i've spent the morning working out an orchestral version of the time machine (inri044). it's only three minutes; i only had three minutes on the disc. this is a track that is going to end up everywhere else, so this is a good add.
my head is oozy again.
45 is done. 46 needs a perusal, but is done. 47 + 48 need some work.
i'm obviously not going to ship this week like i wanted to. and monday is a hard deadline to pause for the week. i'm hoping i can ship on sunday or monday, still, but it's highly tentative and frankly unlikely. i'll be lucky if i get the first one done.
expect inri044 this morning.
Thursday, October 12, 2017
republishing inri043
this is
one of the tracks that i can't date well. i do, however, remember
working on it during the winter, which means it must have been late '00
or early '01. i'm going to consequently deduce that it must have been
what i was working on over the 2000 christmas break and date it coming
out right after it.
actually, i have another reason to date it in early '01 rather than late '00: the introductory piano part was recorded live into my notation program on my dx100, which i was given over christmas (maybe a little before; it was a cheap garage sale pickup) to act as a controller for my recently broken jx-8p, that i had tried to take apart over the summer to clean a sticky key (a common problem with mid-80s roland analog synths) but failed and left keyless. it's still keyless. yet, the dx still drives it....
that introductory piano part formed the basis of the track, which built itself up fairly quickly. somewhere, i lost the nwc file by saving it as midi, which ruined all the formatting. it's been sitting on my drive ever since.
why put together seven different midi versions of the same track, and sequence them after a polished recorded version? well, this was never actually meant to be computer music. i was just composing something the old fashioned way with the intent of later giving it to some musicians to play. that never happened. what did happen was that i found myself playing it back on multiple sound cards over many years, trying to make it sound as good as possible in the short run - until i could finally get the chance to sit down and actually record it. while each of the different renders has it's strong and weak points, i ultimately don't feel that they form a total order. something i thought about doing was recording tracks independently on different cards and then pasting them together, but that would have just created another dozen incomparable mixes. rather than arbitrarily pick one, i decided to just upload all of them.
in hindsight, i think the format is interesting in itself in terms of it being a psychological experiment with sound. the differences from track to track are sometimes inaudible and sometimes extremely noticeable. stringing it all together in a row like this is challenging to any listener in the sense that it rips apart the process of becoming familiar with a piece. it means listening to exactly the same song through multiple different sound libraries. i think your brain would have to interpret that as a sort of a trip, especially when it comes to trying to build associations in sound within tracks that are both similar and different sounding, soundcard wise. i think that might be part of the reason i had so much difficulty isolating tracks in the first place.
so, listening to the ep through all the way is likely to be a bit disorienting and might ultimately be a strange experience. however, if you like the track for what it is as a collection of overlapping sequences of notes then i hope you get something out of the process of comparing and contrasting the renders together.
i have included the original midi file as a bonus item in the download, if you want to play with it on your own. the added guitar sections in the final version are recent additions and have not been written out.
thematically, the track is meant to orchestrate a feeling of claustrophobia with society pushing down on you too hard. it's meant to transmit a feeling of existential dread. at the time, i really felt stuck with life in general and not sure how i was going to get out of it.
four further remixes were added at the end of may, 2015, which initially forced me to move two of the midi renders to 'download only'. it also split the ep into jazz and orchestral components, with a glitch mix added on to the end. in oct of 2017, this separation was formalized by converting the release into a double ep with 'jazz' renders on the first disc and 'classical' renders on the second one. two jazz mixes (album mix, vocal mix) were added to disc one; three further mixes (percussion mix, string orchestra mix, guitar-only mix) were added to the second one.
written late 2000 & early 2001. the renders present here are all from either the early months of 2014, the second half of may, 2015 or the 11th/12th of october, 2017. 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. four more mixes were added from may 19-26, 2015. five more mixes were added on oct 11/12, 2017. release finalized on oct 12, 2017. as always, please use headphones.
the album version of this track appears on my fifth record:
jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj
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, 2014, 2015, 2017).
actually, i have another reason to date it in early '01 rather than late '00: the introductory piano part was recorded live into my notation program on my dx100, which i was given over christmas (maybe a little before; it was a cheap garage sale pickup) to act as a controller for my recently broken jx-8p, that i had tried to take apart over the summer to clean a sticky key (a common problem with mid-80s roland analog synths) but failed and left keyless. it's still keyless. yet, the dx still drives it....
that introductory piano part formed the basis of the track, which built itself up fairly quickly. somewhere, i lost the nwc file by saving it as midi, which ruined all the formatting. it's been sitting on my drive ever since.
why put together seven different midi versions of the same track, and sequence them after a polished recorded version? well, this was never actually meant to be computer music. i was just composing something the old fashioned way with the intent of later giving it to some musicians to play. that never happened. what did happen was that i found myself playing it back on multiple sound cards over many years, trying to make it sound as good as possible in the short run - until i could finally get the chance to sit down and actually record it. while each of the different renders has it's strong and weak points, i ultimately don't feel that they form a total order. something i thought about doing was recording tracks independently on different cards and then pasting them together, but that would have just created another dozen incomparable mixes. rather than arbitrarily pick one, i decided to just upload all of them.
in hindsight, i think the format is interesting in itself in terms of it being a psychological experiment with sound. the differences from track to track are sometimes inaudible and sometimes extremely noticeable. stringing it all together in a row like this is challenging to any listener in the sense that it rips apart the process of becoming familiar with a piece. it means listening to exactly the same song through multiple different sound libraries. i think your brain would have to interpret that as a sort of a trip, especially when it comes to trying to build associations in sound within tracks that are both similar and different sounding, soundcard wise. i think that might be part of the reason i had so much difficulty isolating tracks in the first place.
so, listening to the ep through all the way is likely to be a bit disorienting and might ultimately be a strange experience. however, if you like the track for what it is as a collection of overlapping sequences of notes then i hope you get something out of the process of comparing and contrasting the renders together.
i have included the original midi file as a bonus item in the download, if you want to play with it on your own. the added guitar sections in the final version are recent additions and have not been written out.
thematically, the track is meant to orchestrate a feeling of claustrophobia with society pushing down on you too hard. it's meant to transmit a feeling of existential dread. at the time, i really felt stuck with life in general and not sure how i was going to get out of it.
four further remixes were added at the end of may, 2015, which initially forced me to move two of the midi renders to 'download only'. it also split the ep into jazz and orchestral components, with a glitch mix added on to the end. in oct of 2017, this separation was formalized by converting the release into a double ep with 'jazz' renders on the first disc and 'classical' renders on the second one. two jazz mixes (album mix, vocal mix) were added to disc one; three further mixes (percussion mix, string orchestra mix, guitar-only mix) were added to the second one.
written late 2000 & early 2001. the renders present here are all from either the early months of 2014, the second half of may, 2015 or the 11th/12th of october, 2017. 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. four more mixes were added from may 19-26, 2015. five more mixes were added on oct 11/12, 2017. release finalized on oct 12, 2017. as always, please use headphones.
the album version of this track appears on my fifth record:
jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj
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, 2014, 2015, 2017).
credits
released January 10, 2001
j - electric piano, programming, electric guitar, acoustic guitar, vocals, vocoders, digital effects & treatments, digital wave editing, composition.
the rendered electronic orchestras variously include piano, bass, synth bass, distorted electric guitar, clean electric guitar, other guitar effects, steel string acoustic guitar, nylon string classical guitar, sitar, violin, viola, cello, contrabass, french horn, trumpet, trombone, tuba, oboe, english horn, bassoon, synthesizers, clarinet, flute, piccolo, xylophone, glockenspiel, woodblock, tubular bells, orchestra hit, jazz drum kit, hand drums, melodic toms, orchestral drum kit, hammered percussion, marimba, taiko drum, synthetic percussion and electronic drum kit.
j - electric piano, programming, electric guitar, acoustic guitar, vocals, vocoders, digital effects & treatments, digital wave editing, composition.
the rendered electronic orchestras variously include piano, bass, synth bass, distorted electric guitar, clean electric guitar, other guitar effects, steel string acoustic guitar, nylon string classical guitar, sitar, violin, viola, cello, contrabass, french horn, trumpet, trombone, tuba, oboe, english horn, bassoon, synthesizers, clarinet, flute, piccolo, xylophone, glockenspiel, woodblock, tubular bells, orchestra hit, jazz drum kit, hand drums, melodic toms, orchestral drum kit, hammered percussion, marimba, taiko drum, synthetic percussion and electronic drum kit.
flac dvd containing material originally recorded from 1999-2000
and completed between 2013 and 2017. inri030-inri042. numbered with a cd
printer and shipped in a jewel case. inriℵ8.
full contents:
/inri030: war
jasonparent.bandcamp.com/album/war
/inri031: liquify
jasonparent.bandcamp.com/album/liquify
/inri032: inrimake
jasonparent.bandcamp.com/album/inrimake
/inri033: inridiculous
jasonparent.bandcamp.com/album/inridiculous
/inri034: book it!
jasonparent.bandcamp.com/album/book-it
/inri035: ambient works vol 0
jasonparent.bandcamp.com/album/ambient-works-vol-0
/inri036: let freedom ring
jasonparent.bandcamp.com/album/let-freedom-ring
/inri037: the curious george suite
jasonparent.bandcamp.com/album/the-curious-george-suite
/inri038: ignorance is bliss
jasonparent.bandcamp.com/album/ignorance-is-bliss
/inri039: acidosis
jasonparent.bandcamp.com/album/acidosis
/inri040: curious george
jasonparent.bandcamp.com/album/curious-george-2
/inri041: deny everything
jasonparent.bandcamp.com/album/deny-everything
/inri042: inrimoved
jasonparent.bandcamp.com/album/inrimoved
total disc size is gb 4.013
total running time of official releases, inri030-inri042, is 11:44:59.
this release is a little smaller than average because inri043 is a long release around a dense track. it was initially intended for release here, but it would not fit on the dvd - it's almost 900 mb. the lower price reflects the smaller iso. less
full contents:
/inri030: war
jasonparent.bandcamp.com/album/war
/inri031: liquify
jasonparent.bandcamp.com/album/liquify
/inri032: inrimake
jasonparent.bandcamp.com/album/inrimake
/inri033: inridiculous
jasonparent.bandcamp.com/album/inridiculous
/inri034: book it!
jasonparent.bandcamp.com/album/book-it
/inri035: ambient works vol 0
jasonparent.bandcamp.com/album/ambient-works-vol-0
/inri036: let freedom ring
jasonparent.bandcamp.com/album/let-freedom-ring
/inri037: the curious george suite
jasonparent.bandcamp.com/album/the-curious-george-suite
/inri038: ignorance is bliss
jasonparent.bandcamp.com/album/ignorance-is-bliss
/inri039: acidosis
jasonparent.bandcamp.com/album/acidosis
/inri040: curious george
jasonparent.bandcamp.com/album/curious-george-2
/inri041: deny everything
jasonparent.bandcamp.com/album/deny-everything
/inri042: inrimoved
jasonparent.bandcamp.com/album/inrimoved
total disc size is gb 4.013
total running time of official releases, inri030-inri042, is 11:44:59.
this release is a little smaller than average because inri043 is a long release around a dense track. it was initially intended for release here, but it would not fit on the dvd - it's almost 900 mb. the lower price reflects the smaller iso. less
ships out within 3 days
edition of 5000
$118 CAD or more
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about
purchasing this release does not come with a download.
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 in january, 2014. spliced further, appended to, remastered and finalized over sept, 2017. release 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. 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. finalized on sept 19, 2017. lp007.
inri034: written & recorded in the fall of 1999. originally released on inridiculous in december, 1999. split into it's own ep in january, 2014. remastered & finalized 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. remainder of hummer added as a bonus track, and release finalized, on oct 3, 2017.
inri037: recorded in spring, 2000. released, unmodified, in jan, 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 in jan, 2014. four new mixes (maximal mix (2017), electronics only mix (2015), single mix for lp010 (2017), full instrumental mix from deny everything (2014)) were added on oct 5, 2017; release subsequently closed.
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 2007 but has otherwise not been modified since it was completed. first released as an ep in jan 2014. release finalized on oct 8, 2017.
inri040: recorded in april, 2000. samples added in oct, 2000. album version reverted to original mix in sept, 2006
inri041: recorded over the space of the year 2000. remixed substantially in 2004, 2006, 2010 and 2014. existing version constructed in jan, 2014. finalized as lp009 on oct 9, 2017.
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. finalized as lp010 on oct 9, 2017.
originally created from 1999-2000. this compilation is dated to dec 2, 2000. slowly remastered, reconstituted, compiled, reconstructed, released and finalized from 2013-2017. compilation finalized on oct 12, 2017. as always, please use headphones.
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 in january, 2014. spliced further, appended to, remastered and finalized over sept, 2017. release 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. 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. finalized on sept 19, 2017. lp007.
inri034: written & recorded in the fall of 1999. originally released on inridiculous in december, 1999. split into it's own ep in january, 2014. remastered & finalized 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. remainder of hummer added as a bonus track, and release finalized, on oct 3, 2017.
inri037: recorded in spring, 2000. released, unmodified, in jan, 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 in jan, 2014. four new mixes (maximal mix (2017), electronics only mix (2015), single mix for lp010 (2017), full instrumental mix from deny everything (2014)) were added on oct 5, 2017; release subsequently closed.
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 2007 but has otherwise not been modified since it was completed. first released as an ep in jan 2014. release finalized on oct 8, 2017.
inri040: recorded in april, 2000. samples added in oct, 2000. album version reverted to original mix in sept, 2006
inri041: recorded over the space of the year 2000. remixed substantially in 2004, 2006, 2010 and 2014. existing version constructed in jan, 2014. finalized as lp009 on oct 9, 2017.
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. finalized as lp010 on oct 9, 2017.
originally created from 1999-2000. this compilation is dated to dec 2, 2000. slowly remastered, reconstituted, compiled, reconstructed, released and finalized from 2013-2017. compilation finalized on oct 12, 2017. as always, please use headphones.
credits
released December 2, 2000
j - guitars of all types, effects, bass, synth, piano, organ, ebow, flute, mandolin, drum kit, drum programming, orchestral and other sequencing, hammerhead (909 emulator), pick scrapes, sound design, found sounds, granular synthesis, noise generators, generative synthesis, generative percussion, cool edit synthesis, light-sound synthesis, loops, films, tapes, metronome, sampling, vocals, vocoders, windows 95 sound recorder, digital wave editing, digital effects processing, treatments, coughs, a broken equalizer, text-to-speech synthesis, remixes, reconstructions, reinterpretations, production
the rendered electronic orchestra includess piano, electric guitar, orchestra hit, pizzicato strings, violin, viola, cello, contrabass, synth pad, ukelele, theremin, string ensemble, taiko drums, gongs, trumpet and saxophone.
j - guitars of all types, effects, bass, synth, piano, organ, ebow, flute, mandolin, drum kit, drum programming, orchestral and other sequencing, hammerhead (909 emulator), pick scrapes, sound design, found sounds, granular synthesis, noise generators, generative synthesis, generative percussion, cool edit synthesis, light-sound synthesis, loops, films, tapes, metronome, sampling, vocals, vocoders, windows 95 sound recorder, digital wave editing, digital effects processing, treatments, coughs, a broken equalizer, text-to-speech synthesis, remixes, reconstructions, reinterpretations, production
the rendered electronic orchestra includess piano, electric guitar, orchestra hit, pizzicato strings, violin, viola, cello, contrabass, synth pad, ukelele, theremin, string ensemble, taiko drums, gongs, trumpet and saxophone.
Tuesday, October 10, 2017
purchasing
this release comes with the immediate download of the release that you
linked to it off of. be sure you make the right choice.
inri036: written and recorded in late 1999 and early 2000. these versions of these tracks were sequenced without further modification in jan, 2014. remainder of hummer added as a bonus track, and release finalized, on oct 3, 2017.
inri037: recorded in spring, 2000. released, unmodified, in jan, 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 in jan, 2014. four new mixes (maximal mix (2017), electronics only mix (2015), single mix for lp010 (2017), full instrumental mix from deny everything (2014)) were added on oct 5, 2017; release subsequently closed.
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 2007 but has otherwise not been modified since it was completed. first released as an ep in jan 2014. release finalized on oct 8, 2017.
inri040: recorded in april, 2000. samples added in oct, 2000. album version reverted to original mix in sept, 2006
inri041: recorded over the space of the year 2000. remixed substantially in 2004, 2006, 2010 and 2014. existing version constructed in jan, 2014. finalized as lp009 on oct 9, 2017.
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. finalized as lp010 on oct 9, 2017.
originally created from 1999-2000. this compilation is dated to dec 1, 2000. slowly remastered, reconstituted, compiled, reconstructed, released and finalized from 2013-2017. compilation finalized on oct 9, 2017. as always, please use headphones.
inri036: written and recorded in late 1999 and early 2000. these versions of these tracks were sequenced without further modification in jan, 2014. remainder of hummer added as a bonus track, and release finalized, on oct 3, 2017.
inri037: recorded in spring, 2000. released, unmodified, in jan, 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 in jan, 2014. four new mixes (maximal mix (2017), electronics only mix (2015), single mix for lp010 (2017), full instrumental mix from deny everything (2014)) were added on oct 5, 2017; release subsequently closed.
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 2007 but has otherwise not been modified since it was completed. first released as an ep in jan 2014. release finalized on oct 8, 2017.
inri040: recorded in april, 2000. samples added in oct, 2000. album version reverted to original mix in sept, 2006
inri041: recorded over the space of the year 2000. remixed substantially in 2004, 2006, 2010 and 2014. existing version constructed in jan, 2014. finalized as lp009 on oct 9, 2017.
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. finalized as lp010 on oct 9, 2017.
originally created from 1999-2000. this compilation is dated to dec 1, 2000. slowly remastered, reconstituted, compiled, reconstructed, released and finalized from 2013-2017. compilation finalized on oct 9, 2017. as always, please use headphones.
credits
released December 1, 2000
j - guitars of all types, effects, bass, synth, piano, organ, ebow, flute, mandolin, drum kit, drum programming, sequencing, sound design, found sounds, granular synthesis, noise generators, generative synthesis, generative percussion, cool edit synthesis, light-sound synthesis, loops, films, tapes, sampling, vocals, vocoders, digital wave editing, digital effects processing, treatments, coughs, a broken equalizer, production
the rendered electronic orchestra includes ukelele, theremin, orchestra hit, string ensemble, taiko drums, gongs, trumpet and saxophone.
j - guitars of all types, effects, bass, synth, piano, organ, ebow, flute, mandolin, drum kit, drum programming, sequencing, sound design, found sounds, granular synthesis, noise generators, generative synthesis, generative percussion, cool edit synthesis, light-sound synthesis, loops, films, tapes, sampling, vocals, vocoders, digital wave editing, digital effects processing, treatments, coughs, a broken equalizer, production
the rendered electronic orchestra includes ukelele, theremin, orchestra hit, string ensemble, taiko drums, gongs, trumpet and saxophone.
Monday, October 9, 2017
publishing inri042
i initially began
the process of completing the second period of my discography in the
first weeks of 2014, and soon realized that the sequencing decisions i made upon initial release required a revisiting. i had unfortunately placed an original progressive rock song (liquify) on
a covers disc, and a fruity techno song (book it) at the end of a noise
compilation; it was immediately clear that i needed to remove these tracks from their respective official records, but that unfortunately othered them - both liquify and book it then became
stranded outtakes, existing only as non-album singles.
in early 2014, i republished the vocal mix of ignorance is bliss as a standalone single; it had been unpublished since i removed it from deny everything in the summer of 2004. in early 2016, i decided i could reconstruct my first two records from scratch as instrumental electronic works after all, but i would have to remove the 14th track from the second record, too cold, in order to do so. this was also split off as a single, which was completed in the fall of 2017.
upon running through the first two periods of my discography one final time in the fall of 2017, i realized that i had removed enough material from my first four official records to compile an outtakes disc and that this material was even conceptually linked - all four of these tracks were some kind of guitar-driven electro-prog, and three of the four had somewhat embarrassing vocal parts that i wanted to remove from the tracks but was unable to due to having lost the original source material. together, these were the tracks that existed in the transition past inri, and into something else; each of these might have been a post-inri track, but the first three were initially pulled back, only to be removed again and left without records.
i strongly considered making this an official record and releasing it before deny everything in the sequence, but i cannot do this. the fact that i can't remove these vocals make these tracks outtakes, necessarily. as my first two records are now entirely instrumental, and remastered from scratch, these tracks would absolutely need to be properly remastered as instrumental recordings to fit into any kind of album sequence. this can consequently only be an outtakes disc.
the curious george suite has also been added to the compilation because it fits the aesthetic, it is not on an official record and it would have been a part of deny everything if i didn't think i had lost it; in that sense, it was sort of removed. the hidden track is added solely due to aesthetic similarities with the rest of the disc.
this is an outtakes record of discarded and rejected material recorded over periods 1.3 (1999) & 2.1 (2000) that was all removed from some completed, official recording. it can be thought of as an outtakes disc for my fourth official record, deny everything.
this record was written and 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 all very thoroughly rejected outtakes, but did not become outtakes until the remastering process removed them from their respective recordings. finalized as lp010 on oct 9, 2017.
this release also includes a printable jewel case insert and will also eventually include a comprehensive package of journal entries from all phases of production (1997, 1999, 2000, 2013, 2014, 2016, 2017).
in early 2014, i republished the vocal mix of ignorance is bliss as a standalone single; it had been unpublished since i removed it from deny everything in the summer of 2004. in early 2016, i decided i could reconstruct my first two records from scratch as instrumental electronic works after all, but i would have to remove the 14th track from the second record, too cold, in order to do so. this was also split off as a single, which was completed in the fall of 2017.
upon running through the first two periods of my discography one final time in the fall of 2017, i realized that i had removed enough material from my first four official records to compile an outtakes disc and that this material was even conceptually linked - all four of these tracks were some kind of guitar-driven electro-prog, and three of the four had somewhat embarrassing vocal parts that i wanted to remove from the tracks but was unable to due to having lost the original source material. together, these were the tracks that existed in the transition past inri, and into something else; each of these might have been a post-inri track, but the first three were initially pulled back, only to be removed again and left without records.
i strongly considered making this an official record and releasing it before deny everything in the sequence, but i cannot do this. the fact that i can't remove these vocals make these tracks outtakes, necessarily. as my first two records are now entirely instrumental, and remastered from scratch, these tracks would absolutely need to be properly remastered as instrumental recordings to fit into any kind of album sequence. this can consequently only be an outtakes disc.
the curious george suite has also been added to the compilation because it fits the aesthetic, it is not on an official record and it would have been a part of deny everything if i didn't think i had lost it; in that sense, it was sort of removed. the hidden track is added solely due to aesthetic similarities with the rest of the disc.
this is an outtakes record of discarded and rejected material recorded over periods 1.3 (1999) & 2.1 (2000) that was all removed from some completed, official recording. it can be thought of as an outtakes disc for my fourth official record, deny everything.
this record was written and 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 all very thoroughly rejected outtakes, but did not become outtakes until the remastering process removed them from their respective recordings. finalized as lp010 on oct 9, 2017.
this release also includes a printable jewel case insert and will also eventually include a comprehensive package of journal entries from all phases of production (1997, 1999, 2000, 2013, 2014, 2016, 2017).
credits
released November 12, 2000
j - guitar, effects, bass, synths, piano, flute, loops, drum kit, drum programming, vocals, vocoders, sampling, cool edit synthesis, sequencing, sound design, found sounds, granular synthesis, noise generators, tapes, digital wave editing, digital effects processing, production
the rendered electronic orchestra includes theremin, ukelele & orchestra hit.
j - guitar, effects, bass, synths, piano, flute, loops, drum kit, drum programming, vocals, vocoders, sampling, cool edit synthesis, sequencing, sound design, found sounds, granular synthesis, noise generators, tapes, digital wave editing, digital effects processing, production
the rendered electronic orchestra includes theremin, ukelele & orchestra hit.
this is a
project that has been through many incarnations and reversions, which
should hopefully stabilize now that the tracks are entirely instrumental
and the substantial number of outtakes have been categorized into
companion eps. i don't expect to modify this further; as of jan, 2014,
the slow, 15 year process of removing samples and reconstructing
instrumental sections is now entirely complete.
what's left when the thematic ideas are stripped out is an eccentric and elaborate delve into psychedelic and electronic music that has no clear parallels that the author is aware of.
the record can be sectioned into 4 parts:
- ignorance is bliss [introduction]
- entropy/curious george/gravity's rainbow [program]
- a commercial break [intermission]
- acidosis [finale]
recorded over the space of the year 2000. remixed substantially in 2004, 2006, 2010 and 2014. existing version constructed in jan, 2014. finalized as lp009 on oct 9, 2017. as always, please use headphones.
an audience exists somewhere that will cherish this as the truly unique monstrosity that it is.
what's left when the thematic ideas are stripped out is an eccentric and elaborate delve into psychedelic and electronic music that has no clear parallels that the author is aware of.
the record can be sectioned into 4 parts:
- ignorance is bliss [introduction]
- entropy/curious george/gravity's rainbow [program]
- a commercial break [intermission]
- acidosis [finale]
recorded over the space of the year 2000. remixed substantially in 2004, 2006, 2010 and 2014. existing version constructed in jan, 2014. finalized as lp009 on oct 9, 2017. as always, please use headphones.
an audience exists somewhere that will cherish this as the truly unique monstrosity that it is.
credits
released November 11, 2000
j- guitars of all types, bass, programming, drum programming, sequencing, synthesizers, live drums, piano, loops, films, noise generation, organ, ebow, flute, mandolin, treatments, effects, found sounds, sampling, sound design, generative synthesis, granular synthesis, generative percussion, light-sound synthesis, digital wave editing, production, coughs, a broken equalizer, cover art
the star trek sample in 'gravity's rainbow' is from the episode "errand of mercy" (mar 23, 1967).
the rendered electronic orchestra includes theremin, ukelele, orchestra hit, string ensemble, taiko drums, gongs, trumpet & sax.
j- guitars of all types, bass, programming, drum programming, sequencing, synthesizers, live drums, piano, loops, films, noise generation, organ, ebow, flute, mandolin, treatments, effects, found sounds, sampling, sound design, generative synthesis, granular synthesis, generative percussion, light-sound synthesis, digital wave editing, production, coughs, a broken equalizer, cover art
the star trek sample in 'gravity's rainbow' is from the episode "errand of mercy" (mar 23, 1967).
the rendered electronic orchestra includes theremin, ukelele, orchestra hit, string ensemble, taiko drums, gongs, trumpet & sax.
this track was taken from the then lost curious george suite (jasonparent.bandcamp.com/track/chimpanzees-cant-dance)
and loaded up with samples to raise awareness. the impression i was
trying to create was that bush wasn't going to be a president who was
particularly concerned with civil liberties because he had stated as
much rather clearly. this is still pre-9/11, it was right before the
election, and i still had no idea what was coming. i was just conscious
of the fact that this is a guy that isn't going to stand up for
anybody's rights, have much interest in maintaining the rule of law
(international or otherwise) or have much respect for the democratic
process.
even listening to it today, a lot of it is really surreal. at the time, i was focusing a bit on the irony. for example, his "people who are going to commit crimes shouldn't have guns" quote is cited in reference to himself - by that logic, he should have overseen an american disarmament. "this guy's not elected, he just took over office" quip was also meant to apply to him. i think it's largely forgotten that the news of a possible attempted coup hit before the 2000 election did. there was a buzz on the internet that the people behind bush (military contractors) weren't going to let him lose. the "court battle" in florida wasn't a completely surprising turn of events. it was gore's disinterest in fighting the legal battle (because it would "destabilize" the country) that hit people by surprise.
i've split this into it's own space because it belongs in it's own space. deny everything (jasonparent.bandcamp.com/album/deny-everything) has been converted into abstract instrumental music; the samples don't belong there. it also seems disingenuous to insert it into the lost suite.
i think i need to be careful in stating that historical hindsight inoculates me in explaining what i hoped was obvious: that this is a thinly veiled call for the assassination of bush before he takes over. a tree fell in a forest here. alas.
recorded in april, 2000. samples added in oct, 2000. album version reverted to original mix in sept, 2006. as always, please use headphones.
the album version appears on my fourth record:
jasonparent.bandcamp.com/album/deny-everything
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 (2000, 2006, 2014, 2017).
even listening to it today, a lot of it is really surreal. at the time, i was focusing a bit on the irony. for example, his "people who are going to commit crimes shouldn't have guns" quote is cited in reference to himself - by that logic, he should have overseen an american disarmament. "this guy's not elected, he just took over office" quip was also meant to apply to him. i think it's largely forgotten that the news of a possible attempted coup hit before the 2000 election did. there was a buzz on the internet that the people behind bush (military contractors) weren't going to let him lose. the "court battle" in florida wasn't a completely surprising turn of events. it was gore's disinterest in fighting the legal battle (because it would "destabilize" the country) that hit people by surprise.
i've split this into it's own space because it belongs in it's own space. deny everything (jasonparent.bandcamp.com/album/deny-everything) has been converted into abstract instrumental music; the samples don't belong there. it also seems disingenuous to insert it into the lost suite.
i think i need to be careful in stating that historical hindsight inoculates me in explaining what i hoped was obvious: that this is a thinly veiled call for the assassination of bush before he takes over. a tree fell in a forest here. alas.
recorded in april, 2000. samples added in oct, 2000. album version reverted to original mix in sept, 2006. as always, please use headphones.
the album version appears on my fourth record:
jasonparent.bandcamp.com/album/deny-everything
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 (2000, 2006, 2014, 2017).
credits
released October 13, 2000
j - guitars, effects, drum programming, sampling, sound design, digital wave editing
j - guitars, effects, drum programming, sampling, sound design, digital wave editing
Sunday, October 8, 2017
this is my fourth symphony.
it's a sort of a pun; it uses the medical condition of acidosis, which is when the ph level of a person's blood dips to a level that causes complications or death, to draw an analogy to the environmental destruction being carried out by industrial civilization. it also forwards my intuitive hypothesis that homo sapiens will ultimately end up as an evolutionary dead-end. more specifically, my view is that intelligence, as a trait, is ultimately an evolutionary disadvantage. well somebody else probably has that view too.
(...i learned later that it turns out to be the seminal evolutionary biologist, ernst mayr, in fact. he made evolutionary syntheses, not hot dogs....)
the material is presented here in fragmented format to properly outline the structure of the piece.
that sexy cover art is a couple of bitmaps of neurons played with in paint and superimposed onto each other in coagula. the sound of that sexy bitmap is heard in the song.
i think i'd rather let the piece stand by title alone, other than to point out that the reaction explored in the piece is really more general than any specific narrative justifies. it's a systems break down.
the music is half generated algorithmically and half played. the half random, largely atonal notes i had programmed into the generator created unusual jam circumstances that were fun to play with. as an example, the piano part is live, but it's being spurred on by the random synth bass underneath it. the computer was driving me, creatively; i think it produced interesting results, both out of me and in itself. as a rhythm section, the computer holds it's own here - as random as the notes are.
what centres the track, though, is a classical guitar part that i recorded very late one night. i was weirded out about things and wanted to get some shit out, so i recorded myself playing for close to a half hour. i think a lot of people don't realize just how powerful a guitar can be as an alternate outlet for aggression. psychologically, that's powerful shit.
i listened to the jam when i got my head clear and i was sort of fascinated by it's just raw emotion. it didn't make any musical sense, but it expressed an idea through it's dynamics. i ran it backwards through an effect designed to simulate a record player dying over exaggerated lengths of times and that became the idea to build around. the shape grew slowly, all the way into the analogy, from there.
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 2007 but has otherwise not been modified since it was completed. first released as an ep in jan 2014. release finalized on oct 8, 2017. as always, please use headphones.
this ep appears as a single track on my fourth record:
jasonparent.bandcamp.com/album/deny-everything
it's a sort of a pun; it uses the medical condition of acidosis, which is when the ph level of a person's blood dips to a level that causes complications or death, to draw an analogy to the environmental destruction being carried out by industrial civilization. it also forwards my intuitive hypothesis that homo sapiens will ultimately end up as an evolutionary dead-end. more specifically, my view is that intelligence, as a trait, is ultimately an evolutionary disadvantage. well somebody else probably has that view too.
(...i learned later that it turns out to be the seminal evolutionary biologist, ernst mayr, in fact. he made evolutionary syntheses, not hot dogs....)
the material is presented here in fragmented format to properly outline the structure of the piece.
that sexy cover art is a couple of bitmaps of neurons played with in paint and superimposed onto each other in coagula. the sound of that sexy bitmap is heard in the song.
i think i'd rather let the piece stand by title alone, other than to point out that the reaction explored in the piece is really more general than any specific narrative justifies. it's a systems break down.
the music is half generated algorithmically and half played. the half random, largely atonal notes i had programmed into the generator created unusual jam circumstances that were fun to play with. as an example, the piano part is live, but it's being spurred on by the random synth bass underneath it. the computer was driving me, creatively; i think it produced interesting results, both out of me and in itself. as a rhythm section, the computer holds it's own here - as random as the notes are.
what centres the track, though, is a classical guitar part that i recorded very late one night. i was weirded out about things and wanted to get some shit out, so i recorded myself playing for close to a half hour. i think a lot of people don't realize just how powerful a guitar can be as an alternate outlet for aggression. psychologically, that's powerful shit.
i listened to the jam when i got my head clear and i was sort of fascinated by it's just raw emotion. it didn't make any musical sense, but it expressed an idea through it's dynamics. i ran it backwards through an effect designed to simulate a record player dying over exaggerated lengths of times and that became the idea to build around. the shape grew slowly, all the way into the analogy, from there.
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 2007 but has otherwise not been modified since it was completed. first released as an ep in jan 2014. release finalized on oct 8, 2017. as always, please use headphones.
this ep appears as a single track on my fourth record:
jasonparent.bandcamp.com/album/deny-everything
credits
released August 20, 2000
j - guitars of all types, bass, drum programming, synthesizers, piano, loops, noise generation, organ, ebow, flute, mandolin, treatments, effects, found sounds, sound design, generative synthesis, generative percussion, light-sound synthesis, digital wave editing, production, coughs, a broken equalizer, cover art
j - guitars of all types, bass, drum programming, synthesizers, piano, loops, noise generation, organ, ebow, flute, mandolin, treatments, effects, found sounds, sound design, generative synthesis, generative percussion, light-sound synthesis, digital wave editing, production, coughs, a broken equalizer, cover art
Saturday, October 7, 2017
the touche amore show last night was the last show before the court date. so, i'll be more focused for the next two weeks.
i should be able to ship the second package some time during the week. the gap will then be bridged, and the rest should come much faster.
that said, i'm going to have to put this on hold on the 16th until at least the 19th. if everything works out well, i'll get right back to it and think i can be done before hallowe'en.
i should be able to ship the second package some time during the week. the gap will then be bridged, and the rest should come much faster.
that said, i'm going to have to put this on hold on the 16th until at least the 19th. if everything works out well, i'll get right back to it and think i can be done before hallowe'en.
Friday, October 6, 2017
republishing inri038
this is a
collection of versions of a track that was important to me around the
turn of the century: five electronic versions (seven including the
downloads) and an electric folk version that i often played as a sort of
a drunken party trick. after the lead track, the electronic versions
are arranged in decreasing complexity, and the electric folk version is
at the end. the extra tracks are both vocal mixes; i felt that only one
was really necessary, but included them here for scope.
it's sort of about me, and sort of about my dad, and sort of about caricatures. we never had a dog drown, and i simply have no knowledge of the dynamics of my parents' sexual relationship. that's just an old country song. yet, there were a lot of stressful problems in both his work and family life, and that was being pointed to as a cause of his heart problems.
in hindsight, i'd tend to lean more towards genetics (and perhaps lifestyle) than stress. of course, that's something i have an interest in understanding further as i age. at the time, though, the focus was all about reducing the amount of stress he was dealing with.
i really just sort of didn't get it. i still don't *really* get it. stressed? well, chill out then. spark one up. put on a tune. it's maybe not as easy as snapping a finger, but it has to be about a general philosophy of life. see, i guess i place a lot less faith in the idea of free will than most people do - and my father, being a rush fan, and don't get me started on that travesty, put far more faith in it. when one is absolutely convinced that their entire life is determined by the choices they make, including the ones they don't make, it produces a lot of pressure to make or not make the right choices. meaning? he did it to himself - his atlas never shrugged.
ultimately, universe gonna hate. your so-called free will is doomed to be crushed in a wave of stochastics. the universe is a random, chaotic place defined by poorly understood probabilities. so, why bother concerning yourself so deeply with the consequences of your actions in this pointless existence, to the point that it might cut that existence short? it was the idea of him driving himself to cardiac arrest that pissed me off. you could be hit by an asteroid in your sleep. you could spontaneously combust. you could even wake up one day to find that aliens have landed and are taking over the world using robot gunships. once you get *that*, trying to fight for control seems pointless. embrace the random, and spiral out....
or, so, the debate went. i wasn't really comfortable writing a song *about* my old man, so i took a fictional first-person perspective and went to town with it a bit.
the cover art bitmap is one of the files i put through coagula to produce sound out of light. inristart was a working title for the piece.
written and recorded, 1999-2001. track 3 was reconstructed out of existing sound in june, 2004. initially sequenced in jan, 2014. four new mixes (maximal mix (2017), electronics only mix (2015), single mix for lp010 (2017), full instrumental mix from deny everything (2014)) were added on oct 5, 2017; release subsequently closed. as always, please use headphones.
the full instrumental mix of this track appears on my fourth record:
https://jasonparent.bandcamp.com/album/deny-everything
the lead track also appears on the inrimoved compilation, which is a lost record of discarded vocal pieces:
jasonparent.bandcamp.com/album/inrimoved
...and the folk version appears on my fifth record:
jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj
*download only
it's sort of about me, and sort of about my dad, and sort of about caricatures. we never had a dog drown, and i simply have no knowledge of the dynamics of my parents' sexual relationship. that's just an old country song. yet, there were a lot of stressful problems in both his work and family life, and that was being pointed to as a cause of his heart problems.
in hindsight, i'd tend to lean more towards genetics (and perhaps lifestyle) than stress. of course, that's something i have an interest in understanding further as i age. at the time, though, the focus was all about reducing the amount of stress he was dealing with.
i really just sort of didn't get it. i still don't *really* get it. stressed? well, chill out then. spark one up. put on a tune. it's maybe not as easy as snapping a finger, but it has to be about a general philosophy of life. see, i guess i place a lot less faith in the idea of free will than most people do - and my father, being a rush fan, and don't get me started on that travesty, put far more faith in it. when one is absolutely convinced that their entire life is determined by the choices they make, including the ones they don't make, it produces a lot of pressure to make or not make the right choices. meaning? he did it to himself - his atlas never shrugged.
ultimately, universe gonna hate. your so-called free will is doomed to be crushed in a wave of stochastics. the universe is a random, chaotic place defined by poorly understood probabilities. so, why bother concerning yourself so deeply with the consequences of your actions in this pointless existence, to the point that it might cut that existence short? it was the idea of him driving himself to cardiac arrest that pissed me off. you could be hit by an asteroid in your sleep. you could spontaneously combust. you could even wake up one day to find that aliens have landed and are taking over the world using robot gunships. once you get *that*, trying to fight for control seems pointless. embrace the random, and spiral out....
or, so, the debate went. i wasn't really comfortable writing a song *about* my old man, so i took a fictional first-person perspective and went to town with it a bit.
the cover art bitmap is one of the files i put through coagula to produce sound out of light. inristart was a working title for the piece.
written and recorded, 1999-2001. track 3 was reconstructed out of existing sound in june, 2004. initially sequenced in jan, 2014. four new mixes (maximal mix (2017), electronics only mix (2015), single mix for lp010 (2017), full instrumental mix from deny everything (2014)) were added on oct 5, 2017; release subsequently closed. as always, please use headphones.
the full instrumental mix of this track appears on my fourth record:
https://jasonparent.bandcamp.com/album/deny-everything
the lead track also appears on the inrimoved compilation, which is a lost record of discarded vocal pieces:
jasonparent.bandcamp.com/album/inrimoved
...and the folk version appears on my fifth record:
jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj
*download only
credits
released July 11, 2000
j - guitars, effects, bass, synthesizers, sequencing, drum programming, vocals, vocoders, sound design, sampling, digital wave editing, production
j - guitars, effects, bass, synthesizers, sequencing, drum programming, vocals, vocoders, sound design, sampling, digital wave editing, production
Thursday, October 5, 2017
so, i've been working on inri038 this afternoon and i want to get some thoughts down.
what have i got for this already? 6 mixes.
1 -- album mix (reconstructed, 2014)
2 -- original vocal mix (2000, after hard drive crash)
3 -- minimal mix (2004 reconstriction)
4 -- base mix (2000, before hard drive crash)
5 -- electronics only mix (2015 reconstruction)
6 -- stress (2001 electric folk version - total rerecording)
i was initially going to take the vocals and past them over (1). but, that doesn't make sense for a couple of reasons. the first is that i actually moved the parts around a little. in the initial mix, the vocals come in after a short guitar solo; the 2014 reconstruction, which is now the album mix, pushes that guitar solo forward by 8 bars, so that they come in at the same time. on top of that, the guitar solo is then reversed and played backwards for 8 more bars. i did this to fill the space, cognizant of a lack of vocals. it would be kind of crazy to put the vocals back in.
further, why am i doing this? the reason is so that i can put the mix on the vocal prog comp. the other three tracks on this comp were remastered, but not remixed.; i didn't have source material. it would be weird for me to completely remix this, in context; i should restrict myself to the same kind of sourceless remaster.
so, i'm going to be adding a "single mix" to the front, based on the original vocal mix. but, then the thing is 5 minutes too long to fit on a disc.
i double checked, and i don't have extra remixes - maybe from failed remasters. they're not there. so, i'm going to have to leave a track as download only.
i'm currently leaning towards the original vocal mix, buti'll need to listen.
this should be done by the end of the night, and the remaining releases should not require any work.
what have i got for this already? 6 mixes.
1 -- album mix (reconstructed, 2014)
2 -- original vocal mix (2000, after hard drive crash)
3 -- minimal mix (2004 reconstriction)
4 -- base mix (2000, before hard drive crash)
5 -- electronics only mix (2015 reconstruction)
6 -- stress (2001 electric folk version - total rerecording)
i was initially going to take the vocals and past them over (1). but, that doesn't make sense for a couple of reasons. the first is that i actually moved the parts around a little. in the initial mix, the vocals come in after a short guitar solo; the 2014 reconstruction, which is now the album mix, pushes that guitar solo forward by 8 bars, so that they come in at the same time. on top of that, the guitar solo is then reversed and played backwards for 8 more bars. i did this to fill the space, cognizant of a lack of vocals. it would be kind of crazy to put the vocals back in.
further, why am i doing this? the reason is so that i can put the mix on the vocal prog comp. the other three tracks on this comp were remastered, but not remixed.; i didn't have source material. it would be weird for me to completely remix this, in context; i should restrict myself to the same kind of sourceless remaster.
so, i'm going to be adding a "single mix" to the front, based on the original vocal mix. but, then the thing is 5 minutes too long to fit on a disc.
i double checked, and i don't have extra remixes - maybe from failed remasters. they're not there. so, i'm going to have to leave a track as download only.
i'm currently leaning towards the original vocal mix, buti'll need to listen.
this should be done by the end of the night, and the remaining releases should not require any work.
Wednesday, October 4, 2017
i've added two 'already done' mixes to this, and will add at least one more, soon.
https://jasonparent.bandcamp.com/album/ignorance-is-bliss
https://jasonparent.bandcamp.com/album/ignorance-is-bliss
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