did you know that humans have the dna to understand magnetism, and therefore electricity, as a sixth sense?

i was just thinking about epi-genetics when i was going for a walk outside, and it is cold right now here, as i saw a series of cats cross my path - one very black, and the other very white.

i started to wonder if cats had the genetic ability to change their fur colour. i've never seen a cat actually do this. but, the white cat seemed strangely adapted to the snow, while the black cat seemed equally adapted for the night. i suppose the traditional explanation is that cats are born with variations in fur colour, and that the ones best suited to the environment survive. but, i'm not sure the laboratory conditions provide that as a clear explanation, as this population of cats is only semi-feral, and the snow here is actually unusual.

well, maybe the darwinian explanation isn't so lacking if you explore it carefully - you just have to accept a lot of coincidences, but then you need to have good luck to get the right mutations in the first place, right? let's explore other possibilities, without pursuing the need to debunk anything.

so, what if house cats can actually change their fur colour? the ability to change fur colour, often in winter, is a common adaptation of species descended from the common ancestor of the carnivore clade, and some species with older common ancestors, like rabbits, seem to have these genes, as well. they appear to be very old mammal genes. cats probably have them, cleverly inactivated around humans.

i started to wonder if humans may have even selected specimens of house cats that didn't utilize this adaptation, as it would be alarming to watch the cat transform - perhaps into an evil spirit. and, perhaps that evil spirit was somewhat real - perhaps the change in fur colour came with hormonal changes that made the animal more aggressive. perhaps. perhaps.

but, then, if something like that happened, your cat may have a special power that it isn't using, so as not to alarm you. we identify cats by their colours. they need to project a static representation of themselves to remain identifiable. they don't want to be changing their fur colours.

a semi-feral cat lost outside in a snow storm has a very different set of priorities, and one has to wonder whether the stress is enough to flip the switch.

it led me to thinking about humans, and this sixth sense that we have. we have this sixth sense because our ancestors had it - not our recent ones this geologic epoch, but our distant ancestors, before life moved out of the oceans. our ancestors could intuitively measure magnetic fields - think about that. and, why don't we have this ability any more? because it's an ocean adaptation. the utility of sensing magnetic fields through a liquid medium didn't transfer over to a gaseous one, the sense fell into disuse and, in the end, the more successful individuals were probably coincidentally born deficient of it. if you can imagine an existence so dark that eyes are so useless that the blind outcompete those that can see....

but, that truth might be eroding. our atmosphere is now full of magnetic fields, of our creation. how many humans have been born with this sense, and studied as mystical, or perhaps laughed at as delusional? it should happen from time to time as an error, or a mutation, whatever word you want to use. these people should actually exist. but, then, how many of us could flip it on, if we only knew which collection of hormones to concoct?

i don't know what we would realistically be able to do in reading a cell phone signal or transmitting wireless data. it may very well end up as a terrible way to interpret reality, full of indecipherable amounts of noise at strengths that produce pain. but, perhaps we can order the data quite well, and abstract it relatively easily. this is really an experimental question.

it's a different way to think about evolution, this realization that we have the history of billions of years of adaptations existing in our genetic codes, potentially ready to utilize under the magic chemical password. and it's a bit humbling to realize the power and the complexity of the genome.

purchasing this release does not come with a download.

inri000: originally released dec 25, 1996. remastered oct 30, 2013. finalized june 26, 2016.

inri001: originally released jun 1, 1997. remastered nov 8, 2013. finalized july 3, 2016.

inri002: originally written and recorded over 1996-1997. sequenced and mildly modified in dec, 2013. released dec 11, 2013. finalized on july 3, 2016. lp000.

inri003: 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.

inri004: originally written in 1997 and first created in 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.

inri005: initially written in 1997. recreated in jan, 1998. a failed rescue was attempted in 2013. reclaimed july 1, 2015. deconstructed dec 18, 2015. released on jan 4, 2016. finalized on july 6, 2016. lead track added and refinalized july 20, 2016.

inri006: 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.

inri007: 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. released on jan 4, 2016. sequenced on jan 6-8, 2016. finalized on july 10, 2016. hidden track added and refinalized on july 21, 2016.

inri008: initially written in 1996. recreated in feb, 1998. a failed rescue was attempted in 2013. reclaimed june 29, 2015. remixed july 15, 2015. released on jan 4, 2016. finalized on july 11, 2016. bonus tracks added and re-finalized on july 18, 2016.

inri009: initially written in 1994. first full recording in 1996. recreated in mar, 1998. a failed rescue was attempted in 2013. reclaimed & remixed on july 18, 2015. released jan 7, 2016. sequenced jan 6-8, 2016. finalized on july 20, 2016.

inri010: initially written in 1996. recreated in april, 1998. a failed rescue was attempted in 2013. reclaimed july 12, 2015. vocals added july 15, 2015. sequenced, released and finalized on july 22, 2016.

inri011: originally created in april, 1998. a failed rescue was attempted in 2013. reclaimed july 4, 2015. remixed july 15, 2015. vocals added jan 6, 2016. released on jan 6, 2016. finalized on july 23, 2016.

inri012: initially written in 1996. recreated in the spring of 1998. a failed rescue was attempted in 2013. reclaimed june 29, 2015. corrected to control for malfunctioning electronics on nov 26, 2015. sequenced on jan 10, 2016. released & finalized on july 24, 2016.

inri013: written and demoed from 1994-1998. initially constructed in this form in june, 1998. a failed rescue was attempted in 2013. sequenced on jan 6-7, 2016 from parts that were rebuilt over 2013-2016. released jan 7, 2016. finalized on july 29, 2016. symph001.

inri014: initially written in 1996. recreated mostly in feb, 1998 (schizoid, terrorists) but also partly in june, 1998 (abusive). sequenced in this form in june, 1998. a failed rescue was attempted in 2013. "terrorists" was reclaimed june 28-29, 2015 & remixed july 15, 2015. the main mix was corrected on nov 19, 2015. "schizoid" was reclaimed on july 12, 2015 & reprogrammed on dec 31, 2015. the main mix was corrected on jan 3, 2016 and remixed repeatedly jan 3-5, 2016. the lead track was sequenced on jan 5, 2016 and split back apart on jan 8, 2016. released on jan 5, 2016. audio permanently closed on aug 1, 2016. release finalized on oct 9, 2016.

inri015: written and demoed in multiple stages from 1994-1998. initially constructed in this form in june, 1998. a failed rescue was attempted in 2013. reconstructed and resequenced jan 6-10, 2016 from parts that were rebuilt over 2013-2016. re-released jan 10, 2016. audio permanently closed on aug 10, 2016. finalized on oct 10, 2016. lp001.

inri016: created in the summer of 1998. released as a standalone ep on nov 16, 2013. audio permanently closed on oct 12, 2016. release finalized on oct 27, 2016.

inri017: initially written over the course of 1997. recreated and expanded over the course of 1998. lead track first sequenced in this form in feb, 1999. further remixes generated over the course of 1999. a failed rescue was attempted in 2013, and another in late 2015. remastered in november, 2016 from various sources, 1997-2015. finalized & released on nov 17, 2016.

inri018: initially written in 1997. recreated and reconceptualized in late 1998. salvaged somewhat at the end of 1999. remastered in 2013. compiled & released on nov 13, 2016. finalized on nov 19, 2016. final album version added as a bonus track and refinalized on dec 15, 2016.

inri019: written and demoed from 1996-1999. initially constructed in this form in january, 1999. a failed rescue was attempted in 2013. compiled on nov 13, 2016. sequenced on nov 22-24, 2016 from parts that were rebuilt over 2013-2016. released on nov 24, 2016. release finalized on nov 27, 2016. symph002..

inri020: initially written in 1993. first full recording in 1996. recreated in dec, 1997 and again in jan, 1999. a failed rescue was attempted in 2013. reclaimed on july 2, 2015. remixed on july 15, 2015. reconceptualized & remixed repeatedly over november & december, 2016. released & finalized on dec 13, 2016.

inri021: written and demoed in multiple stages from 1993-1999. initially constructed in this form in feb, 1999. a failed rescue was attempted in 2013. reconstructed and resequenced over november and december, 2016 from parts that were rebuilt over 2013-2016. finalized & re-released on dec 15, 2016. lp002.

inri022: recorded over 1998. compiled and remastered in late 2013. released dec 27, 2013. corrected to normalize for stereo in september, 2014. expanded incrementally between dec, 2014 and dec, 2016. merged with inricycled b and then finalized and re-released on december 16, 2016.

inri023: constructed over 1998. compiled and remastered in late 2013. released dec 27, 2013. the first two tracks were corrected to stereo in sept, 2014. the last two tracks were added for re-release as a remix lp in dec, 2016. re-released & finalized as lp003 on dec 17, 2016.

inri024: initially written and recorded between 1996-1999 and remixed over the summer of 2015, with a lengthy pause due to malfunctioning electronics. final compilation date is jan 3, 2016. finalized dec 17, 2016. lp004.

inri025: this idea was developed in parallel to the inriclaimed project over the summer of 2015 and first compiled on nov 27, 2016. released & finalized on dec 17, 2016. lp005.

inri026: initially written in the fall of 1997. recorded in the winter of 1999. remixed in late 2013 and again in early 2014. this track was separated from my second record in january, 2016 but the single was not completed until it was remixed one last time in sept, 2017. released & finalized on sept 10, 2017.

inri027: streamed to disk in one take on the afternoon of march 9, 1999. ripped back to wav format from cd-r in late 2013. released as a one track single on nov 21, 2013. release finalized on sept 12, 2017.

inri028: constructed over a few days in april, 1999. ripped back to wav format from cd-r in late 2013. released as a one track single on nov 21, 2013. release finalized on sept 12, 2017.

inri029: recorded over 1997-1999. constructed in this form in june, 1999. published on november 30, 2013. re-released (with new hidden track) and finalized as symph003 on sept 13, 2017.

inri030: initially created in sept, 1997. remixed and reimagined repeatedly over 1998 and 1999. a failed rescue was attempted in 2013. partially reclaimed dec 8, 2014. rebuilt and resequenced on jan 9, 2016 out of material that had been remastered over 2013-2016. reimagined again on oct 26, 2016 out of material that was created in jan, 2016, but not released (and finalized) until sept 13, 2017, in order to properly fit into sequence.

inri031: recorded over the spring and summer of 1999. originally released on inrimake in october, 1999 (with an accidental phase reverse). the first section was modified further at the end of 1999. minimally altered and split into it's own ep on january 3rd, 2014. spliced further, appended to and remastered over sept, 2017. re-released and finalized on sept 28, 2017.

inri032: recorded sporadically, and without cohesive intent, over '98 and '99. originally compiled in the fall of '99. augmented and minimally altered in january, 2014. released on jan 3, 2014. finalized as lp006 on sept 21, 2017. as always, please use headphones - but note that they are especially mandatory for this recording.

inri033: written and demoed in multiple stages from 1996-1999. initially constructed in this form in dec, 1999. slightly resequenced in jan, 2014. re-released jan 3, 2014. finalized as lp007 on sept 19, 2017. this is my third official record.

inri034: written & recorded in the fall of 1999. originally released on inridiculous in december, 1999. split into it's own ep on january 3, 2014. remastered, finalized & re-released on sept 28, 2017

inri035: initially written and recorded between 1996-1999 and remixed between 2013-2015. initially released as part zero of a three volume set on may 21, 2015. split into it's own release on june 14, 2015. finalized as lp008 on sept 29, 2017.

inri036: written and recorded in late 1999 and early 2000. these versions of these tracks were sequenced without further modification in jan, 2014. released on jan 9, 2014. re-released on physical media and finalized on oct 3, 2017, with the remainder of hummer added as a bonus track.

inri037: recorded in spring, 2000. released, unmodified, on jan 10, 2014. release finalized on oct 3, 2017.

inri038: written and recorded, 1999-2001. track 3 was reconstructed out of existing sound in june, 2004. initially sequenced on jan 12, 2014. expanded with remixes from 2014-2017, re-released with a newly remastered lead version and subsequently finalized on oct 5, 2017.

inri039: this was constructed over a little more than a month: from 7/7-8/20, 2000. it seems to have been recombined into one track around 2006 but has otherwise not been modified since it was completed. first released as an ep on jan 14, 2014. release finalized as symph004 on oct 8, 2017

inri040: recorded in april, 2000. samples added in oct, 2000. album version reverted to original mix in sept, 2006. released as a single on jan 14, 2014. expanded & finalized on oct 9, 2016.

inri041: recorded over the space of the year 2000. remixed substantially in 2004, 2006 and 2014. existing version released on jan 14, 2014. finalized as lp009 on oct 9, 2017. this is my fourth official record.

inri042: this record was recorded over the years 1999 and 2000, but did not take this form until mid september, 2017. the first track list dates to sept 14, 2017. these tracks are technically outtakes, but did not become outtakes until the remastering process removed them from their respective recordings. released & finalized as lp010 on oct 9, 2017.

inri043: written late 2000 & early 2001. the renders present here are all from after 2013. minor instrumentation changes to facilitate a small wind section were implemented in late april, 2014. live guitars were layered into the final version over may, 2014. released in a single volume on june 7, 2014. four new orchestral mixes were added in late may, 2015. re-released in a single volume on may 26, 2017. this release was split into jazz and orchestral volumes in early oct, 2017. two renders were then added to the jazz volume, while three new mixes were created for the orchestral volume. re-released in two volumes and finalized on oct 12, 2017. a

inri044: written early 2001. drastically rearranged in june, 2014. rendered, arranged and performed over june and july, 2014. released on july 21, 2014. six new mixes were added in late may, 2015. re-released on may 28, 2015. four new mixes were added in mid october, 2017. re-released & put on indefinite hold as to status on oct 15, 2017.

inri045: recorded in the first part of 2001. initially released as a bandcamp upload in august, 2010. re-released on january 18, 2014. finalized on oct 14, 2017.

inri046: written in the spring of 2001. lent out for a different project in jan, 2004. reconstructed in the first quarter of 2006, especially over march. released as a one track single on april 1, 2006. expanded with alternate mixes and re-released on july 23, 2014. the vst mix was added on jan 10, 2015 and the two guitar mixes were added on may 29, 2015. re-released on may 29, 2015. finalized as symph005 on oct 15, 2017.

inri047: written one day in june, 1998. re-created on another day in june, 1999. reimagined on yet another day in june, 2001. a failed remaster occurred at the end of 2013. slightly rearranged and re-rendered at the end of july, 2014. released in a single volume on july 25, 2014. re-released in a single volume with a new string orchestra mix on may 30, 2015. this release was split into two cds on oct 15, 2017, with the first disc being composed solely of the process piece. four new tracks were added to the second disc. re-released in two volumes and finalized on oct 16, 2017.

inri048: written in the summer of 2001. remembered over july, 2014. completed august-september, 2014. released sept 24, 2014. expanded, finalized and re-released on oct 16, 2017

inri049: written and recorded in the fall of 2001. released on sept 6, 2014. expanded, re-released and finalized on oct 21, 2017.

inri050: written in the fall of 2001. rendered, remastered and remixed in late september and early october, 2014. released oct 3, 2014. the string mix was corrected for clicks on june 1, 2015, but unfortunately left accidentally inverted. this was corrected on oct 21, 2017. the lead track was re-rendered with the clickless string mix on oct 21, 2017. disc finalized on oct 21, 2017.

inri051: created in the fall of 2001. sequenced and released on sept 7, 2014. disc finalized on oct 22, 2017.

inri052: tracks 1, 3 and 8 were written in 2001 and reinterpreted and completed in 2014. tracks 2 and 5 were interpreted and completed in 2001. track 4 was written in 2000 and reinterpreted and recorded in 2001. track 6 was written in 2001 and completed in 2006. track 7 was written in 1998, reinterpreted in 2001 and rendered in 2014. tracks 1-7 were sequenced on sept 9, 2014. final completion date is oct 3, 2014. refinalized as lp011 on oct 22, 2017. this is my fifth official record.

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.

inri054: recorded in late 2001 and early 2002. track 6 was constructed in may, 2004 out of files recorded 1999-2001. tracks 1-4 were reconstructed over october, 2014. final mixes were finished on october 18, 2014. released on oct 21, 2014. disc closed on oct 30, 2017.

inri055: written in early 2002 and recorded and mixed in early 2002 and late 2014. released on nov 15, 2014. expanded, re-released & finalized on nov 1, 2017.

inri056: written & recorded in late 2001 and early 2002 and mixed in early 2002 and late 2014. released on nov 19, 2014. expanded, re-released and finalized on nov 2, 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.

inri058: 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.

inri059: written and recorded over 2001 and 2002. mildly remixed in november, 2014 to make the tracks more presentable; nothing substantial was altered, and no new sound was recorded. released on november 19, 2014. re-released on physical media and finalized on nov 14, 2017.

inri060: written in august, 2002. track one was remixed in december, 2014 to turn the rest of the track up relative to the vocals. released on dec 12, 2014. disc finalized on nov 14, 2017.

inri061: written over the summer of 2002 and initially recorded in the early fall of 2002. additional writing, arranging, recording, production and mixing occurred from dec, 2014 to apr, 2015. released as a two volume set on april 27, 2015. this release was expanded to include a third disc on nov 17, 2017 and filled in with eight new remixes over the next few days. re-released as a slightly rearranged three volume set and finalized on nov 19, 2017.

inri062: this track was written in late 2002 and completed over april and may, 2015. released may 11, 2015. disc finalized on nov 20, 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.

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.

originally created from 1996-2003. this compilation is dated to apr 25, 2003. slowly remastered, reconstituted, compiled, reconstructed, released and finalized from 2013-2017. compilation finalized on nov 27, 2017. as always, please use headphones. 

credits

released April 25, 2003

j - guitars (electric, acoustic, classical), analog & digital effects processing, electric mandolin, ebow, electric bass guitar, bass synth, keyboards, synthesizers, electric & grand pianos, electric air reed organ, flute, orchestral & other sequencing, drum & other programming, drum kit, electronic drum kit, percussion, drum & vocal manipulations, pick scrapes, metronomes, vocals, vocal relics, mic noises, vocoders, octavers, films, tapes, sampling, found sounds, paper, strategies, sampling, cool edit wave synthesis, windows 95 sound recorder, noise generators, noise reduction, light-wave synthesis, granular synthesis, generative synthesis, generative percussion, soundraider, hammerhead, sound design, soundscaping, digital wave editing, loops, treaments, equalizers, a broken tape deck, coughs, bowls, claps, tables, pens, chance, text-to-speech synthesis, remixes, reconstructions, reinterpretations, production.

sean - vocals, lyrics (inri048-049, inri053-inri059, inri061), harmonica (inri054, inri057, inri063), ring modulator (inri057-inri058, inri067), vocal concept (inri062)
jon - guitar performance (inri048, inri049, inri057)
greg - drum performance sample source (inri056-inri058, inri063, inri067-inri068)
bob - hammering (inri058)

the various rendered electronic orchestras include acoustic bass, electric bass guitar (fingered & picked), synth bass, upright bass, distorted electric guitar, clean electric guitar, bowed electric guitar, guitar noises (fret noises, knocks, pick scrapes), steel string acoustic guitar, nylon guitar, guitar effects, ukelele, banjo, harp, koto, sitar, french horn, english horn, tuba, trumpet, trombone, brass ensemble, saxophone, soprano saxophone, orchestra hit, theremin, violin, viola, cello, contrabass, pizzicato strings, full string section, piano, synthesizers, synth pad, synthesizer effects, mellotron, organ, bamboo flute, clarinet, flute, piccolo, oboe, english horn, bassoon, voice, music box, tubular bells, tinkle bells, agogo, clavinet, kalimba, xylophone, celesta, glockenspiel, woodblock, vibraphone, hammered percussion, mallet, marimba, taiko drums, gong, detuned piano, pc card, drum kit, jazz drum kit, hand drums, melodic toms, timpani, orchestral drum kit, drum machines, synthetic percussion, backwards cymbals and electronic drum kit. they also include choir. 

 https://jasonparent.bandcamp.com/album/flac-bd-disc-volume-1

ok, so i'm just about caught up to where i was, i just have some final filing to do.

i've updated the period 2 disc to include the electronic drum kit out for the time machine, as that was really written from scratch in june, 2014.



i'll be reapproaching this guitar works thing this evening.

where'd the week go?

i had to go through every single release to integrate the blu-ray component. maybe there's a bulk edit option; maybe i just demonstrated the wisdom in using it. but, i also wanted to take the opportunity to check for typos and just generally reorder the liner notes, and this has turned into a more time consuming project than anticipated.

in fact, i'm feeling like i'm going to need to do a second run, but i'm going to fill in the details after the blu-ray disc, to inri074 and a bit beyond it, before i go through the sources, separately this time, just looking for problems in a more self-contained way. it's a second pass. i think it will be a bit quicker.

i'm almost done. and i could even get a volume of the guitar project up before i crash, we'll see.

the electricity thing seems to have worked itself out; i got approved on christmas. thanks. and, i had to call in to get the isp to pro-rate, to start - they say they'll do it for next month, and then let's go from there.

it's otherwise been a typical christmas week: full of distractions but ultimately productive, in some sense.

but, it's about changing the definition of work, or really unchanging it - throughout the centuries, poets and musicians and gardeners have all considered themselves to have been doing work. when were these vocations deemed void, exactly?

we don't have to pull out the engels, here, and explain how the city became full of workers who had migrated in from the countryside, where their lives were far less ordered - about how the existence of the machines created the working class, which is now left abandoned with their withdraw. if you want to talk about morality, that is.

we just need to ask questions about what work is, about how it is defined, about how use is calculated and whatnot. this leads us to questions about markets, primarily. if a thing does not have a market value, is it void of value? so, is it only work if it produces market value, then? this has to be wrong. and, so, if we are going to organize our societies as markets, some counter-force needs to correct this obvious absurdity.

i like a guaranteed income because it's a blind arts grant. it comes with no obligations, no test of value and no requirements to check speech or content for alignment. it allows the artist to access a source of funds without any strings attached, and to then create at will - as much or as little as is felt appropriate.

but, let us have this debate about work. we need to get on the other side of this.

https://www.theguardian.com/money/2017/dec/28/tory-mp-condemns-universal-basic-income-on-moral-grounds

but, isn't the lesson taught in christianity that if you try and live a good life and be a good person that you'll be betrayed by your friends and torn down in bloodlust by an angry lynch mob?

there's this story going around amongst jewish historians that maybe the entire history before the captivity was entirely fictional, and that the people that were moved into the levant were an entirely fabricated ethnicity - that the jewish race was a fabrication of the dying sumerian civilization under the direction of it's new iranian overlords, meant to colonize and replace an existing civilization with a colonial outpost. this would explain judaism's apparent connections to zoroastrianism.

and, what would that destroyed civilization be? it would have been phoenician. what happened, then, was that the persians came in, cleared the phoenicians out and brought in this imagined ethnicity, the jews - who were peoples indigenous to mesopotamia, following a newly invented ideology with a totally fabricated history.

but, some source would exist to describe this? well, perhaps some source did, perhaps many did. but, centuries later, the roman destruction of carthage was total - and such histories would have been destroyed in the process, if they existed. hey, that is true, isn't it?

it was the carthaginian connection that intrigued me as i was having a cigarette and wanted to get written down. i like it when disparate parts of history intersect like that, and it just made a connection in my head. hey, it's christmas.

i've actually long been swayed by the hypothesis that religion, as we understand it, is basically an elaborately distorted ufo cult. these stories of contacts with ancient beings in the sky may have an empirical basis, if you allow for contact with extra-terrestrial life. well, it's a naturalistic explanation, is it not? the sky is at the core of so much religion...

i don't claim to be able to rigorously demonstrate this, but i think it's probably actually true, nonetheless. it's kind of unfalsifiable, right? but that doesn't necessarily mean it's wrong - i'm post-godel, i'm sorry, it really doesn't. errr. bzzzztt. wrong.

it's certainly less convincing if it's unfalsifiable, i'll grant you that - it's not science. it's speculation. but, it might be science one day.

so, i don't find claims of entities in the sky to be particularly absurd or hard to believe - they've happened all throughout history, have they not?

ok, i'm going to put away my skeptic hat for a moment and put on my marxist cape. 

i just think the marxist article of clothing should be a cape. it just makes sense, some how. i dunno. but it's obvious.

religion is supposed to be this thing that governments use to control masses of people into compliance with. so, it strikes me as kind of weird to speak of it in terms of resistance. now, i need to rip off my marxist cape because my paranoid anarchist heart wants to look for evidence of alliance with power structures, as that is, in truth, occam's razor. yet, the possibility of a simple slick preacher also always exists - and these aren't mutually exclusive.

at the least, any activist on the left should be particularly weary of any kind of religious movement trying to involve itself with politics. there is a 100% chance that they are trying to take over your movement for one nefarious aim or the other.

the problem that marx (where's my cape?...) saw with christianity is that it promises salvation in an afterlife, thereby leaving workers in delusional states of fantasies about life and death. i'm supposed to point out that marx saw this as an obstacle to movement building and leave it at that, but think about the psychology in what he's suggesting. think about how that breaks a human's soul into two, having them turn an active desire for death into a virtue. to convince humans that they should believe that all of the misery and all of the struggle is worth it because it will be paid off in an afterlife, which certainly doesn't exist. this is a truly dangerous cult.

i don't feel that buddhism escapes this general description of a pacifying force, but rather in a way just transcribes it. buddhism also teaches that life is meaningless, and that there is some preferable place in the hierarchy in the next life. this is incompatible with a revolutionary politic.

so, what am i doing this weekend?

well, i've got four days of cheap electricity, so i can work at a normal pace. i don't know what my electrical costs are going to be in this unit. i know that i'll get a credit applied eventually, but the process appears to be cumbersome and inefficient, so i don't know when. i tried to get them the information for mid-november, but they're telling me i need to wait two cycles, and not providing a coherent answer as to why. i got the thing escalated, at least. i don't know when to expect a response.

but, i'm conserving electricity in the mean time. my first bill should not be high, at least. the major cost is the fridge. i don't know after that. i need to get data before i can react to it.

i'm probably going to get some solar lamps and put them in the windows, then never turn the lights on. i have five giant windows in this apartment, six including the one in the bathroom. i really don't need lights at all. i'm going to need to check costs and crunch numbers to see if it makes sense, but it no doubt does. if they're around $20 each, it will make sense immediately. if they get to more than that i'll need to see...

i'm also considering getting a ups and using it as a battery, but that's going to again be determined by how much it costs and what my actual electrical costs end up being. what i could do with this is suck down electricity over night for use in the day, ensuring that i'm only paying off peak costs (except for the fridge and the cable modem), and i'm able to operate at will with the electrical.

the other thing i'm considering is just getting some solar panels and hooking them up to a battery. this would be intended for extraneous usage, like extra guitar effects or synthesizers. i'm just going to need to get an understanding of base usage, first.

the way this works is that they calculate the bill - and i have to pay something like $25/month just to use it - and then subtract $68 from the end of it. so, i'll get something like $40/month for free once it's set up. i actually don't expect my base usage to exceed this: fridge, other kitchen appliances, computers, tv, etc. but, if i decide that i want to spend all night every night for a month recording guitar parts through five processors, that's when it starts to add up - and where a solar source could be useful. like i say, i have these huge windows. but, i don't know where the technology is, and i don't know if i'll really need it.

see, the credit is cumulative. so, if it comes in at less than $68, i can transfer what's left to the next month. i don't actually expect this to be uncommon, especially if i get the solar lights up. that will mean i could see myself building credits - and that i can use those for my recording spurts.

right now, i really have no idea at all how this is going to play out.

but, i'm going to pick up where i left off, which is at compiling the blu-ray disc. i'm going to use it as an opportunity to double check all of the liner notes. that should be a day or two, at least...

hi.

so, the internet was hooked up late on the afternoon of the 21st. i
trust that the proper pro-rations will apply. i think this ought to be
straight forward. and, i'm happy to be back online and have things
back to normal.

but, i can't help but feel that a great deal of my time was wasted.

listen: i'm a highly patient individual and i'm highly adaptive to
situations. i could have and would have waited patiently until the
21st with nary a second thought, if that was the required action. and,
i would have been happy to see the tech when he finally arrived. but,
that's not what happened.

i called in in november to move the services and was told that they
could schedule me on the 1st of december, but it's often busy so if
they don't show up then i should wait on the 4th. so, i waited all day
on the 1st and all day on the 4th - a total of 18 hours. it later came
to my attention that cogeco had already informed your agent that they
would not be coming, but nobody relayed that information to me. so,
this 18 hours of waiting was preventable, and could have been
prevented by contacting me.

and, i would have been eminently reasonable had i been contacted and
asked to wait, as well.

a second install date was eventually arranged on the 12th. i expressed
repeatedly that i needed a technician to come in and crimp the ends
(the final process took mere minutes) and was told on the day before
the install that a technician would be there to do this. i waited
another 9 hours and did not see a tech, and was later told that none
was scheduled - that what was scheduled was a 'no truck' install, and
that a technician had indeed come, fiddled with the box and then left.
this was again preventable.

i was then told that the agent responsible for these lost 27 hours was
let go. i hope she finds a job that better suits her talents.

i could say something about my time being worth a dollar amount, and
attempt to charge you at a reasonable wage - at $10/hr (after taxes),
that would amount to $270, which would be nearly ten months of
service. but, i can see that this is too much.

i think that a more reasonable suggestion is to look at the three days
that were lost as events requiring some form of compensation, and i do
hope that i am effectively projecting that i aim to be reasonable. had
the cogeco agents not shown up due to any unforeseen event, from a
family emergency to an act of god, i could cite the fact of a
stochastic universe and wave it away as bad luck. but, your agents
were sitting on the correct information all three times.

there was no reason for me to wait on any of these days, as your
agents should have told me that nobody was scheduled.

my proposal is therefore this: that if each day spent waiting is a
separate event to require compensation, and i only purchase one thing
from you, then it follows that i ought to get three of the things that
i bought from you, which would work out to three months credit.

i live in a building with twenty other tenants, and they all saw me
sitting there for four days in december. i'm an honest person. and,
your self-interest is ultimately in damage control.

j

so, what happened to me?

well, i moved on the 1st, and my isp couldn't or wouldn't connect me until the 21st. i spent four full days waiting in my lobby before it got resolved. i spent a lot of days accomplishing little besides yelling at people on the phone. and, all i've really done besides that is clean in here and set the place up.

i can at least report that i've done a lot of thinking about what's going to happen, next.

i have a few remaining things to finish for period 2. it should be in a few days, i hope. then, i have to catch up on the alter-reality, and i'm aiming for a jan 13th date on that - we'll see. right now, i'm not expecting to upload any vlogs until july 1st, and i'm expecting the stagger to be a year, but i'm purposefully prioritizing this as least important, because it actually is. i need to get caught up in everything else, first, then fix that laptop, then get the vlogs edited...

so, i'm kind of just picking up where i left off.

the one thing i was following was this franken bit...

i tried to make the point clear enough, but let me repeat it: what happened to al franken has nothing to do with....what are they calling it? "sexual misconduct"? it's basically an accusation of deviance, or subversion , or something. "corrupting the youth". but, that's not what happened to al franken. what happened to al franken is that he ran his mouth off in the senate, and the bastards took him down for speaking truth to power. al franken was purged. and, the democrats didn't even give him the disrespect of putting him through an unfair mock trial.

so, yes: what the democrats did to al franken is truly a disgrace, but i'm not remotely surprised, because the democrats have always been the conservative party. i'm not sure if i explicitly predicted it, but i got pretty close; i predicted the resignation, at least.

what gets me about it is that the democrats then have the audacity to stand up and promote their behaviour as upholding a system of values. it is a system of values, i suppose, but it's a system of puritanical, right-wing and conservative values; these are not my values. i am a liberal. my values are not the fire and brimstone of retributive justice, but due process of law and the presumption of innocence. again: i'm not surprised that the democrats are not upholding my values, but i am a little surprised to see them upheld by right-wing demagogues that i don't usually have anything in common with.

but, i've been over this in this space. the democrats are and always have been the conservative party in the american political system. the republicans used to be the liberal party, but have become some kind of post-truth nihilist catastrophe. this has left a small number of liberals scattered across either party, and american liberals in a hopeless state of utter disenfranchisement. and, despite telling me what i want to hear, i know that the likes of tucker carlson are ultimately just disingenuously pushing buttons.

but, we can have this discussion of values, if you want, sure. i look at what the democrats did to al franken, and i see a conservative party obsessed with retribution that does not at all represent my values. then, i looked at the roy moore situation, and i see a liberal republican party that is willing to hold to the presumption of innocence in even the most extreme scenarios. i think roy moore probably deserves to be punished, and al fanken certainly doesn't - granted. but, it is the republicans that better reflect my liberal values, here - and the democrats that do not.

and, while it is true that the democrats were always the conservative party, they may want to think this through a little more carefully.

i expect the republicans to take al franken's seat and hold it for at least a generation.

boo!

well, i've got the keys.

so, i'm moving.

yup.

so, i have completed the order.

sort of.

the cover art has been printed, but i need to wait for it to dry. and, i won't have time to ship it until probably tomorrow, if i can stay awake long enough. but, it exists.

i get the keys in less than an hour. hopefully. and, then i need to spend the next 24-48 hours transiting items out of here.

i won't get back to completing the sequence until things are moved, but i'm going to make it a priority to do so, as well. it will be the first thing i do, before i even unpack everything else. and, it shouldn't take more than a few days.

period 2 is really legitimately nearly final.

and, then i'm on to the alter-reality, and a year worth of journal entries from my 16 year old self.

publishing inri071

i've taken to splitting my discography into phases, and my hitch-hiking trip to british columbia is a very important separation point - both in terms of the nature of the material that came out afterwards and what is now a substantial body of work that came before it. that makes it a natural point to look backwards and build compilations of intersecting ideas.

a characteristic of my work is that it does not conform well to genre norms. this is not an accident; when compiling a record, i'm guided more by the late beatles' philosophy of vast diversity in a small space than i am by any kind of desire to collect together nice singles, or by some kind of compulsive organizing into categories or concepts. i write psychedelic music. that means something different in 2015 than it did in 1966, but the commonality is that it's necessarily challenging. i want all of my records to do everything at once, and accomplish everything by their end point. that makes compilations of this sort inherently difficult, because every song touches on every compilation idea at the same time. the jazz record would have the same tracklisting as the punk record, the classical record and the folk record - and none would really be what they're claimed to be.

the one exception to this conundrum is how i interacted with ambient music in this period. i very regularly utilized ideas from the genre, but i tended to interpret ambience as something that is necessarily obscure. in this period, ambient pieces are almost always outtakes or b sides. i tended to interpret covers and remixes as ambient pieces, probably because that was unexpected. when ambient ideas make it on to the record, they're almost always for effect: introductions, endings, connecting passages, that sort of thing.

when i began reconstructing my discography in early 2014, i came across a handful of songs i'd written out into midi format and put aside for later. a number of these ended up reworked into ambient pieces, and released as b sides. i also ended up converting some of the material i wrote in this period into ambient sound collages that are more in the style of music i created after 2003.

the end result is enough bsides and remixes to put together two full cds of ambient music. none of the tracks on volumes one or two are on any official record as they appear here; this is technically a collection of remixes and outtakes.

this package was initially released with a mix tape of fragments from 1996-1999, but it has since been moved into it's own release (inri035): jasonparent.bandcamp.com/album/ambient-works-vol-0

initially written and recorded between 2000-2003 and remixed between 2014-2015. sequenced over mid may, 2015. the final compilation date was initially may 20, 2015, but both discs were mildly updated with some more appropriate mixes of the same tracks on nov 29, 2017; disc subsequently finalized as lp020. 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 (2014, 2015, 2017). 

credits

released April 28, 2003

j - guitars (acoustic, electric, nylon), effects & treatments, bass, synthesizers, electric air reed organ, orchestral & other sequencing, drum & other programming, generative programming (sounder), "projectile synthesis" (audiomulch), granular synthesis (granulab), sound design, electronic and conventional drum kits, sampling, loops, films, voice, digital wave editing, composition, production.

sean - vocal ideas (tracks 4 & 7, disc 1), ring modulator (track 9, disc 1)
jon - background guitar performance (track 4, disc 1)
greg - drum performance sample source (track 5, disc 1)

the various rendered electronic orchestras include synth bass, electric bass, acoustic bass, electric guitar, acoustic guitar, nylon guitar, guitar effects, guitar noises (fret noises, pick scrapes, knocks), synthesizer, synth pads, mellotron, choir, violin, viola, cello, contrabass, string section, pizzicato strings, french horn, trumpet, trombone, tuba, oboe, english horn, bassoon, clarinet, flute, piccolo, mallet, piano, woodblock, music box, xylophone, tubular bells, other bells, orchestra hit, electronic drum kit, melodic toms, drum machine and orchestral drum kit.

publishing inri072

an unexpected result of the project to complete my discography, undertaken in late 2013, has been the construction of a handful of orchestral pieces, mostly as remixes of original tracks from the jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj period. while these tracks were initially written out as scored pieces for expanded instrumentation, they were generally written around the guitar and the expanded instrumentation was largely meant simply for colour. the exception to this is the psilocybin symphony, which was written as a piano concerto from the start and previously completed in early 2006.

the ability to expand these pieces into orchestral works is the result of the advances in vst sampling technology that have occurred since 2003. while changes in instrumentation have been accompanied by extra writing (mostly on the guitar), tempo shifts and other general rearrangement choices, the existing technology makes it very easy to rearrange a rock song for an orchestra, by simply multiplying staves and changing the sound fonts.

the condition i've set for a piece to be "orchestral" is that it must utilize the entire orchestra: it must have percussion, piano, horns, woodwinds/reeds and strings. guitars are generally treated like "first violins", whereas violins are generally not considered to be more special than other similar string instruments. some of the tracks also have prominent choral sections. all of these pieces meet this condition, except the last one which does not have a woodwind/reed section.

my delve into scorewriting ended in 2003; the material in my third phase is more focused on live and manipulated guitars and synthesizers. i consequently feel that this is an interesting summary of my second period, taken from a specific angle that is otherwise largely relegated to single-only remixes.

initially written and recorded between 2001-2003 and remixed and recorded further over 2014-2015, except track 2 which was completed in early 2006 and track 5 which was completed in 2017. the initial final compilation date was may 23, 2015, but track five was then added on oct 14, 2017 and the disc was finalized as lp021 on nov 29, 2017. track 7 was added as a download-only bonus track on jan 14, 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 (2014, 2015, 2017, 2018).

* download only 

credits

released May 1, 2003

j - controller inputs, drum & other programming, orchestral & other sequencing, live guitars, live bass, live synths, effects, sound design, digital wave editing, composition, production.

the various rendered electronic orchestras includes violin, viola, cello, contrabass, electric guitar, nylon guitar, guitar fret noise, bass guitar, synthesizer bass, french horn, trumpet, trombone, tuba, english horn, oboe, bassoon, clarinet, saxophone, bamboo flute, flute, piccolo, synthesizers, mellotron, organ, piano, harp, koto, music box, clavinet, kalimba, xylophone, agogo, mallet, hammered percussion, woodblock, tubular bells, tinkle bells, glockenspiel, orchestra hit, melodic toms, electronic drum kit, timpani, orchestral drum kit and choir.

republishing inri074

around october, 2002 i met a friend. i was sort of in need of a friend, and i mean that in the friend sense. but, the mental condition i was in was the explanation of why i needed a friend, if you see what i mean; i was completely unstable in this period and did all kinds of absurd things, which isolated me - and i wasn't getting any better.

i dropped out of school under the realization that i was walking down a path that wasn't getting me anywhere close to what i wanted out of life. i ended up working three jobs to raise money for gender reassignment, and it crossed me paths with somebody that was also trying to think of ways to get out of the box in terms of ways to exist.

she was trying to save up money to go to british columbia. it was some kind of warped take on the grapes of wrath, where everything works out perfectly. but, the rent was eating into her savings, which was making the goal seem impossible. well, unless we stopped having fun.

so, i suggested she should just stay at my parents place. part of it was a hope that she would move her drum kit in, although that didn't happen. and, i might add that this was done with all of the reckless abandon that could be contemplated - we were moving stuff in without even asking, it was really remarkable.

and, it seemed to me that we were getting pretty close over that period.

so, when the time came that she had all that money put aside to go to bc, it was kind of a downer to let her go. and, she initially wanted to go with a friend who dropped out. so, i ended up going across the country with her.

now, i need to be clear: we weren't planning on coming back. we were going to pick fruit or something - we didn't know, exactly, we'd figure it out when we got there.

so, this was meant as a sort of farewell to certain people i hadn't talked to in months and didn't care if i was leaving, anyways. i think it let me work some things out on weird subconscious levels, but the truth is that these songs really aren't about anybody except me, and there's no use in pretending they are - i just liked the idea of a farewell disc.

this disc was initially passed around with a cut up version of the pretentious untitled mix at the end, but this was almost immediately ejected from future burns and is not present on this ep due to the poor quality of the mix. the remaining five tracks became combined into what i now call my eighth symphony.

written and recorded in late 2002 and early 2003. this was initially uploaded unmodified from a cd-r rip in may, 2015, but this was replaced with a version from source on nov 29, 2017 due to clipping due to an unrealized normalization on the burn. disc finalized as symph008 on nov 29, 2017. as always, please use headphones.

the hidden track is the final version and also appears on my ninth record, {e} (inri08x): jasonparent.bandcamp.com/album/e

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 (2003, 2015, 2017). 

credits

released May 3, 2003

j - guitar, effects, bass, synth, voice, piano, drum programming, generative programming (sounder), granular synthesis, sound design, soundscaping, loops, bowls, claps, tables, ebow, orchestral sequencing, digital wave editing, sampling, production, composition

so, i passed out after i ate.

i'm actually now in a hurry to print the covers, and don't think i'll have time to get them all out. we'll see.

i won't be updating anything here, i'll wait to do it in sequence.

so, what happened today?

i got the discs printed, and then i realized i was out of paper, or didn't have enough paper to complete the process. so, i decided to do a compost run, only to get there and realize that they've shut it down.

i got my paper, but i haven't created any liner notes yet.

i get the keys tomorrow at 1:30, so that should give me time to ship in the morning. and, then, i'm going to be moving all night. sorry, jessica moss & ben shemie. i'm not sure what you're even up to, but you're in town on the one day this decade that i can't spend at phog. them's the cards, i guess.

i need to eat. then i'm going to shower. and then i'm actually going to throw myself back into sequence.

the ambient works got rearranged a little: i put the ambient mix of fuck boxes where it was intended to go, and replaced the version of the intersection i initially used with a more appropriate one. i also reconstructed reflections from the source; i had previously used a rip that was normalized on the burn, and that was a bad idea.

but, i'm going to actually try to get this done in sequence. i think i can.

ok, so today's the last day for this, until i move, so i want to finish what i'm doing.

i'm not closing the blu-ray disc, yet.
i'm not doing the guitar works (inri069), yet. the idea is developed.
i'm not closing thru, yet (inri070).
the 6th flac disc will close around here. as will the second lp only disc. it's not clear where, exactly.
i will be printing inri071 (ambient works). but i won't finalize it until it gets to sequence.
i will be printing inri072 (reflections), but i won't finalize it until it gets to sequence.
i'm not closing the chamber works, yet (inri073).
i will be printing inri074 (reflections).

the numbers are finally clear. that's what i needed to print the parts at the end.

this order isn't completely done yet. he overpaid for shipping, and he bought two items twice, so he'll get another shipment, after i move.

but i need to get this out...

i might get the keys today. if i do, i'll need to get this going. if i don't, i'll start filling i the pieces this evening.

publishing inri068

in the summer of 2013, two formative things happened at almost exactly the same time: my father died after a lengthy battle with brain cancer and i moved from ottawa, ontario to windsor, ontario. they were within a week from each other; my father died while i was camped out in a tim horton's on tecumseh, waiting to sign a lease and catch a bus back 'home'. but, dad was really the only remaining thing that made ottawa home, in the first place.

the reasons underlying my move were legitimate, if somewhat forced. my gear was stored in my father's garage, and i had been given notice that i would not be able to keep it there more than a moment past his death. my stepmother and i haven't spoken since. i legitimately couldn't find anything in ottawa, so finding the place in windsor was actually somewhat of a stroke of luck, given the urgency of the situation. i had hitched down there to meet friends, but in the end they couldn't sign a lease, so i went by myself.

the culmination of occurrences had me in the mindset of fresh beginnings. i finally had a stable income source on odsp, and a new apartment in a new city. so, i almost immediately set about completing all of the music that i had been putting aside for so long, in preparation for my own imminent demise, relative to the immense expanse that is time.

through whatever coincidence, i am permanently closing my second period during the week that i am being evicted from this same apartment, for the supposed reason of personal use. this apartment will consequently forever be associated with the completion of my second period.

yet, the bulk of the work done in this apartment - through immense difficulties with malfunctioning gear, questionable electrical outlets and a probable atmospheric magnetic field - has been in the realm of (re)mixing, orchestrating, programming and rearranging. it was just the nature of what needed to be done around an assortment of midi compositions and flat mixes from the early 00s. the really heavy lifting in completing my discography will come in finishing the third period, which i will not start until i move into a new apartment, around the corner from here.

with the exception of two vocal tracks (for inri020 and inri062), this disc is a comprehensive document of what was actually written as it was being recorded in the basement at 805 marion ave, in windsor, ontario, canada, in the form of a collection of overdub mixes that can be pasted on top of the existing demos in order to create the final products. it is mostly guitar and bass tracks, but also includes some orchestral and other sequencing and some electronic drum parts. everything else that was done in this basement was either created from existing sound or was constructed from existing midi instructions, however elaborately and however abstractly.

in hindsight, i can state with some force that this basement is not well suited for a recording studio. yet, these problems will be forever embedded within my own history, as well.

with those words, my tenure here ends. so long.

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. this compilation is dated to nov 27, 2017; disc simultaneously created and finalized as lp017 on nov 27, 2017. 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 (2001, 2002, 2014, 2015, 2016, 2017). 

credits

released April 24, 2003

j - electric guitars, digital & analog effects & treatments, bass, synthesizers, electric air reed organ, drum & other sampling, drum programming, drum manipulations, electronic drum kit, orchestral & other sequencing, sound design, soundscaping, loops, digital wave editing, voice, production, composition.

greg - drum performance sample source (2)

the rendered electronic orchestra includes at least one of each of the following: violin, viola, cello, contrabass, koto, french horn, trombone, trumpet, tuba, english horn, saxophone, flute, oboe, piccolo, clarinet, bassoon, agogo, tubular bells, glockenspiel, piano, melodic toms, timpani, orchestral hit, orchestral drum set and various full string sections. it also includes choir. 

ok, i got it up as a stub.

to be continued...

https://jasonparent.bandcamp.com/album/percussive-works

i didn't get as much as i wanted done yesterday, but the situation remains the same: i need to ship either tonight or tomorrow morning, probably tomorrow morning, and absolutely still can finish before then.

if not, i guess i'll have a few items to ship next week.

the only other thing i need to do before i move is a compost run. and, worst case, i could always do it after i move. i don't want to do that, though; i want the compost out tomorrow.

it's not year clear what inri068 is going to be. but, i've just pushed the percussive works forward. i feel like the material i've compiled for this is very strong, but there's only a half hour of it. this can and should be an epic release, but it just needs more material in order to bring it there. the beginning of the ninth symphony, as well as an unreleased track from early 2007 called 'the crash', should effectively add to this release. so, i'm planning to release this at the end of period 3, instead. period 3 will run from summer, 2003 to spring, 2007.

if there weren't existing ideas in the discography to flesh this out, i'd consider releasing it as an ep. but, there actually are good ideas to explore for this, and the end result will be better if i wait it out.

publishing inri067

the ftaa project, much like it's namesake, was never an idea that was carefully developed, which is very much an anomaly in this discography, where almost everything is developed at such a microscopic level of detail. the idea initially developed as a means to protest the government's response to the 9/11 attacks, from what most people would identify as a libertarian perspective. however, rabit is wolf ended up becoming my main focus in that period, instead, and by the time i got back to the idea, the initial impetus had largely stalled. all activism was necessarily diverted to stopping the war....

....but, i also found myself in a much different reality, starting in late 2002. for the first (and only) time in my life, i had a partner, and it took away most of the time that i would have otherwise spent on music production. on top of that, i found myself working long hours in order both to maintain a dating lifestyle and to deal with real world expenses that the relationship created, and i hadn't ever had to deal with before. i did create some music over 2003, but my head was almost entirely inside of this relationship.

the ftaa project initially completed in may of 2004 and was composed of some of the parts of this recording plus an anti-war song. it will re-release in that space as my 7th record, but as an instrumental recording like the rest of them, thereby jettisoning both these sample collages to their respective singles and the idea of a record of sample collages altogether.

i considered re-releasing the ftaa project as a double with the samples on the other side, but there's something asynchronous about this that i don't like. further, in hindsight, i ended up putting the deny everything recording through more or less the same process, so it makes more sense to combine the jettisoned tracks together into an outtakes disc, and release it at the end of the second period.

another way to look at this recording is to interpret it as a reaction to the presidency of george w. bush, and i've left the tracks in chronological order for that reason. the first two tracks were initially on deny everything (inri041) and have the thematic unity of being a warning regarding the bush presidency, even if the trudeau character sounds more like trump, in the year 2017. the next two tracks were an explicit reaction to the 9/11 attacks. the fifth track takes those ideas to their conclusion, in exploring the thesis that the attacks were the catalyst to end the period of liberal democracy in the united states, and potentially also in it's satellites, and usher in a period of totalitarian rule. as of 2017, that process appears to be nearing it's completion.

so, this is really the actualization of the intent behind the ftaa project, even if it isn't quite in the form that it was initially released in. as such, it should be viewed as almost an official record - despite the overlap and the historical revisionism.

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. this compilation is dated to nov 26, 2017; disc simultaneously created and finalized as lp016 on nov 26, 2017. 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 (1998, 1999, 2000, 2001, 2002, 2003, 2017). 

credits

released April 23, 2003

j - guitars (electric, nylon, acoustic), mandolin, electric bass, digital & analog effects processing, synths, sampling, pythagorean sequencing (sounder), drum and other programming, drum manipulations, drum kit, voice, flute, sound design, sound raider, noise generators, cool edit sequencing, digital wave editing, composition, production

sean - ring modulator (5)
greg - drum performance sample source (5)

publishing inri066

when i sat down to complete my discography in 2013, one of the ideas that immediately jumped out was to try and reinterpret some of the inri tracks from the late 1990s as modern pieces. as i believed that my source tapes were unusable at the time (which i eventually realized was not the case - see inri024), the conditions for this being a workable project would need to be the existence of the original drum tracks, along with the existence of some midi files.

i was gifted my ry30 in the summer of 1997 to compensate for the loss of my drum kit and studio space, but i did not have any recording gear again until christmas. so, i spent the fall programming the drum machine and teaching myself the basics of sequencing and sound design, using the primitive tools i had available to me. by the time i got my four track, as well as my jx-8p, the ry30 was full, and re-recording my first songs was just a matter of transferring the completed material from the electronic equipment to tape. so, i initially considered making a companion ep to inrisampled that would document my time spent programming the ry30 along with my time sent learning how to manipulate sound. the difference between the drum tracks at this stage and the initial collage experiments, however, is that the drum tracks were not complete songs. so, this was abandoned due to the product being a little dry. but, i still wanted to make an ep around the ry30, perhaps by orchestrating the existing companion midi tracks.

this idea then quickly merged with what would become thru (inri069) and eventually discarded itself within itself when it was realized that the existing midi files for the 90s material were too sparse to really utilize, especially in comparison to the midi files from the early 00s. thru was deleted and then resuscitated over the course of 2014 and 2015, eventually releasing in mid 2015 as a 2001-2003 project, leaving the 90s material in the dustbin of my own history.

it was in june, 2015 that i realized that the source tapes were usable after all, and cycled back around to the beginning of the reconstruction in order to complete the relevant tracks as instrumental pieces. this idea kind of recreated itself in the nature of the source tapes, as i had bounced all of the electronics together into the same channel as a mixing step, back in the 90s. so, i found myself with these ready-to-publish electronic tracks right off the tape that incorporated a combination of the ry30 tracks, jx-8p parts, soundblaster programs, zoom 1010 noises and cool edit experiments. all they really needed was a little attention on the mastering.

i flipped this over, in the end: what each of these tracks are is their final album mixes, with the guitar and bass parts deleted (unless the bass was done on a synthesizer). so, there was some post-production added over 2015 in the form of updated soundfonts, digital mastering and digital effects processing. but, these are really flourishes on the existing tracks.

it was at the end of dec, 2015 that further similar electronics-only ry30-centric remixes were creating for some later songs, as well, thereby filling out the disc and closing the project.

i sold my ry30 in may, 2003 to raise money to go to british columbia. my logic was that i'd really maximized what i was going to get out of it, and that i'd already discarded it, anyways: by that time, i'd been writing drum parts in the scorewriter for a few years already, and had barely touched the ry30 in a long time. but, i regret that decision, in hindsight. and, i expect to pick up another one, one day.

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 on physical media, closed and finalized on nov 26, 2017. 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 (1998, 2000, 2001, 2002, 2014, 2015, 2016, 2017). 

credits

released April 26, 2003

j - drum & other programming, orchestral & other sequencing, guitar effects, digital effects processing, digital wave editing, synthesizers, loops, vocal noises & relics, sampling, sound design, production

the various rendered electronic orchestras include organ, sitar, bells, synthesizer effects, tuba, saxophone, flute, clarinet, orchestra hit, piano, violin, viola, cello, contrabass and various full string sections. 

so, i printed inri065 yesterday, which permanently closes (subject to the eventual completion of the liner notes in the alter-reality) the jjjjjjjjjjjjjjjjjjjjjj phase, even as it opens the trivial group phase.

what's left is the string of compilations, and i need to get the bulk of this done by tomorrow so i can ship on monday. i have to ship on monday, dammit.

this is the remaining sequence, for april, 2003.

april 22nd : 66 is the ry30 disc, which just needs liner notes.
april 23rd: 67 will probably be a sample collage disc, and will take the place of the ftaa disc (although the ftaa disc will still release, instrumental, in may, 2004)
april 24th: 68 will be a guitar works of some sort, but the parameters are unclear.
april 25th: i will finish the blu-ray disc one of these days. 25 gb of flac files. around $750. not entirely comprehensive of periods 1&2 but close.
april 26th: there will also be another flac disc closing around here, too.
april 27th: inri069 is thru, the midi disc.
april 28th: inri070 is the ambient works.
april 29th: inri071 is the orchestral works.
april 30th: inri072 is the chamber works
may 1st: inri073 is reflections.

the drone disc will almost certainly push forwards to the end of period 3. i might still make room for a percussion disc, but it will probably push forward. the piano works will push forward. as will the next vocal disc. and, i'm going to need some shape for 'genesis', as well.

this all has to be worked out in the next 24 hours.

purchasing this release comes with the immediate download of the release that you linked to it off of. be sure you make the right choice.

inri048: written in the summer of 2001. remembered over july, 2014. completed august-september, 2014. expanded and finalized on oct 16, 2017.

inri049: written and recorded in the fall of 2001. compiled on sept 6, 2014. expanded and finalized on oct 20-21, 2017.

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. republished without modification in 2014. on oct 23, 2017, the poem was added to the disc as an introduction to the track and the disc was subsequently closed and finalized as symph006 and lp012.

inri054: recorded in late 2001 and early 2002. track 6 was constructed in may, 2004 out of files recorded 1999-2001. tracks 1-4 were reconstructed over october, 2014. final mixes were finished on october 18, 2014. disc closed on oct 30, 2017.

inri055: written in early 2002 and recorded in early 2002 and late 2014. the final fuck boxes mixes were finished on nov 15, 2014. the gentle mix was created and then left stranded on may 24, 2015. the ambient mix and the guitar mix were rendered on nov 1, 2017. disc finalized on nov 1, 2017.

inri056: written & recorded in late 2001 and early 2002 and mixed in early 2002 and late 2014. the final mix was finished on nov 18, 2014. the uncorrupted mix was created on nov 18, 2014 and then cut up into the unstuck mix, but not added to the release until nov 2, 2017. the lorentz factor mix and the separated from mix were rendered on nov 2, 2017. disc finalized on nov 2, 2017.

inri057: written and recorded in late 2001 and early 2002. initially sequenced in may, 2002. released in slightly different forms from 2002-2014. resequenced to mimic the original sequencing 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.

inri058: written over 2001 and rethought repeatedly over 2002, again in 2007, a third time in 2009 and one last time in late 2014. final mixes were completed over the last week of november and the first week of december, 2014. the concept was rethought on nov 3, 2017, which led to the inclusion of five more mixes (from 2002, 2009, 2014, 2015 and 2017) and an expansion from two cds to four cds. disc finalized as symph007 on nov 12, 2017.

inri059: written and recorded in late 2001 and the first half of 2002. mildly remixed in november, 2014 to make the tracks more presentable; nothing substantial was altered, and no new sound was recorded. final mixes were on november 19, 2014. disc released on physical media and finalized as inri059 on nov 14, 2017.

inri061 :written over the summer of 2002 and initially recorded in the early fall of 2002. additional recording, production and mixing occurred from dec, 2014 to apr, 2015. initial final completion occurred on april 27, 2015. however, eight more supplementary remixes were added to the release over nov 17-nov 19, 2017 to expand it into a three disc set. disc finalized on nov 19, 2017.

inri062: this track was written in late 2002 and completed over april and may, 2015. final completion date is may 11, 2015. disc finalized on nov 20, 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. final completion date is may 2, 2015. this is my sixth official record; disc finalized as lp014 on nov 21, 2017.

inri065: written and recorded in early 2003. transcribed, slightly rearranged, remixed repeatedly and re-rendered repeatedly over may, 2015. all renders finalized on may 16, 2015. the download-only orchestral mix was completed on may 23, 2015 and added to this release on nov 25, 2017. disc finalized on nov 25, 2017.

originally created from 2001-2003. this compilation is dated to april 21, 2003. slowly remastered, reconstituted, compiled, reconstructed, released and finalized from 2014-2017. compilation finalized on nov 25, 2017. as always, please use headphones. 

credits

released April 21, 2003

j - guitars (electric, acoustic, nylon), electric bass, electric mandolin, orchestral & other sequencing, synthesizers, drum & melodic programming, electric air reed organ, digital piano, flute, regular drum kit, electronic drum kit, sampling, digital and analog effects processing, digital wave editing, sound design, soundscaping, loops, granular synthesis, noise generators, equalization, vocals, vocoders, drum & vocal manipulations, bowls, claps, tables, e-bow, production
sean - vocals (inri048-inri049, inri053-inri059, inri061), harmonica (inri054, inri057), ring modulator (inri057-inri058), vocal concept (inri062) .

jon - guitar performance (inri048-inri049, inri057)
greg - drum performance sample source (inri056-inri058)
bob - hammering (inri058)

the various rendered electronic orchestras include acoustic bass, synth bass, electric bass, fingered bass guitar, brass, tuba, french horn, trombone, trumpet, english horn, brass section, saxophone, flute, clarinet, oboe, piccolo, bassoon, orchestra hit, drum machine, nylon guitar, electric guitar (distorted & clean, bowed & picked), acoustic guitar, guitar noises (fret noises, knocks, pick scrapes), synthesizer, synthesizer effects, synth pad, music box, harp, koto, piano, glockenspiel, vibraphone, hammered percussion, mallet, bells, tubular bells, agogo, wood blocks, marimba, celesta, xylophone, melodic toms, timpani, taiko drum, backwards cymbals, synth drums, electronic drum kit, jazz drum kit, orchestral drum set, mellotron, violin, viola, cello, contrabass and various full string sections. there is also choir. 

 

 https://jasonparent.bandcamp.com/album/rabit-is-wolf-box-set

some time in late 2002, sean sent me a message over msn or icq requesting that we begin a song based on looped birds chirping. i thought his idea was kind of cliched, but i took to working around his suggestions by converting them into something more musically expressive. i didn't want to write a song that literally climaxes around birds chirping, but i was willing to write something tonal that evoked the feeling of birds chirping.

at the time, i had my sister's electronic piano downstairs. she had a miniature grand upstairs. it was initially written on the keyboard with a very strange timing, which the scorewriter had difficulties capturing - partly because i was inconsistent in performing it. the piece was greatly simplified as it was arranged.

however, i believe the piece sat for a long time before the second section was added to it.

sean and i didn't talk much over the next few months, and the truth is that i just never brought this piece up to him. by the time it was finished, i had firmly placed it in my successor project, the trivial group. it was initially dedicated to sean as a part of the going away disc (reflections), but that's really as close as this ever got to being a rabit tune.

i don't have clear memories around composing it, although circumstantial evidence makes it very likely that this happened in the late winter and early spring of 2003. i vaguely recall playing it on the grand upstairs, which could have only happened after sarah moved home to the outer suburbs to get ready for the trip. this was around march. i do remember recording the guitar parts and percussion parts, and am convinced this was in the spring due to memories of the spring sun hitting the bowls. the april 20th date may be a little late, but i have every reason to believe that this was not finished until after exams that year.

the percussion sections in the track are notable. the metallic sounds were created by smashing cutlery into a metal bowl, whereas the woody sounds were created by "playing" a pen on a desk. the track also includes hand claps.

these percussion parts were not notated until 2015. this was a careful, lengthy process that required a lot of careful listening, and a bit of napkin math. notating the percussion allowed for a more comprehensive exploration of the track over midi.

i've included the midi files of the original composition, if you'd like to mess with it on your own.

written and recorded in early 2003. transcribed, slightly rearranged, remixed repeatedly and re-rendered repeatedly over may, 2015. all renders finalized on may 16, 2015. the download-only orchestral mix was completed on may 23, 2015 and added to this release on nov 25, 2017. disc finalized on nov 25, 2017. as always, please use headphones.

the title track appears as a component on my eighth record:
jasonparent.bandcamp.com/album/e

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 (2003, 2015, 2017).

*download only 

credits

released April 20, 2003

j - guitars, effects, bass, synth, voice, bowls, claps, tables, ebow, orchestral sequencing, drum & other programming, loops, digital wave editing, composition, production.

the various rendered electronic orchestras include synth pad, synth bass, synthesizer, mellotron, fingered bass guitar, picked electric guitar, bowed electric guitar, guitar noises (fret noises, knocks, pick scrapes), violin, viola, contrabass, cello, string section, brass section, piano, celesta, xylophone, marimba, vibraphone, glockenspiel, tubular bells, woodblock, mallet, electronic drum kit, jazz drum kit, orchestral drum kit and choir.

i'll point something else out, though: the ontario government is doing gai trials, and i'd get something like a doubling in income if that were to go through. it probably wouldn't create much inflation. the energy rebates won't matter much, if that goes live...

so, i called the worker at 8:31 and she told me everything is going through.

i called the landlord after noon, and she told me everything will be fine.....but i have to wait until the 29th.

i can't tell my existing landlord that i'm moving until i get the keys.

i have until the 4th to file the appeal, if this collapses. but, i can technically afford first & last month's rent on the 30th, regardless, so it's hard to see what's going to happen besides my new landlord bailing on the deal.

i put my fridge up on kijiji, but i'm wondering if it might be more efficient than what's there. i didn't really check. it's a very big fridge, but it's decently efficient for it's size - it's 700 kwh/year, which is about 60 kwh/month. if the fridge in the unit is very old, i might be better off bringing this one.

with the discount i'm getting, my energy budget is about 250 kwh/month - if i go over that, i start having to actually pay. given that i don't use the stove or the air conditioning, and i'm not paying for heat or hot water, i actually don't think i'll have much to worry about in at least keeping it under 300 kwh/month, which would be about a $10/month charge.

i've never had to pay electricity before, but there's so much hysteria around it that i wasn't going to find anything all inclusive. and, like i say, with the rebate, i'm almost better off with it separated from the rent. the rebate was really the key point, though. if that rebate collapses i might even have to move. but, i'm going to come down on this really conservatively to start: i'm going to keep everything off between 7 am and 7 pm for the first cycle, and try to keep my usage to the absolute bare minimum, to start, just to get a kind of background noise. i'm even going to disconnect my cable modem when i'm not using it. it's just to help me figure out what the bare minimum cost is, so i can slowly bring in more and more things.

i'm going to presume, for example, that my pod xt is probably a pig. if my background noise - fridge, stove top, microwave, lights, one computer at a time, battery charger - is closer to 100 kwh than 200 kwh, i shouldn't worry much about plugging in. but, if i end up pushing the 250 right off the bat, i'm going to need to be more careful.

i only have a few more discs left to close. i'm going to focus entirely on that this weekend, and hope to ship the balance of the remaining order on monday, so i can get ready for the move on tuesday and actually move on wednesday, thursday & friday.

republishing inri064

this was constructed as a christmas present for my partner, while in a rather absurd state of entirely preposterous euphoria. only a musician can be so absurdly invested in something so thoroughly delusional - or manage to create something so entirely self-reflective out of a theme surrounding somebody else.

the first part of this was shelved before it was ever released. i was over-exaggerating a sense of self-consciousness, but it still strikes me as unworkable. however, i think it's conceptually important in the idea of this as a christmas present and has consequently been uploaded here without modification. the second part was actually presented to sarah as a present, albeit a little after christmas - hence the jan 1 release date. it eventually found it's way to the center of my eighth symphony, reflections.

these tracks were written and recorded over november and december of 2002 and uploaded, unmodified, in may of 2015. this was initially a download only release, but was expanded to a full release and finalized as such on nov 24, 2017. as always, please use headphones.

the second track appears as a component on my eighth record:
jasonparent.bandcamp.com/album/e

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 (2002, 2003, 2015, 2017).

credits

released January 1, 2003

j - guitar, effects, bass, synth, piano, drum programming, light-sound synthesis (coagula), generative programming (sounder), granular synthesis, sound design, digital wave editing, production, composition

that's the second day in a row that i passed out waiting for a call.

so, what got accomplished yesterday?

1) i got the moving estimate to odsp, who in turn got it to the city. so, that's in process.
2) i got the oesp consent mailed. so, hydro is set up.
3) i got the internet transferred.

i don't have phone or cable services. & the building will cover heat & water. so, my only utilities are hydro & internet. that's done.

4) i got the issue with the direct deposit worked out - i should get a full check on november 30th, and i'll have to make sure everything is good after that. the worker is still being weird about it, but i'll have to wait until i move to push back on it.
5) i talked to the city about covering the moving costs and last month's rent, and got to the point where the city just needed to call the landlord and call me back.

the ciy never called me back.

so, i'll be on the phone, haranguing them, first thing in the morning.

they never asked me for my landlord's phone number, leaving me to conclude that they'd need to find the information on their own. unless they already have it in some database, they're not going to find it. and, that might be a big problem.

again: i wish they would have left me a message last night so i at least knew what was going on. but, i'm not going to be shy about calling them repeatedly until i at least get an answer.

my takeaway from this situation is that the city is taking far too great an initiative in micro-managing this, and it might in the end work against both myself and my existing landlord, who may have to deal with an appeal that i thought i had avoided. there's no reason to do any of the things that they're doing. i brought them a lease, with a request for last month's rent and an estimate for moving costs. there is no evidence that i have substance abuse issues, gambling problems or any other concerns that would lead to me having difficulty getting the funds from a to b; if such evidence did exist, they may be justified in micro-managing, but the benefit of the doubt should be with the applicant, and these steps that they're taking should be extraneous rather than automatic. they should have just taken the lease and the receipts and written me a check for the difference.

but, i'll be as annoying as i have to be for as long as i have to be. once again: there was an easy answer, but this ubiquity of human stupidity is necessitating this byzantine nonsense.