file: 12 nope [1998].mp4
composition: nope (failed 2013 remaster of 1998 cd demo)
status: downloaded youtube video
Tuesday, December 17, 2013
Monday, December 16, 2013
welcome to oblivion, alright
i wrote a lengthy sort of psycho-analysis of trent reznor when this came out that has largely been rendered inaccurate by the new nin disc.
i think i'm developing a theme out of 2013: creative artists going back over some of the ground they developed around the same time as trends have developed around the sound they created once upon a time, but in a way that is more like connecting with roots than following trends. this is either reznor's attempt to sound like fever ray [although it never falls into a space that is nearly as poppy as fever ray] or it's pretty hate machine v 2.0, !now with ableton!.
i don't care about any of that.
it's becoming increasingly difficult to tell the difference between trent reznor and atticus ross mimicking trent reznor. that's also secondary, except to point out that the disc crosses the line to self parody. it's like...you've used that fucking sample in about 20 songs now, trent....maybe you should stop doing that now....
this could have been something, but it's too consciously structured as a marketable product. listening to it with a little space from it, and with better headphones, is still leaving me with the same basic reaction: this record is painfully constrained by a set of artificial boundaries that are far too limiting to capture the potential that the songs hint at, and it's enraging because what they hint at is an extrapolation of trip-hop into a level of abstraction that the genre never actually accomplished.
so, it'd be great to hear this remixed by some off the wall younger electronic musicians (doldrums, born gold, lingouf) but, nowadays, reznor is more likely to go after pitchfork picks than hang around the fringes looking for new shit. i'd expect remixes from mgmt and lopatin, if he were to bother. it's easy to forget that this is the guy that distributed warp records in north america, or that this band is named after a coil record. fwiw, it sounds more like cabaret voltaire remixing a collaboration between peter gabriel and kate bush.
i could go on; i'll stop. it's just frustrating....as has been the expectation for far too long...
i think i'm developing a theme out of 2013: creative artists going back over some of the ground they developed around the same time as trends have developed around the sound they created once upon a time, but in a way that is more like connecting with roots than following trends. this is either reznor's attempt to sound like fever ray [although it never falls into a space that is nearly as poppy as fever ray] or it's pretty hate machine v 2.0, !now with ableton!.
i don't care about any of that.
it's becoming increasingly difficult to tell the difference between trent reznor and atticus ross mimicking trent reznor. that's also secondary, except to point out that the disc crosses the line to self parody. it's like...you've used that fucking sample in about 20 songs now, trent....maybe you should stop doing that now....
this could have been something, but it's too consciously structured as a marketable product. listening to it with a little space from it, and with better headphones, is still leaving me with the same basic reaction: this record is painfully constrained by a set of artificial boundaries that are far too limiting to capture the potential that the songs hint at, and it's enraging because what they hint at is an extrapolation of trip-hop into a level of abstraction that the genre never actually accomplished.
so, it'd be great to hear this remixed by some off the wall younger electronic musicians (doldrums, born gold, lingouf) but, nowadays, reznor is more likely to go after pitchfork picks than hang around the fringes looking for new shit. i'd expect remixes from mgmt and lopatin, if he were to bother. it's easy to forget that this is the guy that distributed warp records in north america, or that this band is named after a coil record. fwiw, it sounds more like cabaret voltaire remixing a collaboration between peter gabriel and kate bush.
i could go on; i'll stop. it's just frustrating....as has been the expectation for far too long...
art cannot produce change; rather, it is a product of change that is occurring. marxists have never understood this properly. plato, on the other hand, understood it perfectly.
it follows that art is an end, and not a means. when we see movements of creative art, we know something has already changed and it is too late for reactionary forces to reverse it. it's celebratory; gloating, even.
but, it also represents the phase where the movement becomes decadent. every art-based counterculture movement has been co-opted. artists inherently seek to go beyond struggle and merely exist. so, it's not just a failed tactic but we can understand why it's a failed tactic. let's learn from this, not repeat the same mistakes again.
http://jacobinmag.com/2013/12/art-in-the-age-of-fatalism/
it follows that art is an end, and not a means. when we see movements of creative art, we know something has already changed and it is too late for reactionary forces to reverse it. it's celebratory; gloating, even.
but, it also represents the phase where the movement becomes decadent. every art-based counterculture movement has been co-opted. artists inherently seek to go beyond struggle and merely exist. so, it's not just a failed tactic but we can understand why it's a failed tactic. let's learn from this, not repeat the same mistakes again.
http://jacobinmag.com/2013/12/art-in-the-age-of-fatalism/
Friday, December 13, 2013
prematurely republishing inri (inri015)
so, post-production on this is complete, along with some minor changes - removal of awkward samples, basically.
i consider this a listenable release. the lyrics are not always great (although there's a few i like that i'll pull out for inricycled B), but they either express valid viewpoints as i was experiencing them or they pull of the shock rock thing well enough to be effective. less than half of this will be recycled, but i would only really like to actually strike out track 8.
https://jasonparent.bandcamp.com/album/inri-lp
i consider this a listenable release. the lyrics are not always great (although there's a few i like that i'll pull out for inricycled B), but they either express valid viewpoints as i was experiencing them or they pull of the shock rock thing well enough to be effective. less than half of this will be recycled, but i would only really like to actually strike out track 8.
https://jasonparent.bandcamp.com/album/inri-lp
Thursday, December 12, 2013
spent hours doing post-production, can't tell the difference between result and initial wave files.
grargh. let me try this again...
i'll never forgive myself for deleting all the source files for this ancient stuff. something as simple as boosting the guitars turns into a math problem about fundamental frequencies and harmonic overtones. ugh...
not to mention those samples. to be 17 again would be to understand what the fuck i was thinking.
the mastering process on this stuff consisted of compressing the wave files to mp3. the fraunhofer method, i suppose. hey, that *is* a type of compression and it was a valid best approach when mastering software was out of the reach of warez on home pcs.
btw, my take on warez is that if intellectual property is to exist at all then it should be very minimal in scope. ten years, tops. i don't tend to go after the newest releases, but i think previous cycle software should be treated as freeware.
anyways, this is long overdue to be run through some stereo imaging and harmonic exciters. but there's just a handful of places where the mix has come out fucked...
so, i'm running over the source material with parametric eqs trying to get just the right frequencies out. almost done. and it's almost painful, really.
^ only a perfectionist, huh? lol.
grargh. let me try this again...
i'll never forgive myself for deleting all the source files for this ancient stuff. something as simple as boosting the guitars turns into a math problem about fundamental frequencies and harmonic overtones. ugh...
not to mention those samples. to be 17 again would be to understand what the fuck i was thinking.
the mastering process on this stuff consisted of compressing the wave files to mp3. the fraunhofer method, i suppose. hey, that *is* a type of compression and it was a valid best approach when mastering software was out of the reach of warez on home pcs.
btw, my take on warez is that if intellectual property is to exist at all then it should be very minimal in scope. ten years, tops. i don't tend to go after the newest releases, but i think previous cycle software should be treated as freeware.
anyways, this is long overdue to be run through some stereo imaging and harmonic exciters. but there's just a handful of places where the mix has come out fucked...
so, i'm running over the source material with parametric eqs trying to get just the right frequencies out. almost done. and it's almost painful, really.
^ only a perfectionist, huh? lol.
Wednesday, December 11, 2013
publishing inricycled a (inri002)
so, i just spent the last several months flooding everybody's feed with music that i wrote in the 90s as a teenager, criticizing both it and myself and more or less suggesting that you don't bother listening to what i'm spamming you with.
this inri material has been a problem for me for years because quite a bit of it is some of the music i've written that's closest to me (consider i was around 15 when i wrote most of it), but quite a bit of it is also absolutely terrible and unoriginal garbage and it's all intertwined with itself.
i've gone over it a few times and pulled out sections for listenable consumption. it's the only really workable approach. I had never done that for the cassette demos, though.
i wanted everything available for analysis in it's rawest form, that's why i uploaded. but, that's not the material i'd ever send anybody to go listen to. i'm actually really happy that this is finally put together because it gives me a document of myself in early high school (the tenth grade) that i can actually send people towards.
so, no, you probably don't want to listen to the other 90s stuff i was posting. the awful lyrics, the rip-offs, the sometimes terrible playing and other characteristics make those demos of historical value only.
this compilation i've just pulled out, though, is void of all of that and is really quite listenable. if you like noisy grunge/punk/doom/hardcore with a prog/fusion/jazz/blues flair (and can handle the odd ambient or psychedelic pop embellishment) then you might get some enjoyment out of it. i was a pretty talented little guitarist...
http://jasonparent.bandcamp.com/album/inricycled-a
===
i've released a dozen different things with the title "inricycled", making it more of a concept than a release. it's not just the material i'm recycling, now, it's the idea of recycling material.
i hope this is the final iteration. the difference, here, is that i'm trying to isolate segments of songs that people interested in my more recent compositions would find interesting. these fragments aren't entirely void of lyrics, but they're very minimal. they're also quite short.
i've retitled most of the tracks to get a feel of what the music sounds like and/or what i was thinking as i was writing it.
the material in this volume is taken from the following cassette demos:
jasonparent.bandcamp.com/album/inri-cassette-demo-1 (1996)
jasonparent.bandcamp.com/album/inri-cassette-demo-2 (1997)
this is the best possible absolute starting point for my musical material.
sequenced and mildly modified in dec, 2013. as always, please use headphones.
credits:
j - guitars, effects, bass, drums, vocals, keyboards, tapes, found sounds, metronomes, digital wave editing, production.
released july 1, 1997
this inri material has been a problem for me for years because quite a bit of it is some of the music i've written that's closest to me (consider i was around 15 when i wrote most of it), but quite a bit of it is also absolutely terrible and unoriginal garbage and it's all intertwined with itself.
i've gone over it a few times and pulled out sections for listenable consumption. it's the only really workable approach. I had never done that for the cassette demos, though.
i wanted everything available for analysis in it's rawest form, that's why i uploaded. but, that's not the material i'd ever send anybody to go listen to. i'm actually really happy that this is finally put together because it gives me a document of myself in early high school (the tenth grade) that i can actually send people towards.
so, no, you probably don't want to listen to the other 90s stuff i was posting. the awful lyrics, the rip-offs, the sometimes terrible playing and other characteristics make those demos of historical value only.
this compilation i've just pulled out, though, is void of all of that and is really quite listenable. if you like noisy grunge/punk/doom/hardcore with a prog/fusion/jazz/blues flair (and can handle the odd ambient or psychedelic pop embellishment) then you might get some enjoyment out of it. i was a pretty talented little guitarist...
http://jasonparent.bandcamp.com/album/inricycled-a
===
i've released a dozen different things with the title "inricycled", making it more of a concept than a release. it's not just the material i'm recycling, now, it's the idea of recycling material.
i hope this is the final iteration. the difference, here, is that i'm trying to isolate segments of songs that people interested in my more recent compositions would find interesting. these fragments aren't entirely void of lyrics, but they're very minimal. they're also quite short.
i've retitled most of the tracks to get a feel of what the music sounds like and/or what i was thinking as i was writing it.
the material in this volume is taken from the following cassette demos:
jasonparent.bandcamp.com/album/inri-cassette-demo-1 (1996)
jasonparent.bandcamp.com/album/inri-cassette-demo-2 (1997)
this is the best possible absolute starting point for my musical material.
sequenced and mildly modified in dec, 2013. as always, please use headphones.
credits:
j - guitars, effects, bass, drums, vocals, keyboards, tapes, found sounds, metronomes, digital wave editing, production.
released july 1, 1997
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