we can do it twice a day, if you want, until you fuck off.
Sunday, January 19, 2020
while i am unable to vote in the united states, i was a bernie sanders
supporters over 2016 and eventually very weakly endorsed clinton as an
imperceptibly lesser evil - although, had i been able to vote, i would
have almost certainly voted for jill stein.
and, i am the person that posted as deathtokoalas on youtube over 2013-2017 or so.
this is my youtube site: youtube.com/deathtokoalas.
so, what's going on?
i spent all day yesterday updating the files offline, because i know what happens when i go back online. the files are all updated, and i should have something up at noise trade soonish.
and, sure enough, it didn't take long for the machine to crash once i went online to splice the files...
but, i turned off a few specific things, and it seems to be preventing the bluescreen. now, it comes up with some kind of listener over udp, instead, that appears to be trying to send some kind of report back to head office.
it doesn't matter.
so, i will need to reformat that machine before i go back online. it's perhaps an improvement, but it's not safe to connect with it, for right now.
i'm also noticing that, when i went to go search for my blogspot site, the teenager's pages are at the top of the feed. see, this is kind of getting the point across - somebody wants the world to think that deathtokoalas is from new york, instead of from canada, despite the fact that the poster was obviously canadian, because they pointed it out every other day. anybody that actually read my posts knows i'm from canada. it's just absurd to suggest i'm from new york.
i don't know what the end goal is here, but there is no endpoint but failure, and i should have my blogs from december up within a few hours.
and, yes - i'll have to reformat the other machine before i go back online. and, did you lose your report? awww.
i spent all day yesterday updating the files offline, because i know what happens when i go back online. the files are all updated, and i should have something up at noise trade soonish.
and, sure enough, it didn't take long for the machine to crash once i went online to splice the files...
but, i turned off a few specific things, and it seems to be preventing the bluescreen. now, it comes up with some kind of listener over udp, instead, that appears to be trying to send some kind of report back to head office.
it doesn't matter.
so, i will need to reformat that machine before i go back online. it's perhaps an improvement, but it's not safe to connect with it, for right now.
i'm also noticing that, when i went to go search for my blogspot site, the teenager's pages are at the top of the feed. see, this is kind of getting the point across - somebody wants the world to think that deathtokoalas is from new york, instead of from canada, despite the fact that the poster was obviously canadian, because they pointed it out every other day. anybody that actually read my posts knows i'm from canada. it's just absurd to suggest i'm from new york.
i don't know what the end goal is here, but there is no endpoint but failure, and i should have my blogs from december up within a few hours.
and, yes - i'll have to reformat the other machine before i go back online. and, did you lose your report? awww.
Saturday, January 18, 2020
ok.
so, i snuck the updates in first. i need to cross-reference before i can publish, but, tentatively, and as stated, this is a much smaller document. it's a shame about the cyberstalking, because i could have been done by the end of the year.
politics - 178 pages
music - 113 pages
deathtokoalas - 102 pages
travel - 5 pages
i will need to publish liner notes for inricycled, inri, inriched, inrimixed and inrijected. inrimake & inridiculous are coming, soon, as well as the first deny everything releases.
if i can stay up, it will be done in a few hours.
so, i snuck the updates in first. i need to cross-reference before i can publish, but, tentatively, and as stated, this is a much smaller document. it's a shame about the cyberstalking, because i could have been done by the end of the year.
politics - 178 pages
music - 113 pages
deathtokoalas - 102 pages
travel - 5 pages
i will need to publish liner notes for inricycled, inri, inriched, inrimixed and inrijected. inrimake & inridiculous are coming, soon, as well as the first deny everything releases.
if i can stay up, it will be done in a few hours.
Friday, January 10, 2020
i got slowed down a little this week with technical problems but should be back on track in a day or two.
...but i want to make a point clear. it should already be clear...
...but if i don't go to your shows, or review your records, or otherwise acknowledge your existence, chances are pretty high that the reason is that i think you suck. and, there's a lot of bad music in detroit, controlled by a lot of filters with very bad taste.
so, i mean, if i'm not "supporting your scene", it's not some kind of accident. it's because i don't like it. and, i don't care how cool you think you are, either.
broadly speaking, art should not and cannot be thought of as a transactional process. this idea of "supporting the scene" is exactly why there's so much garbage out there - people get shows because they did somebody a favour, and are consequently expected to buy into a system before they can get something out of it. it's pay to play. and, it's bullshit, and i won't have anything to do with it.
i understand that i need to meet people and network, that i can't just create the greatest thing ever and expect it to magically sell, that i have to find some way to market it. i understand that i live in a capitalist reality, whether i like it or not.
but, i'm not remotely interested in any sort of "scene" that rewards loyalty over talent. that scene is going to suck, and it won't take long before it's full of dumbass macho bros sitting around by themselves wondering why nobody shows up.
i need you to evaluate my art on it's merit and i want to be a part of a scene that values my talent, not one that rewards me for seniority and for showing up.
there's reasons i'm at the age i'm at and have kept an arms-length distance from every scene i've ever been near. after a while, i basically hate virtually everybody, and the feeling is often fairly mutual.
but, i need it to be about the value of the art, or i don't want to show up at all.
...but i want to make a point clear. it should already be clear...
...but if i don't go to your shows, or review your records, or otherwise acknowledge your existence, chances are pretty high that the reason is that i think you suck. and, there's a lot of bad music in detroit, controlled by a lot of filters with very bad taste.
so, i mean, if i'm not "supporting your scene", it's not some kind of accident. it's because i don't like it. and, i don't care how cool you think you are, either.
broadly speaking, art should not and cannot be thought of as a transactional process. this idea of "supporting the scene" is exactly why there's so much garbage out there - people get shows because they did somebody a favour, and are consequently expected to buy into a system before they can get something out of it. it's pay to play. and, it's bullshit, and i won't have anything to do with it.
i understand that i need to meet people and network, that i can't just create the greatest thing ever and expect it to magically sell, that i have to find some way to market it. i understand that i live in a capitalist reality, whether i like it or not.
but, i'm not remotely interested in any sort of "scene" that rewards loyalty over talent. that scene is going to suck, and it won't take long before it's full of dumbass macho bros sitting around by themselves wondering why nobody shows up.
i need you to evaluate my art on it's merit and i want to be a part of a scene that values my talent, not one that rewards me for seniority and for showing up.
there's reasons i'm at the age i'm at and have kept an arms-length distance from every scene i've ever been near. after a while, i basically hate virtually everybody, and the feeling is often fairly mutual.
but, i need it to be about the value of the art, or i don't want to show up at all.
Sunday, January 5, 2020
as mentioned a few times already, the process i've been carrying through with for the last couple of years is coming to an end, as a consequence of extending the alter-reality back a previous ten years.
this process has been slowed down, this year, it is true. but, i've tried to state, repeatedly, that i am carrying through with a process. the liner notes i've been producing are not any less important than the music, they are a part of a holistic whole, in terms of completing a historical document.
my artistic focus has always been historical. i've never been interested in creating music that is specifically current, or aligned with prevailing fashion ideas. i want my music to be enjoyed by future generations, and i am fully cognizant of the reality that most of my audience has not been born yet.
well, maybe some of them have been born now. it's 2020. time to start implementing some hindsight, right?
i'm most of the way through december, 2013. i want to finish january, 2014 before i move on.
but, i will be moving to period three, soon.
as my focus is historical, making new music for the purposes of fitting into a fashion scene does not make sense, in the context of my artistic vision. the reality is that i have several records that i need to complete before i can consider moving forwards, and the more i'm slowed down, the longer it will take.
so, i say i'm not interested in new music.
at this rate, i won't be done my old stuff until i'm 50. and, i might not live much longer...
this process has been slowed down, this year, it is true. but, i've tried to state, repeatedly, that i am carrying through with a process. the liner notes i've been producing are not any less important than the music, they are a part of a holistic whole, in terms of completing a historical document.
my artistic focus has always been historical. i've never been interested in creating music that is specifically current, or aligned with prevailing fashion ideas. i want my music to be enjoyed by future generations, and i am fully cognizant of the reality that most of my audience has not been born yet.
well, maybe some of them have been born now. it's 2020. time to start implementing some hindsight, right?
i'm most of the way through december, 2013. i want to finish january, 2014 before i move on.
but, i will be moving to period three, soon.
as my focus is historical, making new music for the purposes of fitting into a fashion scene does not make sense, in the context of my artistic vision. the reality is that i have several records that i need to complete before i can consider moving forwards, and the more i'm slowed down, the longer it will take.
so, i say i'm not interested in new music.
at this rate, i won't be done my old stuff until i'm 50. and, i might not live much longer...
Thursday, December 26, 2019
first liner note release for inri029
this was
my grade 12 final project in electronic music design. the assignment was
something along the lines of creating a piece of music with a social
message.
the message is part dystopian, but focuses more on the idea of identifying certain threats that would become a problem in the upcoming century. remember that this was the middle of 1999. how close was i?
1) intro
2) war
3) noise pollution, or pollution in general
4) conformity (or the collapse of individualism)*
5) chemical warfare
6) global warming
7) outro
* i was thinking in terms of personality/uniqueness, rather than something political. and i think the extreme conformity underlying gen y social attitudes have played this out frighteningly well, actually. it's a reaction to the radical mindset of anti-conformity that dominated gen x, but it's still a very real thing that will have very real ramifications in the upcoming decades. if you thought the 50s were creepy, wait until you see what these kids grow up into!
i should have included something about inequality. i also removed a vegan track, partly due to time restraints. besides that, i think i got all of the broad ideas right.
the piece is made to be played in an indefinitely repeated loop.
most of the tracks are slightly remixed/resequenced versions of tracks from inri or inriched. track 5 is brand new, and recorded on the school's synthesizer (part of the project requirements).
recorded over 1997-1999. constructed in this form in june, 1999. published on november 30, 2013. re-released (with new hidden track) and finalized as symph003 on sept 13, 2017. first liner note release added on dec 26, 2019. this is my third symphony; as always, please use headphones.
this release also includes a printable jewel case insert and will also eventually include a comprehensive package of journal entries from all phases of production (1999, 2013-2019). as of dec 26, 2019, the release includes a 15 page booklet in doc, pdf & html, with an html5 audio frontend, that includes journal entries from the remastering process over nov, 2013.
the message is part dystopian, but focuses more on the idea of identifying certain threats that would become a problem in the upcoming century. remember that this was the middle of 1999. how close was i?
1) intro
2) war
3) noise pollution, or pollution in general
4) conformity (or the collapse of individualism)*
5) chemical warfare
6) global warming
7) outro
* i was thinking in terms of personality/uniqueness, rather than something political. and i think the extreme conformity underlying gen y social attitudes have played this out frighteningly well, actually. it's a reaction to the radical mindset of anti-conformity that dominated gen x, but it's still a very real thing that will have very real ramifications in the upcoming decades. if you thought the 50s were creepy, wait until you see what these kids grow up into!
i should have included something about inequality. i also removed a vegan track, partly due to time restraints. besides that, i think i got all of the broad ideas right.
the piece is made to be played in an indefinitely repeated loop.
most of the tracks are slightly remixed/resequenced versions of tracks from inri or inriched. track 5 is brand new, and recorded on the school's synthesizer (part of the project requirements).
recorded over 1997-1999. constructed in this form in june, 1999. published on november 30, 2013. re-released (with new hidden track) and finalized as symph003 on sept 13, 2017. first liner note release added on dec 26, 2019. this is my third symphony; as always, please use headphones.
this release also includes a printable jewel case insert and will also eventually include a comprehensive package of journal entries from all phases of production (1999, 2013-2019). as of dec 26, 2019, the release includes a 15 page booklet in doc, pdf & html, with an html5 audio frontend, that includes journal entries from the remastering process over nov, 2013.
credits
released June 20, 1999
j - synthesizers, sequencers, effects, guitar, bass, piano, drum programming, noise generators, metronome, a broken tape deck, sampling, loops, cool edit synthesis, windows 95 sound recorder, sound design, digital wave editing, production
j - synthesizers, sequencers, effects, guitar, bass, piano, drum programming, noise generators, metronome, a broken tape deck, sampling, loops, cool edit synthesis, windows 95 sound recorder, sound design, digital wave editing, production
https://jasonparent.bandcamp.com/album/warning
first liner note release for 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
don't have any files.
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.
constructed over a few days in april, 1999. ripped back to wav format from cd-r in late 2013. released as a one track single on nov 21, 2013. release finalized on sept 12, 2017. first liner note release added on dec 26, 2019. as always, please use headphones.
this track appears unmodified on my third record, inridiculous (inri033): jasonparent.bandcamp.com/album/inridiculous
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 (1999, 2013-2019). as of dec 26, 2019, the release includes a 5 page booklet in doc, pdf & html, with an html5 audio frontend, that includes journal entries from the remastering process over nov, 2013.
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.
constructed over a few days in april, 1999. ripped back to wav format from cd-r in late 2013. released as a one track single on nov 21, 2013. release finalized on sept 12, 2017. first liner note release added on dec 26, 2019. as always, please use headphones.
this track appears unmodified on my third record, inridiculous (inri033): jasonparent.bandcamp.com/album/inridiculous
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 (1999, 2013-2019). as of dec 26, 2019, the release includes a 5 page booklet in doc, pdf & html, with an html5 audio frontend, that includes journal entries from the remastering process over nov, 2013.
credits
released April 15, 1999
j - guitars, effects, samples, loops, digital wave editing
https://jasonparent.bandcamp.com/album/pop-music-a-tribute-to-carbon-dioxide
j - guitars, effects, samples, loops, digital wave editing
https://jasonparent.bandcamp.com/album/pop-music-a-tribute-to-carbon-dioxide
Wednesday, December 25, 2019
first liner note release for inri027
somebody
asked me to do this for them for a school project in the second half of
grade 12, which was early 1999. 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.
i didn't spend a lot of time on this, so i didn't charge them for it or anything. i think i was more hoping that it would float around a little, but if it did i'm not aware of it.
streamed to disk in one take on the afternoon of march 9, 1999. ripped back to wav format from cd-r in late 2013. released as a one track single on nov 21, 2013. release finalized on sept 12, 2017. first liner note released added on dec 25, 2019. as always, please use headphones.
this track appears in slightly modified form on my third record, inridiculous (inri033): jasonparent.bandcamp.com/album/inridiculous
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 (1999, 2013-2019). as of dec 25, 2019, the release includes a 4 page booklet in doc, pdf & html, with an html5 audio frontend, that includes journal entries from the remastering process over nov, 2013.
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.
i didn't spend a lot of time on this, so i didn't charge them for it or anything. i think i was more hoping that it would float around a little, but if it did i'm not aware of it.
streamed to disk in one take on the afternoon of march 9, 1999. ripped back to wav format from cd-r in late 2013. released as a one track single on nov 21, 2013. release finalized on sept 12, 2017. first liner note released added on dec 25, 2019. as always, please use headphones.
this track appears in slightly modified form on my third record, inridiculous (inri033): jasonparent.bandcamp.com/album/inridiculous
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 (1999, 2013-2019). as of dec 25, 2019, the release includes a 4 page booklet in doc, pdf & html, with an html5 audio frontend, that includes journal entries from the remastering process over nov, 2013.
credits
released March 9, 1999
j - hammerhead (909 emulator), digital wave editing
https://jasonparent.bandcamp.com/album/gene-os-a-soundtrack-for-an-italian-breakfast-cereal
j - hammerhead (909 emulator), digital wave editing
https://jasonparent.bandcamp.com/album/gene-os-a-soundtrack-for-an-italian-breakfast-cereal
first liner note release for inri016
this is something i did between inri demos. i needed a break from structured writing. just wanted to make some noise...
i suppose this is the biggest sample collage of them all, but it's best not to take it too seriously. the idea here eventually morphed into a project called "fuel true anarchy in the americas" (inri068), a play on the ftaa trade agreement, which itself got toned down in scope.
there's everything from science docs to hitler in here. it's meant to be a passive trip through real and imaginary time that is experienced with the aid of psychedelic drugs, rather than any kind of political statement. it's quite consciously absurd, often juxtaposing ironic statements with their contradictions.
the core of the ambience was produced by a program called sound raider. i then took the sound it created and shaped it by adding in vocal samples, looping certain parts, running things through effects, sequencing the noise into a more melodic shape, etc. it's consequently a sort of a collaboration between myself and the machine, rather than the work of the machine itself.
no sane person could really listen to this passively. you basically *need* drugs to get anything out of this at all.
...and i think i'm probably the only person that ever experienced it properly. hey, it's never too late...
created in the summer of 1998. released as a standalone ep on nov 16, 2013. audio permanently closed on oct 12, 2016. release finalized on oct 27, 2016. first liner not release added on dec 25, 2019. as always, please use headphones.
this track also appears on my third record, inridiculous (inri033): jasonparent.bandcamp.com/album/inridiculous
this release also includes a printable jewel case insert and will also eventually include a comprehensive package of journal entries from all phases of production (1998, 2013, 2016). as of dec 25, 2019, the release includes a 5 page booklet in doc, pdf & html, with an html5 audio frontend, that includes journal entries from the remastering process over nov, 2013.
i suppose this is the biggest sample collage of them all, but it's best not to take it too seriously. the idea here eventually morphed into a project called "fuel true anarchy in the americas" (inri068), a play on the ftaa trade agreement, which itself got toned down in scope.
there's everything from science docs to hitler in here. it's meant to be a passive trip through real and imaginary time that is experienced with the aid of psychedelic drugs, rather than any kind of political statement. it's quite consciously absurd, often juxtaposing ironic statements with their contradictions.
the core of the ambience was produced by a program called sound raider. i then took the sound it created and shaped it by adding in vocal samples, looping certain parts, running things through effects, sequencing the noise into a more melodic shape, etc. it's consequently a sort of a collaboration between myself and the machine, rather than the work of the machine itself.
no sane person could really listen to this passively. you basically *need* drugs to get anything out of this at all.
...and i think i'm probably the only person that ever experienced it properly. hey, it's never too late...
created in the summer of 1998. released as a standalone ep on nov 16, 2013. audio permanently closed on oct 12, 2016. release finalized on oct 27, 2016. first liner not release added on dec 25, 2019. as always, please use headphones.
this track also appears on my third record, inridiculous (inri033): jasonparent.bandcamp.com/album/inridiculous
this release also includes a printable jewel case insert and will also eventually include a comprehensive package of journal entries from all phases of production (1998, 2013, 2016). as of dec 25, 2019, the release includes a 5 page booklet in doc, pdf & html, with an html5 audio frontend, that includes journal entries from the remastering process over nov, 2013.
credits
released July 1, 1998
j - sound raider, sampling, cool edit synthesis/sequencing, digital effects processing, digital wave editing, flute
gauntk9 - anti-social quip
https://jasonparent.bandcamp.com/album/eat-my-fuck
j - sound raider, sampling, cool edit synthesis/sequencing, digital effects processing, digital wave editing, flute
gauntk9 - anti-social quip
https://jasonparent.bandcamp.com/album/eat-my-fuck
Monday, December 23, 2019
first liner note release for inri003
i spent
the summer and fall of 1997 programming drum tracks into an ry30,
notating them into a tablature program and sequencing them using
noteworthy composer. i did not know how i was going to record these
tracks. i think i was expecting to use the computer, but that was
probably naive; instead, i was gifted a 4-track recording machine. i
then spent the next year and a half rearranging and rerecording the
songs i programmed over that period. as these tracks were recorded into
my pc, they are time stamped...so i have a much clearer understanding of
when they were finished.
the jump to incorporating computers into the recording process is something i always wanted to do, it's just that it wasn't really previously feasible. first, there was a learning curve. i was a smart kid, though; the learning curve was just a time concern. the larger problem was simply access to a pc. i did have a pc at my disposal, but it did not have a modem and it was only equipped to run windows 3.1, which basically meant i could run civ 2 and wolfenstein and little else. the windows 95 computer had dial up but it was in a central location for family use.
when we moved across the city, my dad bought a new computer and i happily inherited his old one. this gave me internet access, which allowed me to download some freeware. it also gave me the time i needed to learn how to do certain things.
i'm separating out a handful of my first electronic sound experiments and collecting them together into an ep. what these blasts of noise have in common is that they were constructed on a windows 95 computer out of samples or generated sound and with very primitive software while i was waiting to get some kind of recording equipment. most of it was pasted together meticulously using the windows 95 sound recorder; the rest of it was constructed in cool edit, which i used as a sort of a synthesizer.
for the most part, these weren't really ever meant to be songs. i ended up using them as connectors, introductions, background. "continuity". yet, i find the idea of throwing them together here to be interesting from an autobiographical perspective.
created in mid 1997. sequenced and converted to stereo in november, 2013. released on nov 9, 2013. corrected in september, 2014. finalized on july 5, 2016. first liner note released added on dec 23, 2019. as always, please use headphones.
this release also includes a printable jewel case insert and will also eventually include a comprehensive package of journal entries from all phases of production (1997, 2013, 2016). as of dec 23, 2019, the release includes an 8 page booklet in doc, pdf & html, with an html5 audio frontend, that includes journal entries from the remastering process over nov, 2013.
the jump to incorporating computers into the recording process is something i always wanted to do, it's just that it wasn't really previously feasible. first, there was a learning curve. i was a smart kid, though; the learning curve was just a time concern. the larger problem was simply access to a pc. i did have a pc at my disposal, but it did not have a modem and it was only equipped to run windows 3.1, which basically meant i could run civ 2 and wolfenstein and little else. the windows 95 computer had dial up but it was in a central location for family use.
when we moved across the city, my dad bought a new computer and i happily inherited his old one. this gave me internet access, which allowed me to download some freeware. it also gave me the time i needed to learn how to do certain things.
i'm separating out a handful of my first electronic sound experiments and collecting them together into an ep. what these blasts of noise have in common is that they were constructed on a windows 95 computer out of samples or generated sound and with very primitive software while i was waiting to get some kind of recording equipment. most of it was pasted together meticulously using the windows 95 sound recorder; the rest of it was constructed in cool edit, which i used as a sort of a synthesizer.
for the most part, these weren't really ever meant to be songs. i ended up using them as connectors, introductions, background. "continuity". yet, i find the idea of throwing them together here to be interesting from an autobiographical perspective.
created in mid 1997. sequenced and converted to stereo in november, 2013. released on nov 9, 2013. corrected in september, 2014. finalized on july 5, 2016. first liner note released added on dec 23, 2019. as always, please use headphones.
this release also includes a printable jewel case insert and will also eventually include a comprehensive package of journal entries from all phases of production (1997, 2013, 2016). as of dec 23, 2019, the release includes an 8 page booklet in doc, pdf & html, with an html5 audio frontend, that includes journal entries from the remastering process over nov, 2013.
credits
released December 1, 1997
j - cool edit (wave synthesis, digital wave editing), windows 95 sound recorder (sampling, digital wave editing), yamaha ry30 drum machine (programming)
https://jasonparent.bandcamp.com/album/inrisampled
j - cool edit (wave synthesis, digital wave editing), windows 95 sound recorder (sampling, digital wave editing), yamaha ry30 drum machine (programming)
https://jasonparent.bandcamp.com/album/inrisampled
first liner note release for inri001
my second
demo, recorded over the second half of the tenth grade, is a
considerably more polished recording. by this time, i had learned a lot
about how to record things and had improved my drumming and keyboard
playing. while the vocals remain highly erratic, ranging from
precociously insightful to devastatingly stupid, the music here is
actually not far from a professional recording.
recorded in spring 1997, remastered in fall 2013. finalized on july 3, 2016. first liner note release added on dec 23, 2019. as always, please use headphones.
i consider this an archival release with little direct listening value. i've pointed out repeatedly that i was 16. however, various segments have been isolated and pulled out for a higher listenability value over here:
jasonparent.bandcamp.com/album/inricycled-a
this release also includes a printable j-card insert and will also eventually include a comprehensive package of journal entries from all phases of production (1997, 2013-2019). as of dec 23, 2019, the release includes a 35 page booklet in doc, pdf & html, with an html5 audio frontend, that includes journal entries from the remastering process over nov, 2013.
recorded in spring 1997, remastered in fall 2013. finalized on july 3, 2016. first liner note release added on dec 23, 2019. as always, please use headphones.
i consider this an archival release with little direct listening value. i've pointed out repeatedly that i was 16. however, various segments have been isolated and pulled out for a higher listenability value over here:
jasonparent.bandcamp.com/album/inricycled-a
this release also includes a printable j-card insert and will also eventually include a comprehensive package of journal entries from all phases of production (1997, 2013-2019). as of dec 23, 2019, the release includes a 35 page booklet in doc, pdf & html, with an html5 audio frontend, that includes journal entries from the remastering process over nov, 2013.
credits
released June 1, 1997
j - guitars, effects, bass, drums, keyboards, tapes, vocals, found sounds, metronomes, production
https://jasonparent.bandcamp.com/album/inri-cassette-demo-2
j - guitars, effects, bass, drums, keyboards, tapes, vocals, found sounds, metronomes, production
https://jasonparent.bandcamp.com/album/inri-cassette-demo-2
so, i've now updated inri000 to include some posts from nov, 2013.
https://jasonparent.bandcamp.com/album/inri-cassette-demo-1
https://jasonparent.bandcamp.com/album/inri-cassette-demo-1
i'm running into some chronological contradictions.
one of the last things i did before i stopped for legal stuff was add the inri000 liner notes to the october music journal download. i've now added some posts from nov, 2013 to that liner note package, which also has notes from sept, 2013 and will eventually have notes from various periods between 1996-2026. so, what do i do now?
i was initially considering leaving half finished versions strewn across the downloads, but that doesn't make sense and will end up messy - that's a bad idea. the other approach would be to update everything as it comes up, so that this liner note package would appear everywhere it intersects with, but that strikes me as overkill and difficult to maintain.
rather. i think i've demonstrated to myself that these are different ideas. the music journal is just that; the liner notes are a subset of the broader journal, and need to exist in their proper context.
therefore,
1) i am going to remove the inri000 liner notes from the october, 2013 music journal download, and i will not be uploading the liner notes to further journal entries.
2) i will need to update the liner notes for each relevant release at the end of each subsequent month, which could be messy, but is necessary.
so, i'll need to update the language for october first, and then for november, and then reupload the new notes for inri000, before i get to inri001.
one of the last things i did before i stopped for legal stuff was add the inri000 liner notes to the october music journal download. i've now added some posts from nov, 2013 to that liner note package, which also has notes from sept, 2013 and will eventually have notes from various periods between 1996-2026. so, what do i do now?
i was initially considering leaving half finished versions strewn across the downloads, but that doesn't make sense and will end up messy - that's a bad idea. the other approach would be to update everything as it comes up, so that this liner note package would appear everywhere it intersects with, but that strikes me as overkill and difficult to maintain.
rather. i think i've demonstrated to myself that these are different ideas. the music journal is just that; the liner notes are a subset of the broader journal, and need to exist in their proper context.
therefore,
1) i am going to remove the inri000 liner notes from the october, 2013 music journal download, and i will not be uploading the liner notes to further journal entries.
2) i will need to update the liner notes for each relevant release at the end of each subsequent month, which could be messy, but is necessary.
so, i'll need to update the language for october first, and then for november, and then reupload the new notes for inri000, before i get to inri001.
Sunday, December 22, 2019
i finally have the template for the html5 frontend done, and have uploaded it to the bandcamp site. this is not a formal rerelease, but an addition to the previous rerelease. the formal rereleases moving forward will include the html5 frontends by default.
there is an instructions file, but you basically just unzip and load the index into your browser.
this is overdue, but there should be some more releases up over the next few days.
https://jasonparent.bandcamp.com/album/inri-cassette-demo-1
there is an instructions file, but you basically just unzip and load the index into your browser.
this is overdue, but there should be some more releases up over the next few days.
https://jasonparent.bandcamp.com/album/inri-cassette-demo-1
Monday, December 16, 2019
when i woke up on sunday night around 22:00-ish, i immediately realized that there was something wrong, but i'd been reacting negatively to the salami at that point for a while and had decided to switch brands when i ran out - i realized i was a little hungover, maybe partly from the pot, but i actually thought it was mostly food poisoning. so, yes, i was sweaty and clammy from the time i woke up on sunday night, but i didn't think much of it at first and assumed i'd be fine by tuesday.
sunday night was spent burning electronic copies of the court material and generally getting everything in order. i was planning on printing on monday morning at the library, with the hopes of taking advantage of the cheaper rates there, and i was in the end able to print my 300 pages for $0.07/each, cutting printing costs down rather dramatically. it was when i was walking into the library in a dirty sweat that i first started to realize i was actually sick.
it was actually relatively warm on monday night, though, so it was a pleasant walk back and forth from the library, which i'd never been in before. i just haven't really had any reason to go to this campus. but, now that i know that the printing costs are so much less...
i forced myself to sleep for a few hours in the evening when i got back, so that i'd be ready to go in the morning. it didn't really "take", but i nonetheless ended up at the bus stop for a little before 8:00 with my mass of papers, a laptop and some more appropriate winter clothing. i napped for a bit from guelph to mississaugua, but was otherwise alert for the whole way, and i'm starting to get a better concept of the distance, and the landmarks that occur in between, along with their ordering. i'm used to coming into toronto from the other direction, remember, having grown up in ottawa. the bus was a little bit late, but it wasn't bad; i was there around 1:30, which gave me plenty of time to get to the courthouse to file.
were there some problems? well, i seem to have missed s. 4 of the rules of civil procedure, altogether. s. 4 has rules for presentation - things like book binding, regulations on font size, etc. i just didn't even see it, or see it mentioned anywhere by anybody. so, they wouldn't initially take it - i had to argue with them to accept it via a deficiency, and if the court decides to reject it on the basis that the font is too small, given that i gave them a digital copy, i'm willing to appeal that to the next court up, on principle. i saved hundreds of pieces of paper by filing it the way that i did. i'll defend that decision to whatever court i need to; bring it on.
besides these trivialities regarding the presentation of the documents, it was otherwise fine, and they did otherwise accept the perfection of the case. i will now need to wait for the oiprd to file their own documents in the same court, and send me the links. they've given me a time frame of before the 20th. i'm expecting them to miss this, but i won't start getting pissy until after christmas...
and, then it was something like 15:30 and i had some time to blow before the bus came to take me home at 1:00 in the morning. i was hungry, and it was bmt day at subway, so i had to stop to eat. i then went directly across the street to get some pot, and came out with two grams of 10% thc for under $20.
the bottom line is that i don't smoke a lot of drugs. so, if i found the brand that i bought last month, which was closer to 20% concentration, to be a little heavy, then the next step is to try something a little lighter. i found that the 10% was more along the lines of what i wanted, even if it was itself a tad light. so, we're getting closer. you don't have these discussions with friends or acquaintances, you just use adjectives like "good" and "potent", so quantifying it is going to take some experimenting, and that's alright. like, i didn't walk into the beer store at 18 and know what i could and couldn't handle, it took me some time to figure it out. likewise, i could be at this for a few tries before i get it right.
but, the 10% was about right for the night, even if it faded on me a little too fast when i got home. so, next time, i might try something closer to 15%. i'll have this down to a regular order, eventually.
i got out of the store and basically walked into the first bar to roll, when i inquired about the price of beer on the way out. $5 for a tall can? well, that's not too bad, and it seemed like there was cheap food there, too. i've never spent much time in toronto, and it will take me some time to get to know it. i had a few hours to blow, as it was, so i sat and had a few tall cans, before moving on to the show.
the initial thought process behind going down on this night was that the tickets were cheapest and i'd get to see the joy formidable. but, the joy formidable turned out to be a pricey show. i know they're coming in from wales and everything, but they just priced themselves out of my range. you were looking at $40 after services fees; i'll rarely pay more than $20, and decided against it on this night.
instead, i hit a local experimental jazz show at a kind of community centre on burnswick nearly all the way to bloor. i actually hope i don't end up spending too much time in toronto, but this is maybe the kind of thing i'd be more likely to sneak into, on a random night. these were local musicians, playing their own work in an old bar, for what seemed like a mostly local if largely bourgeois crowd. it was pay what you can, and the beer was reasonably priced. let's hope i can get to more spots like this...
the main act called itself tyrannick love this week but was mostly improv and played two sets. it was anchored by the juxtaposition of a busier sax player with a more ambient, experimental guitarist that had a lot of floor pedals and wasn't afraid to use them. maybe it's because i was in toronto, but it had a distinct dmst feel at points that was pretty real; overall, though, the major aesthetic was a swirling, effects driven ambience that sidelined both the sax and drum players for long periods, as the bassist went motorik over some feedback and loops. it was an enjoyable cave for the space i was in, absolutely.
i can't find a video of this exact lineup, but the guitarist & sax player appear to have a lot of material online under a lot of different names, one of them being patrick reilly's wire circus, which is not entirely dissimilar to what i saw:
the third set was purposefully experimental to the point of being kind of a spectacle, and i consequently found myself more trying to figure out the physics behind what he was doing than actually listening to it. he seems to have essentially created a number of homemade speakers and more or less broken them in real time, although he surprised me in some of his answers when i questioned him - claiming, for example, that his chattering magnets were being driven by instructions on an sd card, like a chiptune piece, rather than being driven by the radio, which i thought was obvious. i actually initially thought he was setting up a theremin.
it was a sound installation, a demonstration, an experiment, rather than the presentation of any kind of actual composition. i'd consequently rather direct you directly to his page, which is here:
https://www.youtube.com/user/CMigone/videos
but, here is a video of something to separate the section:
there was a fourth set by what i believe to have been a local interpretive dance artist named "alicia grant", but details are scant, and the name appears to be in use by several (diverse) artists in the general area. i was actually rolling a joint through much of her set. so, she spent some time writhing on the ground, and repeating distressed statements into the microphone. listen: i grasp that specific subsets of arts students get off on the expression and rawness of something like this, but i largely found it sort of pointless. my tendency is to interpret something like this from a pretty far intellectual distance, and kind of shudder at the situation, but otherwise kind of emotionally avoid it. i just don't see the point in it, other than to point at the spectacle, and i'm actually too polite to even do that.
so, there's no link.
in all, i was there around 19:00 and gone around 00:00, with the necessity to catch the bus at 1:00, and that worked out just fine, in the end. if i get the opportunity to see something specific in toronto that i can't catch here the next time i go down, i'm sure i'll jump at the opportunity to see it. if not, i think i'd be just as happy or happier to check out the local scene, actually. so, that's the broader takeaway - i should be happy to catch a local jazz or psych show, and actually spend some time being in toronto rather than get obsessed with finding something from out of town; the local talent there is worth checking out, too.
i fell asleep almost as soon as i got on the bus and slept pretty much all the way back to windsor, but also first noticed myself seriously wheezing on the ride back in and thinking i was reacting to the exhaust - and maybe i was, or maybe it was as much about the dry air from the heaters on the bus as it was anything else. i was hacking though, and it's more or less still going.
the walk back home was cold in a really legitimate sense, too, requiring a serious bundle up. it's frustrating when you happen to have no choice but to go out in the one or two cold days of the year, but that's how it's unfortunately worked itself out, so far, hopefully, i should be able to avoid the cold for most of the rest of the year by just staying inside. we'll see....
i got some nachos on the way back, was done eating them by around 7:00, and in the end slept most of the day.
sunday night was spent burning electronic copies of the court material and generally getting everything in order. i was planning on printing on monday morning at the library, with the hopes of taking advantage of the cheaper rates there, and i was in the end able to print my 300 pages for $0.07/each, cutting printing costs down rather dramatically. it was when i was walking into the library in a dirty sweat that i first started to realize i was actually sick.
it was actually relatively warm on monday night, though, so it was a pleasant walk back and forth from the library, which i'd never been in before. i just haven't really had any reason to go to this campus. but, now that i know that the printing costs are so much less...
i forced myself to sleep for a few hours in the evening when i got back, so that i'd be ready to go in the morning. it didn't really "take", but i nonetheless ended up at the bus stop for a little before 8:00 with my mass of papers, a laptop and some more appropriate winter clothing. i napped for a bit from guelph to mississaugua, but was otherwise alert for the whole way, and i'm starting to get a better concept of the distance, and the landmarks that occur in between, along with their ordering. i'm used to coming into toronto from the other direction, remember, having grown up in ottawa. the bus was a little bit late, but it wasn't bad; i was there around 1:30, which gave me plenty of time to get to the courthouse to file.
were there some problems? well, i seem to have missed s. 4 of the rules of civil procedure, altogether. s. 4 has rules for presentation - things like book binding, regulations on font size, etc. i just didn't even see it, or see it mentioned anywhere by anybody. so, they wouldn't initially take it - i had to argue with them to accept it via a deficiency, and if the court decides to reject it on the basis that the font is too small, given that i gave them a digital copy, i'm willing to appeal that to the next court up, on principle. i saved hundreds of pieces of paper by filing it the way that i did. i'll defend that decision to whatever court i need to; bring it on.
besides these trivialities regarding the presentation of the documents, it was otherwise fine, and they did otherwise accept the perfection of the case. i will now need to wait for the oiprd to file their own documents in the same court, and send me the links. they've given me a time frame of before the 20th. i'm expecting them to miss this, but i won't start getting pissy until after christmas...
and, then it was something like 15:30 and i had some time to blow before the bus came to take me home at 1:00 in the morning. i was hungry, and it was bmt day at subway, so i had to stop to eat. i then went directly across the street to get some pot, and came out with two grams of 10% thc for under $20.
the bottom line is that i don't smoke a lot of drugs. so, if i found the brand that i bought last month, which was closer to 20% concentration, to be a little heavy, then the next step is to try something a little lighter. i found that the 10% was more along the lines of what i wanted, even if it was itself a tad light. so, we're getting closer. you don't have these discussions with friends or acquaintances, you just use adjectives like "good" and "potent", so quantifying it is going to take some experimenting, and that's alright. like, i didn't walk into the beer store at 18 and know what i could and couldn't handle, it took me some time to figure it out. likewise, i could be at this for a few tries before i get it right.
but, the 10% was about right for the night, even if it faded on me a little too fast when i got home. so, next time, i might try something closer to 15%. i'll have this down to a regular order, eventually.
i got out of the store and basically walked into the first bar to roll, when i inquired about the price of beer on the way out. $5 for a tall can? well, that's not too bad, and it seemed like there was cheap food there, too. i've never spent much time in toronto, and it will take me some time to get to know it. i had a few hours to blow, as it was, so i sat and had a few tall cans, before moving on to the show.
the initial thought process behind going down on this night was that the tickets were cheapest and i'd get to see the joy formidable. but, the joy formidable turned out to be a pricey show. i know they're coming in from wales and everything, but they just priced themselves out of my range. you were looking at $40 after services fees; i'll rarely pay more than $20, and decided against it on this night.
instead, i hit a local experimental jazz show at a kind of community centre on burnswick nearly all the way to bloor. i actually hope i don't end up spending too much time in toronto, but this is maybe the kind of thing i'd be more likely to sneak into, on a random night. these were local musicians, playing their own work in an old bar, for what seemed like a mostly local if largely bourgeois crowd. it was pay what you can, and the beer was reasonably priced. let's hope i can get to more spots like this...
the main act called itself tyrannick love this week but was mostly improv and played two sets. it was anchored by the juxtaposition of a busier sax player with a more ambient, experimental guitarist that had a lot of floor pedals and wasn't afraid to use them. maybe it's because i was in toronto, but it had a distinct dmst feel at points that was pretty real; overall, though, the major aesthetic was a swirling, effects driven ambience that sidelined both the sax and drum players for long periods, as the bassist went motorik over some feedback and loops. it was an enjoyable cave for the space i was in, absolutely.
i can't find a video of this exact lineup, but the guitarist & sax player appear to have a lot of material online under a lot of different names, one of them being patrick reilly's wire circus, which is not entirely dissimilar to what i saw:
the third set was purposefully experimental to the point of being kind of a spectacle, and i consequently found myself more trying to figure out the physics behind what he was doing than actually listening to it. he seems to have essentially created a number of homemade speakers and more or less broken them in real time, although he surprised me in some of his answers when i questioned him - claiming, for example, that his chattering magnets were being driven by instructions on an sd card, like a chiptune piece, rather than being driven by the radio, which i thought was obvious. i actually initially thought he was setting up a theremin.
it was a sound installation, a demonstration, an experiment, rather than the presentation of any kind of actual composition. i'd consequently rather direct you directly to his page, which is here:
https://www.youtube.com/user/CMigone/videos
but, here is a video of something to separate the section:
there was a fourth set by what i believe to have been a local interpretive dance artist named "alicia grant", but details are scant, and the name appears to be in use by several (diverse) artists in the general area. i was actually rolling a joint through much of her set. so, she spent some time writhing on the ground, and repeating distressed statements into the microphone. listen: i grasp that specific subsets of arts students get off on the expression and rawness of something like this, but i largely found it sort of pointless. my tendency is to interpret something like this from a pretty far intellectual distance, and kind of shudder at the situation, but otherwise kind of emotionally avoid it. i just don't see the point in it, other than to point at the spectacle, and i'm actually too polite to even do that.
so, there's no link.
in all, i was there around 19:00 and gone around 00:00, with the necessity to catch the bus at 1:00, and that worked out just fine, in the end. if i get the opportunity to see something specific in toronto that i can't catch here the next time i go down, i'm sure i'll jump at the opportunity to see it. if not, i think i'd be just as happy or happier to check out the local scene, actually. so, that's the broader takeaway - i should be happy to catch a local jazz or psych show, and actually spend some time being in toronto rather than get obsessed with finding something from out of town; the local talent there is worth checking out, too.
i fell asleep almost as soon as i got on the bus and slept pretty much all the way back to windsor, but also first noticed myself seriously wheezing on the ride back in and thinking i was reacting to the exhaust - and maybe i was, or maybe it was as much about the dry air from the heaters on the bus as it was anything else. i was hacking though, and it's more or less still going.
the walk back home was cold in a really legitimate sense, too, requiring a serious bundle up. it's frustrating when you happen to have no choice but to go out in the one or two cold days of the year, but that's how it's unfortunately worked itself out, so far, hopefully, i should be able to avoid the cold for most of the rest of the year by just staying inside. we'll see....
i got some nachos on the way back, was done eating them by around 7:00, and in the end slept most of the day.
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