perspective.

created in mid 1997. sequenced and converted to stereo in november, 2013. released on nov 9, 2013. corrected in september, 2014. finalized on july 5, 2016. 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 (1997, 2013, 2016).

credits:
j - cool edit (wave synthesis, digital wave editing), windows 95 sound recorder (sampling, digital wave editing), yamaha ry30 drum machine (programming) 

released december 1, 1997

Monday, July 4, 2016

i got a little ahead of myself near the end of yesterday...

as it is, i still have to close inri003 first. i have added a new inri004, the single to fuck the dead. if i can close that and move on to inri005 - skaters - by the end of the night, then i'll be making progress.