publishing inri069

the origins of the tetris project emerge in my records some time in mid-2006. i must have been filing some things on my hard drive, and wanting to put a bunch of the loose ends in the same folder, because what i remember is having a lot of loose tracks and trying to find a way to fit them together. the best commonality i could find in these tracks is that they all attempted to merge guitar music with electronic music, so i devised a project that would utilize these tracks by exploring this theme to it's fullest.

tetris is the idea of combining guitar music with technology. it just sat that way, for years, as a folder on my hard drive, with little progress towards actual completion.

when i set up the bandcamp site in 2010, i uploaded a number of these loose tracks under the album header 'tetris', with a promise to add tracks to it, slowly, until it completes. this was intended to be an eventual official record with an explicit techno flavour, and some tracks were, in fact, added to it. as of january, 2018, the majority of these tracks have been completed and re-released on my fifth or sixth records. so, this project has been dismantled, as it initially existed.

upon initial completion of my second period in may of 2015, i sat down to create a guitar volume. some work was completed on a mix tape of solo parts, but this was ultimately where i left off to go back to complete period 1. before i put it aside, i had decided on a three-volume set: a mix tape and a 2xcd set, with one cd being a tetris volume 1 (converted to an end-of-period compilation) and the other cd being of atmospheric, political and noise sections.

i didn't get back to this until late december, 2017 and sat down to create a tetris volume 1 as i had decided upon in 2015. but, what i started to realize as i was compiling it was that the reason that this connection presented itself amongst the scattered tracks i initially applied it to was that it is a fundamental aspect of my art - nearly every track i've written since 1998 takes the guitar through an exploration in the world of electronic music. i started to think more abstractly about it, this combination of technology with guitars, so that the definition fit across more genres than techno and idm. this wider interpretation of the project's mandate created a larger pool of tracks to choose from, and i eventually settled on two volumes for tetris: one with a faster tempo and more danceable tracks and one with a slower tempo and jazzier or more psychedelic tracks. some tracks that i identified as 'orchestral' were also put aside for future release on a later tetris volume.

the atmospheric disc wasn't initially contemplated of as a tetris release, it was rather meant to make the release an inclusive guitar works, as that is also a major component of my guitar presentation. but, my wider interpretation of the mandate allowed me to see that the tracks i had put aside for this compilation were also an exploration of guitars and technology. so, i created this disc as a tetris volume. a strategic decision was made to not include tracks on the first ambient works, but rather to defer to it as the ambient component of my second period guitar work.

i had also decided in late 2017 that i would create a compilation of guitar-only mixes for the lp sequence to close period 2, to draw special attention to the primary focus of my creations, which is the guitar work. i strongly contemplated releasing only disc 4 in this space of inri069, and leaving the other three for a later release, as a coherent multi-disc part tetris. however, the need to include inri071a in the tetris sequence necessitated releasing these tetris volumes in this space. further, a standalone release of disc 4 would also require a tetris number - it is certainly an integration of technology and guitars.

that makes inri071a tetris 5. i've also decided that inri072, the orchestral works, should be tetris 6.

as a six volume set, this compilation touches upon nearly every track that was written between 1998-2003 and has guitars in it by placing it into one or more of these six slightly overlapping categories. as such, this is a comprehensive introduction to my first two periods, from the perspective off my work as a guitarist.

initially written and recorded between 1997-2003. this compilation idea was developed and expanded upon as an intended full record release between 2006 and 2011. reinterpreted, reconstructed and remixed between 2014-2018. sequenced over december, 2017 and january, 2018. disc released & finalized as lp018 and tetris 1-4 on jan 7, 2018. as always, please use headphones.

this release also includes a printable jewel case insert and will also eventually include a comprehensive package of journal entries from all phases of production (2015, 2017-2018). 

credits

released April 26, 2003

j - guitars (electric, acoustic, nylon), digital & analog effects processing, ebow, mandolin, bass, bass synth, drum programming, analog & electronic drum kits, drum sampling, drum manipulations, vocals, vocal noises, sampling, orchestral & other sequencing, soundscaping, sound design, synthesizers, electric & grand pianos, electric reed organ, found sounds, octavers, noise generators, cool edit synthesis, granular synthesis, generative synthesis, loops, flute, coughs, digital wave editing, production

sean - harmonica (track 19), ring modulator (track 36)
greg - drum performance sample source (track 21)

the rendered electronic orchestra includes acoustic bass, synth bass, electric bass, brass, french horn, trombone, trumpet, tuba, english horn, saxophone, flute, bamboo flute, oboe, piccolo, clarinet, bassoon, orchestra hit, drum machine, electronic drum kit, agogo, tubular bells, glockenspiel, clavinet, kalimba, piano, melodic toms, hand drums, timpani, orchestral drum set, koto, nylon guitar, distorted & clean electric guitars, guitar effects, guitar noises, synthesizers, synthesizer effects, music box, piano, bells, organ, sitar, violin, viola, cello, contrabass, full string sections and mellotron. it also includes choir.

tetris 1-4 (inri069) is now completed.

tetris 5 will be the ambient works, vol 1 (inri071a). tetris 6 will be the orchestral works (inri072). there's no use in recreating these as tetris volumes, but they are developed guitar ideas in my discography that ought to be catalogued. further tetris volumes will follow at the ends of periods 3 (2003-2007) and 4 (2007-2011).

to recap, tetris is the idea of fusing guitar music with technology. it is also one of the central themes of my work, as a composer. the tetris series catalogues my various approaches towards this theme.

tetris 1: guitar-driven dance music.
tetris 2: guitar driven electro-psych.
tetris 3: guitar driven noise collages.
tetris 4: guitar-only mixes of selected period 2 tracks
tetris 5: guitar driven ambient music
tetris 6: guitar driven orchestral music

tetris 7: guitar driven 'epic rock' - extended pieces.
the ideas in volumes 1-3, 5-6 may be reprised for further volumes.

formal close to follow.

the compilation is done.

it's five and a half hours, and touches on pretty much every major track in the first two periods of my discography.

it will take some time to upload.

so, where am i with things?

i've finished up the fourth tetris disc, and have a rough listing for the third. the last mix had to be reconstructed to finish it...

the third disc is going to be a compilation of tracks where the guitar is used to create a wash of noise, or something otherwise atmospheric.

i had to replace this track.



the deleted mix was actually intended to be temporary; it was done a few days before i finished the main track, and i was going to then go back and re-render it when i finished it. this didn't happen. so, the mix ended up with some synthesizers in it that had to be taken out. it's now also an accurate "guitar only mix" for the final version of the track.

this mix will also appear on tetris. the discarded mix will be moved to the alephs.

republishing inri058

there are a few ideas in my discography that i've explored from multiple angles, but nothing else at all like this track, which has been through multiple complete rethinks involving multiple people over the course of sixteen years. as the revisions are so diverse, i think that a comprehensive collection of interpretations is a proper entry within my discography.

in the end, this emerges as my seventh symphony.

the collection is to be arranged chronologically in four discs consisting of two 2xcd sets, with the first two discs consisting of mixes that were meant for inclusion in band projects and the third and fourth consisting of mixes that were created after the track was moved into my own various one-person projects. further discussions of the various incarnations of the tracks appear on the track pages.

written over 2001 and 2002 and rethought repeatedly between 2002-2014, with no clear resolution in a final mix. reconstructed from source in late 2014 and then rendered at multiple stages to create a series of snapshots. final mixes were completed over the last week of november and the first week of december. released as a two-volume set on dec 7, 2014. the concept was rethought on nov 3, 2017, which led to the inclusion of five more mixes and an expansion to four cds. re-released in four volumes & finalized as symph007 on nov 12, 2017. the raw guitar mix was corrected on jan 6, 2018. as always, please use headphones.

credits

j - electric & acoustic & classical guitars, analog & digital effects & processing, electric bass guitar, synthesizers, drum programming, orchestral sequencing (12), drum manipulation, vocal manipulation, voice (9), digital wave editing, loops, equalizers, soundscaping, sampling, composition, production, cover art

sean - vocals/lyrics (2,5,7), ring modulator (7-9, 11, 13-14, 16)

greg - drum performance sample source (4, 6-9, 11, 13)

bob - hammering (3)

the rendered electronic orchestra on track 12 includes tuba, saxophone, flute, clarinet, orchestra hit, piano, violin, viola, cello, contrabass and various full string sections.

released july 4, 2002

another decision: i had included a few 'orchestral' works in the epic rock compilation, because it sort of fit, but i've taken them out. the way i'm going to do this is that the guitar disc for the orchestral pieces will be the orchestral works, and i'll add the slow version of the time machine as a bonus track.

there will be material from the orchestral works in the tetris compilation, but where it fits.

i just felt forced to include the guitar concerto on a guitar works, but it doesn't really fit the description of tetris well - it's an overture and concerto and should be catalogued accordingly.

and, so, i should be explicit, and rename the release to tetris, 1-4.

on second thought, now that i've put the third disc aside as two further potential volumes, i can release a four volume set, if i include the guitar mixes, and why not, it fits the theme.

four is just permanent.

i still need to determine what i actually am going to create and then order it afterwards...

the most recent update is that the second tetris disc is sequenced, but the third has been put aside; it may end up as two discs. there is at least one more tetris disc to sequence, but i won't be releasing any of them in the inri069 space. as of now. i think. they will likely have a release date of something like 2011, in something like a 6 disc set. but, i could still decide that it's worthwhile to release a double in this space.

right now, what i'm wanting to do is sequence the guitar collage disc, as it kind of has to be sequenced before the next tetris disc. and, i'm realizing that one of my guitar mixes isn't a guitar mix at all.

so, i'm going to have to update inri058. i wish i would have caught this in november, but so be it.

it looks like this guitar collage disc will be what is published in inri069, unless i get a good 4 disc tetris set, in which case i can release the remaining volumes later.

so, where am i with things?

i've got the second and third tetris discs created, i just have to sequence them. but, i'm leaning towards not releasing this for a while, perhaps positioning it as late as 2013 in a 5 or 6 volume set.

tetris is the idea of mixing technology with guitar music. the three compiled expressions of this are in the form of a dance music setlist, a psychedelic music setlist and an epic rock setlist. a fourth expression of this in the form of atmospheric guitar music may follow shortly.

the only thing i've put aside for definite release in the inri069 space is the disc of guitar mixes - that is, songs stripped down only to the guitar parts. i'm also going to be getting a head start on a number of mix tapes, with the possibility of a release, but the likelihood of half-releases, to be put aside for later.

what i'm doing right now is sequencing these two discs and taking a look at the fourth volume.

i was just using my compass to pull a piece of lint out of my lighter (it's the worst when that happens...), when i started to realize that the ancient greeks probably used compasses for pretty much everything. if you can imagine this bearded greek old man, using this giant compass as a claw in his daily tasks - holding pita bread sandwiches, swapping away flies, getting that itch in that hard to reach spot. it's almost like that edward scissor-hands, isn't it?

i'm now fully convinced that all greeks lived like this, with compass as primary general utensil.

what we understand in the universe is largely restricted to concepts of motion. unfortunately, a fairly good understanding of motion may have led us to a false conclusion that we understand the universe well because we understand it's motions well.

most objects in the universe still perplex us at the most basic levels - we don't really know what they do, and if we do know then we don't know why, and if we don't know then we propose mathematical theories about them.

take the sun. we can measure how the sun moves fairly well. and, we know it shines. but, we don't really have any predictive theory to explain how the fluctuations in the sun's strength vary. this is a total mystery.

we may in the end find out that the laws of motion are actually not particularly useful in understanding the universe at all.

so, i put my upload of this mix on hold, to explore the possibility of adding another track, to spin inside dull aberrations. this would have required some strategic cuts to fit on to one cd, but it was plausible, and a cut was made. but, the track just doesn't fit the aesthetic on the disc, as much as i want it to.

so, what is this, then? this is the first officially complete volume of tetris, an idea i've been kicking around for a while, since i think 2007. and, it may in the end end up separated from inri069, and placed in a release sequence deep in 2011 instead, as the first part of a two or four cd set. but, this is a volume in a set of some sort, at least.

tetris is an idea that is meant to combine technology with lead guitar work, which i realized around ten years ago is a dominant theme in my work, worth separately cataloguing. many rough lists of tracks intended for a tetris release have circulated, over the years. there will be a tetris release of some sort that documents 2003-2011, potentially several.

the first tetris release is intended to focus on danceable tracks driven with a lead guitar part. spin is just too much of a rock song. i'm considering a second immediate tetris release, focused on trip-hop, but it may be put off until 2007.

i'm considering a third volume of atmospheric guitar music, but that too may be put off - as might the mix tape of solos.

so, there's still a lot of work to do in compiling and organizing the components of this release. but, this cd will be a completed segment, moving forwards.

so, are we just tiny microscopic life forms in the greater context of a much wider biological entity, possibly with some kind of consciousness?

i'm just struck by the synchronicity of the dimming of the sun with the warming of the atmosphere, almost as though one is acting to balance the other out - and while some may want to interpret this as a sign of a higher power, i think a more naturalistic explanation lies in something mechanistic, like the parts of a living organism. maybe the stars that form this organism even arrange into a constellation of a duck, if you could see it from the outside, which we will never be able to, because we are on the inside of it. well, maybe we could catch a reflection, somehow. or be lucky enough to catch a glimpse into some curvature in space. but, we can't see ourselves in the night sky.

now, you could run a computer simulation to determine the empirical question of whether our mathematical understanding of the universe projects a duck into other parts of the galaxy, if we have anything approximating enough data. you could potentially model it on a computer screen, but you'd have to go to virtual reality to really see the duck that we may or may not project. and, there would always be uncertainty levels.

no, to truly determine the empirical question of whether or not the galaxo-spacial biological entity we exist as a component of appears as a duck to other parts of the galaxy will require travelling there to see for ourselves. that's settled.

but, then, what if the constellations that we see are also galaxo-spacial biological entities? see, as i've mentioned a few times, i'm kind of open to the idea of religion as a ufo cult - and astrology was at one point a religion. contemporary westerners of a liberal scientific mindset tend to scoff at astrology as a lot of contrived nonsense, and they're not technically wrong, but their scorn obscures the fact that these ideas come from a lost religion that acted as a syncretic bridge between mathematics, astronomy and mysticism - that this is actually derived from legitimate ancient science. that doesn't mean that there's any value to the zodiac - this is not my argument, don't misunderstand me. but, it does suggest that there are maybe ritualized relics embedded in the zodiac that remember the relatively advanced science of the babylonian era, which was a high point for astronomy in the ancient world, this period of learning itself spurred by even more ancient stories, such as those told in egypt.

they kept very careful records, apparently. they were tracking things, looking for patterns. but, people don't realize how long this period of early civilization really was, before the languages started to change in the middle east, with the persians and then the greeks. if you're standing in babylon in the year 500 bce, you have 4000 years of astronomical records to draw on. the egyptians had even more than that. our science is based on a few hundred years of observation. so, they had more observations than we do, and more data to infer from. one has to think that inferences were made. if we could retrieve this data somehow, we might be able to predict the next several solar cycles better, if we could see a longer term pattern.

some of these patterns may be hidden in the zodiac, but you'd have to be careful, because it's also full of traps. first, if it finds a pattern, it's inevitably going to project it too perfectly, and project a cycle far less chaotic than reality. second, the mathematical writing that they used was cumbersome, and it produced a lot of error due to crude approximation arising from difficulties using that system. so, their calendar was actually wrong. and, it's been out of sync for centuries. it would require a lot of calculation to resync this, and then it wouldn't even be clear what you're comparing. it seems absurd to consult a source for predictive value when it can't even get the date right, right?

still, there could be useful information in there, if it's calibrated right. we'll never know until we pass through it and look back and reconstruct it. why were they so interested in the stars in the first place, though? and what's with all these stories of people coming up and down from the sky?

if there are living galaxo-spacial biological entities in the universe, then perhaps the movement of bodies in the sky has more to do with how the ancients imagined it than we currently think.

"have you seen my cat?"

that's twice, this week. and, here's the hard truth for windsorites: your cat ran away to join the colony, and you'll have to deal with it. the feral cats here have a really strong invisible network of scent signals that will lure your cat away immediately, if you let sight of it for even one second, outside. i wouldn't even be surprised to hear about cats darting out when doors are left open a crack, after waiting all day to follow the smell, as it walked by outside.

i've been arguing that the city needs a serious straight out feline cull. i know what they say about how trap, neuter & return is a preferable option, but that presumes a certain level of manageability. we may, unfortunately, be at the point where we require an all out slaughter of feral cats, because their existing numbers are already too much of a problem for a t-n-r to cut down on.

but, the colony will in some way affect your cat, even if it's isolated enough from the aromas that it only gets  the odd sniff of it. the ones that it drags out, zombie like, will be converted to the cause of the colony upon arrival. and, this is simply hormonal - no amount of pleading will change your cat's minds. once assimilated, they are gone - never to return to snuggling, or to the far more subversive kneading, at that. their minds are washed of their existence as slaves to humans, however absurd that formulation is when related to cats, and given a new life of meaning to protect, defend and expand the colony. do not waste your time - they are gone.

as it's purely chemical, and we're both basically the same kind of mammal, of course this is possible in humans, if you can find the right magic password, the right chemical bonds. you can get an idea of how we're sometimes driven purely by hormones when you look at the fight or flight response; we literally don't think in these situations, we just succumb to this hormone that forces us to react. this is a ways from actual chemical mind control. and, the instincts available to program are likely to be biological responses that might not be useful and might even be dangerous - lust, for example. but, i think the chemistry likely exists to turn a human's brain right off in order to accomplish a biological urge, and it would probably be experienced by the conscious host as a blackout in memory. one could no doubt find detailed examples that fit this description.

if you lose your cat around here, though? it's gone. to the colony.

i think i'm done my distraction with the usb key, now. i didn't salvage anything off of it, but i convinced myself that what was on it was routine. i was just paranoid about forgetting something. if i did, there's no evidence it existed.

i still don't know what happened with that; i stopped writing to the key immediately after the weirdness happened, so the files should have been easily accessible. but, they only came up on a deep scan, and they came with some directory corruption, as though they'd been decaying on the drive a while. it's all very strange.

what i remember doing is deleting two files in the root directory, leaving a folder called bd-2 in tact. that's a little blurry as to the exactness of the directory structure, which is what it causing me all of this pause. but, the whole drive wiped. my initial thought was that i accidentally deleted the folder and it should be a quick undelete. but it seems more like that the thing collapsed under itself; it just vanished. do file directories randomly collapse like that, or is it further sign of intrusion?

remember the prime directive. you can't be fucking with my files like this. i actually have no delusions as to the nature of "network privacy", but zapping my usb key crosses boundaries. if somebody did zap me, please don't do it again.

i accidentally deleted files off of my usb key, and i'm kind of dumbfounded as to why they're not showing up in the file system. i haven't touched the drive. it's just full of random dates, almost more like it got flooded with data. but i'm waiting for one more scan to make sure it's not just hiding with a weird name.

i guess maybe the file table could have gone out? is that something that happens? i don't think there was much on there, i'm just going to have this nagging feeling like i forgot something.

something else i read while the internet was down was the gibson classic, neuromancer. i'd read half of it a dozen times and made sure i actually finished it this time. i think it's overrated as a work, even if it was enjoyable enough as basic fiction. but, something i think he got wrong was the idea with the implants. the female protagonist had mechanical implants inserted into her eyes. i think the way this is going to actually work is that people are going to get injections full of hormones designed to rearrange their dna: that we're going to actually reprogram ourselves to use the hardware we have better, not get new hardware attached to ourselves. i think the potentials of this are quite staggering, but it's going to require a difficult period of human experimentation, where people get programmed in disturbing ways, sometimes accidentally and sometimes on purpose.

one medical application i can think of, as a transgendered person, would be actual genetic therapy for transition. you could just reprogram your cells to produce estrogen instead of testosterone. i think diabetics could put this to use, as could anyone else with a problem in hormone regulation - including people with high levels of bad cholesterol.

but, the key futuristic element was in finding ways to use technology to enhance our abilities. and, i think the novel made an error in imagination that was kind of ubiquitous at the time.

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.