strangely, it turns out i had this all wrong. the version i rebuilt the track on in 07/09 was actually the same file i'm using now, minus a sort of swoosh at the beginning. i thought i had time shifted the file, but was wrong...
...and it was just out of sync because i couldn't find the right place to paste to.
what that means is that i've determined the source of the file. it was from a now lost early 3-track rabit cd-r, dated to between april 22 and may 5, 2002.
what it also means is that i should be able to use it to replace the corrupted early version. so, i need to take a mildly different mixing strategy.
i was hoping this would be done in a few hours, but it's the last time i'm doing it so i'm making sure i do it right.
i simply can't use the mix i built in 2009. i ran through izotope or something and whatever sounded good then doesn't sound "right" now. so, i'm rebooting to the beginning one last time.
it means, in the end, i should get three mixes out of this file and use two of them.
Saturday, November 22, 2014
there's the monster right there.
that massive file at the bottom is what i've been looking for and what has been confusing me whenever i've tried to do this for years. it's synced perfectly with the rabit version, indicating that it's a clean early mix. the volume captures the shape of the track. i didn't think i could get this perfect, but this is actually, in fact, perfect. hurrah for that...
the big file contains a drum soundscape (i've got roughly 30 components of this - live drums, programmed drums, live drum machine square pushing and digital generated/shaped noises), a bass part, seven guitar parts and two synth parts. so, i could actually conceivably squeeze this onto a 32 track board.
that's synced. i'll mix it in the morning, then it's done.
that file is dated to 2006. i don't remember where it came from; i may have ripped it from a since lost cd-r. i don't know why i didn't rebuild it from this in the first place. it's a long time coming, but it's finally what i wanted it to be....
that massive file at the bottom is what i've been looking for and what has been confusing me whenever i've tried to do this for years. it's synced perfectly with the rabit version, indicating that it's a clean early mix. the volume captures the shape of the track. i didn't think i could get this perfect, but this is actually, in fact, perfect. hurrah for that...
the big file contains a drum soundscape (i've got roughly 30 components of this - live drums, programmed drums, live drum machine square pushing and digital generated/shaped noises), a bass part, seven guitar parts and two synth parts. so, i could actually conceivably squeeze this onto a 32 track board.
that's synced. i'll mix it in the morning, then it's done.
that file is dated to 2006. i don't remember where it came from; i may have ripped it from a since lost cd-r. i don't know why i didn't rebuild it from this in the first place. it's a long time coming, but it's finally what i wanted it to be....
"i believe that people that are going to commit crimes shouldn't have guns" - george w. bush
this is a quote that was widely thrown around in the mid 00s as supposed evidence of mr. bush's lack of intelligence. i've never really seen the supposed stupidity in the statement. nobody doubts the truth of the statement. it may be a little obvious, but we're talking about an office that declares truths to be self-evident.
i've used it twice - in the unfinished curious george suite, and again in the sample version of the fourth symphony, because i wasn't planning on releasing the curious george suite (and now have). both of these uses preceded it's wide adoption by satirists.
i was taking a different perspective, though. it's one i've never seen anybody else use. i was actually focusing on the irony in the statement.
in fact, mr. bush was somebody that was clearly going to commit crimes. war crimes, as it turns out. therefore, by his own logic, he shouldn't have had guns.
of course, he did. which indirectly circles back around to it's more common satirical usage.
i still find the irony in it staggering. as an american, mr. bush probably didn't pick up on that...
"i believe that wars should not happen unless they are congressionally approved."
it seems like a rather different statement.
but it actually follows logically as a corollary.
that constitution down there is a bit wonky, though.
for all the talk of congressional approval, the reality is that the american form of government is designed to be a military dictatorship. i think that a large amount of the problems down there could be solved by merely grasping this simple point - the president is not meant to be in charge of civilian matters, but the commander in chief. that is, a military leader. and, while congress can act as a check on his power, he's constitutionally not far from being an elected military dictator.
the president can introduce legislation if he wants. and he can veto shit under limited circumstances. but it's not the primary function of the office. civilian things are actually supposed to be dealt with through congress. yet, millions of americans expect the president to set the domestic agenda. then, they get confused when it doesn't happen.
getting people to understand that the president is meant to be somebody that has guns and that they're supposed to deal with things like health care and decriminalization through various representative bodies would shift the focus back to where it needs to be to get things done.
the next step, then, ought to be to take away the president's guns.
but one thing at a time...
this is a quote that was widely thrown around in the mid 00s as supposed evidence of mr. bush's lack of intelligence. i've never really seen the supposed stupidity in the statement. nobody doubts the truth of the statement. it may be a little obvious, but we're talking about an office that declares truths to be self-evident.
i've used it twice - in the unfinished curious george suite, and again in the sample version of the fourth symphony, because i wasn't planning on releasing the curious george suite (and now have). both of these uses preceded it's wide adoption by satirists.
i was taking a different perspective, though. it's one i've never seen anybody else use. i was actually focusing on the irony in the statement.
in fact, mr. bush was somebody that was clearly going to commit crimes. war crimes, as it turns out. therefore, by his own logic, he shouldn't have had guns.
of course, he did. which indirectly circles back around to it's more common satirical usage.
i still find the irony in it staggering. as an american, mr. bush probably didn't pick up on that...
"i believe that wars should not happen unless they are congressionally approved."
it seems like a rather different statement.
but it actually follows logically as a corollary.
that constitution down there is a bit wonky, though.
for all the talk of congressional approval, the reality is that the american form of government is designed to be a military dictatorship. i think that a large amount of the problems down there could be solved by merely grasping this simple point - the president is not meant to be in charge of civilian matters, but the commander in chief. that is, a military leader. and, while congress can act as a check on his power, he's constitutionally not far from being an elected military dictator.
the president can introduce legislation if he wants. and he can veto shit under limited circumstances. but it's not the primary function of the office. civilian things are actually supposed to be dealt with through congress. yet, millions of americans expect the president to set the domestic agenda. then, they get confused when it doesn't happen.
getting people to understand that the president is meant to be somebody that has guns and that they're supposed to deal with things like health care and decriminalization through various representative bodies would shift the focus back to where it needs to be to get things done.
the next step, then, ought to be to take away the president's guns.
but one thing at a time...
replacing symphony 7 on youtube
this is now a discarded mix. there's a lot more information on the single page.
the track was written multiple ways in 2002, but i seem to have avoided saving a completed instrumental version. i've tried to rebuild this instrumental version several times since 2006 and have never got a good result. a large part of the reason for this stems from the mixing strategy i was using at the time i wrote and recorded it, which was to record each part in separately, process it in a wave editor and then literally paste it all together in an editing process. this mixing process is actually responsible for a lot of the blurry mixes i've been able to create over the years (i haven't abandoned it entirely; i go back to it for experimental and ambient pieces), but it doesn't allow for remixing or reconstructing tracks. once i past a part into the file, it cannot be removed or altered without starting all over again.
it's consequently necessary to save mixes at strategic points if you're going to be mixing in this way, and i failed to do that for this track when i added political samples to it in 2002. i've been trying to get the samples out since 2006. this 2009 version was the best thing i could create at the time, without abandoning the mixing strategy. it was built on an early 2002 mix; i ended up pushing the overdubs out of sync, and ruining it with a bad master. i initially didn't think i would be able to resolve this because i couldn't figure out how to get the overdubs back in sync.
however, i've spent the second half of 2014 completing my discography (i lost several months at the beginning of the year due to a bad bios flash. get a bus pirate. they're life savers.) and in the process i've found a proper 2002 mix that is in sync with the final mixes, which has allowed me to reconstruct the file properly in cubase. this best-i-can-do compromise mix is now obsolete.
the new video is available at this link:
https://www.youtube.com/watch?v=Azl0LKVr6EU
this is the old video:
http://www.youtube.com/watch?v=658axrUn-7w
the track was written multiple ways in 2002, but i seem to have avoided saving a completed instrumental version. i've tried to rebuild this instrumental version several times since 2006 and have never got a good result. a large part of the reason for this stems from the mixing strategy i was using at the time i wrote and recorded it, which was to record each part in separately, process it in a wave editor and then literally paste it all together in an editing process. this mixing process is actually responsible for a lot of the blurry mixes i've been able to create over the years (i haven't abandoned it entirely; i go back to it for experimental and ambient pieces), but it doesn't allow for remixing or reconstructing tracks. once i past a part into the file, it cannot be removed or altered without starting all over again.
it's consequently necessary to save mixes at strategic points if you're going to be mixing in this way, and i failed to do that for this track when i added political samples to it in 2002. i've been trying to get the samples out since 2006. this 2009 version was the best thing i could create at the time, without abandoning the mixing strategy. it was built on an early 2002 mix; i ended up pushing the overdubs out of sync, and ruining it with a bad master. i initially didn't think i would be able to resolve this because i couldn't figure out how to get the overdubs back in sync.
however, i've spent the second half of 2014 completing my discography (i lost several months at the beginning of the year due to a bad bios flash. get a bus pirate. they're life savers.) and in the process i've found a proper 2002 mix that is in sync with the final mixes, which has allowed me to reconstruct the file properly in cubase. this best-i-can-do compromise mix is now obsolete.
the new video is available at this link:
https://www.youtube.com/watch?v=Azl0LKVr6EU
this is the old video:
http://www.youtube.com/watch?v=658axrUn-7w
Friday, November 21, 2014
ugh. this is my fault, i should have paid closer attention.
i'm trying to rebuild the mix on a may, 2002 version, which i had reconstructed from pasting together a cd-rip split into three copies. now, i noticed a little gap but i just deleted it...
the gap is a breakdown in information. bad burn, i guess. the first gap is inaudible, but the second isn't. so, i can't build it on that...
luckily, i have a version from april, 2002. which means i need to reconstruct more of the file in the mix, but it's a positive trade-off.
i seem to have built the 2009 on a different april mix that is time shifted strangely. what i'm about to do is the better option.
so, today was a wash. but hopefully i can still get the bulk of it done by the end of the night.
i'm trying to rebuild the mix on a may, 2002 version, which i had reconstructed from pasting together a cd-rip split into three copies. now, i noticed a little gap but i just deleted it...
the gap is a breakdown in information. bad burn, i guess. the first gap is inaudible, but the second isn't. so, i can't build it on that...
luckily, i have a version from april, 2002. which means i need to reconstruct more of the file in the mix, but it's a positive trade-off.
i seem to have built the 2009 on a different april mix that is time shifted strangely. what i'm about to do is the better option.
so, today was a wash. but hopefully i can still get the bulk of it done by the end of the night.
so, it seems like at some point i time shifted the track to 25:00, then i recorded extra overdubs after i time shifted. that explains why it's just a little bit out of sync. but because there were gaps in the rip it's not as simple as just shifting it back.
i'm going to do this the other way around: i'm going to time shift the overdubs back to the original length, then time shift it back to 25:00. it's not going to be identical to the two final 2002 mixes - it can't be.
the only other answer is to rebuild it, but i've tried doing this repeatedly and the blunt truth is that i can't. i can rebuild the first section, but the wave editing in the second half of the track isn't reproducible.
it's not going to be inaudible - you're going to hear a slight delay if you play the three tracks simultaneously. but who's going to do that? and it's the best i can do with it....
i'm going to do this the other way around: i'm going to time shift the overdubs back to the original length, then time shift it back to 25:00. it's not going to be identical to the two final 2002 mixes - it can't be.
the only other answer is to rebuild it, but i've tried doing this repeatedly and the blunt truth is that i can't. i can rebuild the first section, but the wave editing in the second half of the track isn't reproducible.
it's not going to be inaudible - you're going to hear a slight delay if you play the three tracks simultaneously. but who's going to do that? and it's the best i can do with it....
i've decided the existing mixes of this aren't sufficient. i built the thing back up a few times from '07-09 because i couldn't find the source, and it's just out of sync in a few places. when i didn't have the original timing, it didn't matter. i just had to guess. it does now...
so, there's a handful of tracks to re-add, and a number of modified tracks from '07 and '08 that i had put aside to mix in as well.
as the issues are sync related, the 07 and 09 mixes are likely to be simply deleted from the discography altogether. the 09 mix is on youtube, and i'll probably leave it that way. i'll have a good listen when i get it mixed down.
so, there's a handful of tracks to re-add, and a number of modified tracks from '07 and '08 that i had put aside to mix in as well.
as the issues are sync related, the 07 and 09 mixes are likely to be simply deleted from the discography altogether. the 09 mix is on youtube, and i'll probably leave it that way. i'll have a good listen when i get it mixed down.
Thursday, November 20, 2014
it's done
basically.
so, to recap.
- one cynicide disc. inri029. i'm splitting profits with jon on this.
1) https://jasonparent.bandcamp.com/album/to-spin-inside-dull-aberrations
- seven rabit discs. inri030. inri034-inri038. inri040. i'm splitting these with you 50/50.
1) https://jasonparent.bandcamp.com/album/me-myself-and-the-time-i-thought-this-was-a-good-idea
2) https://jasonparent.bandcamp.com/album/the-wave
3) https://jasonparent.bandcamp.com/album/clarity
4) https://jasonparent.bandcamp.com/album/9-46-outside-the-magenta-box
5) https://jasonparent.bandcamp.com/album/time
6) https://jasonparent.bandcamp.com/album/rabit-is-wolf
7) https://jasonparent.bandcamp.com/album/the-imaginary-tour-demo-ep
- a comprehensive fourth symphony overview. inri039. this is two discs, and you're on one, so you get 25% of this.
1) https://jasonparent.bandcamp.com/album/trepanation-nation
- penny shoeman was actually written as a techno tune first, and the rabit demo second. i'll probably put the demo on the single when it's done, but as a bonus track. it's otherwise on the tour ep.
1) https://jasonparent.bandcamp.com/album/untitled
- my sixth record (60% done) contains several instrumental rabit reconstructions.
1) https://jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj-2
that's it. all the material with you on it is up. here's the youtube playlist:
https://www.youtube.com/playlist?list=PL3JSjmqp0cbvt_-_Lt2CqTm_MuaOwNrgw
and i'll contact you if or when a check is ready.
(pause)
sorry, here's the free download link.
(deleted)
numbers, again, are: 29,30,34-42. 39 will be up tonight or tomorrow.
41,42 within a week.
j
so, to recap.
- one cynicide disc. inri029. i'm splitting profits with jon on this.
1) https://jasonparent.bandcamp.com/album/to-spin-inside-dull-aberrations
- seven rabit discs. inri030. inri034-inri038. inri040. i'm splitting these with you 50/50.
1) https://jasonparent.bandcamp.com/album/me-myself-and-the-time-i-thought-this-was-a-good-idea
2) https://jasonparent.bandcamp.com/album/the-wave
3) https://jasonparent.bandcamp.com/album/clarity
4) https://jasonparent.bandcamp.com/album/9-46-outside-the-magenta-box
5) https://jasonparent.bandcamp.com/album/time
6) https://jasonparent.bandcamp.com/album/rabit-is-wolf
7) https://jasonparent.bandcamp.com/album/the-imaginary-tour-demo-ep
- a comprehensive fourth symphony overview. inri039. this is two discs, and you're on one, so you get 25% of this.
1) https://jasonparent.bandcamp.com/album/trepanation-nation
- penny shoeman was actually written as a techno tune first, and the rabit demo second. i'll probably put the demo on the single when it's done, but as a bonus track. it's otherwise on the tour ep.
1) https://jasonparent.bandcamp.com/album/untitled
- my sixth record (60% done) contains several instrumental rabit reconstructions.
1) https://jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj-2
that's it. all the material with you on it is up. here's the youtube playlist:
https://www.youtube.com/playlist?list=PL3JSjmqp0cbvt_-_Lt2CqTm_MuaOwNrgw
and i'll contact you if or when a check is ready.
(pause)
sorry, here's the free download link.
(deleted)
numbers, again, are: 29,30,34-42. 39 will be up tonight or tomorrow.
41,42 within a week.
j
when
i figure this out, i'm going to want to finish building a guitar mix
that i started in 2007. this may end up with new sound. then it's done
and i can move to the techno track, which is also going to primarily be a
remix. there's going to be a few unreleased tracks attached to that.
the last song to complete for this period is this thing i called
ostrich, which was a first draft of sarah's 2002 xmas present. i ended
up discarding it in favour of flying. there's going to be some new sound
for this, but not much. the ep of material for the first half of 2003
is already finalized, so that will be a quick up. i'm going to have to
reinterpret some stuff from mid 03, but it likely won't require new
sound. in fact, i'm not looking at new sound after ostrich until
probably early 2005. i always wanted to release symphonies 5&6 as
the first part of a double, and no doubt will, but they'll probably also
be available separately as record #8. so, i could very well be to
xenophanes and symphony 7 by christmas. my period with sarah saw a
dramatic decrease in output, but at least i mostly finished what i did.
it's after sarah that things get scattered again. oddly. i think maybe i
ended up with less time, but more of a need for an outlet and
consequently more focus.
i literally have five reconstructions of this song that all seek to be the same thing.
there's a 2002 mix that i'm upping as is.
but i think i couldn't find that mix in 2007 and rebuilt from scratch. i have a bunch of modded source files from that point. i was trying to compile a list of symphonies at the time. i actually have two mixes from 2007 that seem to be almost the same (there's a louder guitar at one point). then, there's files modded in 2008, which i suspect were used in what seems like a remaster from 2009.
but i now have my 2002 version back again, and i'm thinking it would be best to just added the few extra tracks that were missing to it.
so, i've got a lot of just listening to do after supper. i'm not planning on recording any new material for this, but i want one definitive final instrumental version... to come up both for this and the ftaa upload....
i'm not rebuilding it from scratch. it's going to be based on one of the three near-complete mixes that are there.
this is why i moved to cubase...
there's a 2002 mix that i'm upping as is.
but i think i couldn't find that mix in 2007 and rebuilt from scratch. i have a bunch of modded source files from that point. i was trying to compile a list of symphonies at the time. i actually have two mixes from 2007 that seem to be almost the same (there's a louder guitar at one point). then, there's files modded in 2008, which i suspect were used in what seems like a remaster from 2009.
but i now have my 2002 version back again, and i'm thinking it would be best to just added the few extra tracks that were missing to it.
so, i've got a lot of just listening to do after supper. i'm not planning on recording any new material for this, but i want one definitive final instrumental version... to come up both for this and the ftaa upload....
i'm not rebuilding it from scratch. it's going to be based on one of the three near-complete mixes that are there.
this is why i moved to cubase...
uploading completed mixes to inri058
trepanation nation disc 1...
1) this is the first version of the track, which was written as an arena rock anthem in the summer of 2001 for use in a gestating rock band project that never happened.
i rerecorded the track to capture it in it's initial state on aug 3, 2014. track dated to aug 15, 2001.
http://jasonparent.bandcamp.com/track/untitled-original-mix
2) the successor project to the aborted rock project was rabit is wolf, which consisted of myself and the singer from that project. while it was initially constructed around a shared interest in post-punk, the project took a sharp turn towards folk in the first half of 2002. the track was consequently converted from an arena rock punk/industrial anthem into a folk punk tune. this is the initial folk punk incarnation, as recorded in february of 2002. dated to feb 19, 2002.
http://jasonparent.bandcamp.com/track/the-day-i-saw-you-cry-demo
3) i first started to record this track in earnest in march of 2002 by reconstructing the drums to utilize a mixture of machines and live loops. in the process, i began to experiment with the structuring of the track. the track may have been initially written on a classical in the first place (i don't remember); it certainly integrates the perspective of the classical guitar, and for good reason - i was playing a lot of classical guitar music over the course of 2001. so, it transferred to a finger picking style very intuitively. the final versions all have multiple classical guitar overdubs.
it was on the classical guitar that the track was expanded into the scale it came to exist in. this is an early performance on classical guitar, dated to april 7, 2002.
the knocking in the background of the track is literally background noise of my father hammering something outside my room. it became the inspiration for the ring modulator adlib in the final versions of the track (i gave sean a mic, plugged it into a ring mod and told him to bash on it while twiddling the knobs).
this version is very rough and is only available for download on bandcamp due to space requirements on the physical media.
http://jasonparent.bandcamp.com/track/untitled-classical-guitar-mix
4) by the beginning of may, the track had taken on a defined shape. at the same time, sean and i were discussing ways to present rabit is wolf to the public and had decided on a two-person guitar/voice duo. the track consequently needed to be reworked for live presentation, which is what this is.
i constructed the mix in november, 2014 out of a guitar part dated to may 5, 2002 and vocals dated to june 7, 2002. i'm dating this to may 5, 2002.
http://jasonparent.bandcamp.com/track/the-day-i-saw-you-cry-live-version
5) the recording of this track over the spring of 2002 seems to have occurred in spurts, likely based around gaps in my school schedule. the drums in the first part of the track were sculpted together on the night/morning of march 7/8, which would have been a little after the track took it's initial folk punk form and centred on it existing in that way. the drums were sculpted from a mix of the initial drum machine part, real time ry30 square pushing, washes of digital noise and short, sculpted samples of greg playing in real time. the track seems to have been shaped into what it is during the week of april 15-22, a little after it was expanded by playing it as a classical piece, with the addition of multiple guitar and synth overdubs and all kinds of digital wave shaping through notch filters and time manipulation. i must have had that week off for exam related purposes; i probably had late exams that year. incomplete versions of the track exist that seem to have been burned around april 25, which are what the live version with sean would have been based upon.
the next spurt in recording was to add bass parts over the weekend of may 17-19. further drum and guitar parts were also added at this time.
i was growing very insular during the period this was recorded, which was partially out of a decision to force myself to go straight edge in preparation for transgendered hormone therapy, which i was set to begin at the start of may. the bulk of the track was recorded before i went on hormone therapy. it may in some way reflect a sense of resigned preparation for a difficult process. but, it really comes more out of the isolation i had forced upon myself.
my parents were coming out of a difficult financial situation due partly to their own mismanagement and partly to my father coming out of a period of unemployment. he was completing a course in management over the period, which put me in the weird position of having to do his statistics homework for him. i was a second year honours math student at the time, so his basic stats assignments were not very challenging for me; conversely, he wasn't interested in the topic. i should probably have a diploma in business stats from the university of manitoba along with my math degree from carleton. but, who's counting, really? my math degree never got me anywhere in life (i haven't aspired to use it for anything....), but his management course opened up doors for him that have aided me. so, it worked out....
what this meant was that i found myself living in a split duplex around the beginning of 2002. for many years previously, i had lived in various basements and more or less had those basements to myself, merely having to tolerate the odd laundry run. the split duplex put me in the rather normal situation of having a bedroom upstairs, the privilege of having a studio downstairs and the inconvenience of having to follow scheduling rules. as i'd been so used to having total freedom in my scheduling for so long, i was unable to adjust to this.
if i were to come up and down the stairs in the middle of the night, i would wake my labrador retrievers up (who just wanted to come say hi) and that would wake up my parents. this was consequently forbidden. to get around this, i started sleeping in the afternoon, so i could go downstairs in the evening and not come back up until the morning. this left me without human contact for days or even weeks at a time. on long days, i would sleep on the carpeted floor of the studio. some days, i simply wouldn't sleep at all.
what you're hearing here is in many ways the culmination of this lack of human contact, complete abstinence from drugs and sleep deprivation - all in the context of the stress from simultaneously completing two university programs and preparing for a dramatic life shift. while the music was recorded in spurts, those spurts were emotional stress outlets. while parts of this may sound like my sanity was fragile while it was being created, the process of recording them is probably the only thing that allowed me to maintain it.
this version is dated to may 22, 2002.
http://jasonparent.bandcamp.com/track/the-day-i-saw-you-cry-instrumental-version
6) sean's vocals were added at the beginning of june. i had to add some extra synth parts, as well, to fix some of the harmonization. i've successfully glossed over the problems, but this is the one recording where sean legitimately couldn't find notes that fit. it's hard to blame him, as the music is rather complex from a harmonic standpoint and there isn't an existing melody written out for him to follow. he didn't have the training required to interpret this. the vocal manipulations i used in the track caused some conflict, but the reality is that the vocal melody he had extrapolated out of the guitars for use in the acoustic version was simply not transferable to this mix and the mods were necessary to compensate. placing his naked vocals into the track would have created large amounts of dissonance where no dissonance was desired. when the track opens up a bit, there's more space, and the vocals are left unaltered.
looking back, i suppose i could have explained that to him and asked for a rewrite rather than just taking it into my own hands and slathering on the effects, but i was very keen on both maintaining his autonomy as a vocalist and maintaining my autonomy as a producer/composer. on top of that, i simply liked the end result. i suppose that, had i not been able to manipulate the vocals into what i wanted, i would have had to ask for a rewrite....
for the ring mod part, i wanted to emulate the knocking sound that existed atmospherically in the classical version. so, i gave sean a mic plugged into a ring modulator, locked him in the room and told him to smash it against the ground and play with the knobs for a while. i've kept this part in further instrumental versions.
that said, sean largely rejected the track in it's psychedelic form, so this is the last rabit is wolf version.
this is dated to june 15, 2002.
http://jasonparent.bandcamp.com/track/the-day-i-saw-you-cry-3
trepanation nation disc 2...
7) once it had become clear that sean had rejected the track, i wasn't entirely sure what to do with it. i had some material i had put aside for a noise project (subsequently compiled as inri032: jasonparent.bandcamp.com/album/give-em-hell-harry-strung-out ) that was meant to merge noise & politics, and i was maybe eager to get back to this idea of music as a political art form.
while there were not lyrics attached to the initial cynicide project, i did already have the idea of a conceptual piece connecting the existing condition of north american society to the idea of trepanning, or self-lobotomizing to get the precise point across. we were in the immediate wake of the 9/11 attacks (which seemed staged even at the point) and the political reaction to them. i felt the need to say something about this, but i didn't want to be too direct or judgmental about it so i compiled a list of samples that presented what i felt reflected the general condition of the world we were living in. the references are broad and vast; there's not really a succinct way to over-simplify it.
the overall context is the view that we were living through the end of the civil rights period. it could be argued that the focus on civil rights accidentally erupted as a reaction to world war two propaganda, hit a high point in the 1960s and began to irreversibly erode at the beginning of the 1980s. in this narrative, the collapse of the twin towers was the final death blow to something the elite never wanted in the first place and was happy to sweep into the trash heap of history.
but, i'm specifically focusing on how this is self-inflicted by our collective desire to be stupid - to drill these holes in our skulls, as though there's some kind of enlightenment in abolishing our ability to understand the world around us, and focus instead on our own short term gains. in that sense, it's an attack on the neo-liberal model and how it encourages us to destroy ourselves.
the spoken word section in the middle was a poem i created out of those word magnets you see on fridges. i was working as an overnight security guard at the time (summer of 2001) and just not sleeping at all. as i was doing my rounds, i stopped and made the poem. i got fired from that job for yelling at a coke machine...
i've considered doing a sample-by-sample breakdown of this but have decided it's neurotic. however, if you want to write an essay, and i like it, i'll link to it.
dated to july 4, 2002.
http://jasonparent.bandcamp.com/track/trepanation-nation-sample-mix
8) in late 2013, i decided to complete unfinished tracks in a chronological ordering and it led me to the decision to complete the track in the form it was initially written in. completed on sept 24, 2014; dated to sept 16, 2001.
https://jasonparent.bandcamp.com/track/10-to-spin-inside-dull-aberrations
1) this is the first version of the track, which was written as an arena rock anthem in the summer of 2001 for use in a gestating rock band project that never happened.
i rerecorded the track to capture it in it's initial state on aug 3, 2014. track dated to aug 15, 2001.
http://jasonparent.bandcamp.com/track/untitled-original-mix
2) the successor project to the aborted rock project was rabit is wolf, which consisted of myself and the singer from that project. while it was initially constructed around a shared interest in post-punk, the project took a sharp turn towards folk in the first half of 2002. the track was consequently converted from an arena rock punk/industrial anthem into a folk punk tune. this is the initial folk punk incarnation, as recorded in february of 2002. dated to feb 19, 2002.
http://jasonparent.bandcamp.com/track/the-day-i-saw-you-cry-demo
3) i first started to record this track in earnest in march of 2002 by reconstructing the drums to utilize a mixture of machines and live loops. in the process, i began to experiment with the structuring of the track. the track may have been initially written on a classical in the first place (i don't remember); it certainly integrates the perspective of the classical guitar, and for good reason - i was playing a lot of classical guitar music over the course of 2001. so, it transferred to a finger picking style very intuitively. the final versions all have multiple classical guitar overdubs.
it was on the classical guitar that the track was expanded into the scale it came to exist in. this is an early performance on classical guitar, dated to april 7, 2002.
the knocking in the background of the track is literally background noise of my father hammering something outside my room. it became the inspiration for the ring modulator adlib in the final versions of the track (i gave sean a mic, plugged it into a ring mod and told him to bash on it while twiddling the knobs).
this version is very rough and is only available for download on bandcamp due to space requirements on the physical media.
http://jasonparent.bandcamp.com/track/untitled-classical-guitar-mix
4) by the beginning of may, the track had taken on a defined shape. at the same time, sean and i were discussing ways to present rabit is wolf to the public and had decided on a two-person guitar/voice duo. the track consequently needed to be reworked for live presentation, which is what this is.
i constructed the mix in november, 2014 out of a guitar part dated to may 5, 2002 and vocals dated to june 7, 2002. i'm dating this to may 5, 2002.
http://jasonparent.bandcamp.com/track/the-day-i-saw-you-cry-live-version
5) the recording of this track over the spring of 2002 seems to have occurred in spurts, likely based around gaps in my school schedule. the drums in the first part of the track were sculpted together on the night/morning of march 7/8, which would have been a little after the track took it's initial folk punk form and centred on it existing in that way. the drums were sculpted from a mix of the initial drum machine part, real time ry30 square pushing, washes of digital noise and short, sculpted samples of greg playing in real time. the track seems to have been shaped into what it is during the week of april 15-22, a little after it was expanded by playing it as a classical piece, with the addition of multiple guitar and synth overdubs and all kinds of digital wave shaping through notch filters and time manipulation. i must have had that week off for exam related purposes; i probably had late exams that year. incomplete versions of the track exist that seem to have been burned around april 25, which are what the live version with sean would have been based upon.
the next spurt in recording was to add bass parts over the weekend of may 17-19. further drum and guitar parts were also added at this time.
i was growing very insular during the period this was recorded, which was partially out of a decision to force myself to go straight edge in preparation for transgendered hormone therapy, which i was set to begin at the start of may. the bulk of the track was recorded before i went on hormone therapy. it may in some way reflect a sense of resigned preparation for a difficult process. but, it really comes more out of the isolation i had forced upon myself.
my parents were coming out of a difficult financial situation due partly to their own mismanagement and partly to my father coming out of a period of unemployment. he was completing a course in management over the period, which put me in the weird position of having to do his statistics homework for him. i was a second year honours math student at the time, so his basic stats assignments were not very challenging for me; conversely, he wasn't interested in the topic. i should probably have a diploma in business stats from the university of manitoba along with my math degree from carleton. but, who's counting, really? my math degree never got me anywhere in life (i haven't aspired to use it for anything....), but his management course opened up doors for him that have aided me. so, it worked out....
what this meant was that i found myself living in a split duplex around the beginning of 2002. for many years previously, i had lived in various basements and more or less had those basements to myself, merely having to tolerate the odd laundry run. the split duplex put me in the rather normal situation of having a bedroom upstairs, the privilege of having a studio downstairs and the inconvenience of having to follow scheduling rules. as i'd been so used to having total freedom in my scheduling for so long, i was unable to adjust to this.
if i were to come up and down the stairs in the middle of the night, i would wake my labrador retrievers up (who just wanted to come say hi) and that would wake up my parents. this was consequently forbidden. to get around this, i started sleeping in the afternoon, so i could go downstairs in the evening and not come back up until the morning. this left me without human contact for days or even weeks at a time. on long days, i would sleep on the carpeted floor of the studio. some days, i simply wouldn't sleep at all.
what you're hearing here is in many ways the culmination of this lack of human contact, complete abstinence from drugs and sleep deprivation - all in the context of the stress from simultaneously completing two university programs and preparing for a dramatic life shift. while the music was recorded in spurts, those spurts were emotional stress outlets. while parts of this may sound like my sanity was fragile while it was being created, the process of recording them is probably the only thing that allowed me to maintain it.
this version is dated to may 22, 2002.
http://jasonparent.bandcamp.com/track/the-day-i-saw-you-cry-instrumental-version
6) sean's vocals were added at the beginning of june. i had to add some extra synth parts, as well, to fix some of the harmonization. i've successfully glossed over the problems, but this is the one recording where sean legitimately couldn't find notes that fit. it's hard to blame him, as the music is rather complex from a harmonic standpoint and there isn't an existing melody written out for him to follow. he didn't have the training required to interpret this. the vocal manipulations i used in the track caused some conflict, but the reality is that the vocal melody he had extrapolated out of the guitars for use in the acoustic version was simply not transferable to this mix and the mods were necessary to compensate. placing his naked vocals into the track would have created large amounts of dissonance where no dissonance was desired. when the track opens up a bit, there's more space, and the vocals are left unaltered.
looking back, i suppose i could have explained that to him and asked for a rewrite rather than just taking it into my own hands and slathering on the effects, but i was very keen on both maintaining his autonomy as a vocalist and maintaining my autonomy as a producer/composer. on top of that, i simply liked the end result. i suppose that, had i not been able to manipulate the vocals into what i wanted, i would have had to ask for a rewrite....
for the ring mod part, i wanted to emulate the knocking sound that existed atmospherically in the classical version. so, i gave sean a mic plugged into a ring modulator, locked him in the room and told him to smash it against the ground and play with the knobs for a while. i've kept this part in further instrumental versions.
that said, sean largely rejected the track in it's psychedelic form, so this is the last rabit is wolf version.
this is dated to june 15, 2002.
http://jasonparent.bandcamp.com/track/the-day-i-saw-you-cry-3
trepanation nation disc 2...
7) once it had become clear that sean had rejected the track, i wasn't entirely sure what to do with it. i had some material i had put aside for a noise project (subsequently compiled as inri032: jasonparent.bandcamp.com/album/give-em-hell-harry-strung-out ) that was meant to merge noise & politics, and i was maybe eager to get back to this idea of music as a political art form.
while there were not lyrics attached to the initial cynicide project, i did already have the idea of a conceptual piece connecting the existing condition of north american society to the idea of trepanning, or self-lobotomizing to get the precise point across. we were in the immediate wake of the 9/11 attacks (which seemed staged even at the point) and the political reaction to them. i felt the need to say something about this, but i didn't want to be too direct or judgmental about it so i compiled a list of samples that presented what i felt reflected the general condition of the world we were living in. the references are broad and vast; there's not really a succinct way to over-simplify it.
the overall context is the view that we were living through the end of the civil rights period. it could be argued that the focus on civil rights accidentally erupted as a reaction to world war two propaganda, hit a high point in the 1960s and began to irreversibly erode at the beginning of the 1980s. in this narrative, the collapse of the twin towers was the final death blow to something the elite never wanted in the first place and was happy to sweep into the trash heap of history.
but, i'm specifically focusing on how this is self-inflicted by our collective desire to be stupid - to drill these holes in our skulls, as though there's some kind of enlightenment in abolishing our ability to understand the world around us, and focus instead on our own short term gains. in that sense, it's an attack on the neo-liberal model and how it encourages us to destroy ourselves.
the spoken word section in the middle was a poem i created out of those word magnets you see on fridges. i was working as an overnight security guard at the time (summer of 2001) and just not sleeping at all. as i was doing my rounds, i stopped and made the poem. i got fired from that job for yelling at a coke machine...
i've considered doing a sample-by-sample breakdown of this but have decided it's neurotic. however, if you want to write an essay, and i like it, i'll link to it.
dated to july 4, 2002.
http://jasonparent.bandcamp.com/track/trepanation-nation-sample-mix
8) in late 2013, i decided to complete unfinished tracks in a chronological ordering and it led me to the decision to complete the track in the form it was initially written in. completed on sept 24, 2014; dated to sept 16, 2001.
https://jasonparent.bandcamp.com/track/10-to-spin-inside-dull-aberrations
Wednesday, November 19, 2014
publishing the imaginary tour demo ep (inri059)
ok, that finishes inri040, which i'm releasing as a download-only release.
these mixes are a little messy at points, but it's marketed as a demo, so i'm ok with that.
--
something like this would have been the demo brought along on an acoustic tour that never happened. tracks 1-4 would have represented a live set over the summer of 2002, while tracks five and six are otherwise stranded acoustic demos. the style could be broadly categorized as folk punk, but it also leans heavily towards the emo of the period.
written and recorded in late 2001 and the first half of 2002. mildly remixed in november, 2014 to make the tracks more presentable; nothing substantial was altered, and no new sound was recorded. final mixes were on november 19, 2014. as always, please use headphones.
credits
j - acoustic guitar, voice (3)
sean - vocals, lyrics
released august 1, 2002
https://jasonparent.bandcamp.com/album/the-imaginary-tour-ep
1) this is the original demo, that the main track was built over. it is completely unaltered from the 2002 file. feb 5, 2002.
https://jasonparent.bandcamp.com/track/9-16-outside-the-magenta-box
2) this is a new mix of the original guitar and vocal parts. written and recorded in march, 2002. mix done on nov 19, 2014.
http://jasonparent.bandcamp.com/track/psi-4
3) when the idea of performing as an acoustic duo was decided upon, it became clear that much of the recorded material was unsuitable for this purpose. the original version of this track would have been painfully boring to watch as a duo, with the music consisting of nothing more than a basic bass line. so, i rewrote the song for acoustic presentation. this is a (rough) live demo that i made for sean. no recording with sean was created.
it's a tricky guitar part, and trickier to do while singing (which wouldn't have been necessary in a live setting).
obviously, a live version would have included sean singing his vocals rather than me reciting them. it would have also included dual harmonies at the end.
some minor editing of this may 5, 2002 mix was done on nov 19. 2014.
http://jasonparent.bandcamp.com/track/me-myself-and-the-time-i-thought-this-was-a-good-idea-2
4) this is actually a transitional version of the song, halfway between the initial folk version (jasonparent.bandcamp.com/track/the-day-i-saw-you-cry-first-demo ) and the rabit is wolf version (jasonparent.bandcamp.com/track/the-day-i-saw-you-cry). the guitar part was recorded live in may, 2002 for the purposes of it being the performance version of the track, and just as a way to show it to sean over icq (or was it msn?). i've reconstructed the vocals from recordings of the studio version, which is in itself a substantial reworking because those vocals were heavily manipulated.
i had no option but to time shift some of the tracks as some of this recording is in a different tempo, but these are otherwise naked vocals and this is otherwise what i would have wanted a live performance of the track to sound like, as the ending point of any live set.
this mix was done on nov 19, 2014, out of parts recorded in may and june of 2002, and is dated to june 10, 2002.
http://jasonparent.bandcamp.com/track/the-day-i-saw-you-cry-2
5) this was a live demo (with sean on the left channel and myself on the right) that i think was probably recorded in july. i've mixed the channels down, but not altered it, otherwise. mixed on nov 19, 2014. dated to july 14, 2002.
this was a song that had a split personality from the beginning; it was being converted into a techno song for my own uses at the same time that it was being written with sean, and to be honest i had far more invested into the techno side of it. i did play it for sean, but he wasn't interested. no final mix was recorded with sean. i think this version is best left as it is.
https://jasonparent.bandcamp.com/track/penny-shoeman
6) this was a live demo (with sean on the left channel and myself on the right) that i think was probably recorded in july. this was never finished as a rabit tune, and i never expanded it into one of my own tunes. i think it's better left as it is. this acoustic ep is actually a good home for it, as it was intended that way.
the little bit of production i did was in mixing the channels. the intent was just to mix the two sources together, but i felt that the mixdown took something away from sean's vocals that they previously had when they were separated in the mix - this is hard to articulate, it's just something about the empty space. so, that's the idea going on there.
i constructed this final mix (date: nov 19, 2014) out of two mixes - one that continued the stereo rotation for the whole track, and the initial channel-separated one. it's dated to july 28, 2002.
http://jasonparent.bandcamp.com/track/jumped-up-and-down
note that this is also the last rabit is wolf release.
i'm going to put a box set up, but it's difficult to place the boundaries on it so i'm not sure yet. the rule will probably be "include's seans vocals". which will make the box set eight or nine discs.
these mixes are a little messy at points, but it's marketed as a demo, so i'm ok with that.
--
something like this would have been the demo brought along on an acoustic tour that never happened. tracks 1-4 would have represented a live set over the summer of 2002, while tracks five and six are otherwise stranded acoustic demos. the style could be broadly categorized as folk punk, but it also leans heavily towards the emo of the period.
written and recorded in late 2001 and the first half of 2002. mildly remixed in november, 2014 to make the tracks more presentable; nothing substantial was altered, and no new sound was recorded. final mixes were on november 19, 2014. as always, please use headphones.
credits
j - acoustic guitar, voice (3)
sean - vocals, lyrics
released august 1, 2002
https://jasonparent.bandcamp.com/album/the-imaginary-tour-ep
1) this is the original demo, that the main track was built over. it is completely unaltered from the 2002 file. feb 5, 2002.
https://jasonparent.bandcamp.com/track/9-16-outside-the-magenta-box
2) this is a new mix of the original guitar and vocal parts. written and recorded in march, 2002. mix done on nov 19, 2014.
http://jasonparent.bandcamp.com/track/psi-4
3) when the idea of performing as an acoustic duo was decided upon, it became clear that much of the recorded material was unsuitable for this purpose. the original version of this track would have been painfully boring to watch as a duo, with the music consisting of nothing more than a basic bass line. so, i rewrote the song for acoustic presentation. this is a (rough) live demo that i made for sean. no recording with sean was created.
it's a tricky guitar part, and trickier to do while singing (which wouldn't have been necessary in a live setting).
obviously, a live version would have included sean singing his vocals rather than me reciting them. it would have also included dual harmonies at the end.
some minor editing of this may 5, 2002 mix was done on nov 19. 2014.
http://jasonparent.bandcamp.com/track/me-myself-and-the-time-i-thought-this-was-a-good-idea-2
4) this is actually a transitional version of the song, halfway between the initial folk version (jasonparent.bandcamp.com/track/the-day-i-saw-you-cry-first-demo ) and the rabit is wolf version (jasonparent.bandcamp.com/track/the-day-i-saw-you-cry). the guitar part was recorded live in may, 2002 for the purposes of it being the performance version of the track, and just as a way to show it to sean over icq (or was it msn?). i've reconstructed the vocals from recordings of the studio version, which is in itself a substantial reworking because those vocals were heavily manipulated.
i had no option but to time shift some of the tracks as some of this recording is in a different tempo, but these are otherwise naked vocals and this is otherwise what i would have wanted a live performance of the track to sound like, as the ending point of any live set.
this mix was done on nov 19, 2014, out of parts recorded in may and june of 2002, and is dated to june 10, 2002.
http://jasonparent.bandcamp.com/track/the-day-i-saw-you-cry-2
5) this was a live demo (with sean on the left channel and myself on the right) that i think was probably recorded in july. i've mixed the channels down, but not altered it, otherwise. mixed on nov 19, 2014. dated to july 14, 2002.
this was a song that had a split personality from the beginning; it was being converted into a techno song for my own uses at the same time that it was being written with sean, and to be honest i had far more invested into the techno side of it. i did play it for sean, but he wasn't interested. no final mix was recorded with sean. i think this version is best left as it is.
https://jasonparent.bandcamp.com/track/penny-shoeman
6) this was a live demo (with sean on the left channel and myself on the right) that i think was probably recorded in july. this was never finished as a rabit tune, and i never expanded it into one of my own tunes. i think it's better left as it is. this acoustic ep is actually a good home for it, as it was intended that way.
the little bit of production i did was in mixing the channels. the intent was just to mix the two sources together, but i felt that the mixdown took something away from sean's vocals that they previously had when they were separated in the mix - this is hard to articulate, it's just something about the empty space. so, that's the idea going on there.
i constructed this final mix (date: nov 19, 2014) out of two mixes - one that continued the stereo rotation for the whole track, and the initial channel-separated one. it's dated to july 28, 2002.
http://jasonparent.bandcamp.com/track/jumped-up-and-down
note that this is also the last rabit is wolf release.
i'm going to put a box set up, but it's difficult to place the boundaries on it so i'm not sure yet. the rule will probably be "include's seans vocals". which will make the box set eight or nine discs.
publishing time (inri056)
sound raider isn't behaving...i probably wouldn't have uploaded it anyways....
so, inri037 is now complete.
--
time & psi were partially a rejection of the folk idea in favour of glossy, somewhat experimental pop. i realized that it was reasonable to move in a more commercial direction, but folk wasn't something i understood well, so it was a weird direction for me to be moving in. experimental or psychedelic pop, on the other hand, was something i had a solid grasp on...
time had been initially recorded in the fall and was remixed in late february to integrate a drum part. no original files exist. psi was recorded quickly in early march.
the track, as it existed in rabit, was a conscious pop compromise. i had ideas that weren't explored to keep it poppy and that have been expanded upon in the remixes.
the time machine is added here as a bonus track. it's based on an earlier classical guitar composition that was always meant to be reinterpreted as an idm tune and finally was in early 2014. the thematic overlap makes it relevant, but there is otherwise no connection between the two songs.
i started working on what would become my fourth symphony very shortly after the material on this ep was completed, and it really represents the point where i lost interest in rabit as a concept, under pressure to continue moving in a direction i didn't have any interest in. there are folk and psych versions of the track; sean never caught on to the psych version, and i never had my heart in the folk version. there were final folk demos recorded as late as the fall, but the disconnect was not solvable. the vocal version of the fourth symphony is in some way a corollary of but is ultimately too separate from these files to include here. psi & time, together, consequently comprise what is the fourth and final ("psychedelic pop") phase of rabit.
written in late 2001 and early 2002 and recorded in early 2002 and late 2014. the final mix was finished on nov 18, 2014. as always, please use headphones.
credits:
j - electric & acoustic guitars, bass, synthesizers, digital effects & treatments, drum manipulations, programming, digital wave editing, loops, sound design, production, composition.
sean - vocals, lyrics (3,4)
greg - drum performance sample source (1-3)
the rendered electronic orchestra on track 5 includes acoustic bass, synth bass, electric bass, brass, orchestra hit, drum machine, electronic drum kit, nylon guitar, electric guitar, synthesizer effects, music box, piano, bells and mellotron.
released march 10, 2002
https://jasonparent.bandcamp.com/album/time
so, inri037 is now complete.
--
time & psi were partially a rejection of the folk idea in favour of glossy, somewhat experimental pop. i realized that it was reasonable to move in a more commercial direction, but folk wasn't something i understood well, so it was a weird direction for me to be moving in. experimental or psychedelic pop, on the other hand, was something i had a solid grasp on...
time had been initially recorded in the fall and was remixed in late february to integrate a drum part. no original files exist. psi was recorded quickly in early march.
the track, as it existed in rabit, was a conscious pop compromise. i had ideas that weren't explored to keep it poppy and that have been expanded upon in the remixes.
the time machine is added here as a bonus track. it's based on an earlier classical guitar composition that was always meant to be reinterpreted as an idm tune and finally was in early 2014. the thematic overlap makes it relevant, but there is otherwise no connection between the two songs.
i started working on what would become my fourth symphony very shortly after the material on this ep was completed, and it really represents the point where i lost interest in rabit as a concept, under pressure to continue moving in a direction i didn't have any interest in. there are folk and psych versions of the track; sean never caught on to the psych version, and i never had my heart in the folk version. there were final folk demos recorded as late as the fall, but the disconnect was not solvable. the vocal version of the fourth symphony is in some way a corollary of but is ultimately too separate from these files to include here. psi & time, together, consequently comprise what is the fourth and final ("psychedelic pop") phase of rabit.
written in late 2001 and early 2002 and recorded in early 2002 and late 2014. the final mix was finished on nov 18, 2014. as always, please use headphones.
credits:
j - electric & acoustic guitars, bass, synthesizers, digital effects & treatments, drum manipulations, programming, digital wave editing, loops, sound design, production, composition.
sean - vocals, lyrics (3,4)
greg - drum performance sample source (1-3)
the rendered electronic orchestra on track 5 includes acoustic bass, synth bass, electric bass, brass, orchestra hit, drum machine, electronic drum kit, nylon guitar, electric guitar, synthesizer effects, music box, piano, bells and mellotron.
released march 10, 2002
https://jasonparent.bandcamp.com/album/time
running out of time (final mixes)
1) the track, as it existed in rabit, was a conscious pop compromise. i had ideas that weren't explored to keep it poppy and that have been expanded upon in the remixes. written in late 2001 and 2002 and recorded in early 2002 and late 2014. the final mix was finished on nov 18, 2014.
http://jasonparent.bandcamp.com/track/running-out-of-time
2) this mix is a combination of tracks from the original song played at various speeds, with large amounts of processing on the individual tracks. there's actually no synths in this track. track released nov 18, 2014.
http://jasonparent.bandcamp.com/track/time-running-out-mix
3) a remixed instrumental version of the original track. released nov 18, 2014.
https://jasonparent.bandcamp.com/track/time-unstuck-mix-2
http://jasonparent.bandcamp.com/track/running-out-of-time
2) this mix is a combination of tracks from the original song played at various speeds, with large amounts of processing on the individual tracks. there's actually no synths in this track. track released nov 18, 2014.
http://jasonparent.bandcamp.com/track/time-running-out-mix
3) a remixed instrumental version of the original track. released nov 18, 2014.
https://jasonparent.bandcamp.com/track/time-unstuck-mix-2
i'm done reclaiming rabit stuff, now. the next few releases require some remixes but should be quick.
i don't know about this tour ep, i don't know if i have enough material. i'm not just going to release it for the sake of it. if i can get enough together, great. if not...
i ended up with a lot of unused edits for the first section of time, now called running out of time. i'm going to try a sound raider experiment with them to add to the ep. but they're not a part of the track. inri037 is otherwise done.
the rss will update. i need to eat....
i don't know about this tour ep, i don't know if i have enough material. i'm not just going to release it for the sake of it. if i can get enough together, great. if not...
i ended up with a lot of unused edits for the first section of time, now called running out of time. i'm going to try a sound raider experiment with them to add to the ep. but they're not a part of the track. inri037 is otherwise done.
the rss will update. i need to eat....
Tuesday, November 18, 2014
i feel that people are a little bit confused about this discussion of streaming media, and a lot of it has to do with not understanding the words that are being thrown around.
so, we live under the system we call capitalism. while there are many ways to categorize people in capitalism, the most widely adopted (and most successful, in terms of explanations) way to do this is to broadly split people into workers and capitalists. it's not a clean partition, and it's not exhaustive, but it's fine for the discussion.
simply stated, the workers in a capitalist system are the people that make the goods, whereas the capitalists are the people that own the systems of production and appropriate a profit from the worker's labour, while not producing anything themselves.
now, let us analyze a music distribution system, like spotify. clearly, the musicians are the workers in such a system. and, who are the capitalists? that would be the managers - spotify, google, apple....
and, we see the same thing in this system that we see in every other capitalist system - the capitalists make large profits by exploiting the labour of the workers, while the workers starve.
now, it's pretty blatantly obvious that capitalism is an exploitative system. so, one of the things that anti-capitalists (like socialists and anarchists) seek to do is to gain control of the means of production, so that they don't have to pay the capitalists. anti-capitalists would consequently seek to smash systems like spotify and replace them with artist-run spaces. that is, independent labels and independent artists. bandcamp is not exactly an artist run space, but it's far closer to a socialist model.
the confusion stems from this idea that any process of exchange is upholding capitalism, which is just a misunderstanding of capitalism. capitalism is not exchanging things. there are diverse types of market socialism. capitalism, specifically, is the appropriation of labour by a managerial class. and, the entrenchment of services that stream music for peanuts that are sent to a centralized corporate bureaucracy, while the workers get nothing at all, is one of the most blatantly capitalistic things we've seen happen in our lifetimes.
this confusion is upheld by social norms which seek to trivialize certain economic activities as outside the market. generally, it's "feminine things" that are trivialized in this way - child care, housework, social work and art, to name a few examples.
i hope i've clarified a few things.
so, we live under the system we call capitalism. while there are many ways to categorize people in capitalism, the most widely adopted (and most successful, in terms of explanations) way to do this is to broadly split people into workers and capitalists. it's not a clean partition, and it's not exhaustive, but it's fine for the discussion.
simply stated, the workers in a capitalist system are the people that make the goods, whereas the capitalists are the people that own the systems of production and appropriate a profit from the worker's labour, while not producing anything themselves.
now, let us analyze a music distribution system, like spotify. clearly, the musicians are the workers in such a system. and, who are the capitalists? that would be the managers - spotify, google, apple....
and, we see the same thing in this system that we see in every other capitalist system - the capitalists make large profits by exploiting the labour of the workers, while the workers starve.
now, it's pretty blatantly obvious that capitalism is an exploitative system. so, one of the things that anti-capitalists (like socialists and anarchists) seek to do is to gain control of the means of production, so that they don't have to pay the capitalists. anti-capitalists would consequently seek to smash systems like spotify and replace them with artist-run spaces. that is, independent labels and independent artists. bandcamp is not exactly an artist run space, but it's far closer to a socialist model.
the confusion stems from this idea that any process of exchange is upholding capitalism, which is just a misunderstanding of capitalism. capitalism is not exchanging things. there are diverse types of market socialism. capitalism, specifically, is the appropriation of labour by a managerial class. and, the entrenchment of services that stream music for peanuts that are sent to a centralized corporate bureaucracy, while the workers get nothing at all, is one of the most blatantly capitalistic things we've seen happen in our lifetimes.
this confusion is upheld by social norms which seek to trivialize certain economic activities as outside the market. generally, it's "feminine things" that are trivialized in this way - child care, housework, social work and art, to name a few examples.
i hope i've clarified a few things.
time (running out mix)
so, this is going to come in in three parts on the time single, which will be merged into one track on the record.
it's looking like it'll be around 20 minutes, which may be a mild problem when it comes to sequence the disc. but i can't worry about that right now. right now, i've got tons of space on the single...
the third part may end up not on the record. we'll see.
https://jasonparent.bandcamp.com/track/time-unstuck-mix
this is the first section, which will open up into a remix of the song for the second section. the third section is an idea that will be chaotic, let's see what it sounds like....
written & recorded in late 2001 and early 2002 and mixed in early 2002 and late 2014. the final mix was finished on nov 18, 2014.
it's looking like it'll be around 20 minutes, which may be a mild problem when it comes to sequence the disc. but i can't worry about that right now. right now, i've got tons of space on the single...
the third part may end up not on the record. we'll see.
https://jasonparent.bandcamp.com/track/time-unstuck-mix
this is the first section, which will open up into a remix of the song for the second section. the third section is an idea that will be chaotic, let's see what it sounds like....
written & recorded in late 2001 and early 2002 and mixed in early 2002 and late 2014. the final mix was finished on nov 18, 2014.
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