somebody asked me to do this for them for a school project. we're both italian. silly joke, no offense intended.
i never saw the final version, but the guy described it to me. it was an anti drinking and driving ad (think madd) for a marketing class. they sequenced it up with shots of one of them stumbling towards a car, getting in and driving off. very clownish, apparently.
recorded in mar, 1999.
https://jasonparent.bandcamp.com/track/gene-os-a-soundtrack-for-an-italian-breakfast-cereal-2
Thursday, November 21, 2013
publishing pop music (a tribute to carbon doxide) (inri028)
i can't date this exactly. i know it was the first half of the second semester of grade 12, which was spring of 1999. further, i'm taking it forward to about midway because the first part of the course was about voice-leading and i spent it orchestrating the beatles' something.
i was lucky: i went to a high school with a big music department. not an arts school, mind you. just a school that had enough funding to run a wide array of course options that are outside the basic core topics. there were three main assignments in the course, and while i don't remember the exact assignment questions, i do have two pieces to show for it.
this, here, is a conceptual piece about pop music. all of the sounds are created from pop cans. yes, puns are fun. the samples run from pouring water out of pop cans into the sink, to crushing and smashing pop cans, to opening them, to exploding them, etc.
i used the tab of a pop can as a pick as i played the ambient guitar parts. it's all thrown together, processed, warped and perfected in a wave editor.
recorded in the spring of 1999. released as a standalone single on nov 21, 2013. as always, please use headphones.
this track eventually appears on my 3rd record:
jasonparent.bandcamp.com/album/inridiculous
credits:
j - guitars, effects, samples, loops, digital wave editing
released april 15, 1999
i was lucky: i went to a high school with a big music department. not an arts school, mind you. just a school that had enough funding to run a wide array of course options that are outside the basic core topics. there were three main assignments in the course, and while i don't remember the exact assignment questions, i do have two pieces to show for it.
this, here, is a conceptual piece about pop music. all of the sounds are created from pop cans. yes, puns are fun. the samples run from pouring water out of pop cans into the sink, to crushing and smashing pop cans, to opening them, to exploding them, etc.
i used the tab of a pop can as a pick as i played the ambient guitar parts. it's all thrown together, processed, warped and perfected in a wave editor.
recorded in the spring of 1999. released as a standalone single on nov 21, 2013. as always, please use headphones.
this track eventually appears on my 3rd record:
jasonparent.bandcamp.com/album/inridiculous
credits:
j - guitars, effects, samples, loops, digital wave editing
released april 15, 1999
pop music (a tribute to carbon dioxide) (original album mix)
i can't date this exactly. i know it was the first half of the second semester of grade 12. further, i'm taking it forward to about midway because the first part of the course was about voice-leading and i spent it orchestrating the beatles' something.
i was lucky: i went to a high school with a big music department. not an arts school, mind you. just a school that had enough funding to run a wide array of course options that are outside the basic core topics. there were three main assignments in the course, and while i don't remember the exact assignment questions, i do have two pieces to show for it.
this, here, is a conceptual piece about pop music. all of the sounds are created from pop cans. yes, puns are fun. the samples run from pouring water out of pop cans into the sink, to crushing and smashing pop cans, to opening them, to exploding them, etc.
i used the tab of a pop can as a pick as i played the ambient guitar parts. it's all thrown together, processed, warped and perfected in a wave editor.
recorded in april, 1999.
https://jasonparent.bandcamp.com/track/pop-music-a-tribute-to-carbon-dioxide
i was lucky: i went to a high school with a big music department. not an arts school, mind you. just a school that had enough funding to run a wide array of course options that are outside the basic core topics. there were three main assignments in the course, and while i don't remember the exact assignment questions, i do have two pieces to show for it.
this, here, is a conceptual piece about pop music. all of the sounds are created from pop cans. yes, puns are fun. the samples run from pouring water out of pop cans into the sink, to crushing and smashing pop cans, to opening them, to exploding them, etc.
i used the tab of a pop can as a pick as i played the ambient guitar parts. it's all thrown together, processed, warped and perfected in a wave editor.
recorded in april, 1999.
https://jasonparent.bandcamp.com/track/pop-music-a-tribute-to-carbon-dioxide
inriverted (remix/cover for inrimake)
tricil and i were on some of the same lists in the late 90s. he put out a request for remixes, and i took it up.
dating this exactly is difficult. the mp3 i have is time stamped to early 2000. tricil suggests it may have been late '98. there's the possible window. yet, judging from the style, i think it has to be post-demo. i have a lull in the april-june period. judging from other tracks of the period, it also seems to coincide best with my 'shockingly crude samples' phase.
regarding those samples. well, they're from reservoir dogs. three levels. first, i was thinking, listening to it, that it would work well with reservoir dogs. i eventually rejected the idea as too restricting, but i was entertaining the idea of working in film scores at the time. what i'm saying is that the music reminded me of the scene rather than the other way around, so i tossed the scene in. second, once i actually got it together, i enjoyed how twisted it sounded, 'cause i was like that. third, i was thinking a lot about huge dicks at the time - coming off the rejected ruiner cover and in general. i should note, however, that i've removed roughly 45 seconds of the track due to the reservoir dogs samples (the john hughes / madonna scene) being pointlessly crude.
musically, what i've done here is take the chord progression in the track and build something entirely different out of it. there's but a single loop in the track. i'm basically just jamming with myself in building up the different tracks. yet, it's a radical departure that exists firmly in the pivot point i was taking.
this is so dramatically different from the original that it's reasonable to say something like that it's "inspired by" the original rather than a remix or a cover. it does contain creatively reinterpreted samples of the original.
here's something more recent from tricil:
http://www.youtube.com/watch?v=gITRmVkZp7A
recorded in may, 1999. edited on nov 21, 2013.
https://jasonparent.bandcamp.com/track/inverted
dating this exactly is difficult. the mp3 i have is time stamped to early 2000. tricil suggests it may have been late '98. there's the possible window. yet, judging from the style, i think it has to be post-demo. i have a lull in the april-june period. judging from other tracks of the period, it also seems to coincide best with my 'shockingly crude samples' phase.
regarding those samples. well, they're from reservoir dogs. three levels. first, i was thinking, listening to it, that it would work well with reservoir dogs. i eventually rejected the idea as too restricting, but i was entertaining the idea of working in film scores at the time. what i'm saying is that the music reminded me of the scene rather than the other way around, so i tossed the scene in. second, once i actually got it together, i enjoyed how twisted it sounded, 'cause i was like that. third, i was thinking a lot about huge dicks at the time - coming off the rejected ruiner cover and in general. i should note, however, that i've removed roughly 45 seconds of the track due to the reservoir dogs samples (the john hughes / madonna scene) being pointlessly crude.
musically, what i've done here is take the chord progression in the track and build something entirely different out of it. there's but a single loop in the track. i'm basically just jamming with myself in building up the different tracks. yet, it's a radical departure that exists firmly in the pivot point i was taking.
this is so dramatically different from the original that it's reasonable to say something like that it's "inspired by" the original rather than a remix or a cover. it does contain creatively reinterpreted samples of the original.
here's something more recent from tricil:
http://www.youtube.com/watch?v=gITRmVkZp7A
recorded in may, 1999. edited on nov 21, 2013.
https://jasonparent.bandcamp.com/track/inverted
why I’m not uploading ruinri
i have a cover of a nine inch nails song, ruiner, that is time-stamped to mar 27, 1999. i'm going to choose not to upload it (it might be the *only* completed track that i skip) for two reasons:
(1) it was never released anywhere else.
(2) the sampling and vocals are both terrible.
i did the cover for two reasons. first, i really wanted to get on a nin remix disc. all caveats aside, it's an interesting piece of music that i'd pick over a lot of the more recent nin remixes. second, i wanted to do a cover of the guitar solo. that's the primary thing that drove this specific song.
so, it's this meandering 14:00 mess centered around myself doing a lengthy adrian belew impersonation. which is sort of masturbatory. and i definitely picked up on that. now, the song, ruiner, seems to be about erections on some level. how did it get so big? i dunno, trent. so, masturbation. penises. me under the age of 20. you can see where i went with this.
there's about five minutes of penis samples, sequenced in a narrative that goes through such twists and turns as explaining a 5 foot penis as the result of a nuclear accident and shaming the listener for listening to such filth.
if it was my own song, i could shrug it off. but this is a cover. i don't feel comfortable unzipping this....
sorry. i should stop before i begin.
as i'm sorting through my work, though, it stands out as an important track in my development. you'll notice two things in my description of the track: 14:00, lengthy guitar solo. da fuck? everything since the cassette demos (which, until last month, meant everything i'd released) was relatively short, starkly focused and mostly free of solos! what urged you to meandering prog all of a sudden and out of the blue?
now that i've uploaded those demos, it's a little more clear that the "meandering prog" (the terms 'pronk' and 'psychedelic' are better descriptions) is where i was, musically, to begin with. rather, it's the fairly short drum machine period that sticks out. and, that's what happened. writing songs based on drum machine patterns enforces a level of discipline. the machine doesn't tangent. using a drum machine like the ry30 to record music is like composing at boot camp. it's very strict! introductions, bridges and endings must conform to the tyranny of the beat.
once i was done the two demos, i pulled myself away from it. i need to be clear: i liked the way it sounded, i just needed more flexibility to express myself. and i've really rejected the idea of working with drum machines ever since. today, i use a number of different strategies for percussion, including an electronic drum kit.
so, i started creating loops in the wave editor out of samples instead of in the machine. instantly, i had total freedom. i could do a six minute keyboard solo to open the track, if i wanted, and there was nothing the machine could do to stop me! ha!
the pendulum swung almost immediately. hard. going forward for the next little while, 14:00 is more like the average track length.
i just can't upload this, though.
(1) it was never released anywhere else.
(2) the sampling and vocals are both terrible.
i did the cover for two reasons. first, i really wanted to get on a nin remix disc. all caveats aside, it's an interesting piece of music that i'd pick over a lot of the more recent nin remixes. second, i wanted to do a cover of the guitar solo. that's the primary thing that drove this specific song.
so, it's this meandering 14:00 mess centered around myself doing a lengthy adrian belew impersonation. which is sort of masturbatory. and i definitely picked up on that. now, the song, ruiner, seems to be about erections on some level. how did it get so big? i dunno, trent. so, masturbation. penises. me under the age of 20. you can see where i went with this.
there's about five minutes of penis samples, sequenced in a narrative that goes through such twists and turns as explaining a 5 foot penis as the result of a nuclear accident and shaming the listener for listening to such filth.
if it was my own song, i could shrug it off. but this is a cover. i don't feel comfortable unzipping this....
sorry. i should stop before i begin.
as i'm sorting through my work, though, it stands out as an important track in my development. you'll notice two things in my description of the track: 14:00, lengthy guitar solo. da fuck? everything since the cassette demos (which, until last month, meant everything i'd released) was relatively short, starkly focused and mostly free of solos! what urged you to meandering prog all of a sudden and out of the blue?
now that i've uploaded those demos, it's a little more clear that the "meandering prog" (the terms 'pronk' and 'psychedelic' are better descriptions) is where i was, musically, to begin with. rather, it's the fairly short drum machine period that sticks out. and, that's what happened. writing songs based on drum machine patterns enforces a level of discipline. the machine doesn't tangent. using a drum machine like the ry30 to record music is like composing at boot camp. it's very strict! introductions, bridges and endings must conform to the tyranny of the beat.
once i was done the two demos, i pulled myself away from it. i need to be clear: i liked the way it sounded, i just needed more flexibility to express myself. and i've really rejected the idea of working with drum machines ever since. today, i use a number of different strategies for percussion, including an electronic drum kit.
so, i started creating loops in the wave editor out of samples instead of in the machine. instantly, i had total freedom. i could do a six minute keyboard solo to open the track, if i wanted, and there was nothing the machine could do to stop me! ha!
the pendulum swung almost immediately. hard. going forward for the next little while, 14:00 is more like the average track length.
i just can't upload this, though.
Wednesday, November 20, 2013
inrijected (first version) (inri022) now fully uploaded
this is a collection of rejected tracks from the inri/inriched period. it's just chronologically sequenced.
recorded over 1998. compiled and remastered in late 2013. please use headphones.
credits:
j - guitars, effects, bass, synth, drum programming, lyrics, samples, loops, cool edit synthesis, digital wave editing
released feb 27, 1999
https://jasonparent.bandcamp.com/album/inrijected
recorded over 1998. compiled and remastered in late 2013. please use headphones.
credits:
j - guitars, effects, bass, synth, drum programming, lyrics, samples, loops, cool edit synthesis, digital wave editing
released feb 27, 1999
https://jasonparent.bandcamp.com/album/inrijected
inriched (original album mix) (inri021) now fully uploaded
this is very much a follow-up to the previous demo (there's a pun, here) and in fact is largely constructed of "leftover tracks" from that period. this demo may be a bit glitchier/noisier than the last one, http://jasonparent.bandcamp.com/album/inri-lp.
some of these songs are reworked versions of tracks i had recorded previously. in almost all cases, i consider the versions here (and on the previous demo, inri) to be the authoritative versions of these tracks.
the demo is consciously constructed to alternate between "conventional songs" and "experimental pieces", although both definitions are stretched. it generally takes the form of connecting passages. it's meant to give the record the feel of a cohesive work rather than a collection of songs.
lyrically, i'm still a teenager, but i'm starting to grow into myself a little more. there are some points of significant embarrassment on this recording, but it's really only the sixth track that makes me cringe to the point of regret. i was also experimenting with an "ironic distance" type of spoken word style that, in hindsight, doesn't come off so well.
the guitar work is one of the things that separates the sound from a typical industrial aesthetic. i've never been a fan of heavy metal and largely shied away from creating that kind of thing. yet, i found myself connecting more with psychedelic guitar at this point than punk rock. industrial psych generally implies something like trance, but it need not to. industrial hendrix? well, maybe it ends up sounding more like synth pop, which has historical roots in psychedelic music and progressive rock. the point is that the music does manage to carve out a unique space between industrial music and synth pop that i don't know of any clear comparisons to. people have suggested mid-period swans, the legendary pink dots and nine inch nails - only the last of which was a significant influence, and none of which are really that close. a better comparison, although still not a significant influence at this time, would be joy division - who would become a significant influence after this phase. my actual influences at the time would have been more like brian eno (through his 70s and 90s work with david bowie, as well as his work with u2), early prog (genesis/floyd/crimson), peter gabriel, the beatles, radiohead, the smashing pumpkins, REM, sonic youth, the tea party and a bit of contemporary electronic music (prodigy, nin, coil, foetus, autechre, nitzer ebb, ministry, econoline crush, gravity kills, stabbing westward, skinny puppy and side projects). the sense of humour is coming from frank zappa and matt groening, if they are not actually the same person. i wasn't listening to much tears for fears, i don't think, but you can hear them lurking underneath everything.
this material was recorded throughout 1998 and the very beginning of 1999, but some of it was written as far back as 1994. unfortunately, i decided that the songs sounded better in mp3 and consequently compressed everything before burning. i understand now that i was hobbling together a crude mastering process, but it means (unfortunately) that the closest thing i have to the finished tracks are low quality mp3s and a cd-r. these tracks were taken off of a cd-r and edited mildly (mostly the removal of badly placed simpsons samples) over the middle of november, 2013. as always, please use headphones.
credits:
j - guitars, effects, bass, synthesizers, drum programming, sequencing, sampling, digital wave editing, vocals, cool edit synthesis, production, found sounds, strategies
released feb 10, 1999
https://jasonparent.bandcamp.com/album/inriched-lp
some of these songs are reworked versions of tracks i had recorded previously. in almost all cases, i consider the versions here (and on the previous demo, inri) to be the authoritative versions of these tracks.
the demo is consciously constructed to alternate between "conventional songs" and "experimental pieces", although both definitions are stretched. it generally takes the form of connecting passages. it's meant to give the record the feel of a cohesive work rather than a collection of songs.
lyrically, i'm still a teenager, but i'm starting to grow into myself a little more. there are some points of significant embarrassment on this recording, but it's really only the sixth track that makes me cringe to the point of regret. i was also experimenting with an "ironic distance" type of spoken word style that, in hindsight, doesn't come off so well.
the guitar work is one of the things that separates the sound from a typical industrial aesthetic. i've never been a fan of heavy metal and largely shied away from creating that kind of thing. yet, i found myself connecting more with psychedelic guitar at this point than punk rock. industrial psych generally implies something like trance, but it need not to. industrial hendrix? well, maybe it ends up sounding more like synth pop, which has historical roots in psychedelic music and progressive rock. the point is that the music does manage to carve out a unique space between industrial music and synth pop that i don't know of any clear comparisons to. people have suggested mid-period swans, the legendary pink dots and nine inch nails - only the last of which was a significant influence, and none of which are really that close. a better comparison, although still not a significant influence at this time, would be joy division - who would become a significant influence after this phase. my actual influences at the time would have been more like brian eno (through his 70s and 90s work with david bowie, as well as his work with u2), early prog (genesis/floyd/crimson), peter gabriel, the beatles, radiohead, the smashing pumpkins, REM, sonic youth, the tea party and a bit of contemporary electronic music (prodigy, nin, coil, foetus, autechre, nitzer ebb, ministry, econoline crush, gravity kills, stabbing westward, skinny puppy and side projects). the sense of humour is coming from frank zappa and matt groening, if they are not actually the same person. i wasn't listening to much tears for fears, i don't think, but you can hear them lurking underneath everything.
this material was recorded throughout 1998 and the very beginning of 1999, but some of it was written as far back as 1994. unfortunately, i decided that the songs sounded better in mp3 and consequently compressed everything before burning. i understand now that i was hobbling together a crude mastering process, but it means (unfortunately) that the closest thing i have to the finished tracks are low quality mp3s and a cd-r. these tracks were taken off of a cd-r and edited mildly (mostly the removal of badly placed simpsons samples) over the middle of november, 2013. as always, please use headphones.
credits:
j - guitars, effects, bass, synthesizers, drum programming, sequencing, sampling, digital wave editing, vocals, cool edit synthesis, production, found sounds, strategies
released feb 10, 1999
https://jasonparent.bandcamp.com/album/inriched-lp
epilag (original album mix)
during these years, i spent an unhealthy amount of time on an off-topic internet mailing list that was populated by fans of skinny puppy, named epilag. this track is based on pictures of the people on that list; i ran them through a program called coagula, that converts light into sound. some shaping followed.
recorded in january, 1999.
https://jasonparent.bandcamp.com/track/teenage-jesus-original-1999-cd-mix
recorded in january, 1999.
https://jasonparent.bandcamp.com/track/teenage-jesus-original-1999-cd-mix
boogeyman (original album mix)
this is the final version of boogeyman; it only differs from the discarded version in the vocals. i was feeling the need to keep a beat poetry ironic distance at the time, and i don't think it serves the track well, in hindsight. the version on my '96 demo is far superior, but i can't sequence it here because it doesn't include the drum machine part. the discarded version also has a terrible vocal mix, which is why i redid the vocals in the first place. i'm not sure what the problem was with this track specifically, but i do have a vague recollection of being sort of adverse to it's poppiness and feeling an obligation to ruin it.
recorded in december, 1997. edited in january, 1998 and again in january, 1999.
https://jasonparent.bandcamp.com/track/boogeyman-original-1999-cd-mix-2
recorded in december, 1997. edited in january, 1998 and again in january, 1999.
https://jasonparent.bandcamp.com/track/boogeyman-original-1999-cd-mix-2
too cold (original album mix)
FINAL PROPER 'inri' TRACK.
kind of a long story. see, i went through a string of extremely cold basements in the late 90s. it was half heating costs; on that level, i could even agree for environmental reasons. but it was half because my step-mother legitimately prefers absolutely frigid, air-conditioner-level temperatures and didn't want hot air rising from the basement to ruin the chilly temperature upstairs. you can understand how that might get frustrating sometimes.
i was offered a room upstairs, but then i'd have to go to bed at 10:00 pm rather than stay up until 4:00 am recording music and chatting on the internet. clearly an unacceptable proposal....
the song is more than a silly story, it was legitimately a sort of morbid fantasy i was having. not that there was any real chance i was going to light the basement on fire, or anything. if i were to do that, i might ruin my guitar, and then i'd be worse off. the story runs a little off the rails, but that is it's charm.
musically, this is a pivot into the electro-prog phase that followed and that really defines who i am, musically. so, i sort of see this both as my first real recording and the last recording of my childhood.
recorded in february, 1999.
https://jasonparent.bandcamp.com/track/too-cold-inriched
kind of a long story. see, i went through a string of extremely cold basements in the late 90s. it was half heating costs; on that level, i could even agree for environmental reasons. but it was half because my step-mother legitimately prefers absolutely frigid, air-conditioner-level temperatures and didn't want hot air rising from the basement to ruin the chilly temperature upstairs. you can understand how that might get frustrating sometimes.
i was offered a room upstairs, but then i'd have to go to bed at 10:00 pm rather than stay up until 4:00 am recording music and chatting on the internet. clearly an unacceptable proposal....
the song is more than a silly story, it was legitimately a sort of morbid fantasy i was having. not that there was any real chance i was going to light the basement on fire, or anything. if i were to do that, i might ruin my guitar, and then i'd be worse off. the story runs a little off the rails, but that is it's charm.
musically, this is a pivot into the electro-prog phase that followed and that really defines who i am, musically. so, i sort of see this both as my first real recording and the last recording of my childhood.
recorded in february, 1999.
https://jasonparent.bandcamp.com/track/too-cold-inriched
resurrection (original album mix)
the only logical way to end 2 years of sacrilegious christian mockery is with a resurrection. musically, this is a simple but haunting ambient piece.
i hadn't completely torn myself away from being inri just quite yet. that would take a bit longer. but, i was nearing my 18th birthday, and i wanted to reinvent myself. i toyed with the idea of naming my third proper recording 'trinri', but instead went with a total inversion - i called it 'deny everything'.
this is also meant to act as a mirror to the first track on the first demo. i wasn't entirely sure what i wanted to do next, but i knew i wanted inri/inriched to be self-contained.
recorded in january, 1999.
https://jasonparent.bandcamp.com/track/teenage-jesus-original-1999-cd-mix
i hadn't completely torn myself away from being inri just quite yet. that would take a bit longer. but, i was nearing my 18th birthday, and i wanted to reinvent myself. i toyed with the idea of naming my third proper recording 'trinri', but instead went with a total inversion - i called it 'deny everything'.
this is also meant to act as a mirror to the first track on the first demo. i wasn't entirely sure what i wanted to do next, but i knew i wanted inri/inriched to be self-contained.
recorded in january, 1999.
https://jasonparent.bandcamp.com/track/teenage-jesus-original-1999-cd-mix
drive (original instrumental mix promoted to album mix)
this actually wasn't for an rem cover project but for something on the radiohead list. i can't remember exactly what spurred it on.
...but, it's consciously in an ok computer ambient-pop style for that reason. i rather like this instrumental version...
recorded in january, 1999.
https://jasonparent.bandcamp.com/track/drive-2
...but, it's consciously in an ok computer ambient-pop style for that reason. i rather like this instrumental version...
recorded in january, 1999.
https://jasonparent.bandcamp.com/track/drive-2
graphic porno (original album mix)
of all the purposefully dumb things i recorded during this period, this is probably the dumbest. it's meant to be a parody of pornography. maybe pornography is the dumbest thing i decided to go after, though. and there's actually a backstory.
there was a highly hyperactive kid in my programming class named andy that, upon finding out i was a "dj" (and i've always cringed at that designation), decided to send me ridiculous samples of himself and other things over icq, mostly to troll me. remember icq? anyways....
pretty much all these samples came from andy. it was more or less constructed to make him laugh; and, in truth, he actually thought it was pretty funny.
it's really more his sense of humour than mine.
recorded in december, 1998.
https://jasonparent.bandcamp.com/track/graphic-porno
there was a highly hyperactive kid in my programming class named andy that, upon finding out i was a "dj" (and i've always cringed at that designation), decided to send me ridiculous samples of himself and other things over icq, mostly to troll me. remember icq? anyways....
pretty much all these samples came from andy. it was more or less constructed to make him laugh; and, in truth, he actually thought it was pretty funny.
it's really more his sense of humour than mine.
recorded in december, 1998.
https://jasonparent.bandcamp.com/track/graphic-porno
piggy (remix/cover for inrimake)
this is a fairly bizarre reworking of piggy, which gave me the opportunity to really play out my obsession with 90s nin remixes as they were constructed by the likes of coil, thirlwell, etc. i had a lot of fun with this. it was blaring on my stereo for quite a while in late 98 and early 99.
recorded in december, 1998.
https://jasonparent.bandcamp.com/track/piggy
recorded in december, 1998.
https://jasonparent.bandcamp.com/track/piggy
untitled (remix)
this is a combination of a few sound collages. i ended up using parts of it in other tracks.
recorded in december, 1998.
https://jasonparent.bandcamp.com/track/untitled-remix
recorded in december, 1998.
https://jasonparent.bandcamp.com/track/untitled-remix
earthquake (original discarded outtake)
i was attempting to create the sound of an earthquake. i'm not sure i succeeded as well as i did with the hurricane one; sounds more like an attack by aliens. that being said, use headphones.
recorded in december, 1998.
https://jasonparent.bandcamp.com/track/earthquake
recorded in december, 1998.
https://jasonparent.bandcamp.com/track/earthquake
suicide (original album mix)
yeah, i didn't do this once but twice. lol. the programming and production are better, but the track is not substantially different.
first recording:
http://jasonparent.bandcamp.com/track/suicide
recorded in december, 1998. edited on nov 20, 2013.
https://jasonparent.bandcamp.com/track/teenage-jesus-original-1999-cd-mix
first recording:
http://jasonparent.bandcamp.com/track/suicide
recorded in december, 1998. edited on nov 20, 2013.
https://jasonparent.bandcamp.com/track/teenage-jesus-original-1999-cd-mix
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