i had a relaxing weekend of listening to some recently completed music in it's intended state, and compiling collections to end my second compositional period. i'm seeing daylight on this, so i don't expect to be going anywhere for a few days - probably not until the melt banana show on the 14th.
i need to give my lungs a few days to rest to get ready for finishing inri043, and completing inri046-48 is going to mostly be a curled-up-in-blanket-in-front-of-the-pc editing process so it's kind of ideal as that resting period.
i'll need to do laundry and clean and other beginning of the month things tomorrow, but i intend this to be a productive week, in filling in the discography up to inri050.
Sunday, May 3, 2015
mp3 disc vol 1 (initial release)
i had to cut this off a little earlier than i wanted, but that's how this is going to have to work. it just wasn't going to all fit. not even close. but, who buys volume 1 without volume 2? so, in the long run, it should be viewed as the first half of a double mp3 dvd disc [how's that for pushing media boundaries?], and the lack of any clear end point isn't that tumultuous.
it's going to be a while before i get to inri084, though.
https://jasonparent.bandcamp.com/merch/mp3-dvd-disc-vol-1
it's going to be a while before i get to inri084, though.
https://jasonparent.bandcamp.com/merch/mp3-dvd-disc-vol-1
publishing reflections (inri074)
i've also uploaded an ep from 2003, untouched, as inri049. tracks 1-5 are what i consider to be my fifth symphony.
===
around october, 2002 i met a friend. i was sort of in need of a friend, and i mean that in the friend sense. but, the mental condition i was in was the explanation of why i needed a friend, if you see what i mean; i was completely unstable in this period and did all kinds of absurd things, which isolated me - and i wasn't getting any better.
i dropped out of school under the realization that i was walking down a path that wasn't getting me anywhere close to what i wanted out of life. i ended up working three jobs to raise money for gender reassignment, and it crossed me paths with somebody that was also trying to think of ways to get out of the box in terms of ways to exist.
she was trying to save up money to go to british columbia. it was some kind of warped take on the grapes of wrath, where everything works out perfectly. but, the rent was eating into her savings, which was making the goal seem impossible. well, unless we stopped having fun.
so, i suggested she should just stay at my parents place. part of it was a hope that she would move her drum kit in, although that didn't happen. and, i might add that this was done with all of the reckless abandon that could be contemplated - we were moving stuff in without even asking, it was really remarkable.
and, it seemed to me that we were getting pretty close over that period.
so, when the time came that she had all that money put aside to go to bc, it was kind of a downer to let her go. and, she initially wanted to go with a friend who dropped out. so, i ended up going across the country with her.
now, i need to be clear: we weren't planning on coming back. we were going to pick fruit or something - we didn't know, exactly, we'd figure it out when we got there.
so, this was meant as a sort of farewell to certain people i hadn't talked to in months and didn't care if i was leaving, anyways. i think it let me work some things out on weird subconscious levels, but the truth is that these songs really aren't about anybody except me, and there's no use in pretending they are - i just liked the idea of a farewell disc.
this disc was initially passed around with a cut up version of the pretentious untitled mix at the end, but this was almost immediately ejected from future burns and is not present on this ep due to the poor quality of the mix. the remaining five tracks became combined into what i now call my fifth symphony. a slightly remixed version will appear on the trivial group double lp.
written and recorded in late 2002 and early 2003. this was uploaded unmodified from a cd-r rip in may, 2015. symphony 5. as always, please use headphones.
credits:
j - guitar, effects, bass, synth, voice, piano, drum programming, generative programming (sounder), granular synthesis, sound design, soundscaping, loops, bowls, claps, tables, ebow, orchestral sequencing, digital wave editing, sampling, production, composition
the various rendered electronic orchestras include piano, synth pad, choir and string section.
released may 1, 2003
https://jasonparent.bandcamp.com/album/reflections
===
around october, 2002 i met a friend. i was sort of in need of a friend, and i mean that in the friend sense. but, the mental condition i was in was the explanation of why i needed a friend, if you see what i mean; i was completely unstable in this period and did all kinds of absurd things, which isolated me - and i wasn't getting any better.
i dropped out of school under the realization that i was walking down a path that wasn't getting me anywhere close to what i wanted out of life. i ended up working three jobs to raise money for gender reassignment, and it crossed me paths with somebody that was also trying to think of ways to get out of the box in terms of ways to exist.
she was trying to save up money to go to british columbia. it was some kind of warped take on the grapes of wrath, where everything works out perfectly. but, the rent was eating into her savings, which was making the goal seem impossible. well, unless we stopped having fun.
so, i suggested she should just stay at my parents place. part of it was a hope that she would move her drum kit in, although that didn't happen. and, i might add that this was done with all of the reckless abandon that could be contemplated - we were moving stuff in without even asking, it was really remarkable.
and, it seemed to me that we were getting pretty close over that period.
so, when the time came that she had all that money put aside to go to bc, it was kind of a downer to let her go. and, she initially wanted to go with a friend who dropped out. so, i ended up going across the country with her.
now, i need to be clear: we weren't planning on coming back. we were going to pick fruit or something - we didn't know, exactly, we'd figure it out when we got there.
so, this was meant as a sort of farewell to certain people i hadn't talked to in months and didn't care if i was leaving, anyways. i think it let me work some things out on weird subconscious levels, but the truth is that these songs really aren't about anybody except me, and there's no use in pretending they are - i just liked the idea of a farewell disc.
this disc was initially passed around with a cut up version of the pretentious untitled mix at the end, but this was almost immediately ejected from future burns and is not present on this ep due to the poor quality of the mix. the remaining five tracks became combined into what i now call my fifth symphony. a slightly remixed version will appear on the trivial group double lp.
written and recorded in late 2002 and early 2003. this was uploaded unmodified from a cd-r rip in may, 2015. symphony 5. as always, please use headphones.
credits:
j - guitar, effects, bass, synth, voice, piano, drum programming, generative programming (sounder), granular synthesis, sound design, soundscaping, loops, bowls, claps, tables, ebow, orchestral sequencing, digital wave editing, sampling, production, composition
the various rendered electronic orchestras include piano, synth pad, choir and string section.
released may 1, 2003
https://jasonparent.bandcamp.com/album/reflections
i'm likely going to have inri049 up by mid morning. i just have to listen to it. it's another unmodified upload - the ep i passed around in early 2003.
inri048 (ambient works) and inri047 (thru - midi works) will together function as a sort of quadruple compilation of electronic music over period 2. they're both going to be doubles, and they'll both measure something moving through. i don't expect further compilations, but i will want to pause here and make sure i haven't missed any opportunities. inri047 needs one more song to finish, which is the song in inri046.
inri046 will be the birdsong ep, which will be the final midi music single in the way that defines my output over 2001 and 2002. it will have several vst synthesizer mixes, in undefined directions. it may take some time to develop.
inri043 remains in progress, and will need to remain in progress until i get my voice back a little and can psyche myself up for it. the middle of this week, probably.
inri050 fast forwards several months, and attempts to document material written in an uncomfortable period of time right after i returned from british columbia, including parts written in british columbia.
inri048 (ambient works) and inri047 (thru - midi works) will together function as a sort of quadruple compilation of electronic music over period 2. they're both going to be doubles, and they'll both measure something moving through. i don't expect further compilations, but i will want to pause here and make sure i haven't missed any opportunities. inri047 needs one more song to finish, which is the song in inri046.
inri046 will be the birdsong ep, which will be the final midi music single in the way that defines my output over 2001 and 2002. it will have several vst synthesizer mixes, in undefined directions. it may take some time to develop.
inri043 remains in progress, and will need to remain in progress until i get my voice back a little and can psyche myself up for it. the middle of this week, probably.
inri050 fast forwards several months, and attempts to document material written in an uncomfortable period of time right after i returned from british columbia, including parts written in british columbia.
that gets aleph-5 done: all material related to the sixth record.
https://jasonparent.bandcamp.com/merch/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj-2-box-set
https://jasonparent.bandcamp.com/merch/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj-2-box-set
uploading the flying ep to youtube
this is an old outtake that i'm publishing for the first time, along with it's initial pairing.
https://www.youtube.com/watch?v=nRIUnnbtCIQ&feature=autoshare
https://www.youtube.com/watch?v=nRIUnnbtCIQ&feature=autoshare
Saturday, May 2, 2015
the youtube alter-reality is about to move forward out of my primitive stages. i feel these primitive stages have earned me a level of notoriety that i would have no doubt craved at that age, so in terms of this game (does this qualify as one of those games?), i suppose it's accomplished it's purpose. but, this only represented a year of my life and i have a much longer musical story to tell, or game to play as you may have it.
1997 was a year spent of a lot of learning how to utilize technology with music. i started playing with tab writers, notation writers, sequencers, drum machines, synthesizers and digital wave editors, which i took a particular liking to.
over the fall, i had everything i needed to record except a recorder. i started experimenting with samples using very primitive tools - the windows 95 sound editor and recorders - and a lot of napkin math. like, you couldn't even loop with these - you had to manually paste each copy in and calculate the entrance points. i deserved a credit in algebra for this, really.
i pasted this together at the end of 2013, but it's the sum total of these sample collages, made out of just any random sounds i could find on my hard drive or the internet - civ2 and doom sound files and simpsons quotes, mostly.
it's going to be the lead-off in the alter-reality now for several months and will bridge to a period where i was interested mostly in synthesizer pop.
https://www.youtube.com/watch?v=HeRFfBTqlEQ&list=PL3JSjmqp0cbsyQ4cQbszNBKo5GW4Ouz38&index=19
1997 was a year spent of a lot of learning how to utilize technology with music. i started playing with tab writers, notation writers, sequencers, drum machines, synthesizers and digital wave editors, which i took a particular liking to.
over the fall, i had everything i needed to record except a recorder. i started experimenting with samples using very primitive tools - the windows 95 sound editor and recorders - and a lot of napkin math. like, you couldn't even loop with these - you had to manually paste each copy in and calculate the entrance points. i deserved a credit in algebra for this, really.
i pasted this together at the end of 2013, but it's the sum total of these sample collages, made out of just any random sounds i could find on my hard drive or the internet - civ2 and doom sound files and simpsons quotes, mostly.
it's going to be the lead-off in the alter-reality now for several months and will bridge to a period where i was interested mostly in synthesizer pop.
https://www.youtube.com/watch?v=HeRFfBTqlEQ&list=PL3JSjmqp0cbsyQ4cQbszNBKo5GW4Ouz38&index=19
On behalf of the Ontario Arts Council (OAC), I regret to inform you that your application has not resulted in a successful Popular Music grant.
i knew it...
group of my peers, my ass. i failed the corporate evaluation test. governments sometimes work as hr departments for certain private sector interests. schools are kind of something sort of maybe a little bit like that.
i felt the need to apply, but i knew the outcome before it happened. i just hope i get something in the mail with their responses, it should be good for a laugh.
i'm best off with the financial situation i'm in.
i'm not sure i'd have even taken it. i'd have to put that logo on merch, which is kind of yuck. it was a fall back plan...
i knew it...
group of my peers, my ass. i failed the corporate evaluation test. governments sometimes work as hr departments for certain private sector interests. schools are kind of something sort of maybe a little bit like that.
i felt the need to apply, but i knew the outcome before it happened. i just hope i get something in the mail with their responses, it should be good for a laugh.
i'm best off with the financial situation i'm in.
i'm not sure i'd have even taken it. i'd have to put that logo on merch, which is kind of yuck. it was a fall back plan...
publishing flying (inri064)
this was constructed as a christmas present for my partner, while in a rather absurd state of entirely preposterous euphoria. only a musician can be so absurdly invested in something so thoroughly delusional - or manage to create something so entirely self-reflective out of a theme surrounding somebody else.
the first part of this was shelved before it was ever released. i was over-exaggerating a sense of self-consciousness, but it still strikes me as unworkable. however, i think it's conceptually important in the idea of this as a christmas present and has consequently been uploaded here without modification. the second part was actually presented to sarah as a present, albeit it a little after christmas - hence the jan 1 release date. it eventually found it's way to the center of my fifth symphony, reflections: jasonparent.bandcamp.com/album/reflections
these tracks were written and recorded over november and december of 2002 and uploaded, unmodified, in may of 2015. this will be a download only release. as always, please use headphones.
credits:
j - guitar, effects, bass, synth, piano, drum programming, light-sound synthesis (coagula), generative programming (sounder), granular synthesis, sound design, digital wave editing, production, composition
released january 1, 2003
https://jasonparent.bandcamp.com/album/flying
the first part of this was shelved before it was ever released. i was over-exaggerating a sense of self-consciousness, but it still strikes me as unworkable. however, i think it's conceptually important in the idea of this as a christmas present and has consequently been uploaded here without modification. the second part was actually presented to sarah as a present, albeit it a little after christmas - hence the jan 1 release date. it eventually found it's way to the center of my fifth symphony, reflections: jasonparent.bandcamp.com/album/reflections
these tracks were written and recorded over november and december of 2002 and uploaded, unmodified, in may of 2015. this will be a download only release. as always, please use headphones.
credits:
j - guitar, effects, bass, synth, piano, drum programming, light-sound synthesis (coagula), generative programming (sounder), granular synthesis, sound design, digital wave editing, production, composition
released january 1, 2003
https://jasonparent.bandcamp.com/album/flying
publishing jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj^2 (inri063)
i've just finished my sixth lp.
--
the idea of a second jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj record was not something that remotely crossed my mind until i started seriously analysing my work from 2002. that was a separate idea; rabit is wolf separated it from the trivial group. however, remixed instrumental tracks over the rabit is wolf period slowly collected to the point that there was enough to justify a whole record. that wasn't a conscious choice at the outset, but it seems to be the conceptual framework collected on the record. i toyed with the idea of releasing it as a rabit remix record, but my influence over it is far too lopsided.
the thematic linkage with the first jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj record is a tendency to lean towards more "serious" ideas. there are strong influences from a few different types of classical music, including jazz, as well as some more modern electronic and noise influences. however, these songs lean more towards more palatable rock or techno based song structures and are less dependent on existing scores.
the stories for these songs are diverse and explained in more detail on the track pages.
these tracks are all based on existing demos from 2001-2002 that were initially intended to be completed with vocal parts and were remixed from july, 2014 to may, 2015 as purely instrumental recordings. final completion date is may 2, 2015. as always, please use headphones.
credits
j - electric & acoustic guitars, electric bass guitar, effects, synths, electric air reed organ, digital piano, flute, voice, electronic drum kit, drum programming, drum manipulations, drum sampling, orchestral sequencing, sampling, loops, equalization, digital wave editing, sound design, production, composition.
the various rendered electronic orchestras include tuba, french horn, trombone, trumpet, english horn, saxophone, oboe, clarinet, bassoon, flute, orchestra hit, melodic toms, timpani, orchestral drum set, piano, agogo, tubular bells, glockenspiel, koto, violin, viola, cello, contrabass and various full string sections. it also includes choir.
other musicians:
sean - harmonica (2), melody (6)
greg - drum performance sample source (4)
released december 1, 2002
https://jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj-2
--
the idea of a second jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj record was not something that remotely crossed my mind until i started seriously analysing my work from 2002. that was a separate idea; rabit is wolf separated it from the trivial group. however, remixed instrumental tracks over the rabit is wolf period slowly collected to the point that there was enough to justify a whole record. that wasn't a conscious choice at the outset, but it seems to be the conceptual framework collected on the record. i toyed with the idea of releasing it as a rabit remix record, but my influence over it is far too lopsided.
the thematic linkage with the first jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj record is a tendency to lean towards more "serious" ideas. there are strong influences from a few different types of classical music, including jazz, as well as some more modern electronic and noise influences. however, these songs lean more towards more palatable rock or techno based song structures and are less dependent on existing scores.
the stories for these songs are diverse and explained in more detail on the track pages.
these tracks are all based on existing demos from 2001-2002 that were initially intended to be completed with vocal parts and were remixed from july, 2014 to may, 2015 as purely instrumental recordings. final completion date is may 2, 2015. as always, please use headphones.
credits
j - electric & acoustic guitars, electric bass guitar, effects, synths, electric air reed organ, digital piano, flute, voice, electronic drum kit, drum programming, drum manipulations, drum sampling, orchestral sequencing, sampling, loops, equalization, digital wave editing, sound design, production, composition.
the various rendered electronic orchestras include tuba, french horn, trombone, trumpet, english horn, saxophone, oboe, clarinet, bassoon, flute, orchestra hit, melodic toms, timpani, orchestral drum set, piano, agogo, tubular bells, glockenspiel, koto, violin, viola, cello, contrabass and various full string sections. it also includes choir.
other musicians:
sean - harmonica (2), melody (6)
greg - drum performance sample source (4)
released december 1, 2002
https://jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj-2
a conceptual rethink is going to have me jump ahead and upload a number of releases rather quickly. inri043 is on hold for a day or two.
i've been compiling my sixth record since october. i initially planned to finish an outtake from late 2002 and place it in the last spot on that disc. but, i've decided against this for a handful of reasons.
first, this was an outtake. it wasn't unfinished, it was just something i put aside as substandard. and, while i think it's good enough to release in some form, i'm not excited about placing it last on this record, which is otherwise my most fully realized completed material to date (2002). it was an outtake, and i'd like to leave it as one.
second, including this outtake would make the record span two distinct periods. this outtake was initially written as a part of sarah's xmas present for 2002, whereas all of the other pieces are from rabit is wolf. that christmas was a definite period change for me in terms of writing. while it initially felt reasonable to include everything up until the reflections period on the disc - it fit chronologically, and it didn't leave anything stranded - i'm now leaning much more heavily towards separating the periods more cleanly. this was always a debate in my mind, i've just switched sides on it.
third, that plan was before i decided to do la la la la as inri043, which leaves that piece stranded. but, that piece is far more conceptually relevant to the idea of the disc, which is rabit is wolf outtakes. further, i think it's a stronger piece, with stronger incentive to include on this disc.
now, i don't want to move the vocal version over. the record is otherwise instrumental. and, it's a rabit is wolf idea.
so, what i'll do is leave the vocal version as the lead single to la la la la, stranded, but with the instrumental version at the end of the sixth lp.
i just need to listen to it a few times to be sure of this decision. if i am, that will complete inri044 - which is a major release.
it will also mean i'm removing the ostrich single (the previous inri044) and rather moving it into the flying single - and then releasing it as inri045. i may include a version of birdsong on this to complete a "bird ep".
it will also mean that ostrich will not have entries on the thru disc, as it's not developed enough for me to call it a midi composition.
bird song will need it's own single with a handful of remixes, which will be inri046. reflections and thru will follow immediately.
i'll be planning this out tonight. conceivably expect heavy uploading.
i've been compiling my sixth record since october. i initially planned to finish an outtake from late 2002 and place it in the last spot on that disc. but, i've decided against this for a handful of reasons.
first, this was an outtake. it wasn't unfinished, it was just something i put aside as substandard. and, while i think it's good enough to release in some form, i'm not excited about placing it last on this record, which is otherwise my most fully realized completed material to date (2002). it was an outtake, and i'd like to leave it as one.
second, including this outtake would make the record span two distinct periods. this outtake was initially written as a part of sarah's xmas present for 2002, whereas all of the other pieces are from rabit is wolf. that christmas was a definite period change for me in terms of writing. while it initially felt reasonable to include everything up until the reflections period on the disc - it fit chronologically, and it didn't leave anything stranded - i'm now leaning much more heavily towards separating the periods more cleanly. this was always a debate in my mind, i've just switched sides on it.
third, that plan was before i decided to do la la la la as inri043, which leaves that piece stranded. but, that piece is far more conceptually relevant to the idea of the disc, which is rabit is wolf outtakes. further, i think it's a stronger piece, with stronger incentive to include on this disc.
now, i don't want to move the vocal version over. the record is otherwise instrumental. and, it's a rabit is wolf idea.
so, what i'll do is leave the vocal version as the lead single to la la la la, stranded, but with the instrumental version at the end of the sixth lp.
i just need to listen to it a few times to be sure of this decision. if i am, that will complete inri044 - which is a major release.
it will also mean i'm removing the ostrich single (the previous inri044) and rather moving it into the flying single - and then releasing it as inri045. i may include a version of birdsong on this to complete a "bird ep".
it will also mean that ostrich will not have entries on the thru disc, as it's not developed enough for me to call it a midi composition.
bird song will need it's own single with a handful of remixes, which will be inri046. reflections and thru will follow immediately.
i'll be planning this out tonight. conceivably expect heavy uploading.
Friday, May 1, 2015
it's going to be nice this weekend, which you'd think might get me out. but, rather, i need to stay home and make sure the windows stay open. the fellow above me carries roughly thrice the weight of the average individual and will turn the basement into a meat locker should he be allowed to, in order that the temperature upstairs stay below 20. that's what happens when you're grossly obese.
it's summer. you want the temperature above 20. so, fuck that guy. maybe he should move to baffin island. or hit a treadmill. i learned last year that i need to get out in front of this if i don't want to be shivering in june - i've had the heat cranked the last two days, and will have the windows wide open so long as it's over 20 (and cranked over night, when it's below 20). that may actually take the temperature in here down a degree or two until the humidity picks up, but the key is to break the seal on the air conditioner upstairs. he's either going to freeze me out or i'm going to fry him out. i need the space in the short term, but i might not in the long term. i can handle everything else about this place in exchange for cheap rent, but i hate the idea of being cold all summer.
i mean, he can't win. not unless we skip summer this year. 35 degree humidity pouring in from the basement 12 hours a day will break his air. too bad. so sad....
what i'm missing is the "blowout" in detroit, but i'd argue i'm not missing much. this magazine is focusing on an aspect of detroit that is too mainstream for my tastes. as for touring bands, i'll check out perfect pussy at some point - although i'm more excited about white lung next month. tonight, they're playing in a mall. it's going to feel awkward and sound terrible. i'll hold out for a small bar with a lower ceiling. if it were a different band, i might feel different about the venue, but this is a bad combo. tomorrow is fucked up, but i've seen them enough to know they do short sets, which is going to end the show at 11:40 and get me stuck in ferndale until 7:00 again. not excited about that for a $20 entry fee. i'll wait until they play somewhere i can walk back to the tunnel with...and they will....
the likely next show is may 6th, but i'm iffy about it. it seems like an early show. we'll see where my head is.
the only feasible way for this guy to exist in the temperature he wants is to not live above anybody. nobody is going to want to live in a 15 degree basement over the summer so the obese guy in the upstairs apartment doesn't break a sweat. he could/should have moved into the empty unit on the other side over the winter - there's nobody under him, there. i hinted at it, but he didn't listen. *shrug*.
it's summer. you want the temperature above 20. so, fuck that guy. maybe he should move to baffin island. or hit a treadmill. i learned last year that i need to get out in front of this if i don't want to be shivering in june - i've had the heat cranked the last two days, and will have the windows wide open so long as it's over 20 (and cranked over night, when it's below 20). that may actually take the temperature in here down a degree or two until the humidity picks up, but the key is to break the seal on the air conditioner upstairs. he's either going to freeze me out or i'm going to fry him out. i need the space in the short term, but i might not in the long term. i can handle everything else about this place in exchange for cheap rent, but i hate the idea of being cold all summer.
i mean, he can't win. not unless we skip summer this year. 35 degree humidity pouring in from the basement 12 hours a day will break his air. too bad. so sad....
what i'm missing is the "blowout" in detroit, but i'd argue i'm not missing much. this magazine is focusing on an aspect of detroit that is too mainstream for my tastes. as for touring bands, i'll check out perfect pussy at some point - although i'm more excited about white lung next month. tonight, they're playing in a mall. it's going to feel awkward and sound terrible. i'll hold out for a small bar with a lower ceiling. if it were a different band, i might feel different about the venue, but this is a bad combo. tomorrow is fucked up, but i've seen them enough to know they do short sets, which is going to end the show at 11:40 and get me stuck in ferndale until 7:00 again. not excited about that for a $20 entry fee. i'll wait until they play somewhere i can walk back to the tunnel with...and they will....
the likely next show is may 6th, but i'm iffy about it. it seems like an early show. we'll see where my head is.
the only feasible way for this guy to exist in the temperature he wants is to not live above anybody. nobody is going to want to live in a 15 degree basement over the summer so the obese guy in the upstairs apartment doesn't break a sweat. he could/should have moved into the empty unit on the other side over the winter - there's nobody under him, there. i hinted at it, but he didn't listen. *shrug*.
vocal tracks. i do them so seldom nowadays, and it's largely because i've never really been able to get my head around the voice as an instrument.
when i was a kid, i use to scream into the mic a little - there was no subtlety to it. you've heard this over and over again. it's punk rock. then, i started just reciting lyrics, almost deadpan. the screaming ended up striking me as contrived, but i still wanted a vocal component....so it was about all i could do. it was never really integral, or what the music was ever actually about. it was just convention. eventually, i gained the abstraction of thought to move beyond it...
since then, vocals have been pretty sparse - and essentially never melodic. i might have a poem, or a political statement. if i hum during recitation, it's either for emphasis or even by accident.
what my brain wants me to do is play the notes on a guitar, convert them to midi and then just run it through a sampler/sequencer combo. perfect pitch reconstruction. but, my gut is rejecting that and forcing me to do it live. if i do the sampler, it will be as a remix, and only after i get the live vocals down.
anyone can sing a tune, right? if given infinite takes. well, you'd get hamlet out of a monkey with infinite takes, too. the way this is going to work is that i'm going to struggle with it for two or three days, then it will "click". randomly. wait for it...
in the meantime, the ep is legitimately almost done. i'm just skittering out some la's and running them through a barrage of effects and then playing with it until it's "right". feel free to enjoy what's already uploaded.
to be clear: it's written. i have a clear plan. if this was a guitar part, it would be very quick. it's just not easy for me to produce the sounds i want out of my voice.
when i was a kid, i use to scream into the mic a little - there was no subtlety to it. you've heard this over and over again. it's punk rock. then, i started just reciting lyrics, almost deadpan. the screaming ended up striking me as contrived, but i still wanted a vocal component....so it was about all i could do. it was never really integral, or what the music was ever actually about. it was just convention. eventually, i gained the abstraction of thought to move beyond it...
since then, vocals have been pretty sparse - and essentially never melodic. i might have a poem, or a political statement. if i hum during recitation, it's either for emphasis or even by accident.
what my brain wants me to do is play the notes on a guitar, convert them to midi and then just run it through a sampler/sequencer combo. perfect pitch reconstruction. but, my gut is rejecting that and forcing me to do it live. if i do the sampler, it will be as a remix, and only after i get the live vocals down.
anyone can sing a tune, right? if given infinite takes. well, you'd get hamlet out of a monkey with infinite takes, too. the way this is going to work is that i'm going to struggle with it for two or three days, then it will "click". randomly. wait for it...
in the meantime, the ep is legitimately almost done. i'm just skittering out some la's and running them through a barrage of effects and then playing with it until it's "right". feel free to enjoy what's already uploaded.
to be clear: it's written. i have a clear plan. if this was a guitar part, it would be very quick. it's just not easy for me to produce the sounds i want out of my voice.
Thursday, April 30, 2015
this mix was reconstructed from the 2002 source material in april, 2015 and slightly remixed in the process. track dated to april 30. 2015.
http://jasonparent.bandcamp.com/track/la-la-la-la-instrumental-mix
http://jasonparent.bandcamp.com/track/la-la-la-la-instrumental-mix
Wednesday, April 29, 2015
i decided to do some record keeping tonight...
i've got these two obsolete 100 gb external drives that i picked up when i bought this machine in 2006. i wanted one of them to be for mp3s, and i can't remember what i wanted the other to be for. i've since picked up a tb drive for mp3s, which is more than i'll ever need for music storage.
worse, these drives can only be read on xp. conspiracy theories abound, but the bottom line is that there's no way around it. windows 7 simply won't acknowledge they're there.
so, i've converted them into extra data backup [my music pc is still using xp]. now, this is highly redundant - i've got all of these isos burnt to dvd, and backed up in multiple other places. but, putting the data on these drives like this allows me to put them away. it's convenient - even if i need an xp machine to read them.
i've hit the first 100 gb of storage, tonight. these isos have all the source material - cubase projects, raw wav data, pod settings, etc.
it's something worth taking note of for my own records. on to drive #2...
i have each release available for individual purchase in download or physical cd - most of it is cheaper than you'd expect. i've decided to further compile "box sets" for each major release as they appear. currently, my major releases are:
inri / inriched (first box set)
inridiculous / deny everything (second box set)
jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj (third box set)
jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj^2 (fourth box set)
box sets compile the record along with the collection of singles attached to them - or two records, in the case of the first two box sets, which had less developed singles attached to them. they run between 6 to 8 hours. i've attached the price of $50 to them, which is again cheaper than you'd expect.
i further have "period discs" available, which attempt to combine the work of several records together and are determined by some event or idea in sound. my periods are:
1: 1996-1999 [inri]
2: 2000-2002 [deny everything ----> jjjjjjjjjjj]
3. 2002-2007 [trivial group...."sarah period"]
this is going to change as i go through it
period discs are much longer - 14-15 hours. roughly twice as long, really. period 2 is going to have to be a 2xdvd of flacs, although i may sell them individually. i only have period one up right now, but the price is set to $100.
this rabit compilation falls in between. it's more than a "box set" for inri038 (not considered a major release). but it's not a period disc. it's kind of a special disc, really. and it's over 12 hours.
i've consequently split the difference and put it up for $75.
https://jasonparent.bandcamp.com/merch/rabit-is-wolf-full-compilation-disc
i should also have my first mp3 dvd done soon, as well. i'm hoping i can get everything up to 2003 in. but i may have to cut it off a little early.
this will run for $200. hey, it's 30+ hours over ~45 releases. do the math. it's actually a deal.
if you want to pay me once, wait - i'll eventually have a blu-ray flac disc up for ~$500, and i'm thinking it should be the entire discography. have to see.....not clear yet if i'm going to go over 75 hours.....
if i do, i'll eventually have a 320 mp3 bluray disc for something like $800-$1000. depends how full it gets.
i've got these two obsolete 100 gb external drives that i picked up when i bought this machine in 2006. i wanted one of them to be for mp3s, and i can't remember what i wanted the other to be for. i've since picked up a tb drive for mp3s, which is more than i'll ever need for music storage.
worse, these drives can only be read on xp. conspiracy theories abound, but the bottom line is that there's no way around it. windows 7 simply won't acknowledge they're there.
so, i've converted them into extra data backup [my music pc is still using xp]. now, this is highly redundant - i've got all of these isos burnt to dvd, and backed up in multiple other places. but, putting the data on these drives like this allows me to put them away. it's convenient - even if i need an xp machine to read them.
i've hit the first 100 gb of storage, tonight. these isos have all the source material - cubase projects, raw wav data, pod settings, etc.
it's something worth taking note of for my own records. on to drive #2...
i've also determined what i'm doing with the rabit set.
i have each release available for individual purchase in download or physical cd - most of it is cheaper than you'd expect. i've decided to further compile "box sets" for each major release as they appear. currently, my major releases are:
inri / inriched (first box set)
inridiculous / deny everything (second box set)
jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj (third box set)
jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj^2 (fourth box set)
box sets compile the record along with the collection of singles attached to them - or two records, in the case of the first two box sets, which had less developed singles attached to them. they run between 6 to 8 hours. i've attached the price of $50 to them, which is again cheaper than you'd expect.
i further have "period discs" available, which attempt to combine the work of several records together and are determined by some event or idea in sound. my periods are:
1: 1996-1999 [inri]
2: 2000-2002 [deny everything ----> jjjjjjjjjjj]
3. 2002-2007 [trivial group...."sarah period"]
this is going to change as i go through it
period discs are much longer - 14-15 hours. roughly twice as long, really. period 2 is going to have to be a 2xdvd of flacs, although i may sell them individually. i only have period one up right now, but the price is set to $100.
this rabit compilation falls in between. it's more than a "box set" for inri038 (not considered a major release). but it's not a period disc. it's kind of a special disc, really. and it's over 12 hours.
i've consequently split the difference and put it up for $75.
https://jasonparent.bandcamp.com/merch/rabit-is-wolf-full-compilation-disc
i should also have my first mp3 dvd done soon, as well. i'm hoping i can get everything up to 2003 in. but i may have to cut it off a little early.
this will run for $200. hey, it's 30+ hours over ~45 releases. do the math. it's actually a deal.
if you want to pay me once, wait - i'll eventually have a blu-ray flac disc up for ~$500, and i'm thinking it should be the entire discography. have to see.....not clear yet if i'm going to go over 75 hours.....
if i do, i'll eventually have a 320 mp3 bluray disc for something like $800-$1000. depends how full it gets.
Tuesday, April 28, 2015
yeah, i'm staying in tonight. i just don't feel like it's worth it. i'm at best a passive fan; it's more an experiential thing. like, i'd pay $10 to see them around the corner, just to say i've seen 'em, but the situation is a bit more annoying than that.
i could very well get most of inri043 done tonight.
i could very well get most of inri043 done tonight.
Monday, April 27, 2015
i've also got inri043 public, now. it won't be more than a week.
https://jasonparent.bandcamp.com/album/la-la-la-la
https://jasonparent.bandcamp.com/album/la-la-la-la
publishing untitled (inri061)
inri042 completed.
--
this is the second of two double ep singles to come out of tracks that were begun in 2002 and not completed to my liking. the mixes in this single chart this song's rather elaborate development over twelve and a half years, with the first disc consisting of new mixes and the second consisting of old mixes.
it became clear through the course of july that rabit is wolf wasn't really going anywhere and i was better off cutting my losses. we jammed a few times, but it wasn't really serious.
this track was initially written as a folk punk song, but i jumped to the scorewriter with it almost immediately. the expanded guitar demo was written in a scorewriter and then performed, rather than vice versa. it was initially less about explicitly creating a techno song and more about ordering the parts in a way that could be deconstructed more effectively. i wanted a more flexible approach to production that would allow me to take tracks in and out based on sean's input.
i may have gone over this in this space before, but my mixing process up to that point was considerably unconventional. i would record tracks in one by one using a wave editor and then paste them on top of each other. i worked this way because i just didn't have more advanced tools. while there are benefits to this approach (it's additive synthesis, which blurs the mix for soundscaping), it meant that each additional track was destructive. i could not remove tracks once they were added. this meant sean was unable to provide much input into demos i sent to him.
i also picked up a copy of cakewalk to help with this, but i quickly learned that my system couldn't really handle it. at around eight tracks, it just became unresponsive. with less than eight tracks, it didn't matter if the mix was destructive because it was easily reconstructed. so, i went back to the wave editor approach until 2007, when i upgraded to a modern pc.
the taiko drum part was initially just to keep time; it wasn't supposed to be a part of the song. but, as i built it up i began to realize how interesting it sounded as a techno tune and sort of ran with it. once i'd notated it, i had to convert the drums into a soundscape because the midi render just wasn't good enough. this was done using a mix of software drum machines, midi snippets and isolated jimmy chamberlain samples. i then performed the score i had notated, with the exception of a few synths which were sequenced back. unfortunately, the midi file for the synth build up at the beginning of the track has been lost.
the mix never came out well, partly due to ram issues with cakewalk and partly because i got a little pretentious with some of the parts. i was also extremely distracted over this period. despite this all being done to make sean's input more easily integrated into the material, he had no interest in the direction i took it and basically put his nose up at it again. i attempted a few different things over late 2002 and early 2003 to try and salvage it for my own purposes, but in the end i shelved it as unworkable.
when i first set up the bandcamp site around 2010, i realized i had a collection of tracks that fit a sort of techno-guitar description and compiled them together under the name "tetris" (jasonparent.bandcamp.com/album/tetris). i uploaded an incomplete mix for that project, but it was never really done and i never really felt good about it.
it wasn't until late 2014 that i came back to the track, to authoritatively finish my discography. first, a mix was reconstructed from source to include all of the existing sound files. next, three separate sequencer mixes were sculpted out of the score - a jazz fusion mix, an overture mix and an ambient mix. pieces of these sequencer mixes were then isolated and mixed into the reconstructed original mix. finally, a series of extra lead guitar parts were recorded and mixed separately into a final mix and the orchestral mix, creating the end result and an accompanying guitar concerto. the recording process for this was very lengthy, which was ironically partly due to consistent distractions.
i've included the midi file of the original composition, if you'd like to mess with it on your own.
written over the summer of 2002 and initially recorded in the early fall of 2002. additional recording, production and mixing occurred from dec, 2014 to apr, 2015. final completion occurred on april 27, 2015. as always, please use headphones.
credits
j - guitars, effects, bass, synthesizers, drum sampling, drum programming, sequencing, sound design, soundscaping, digital wave editing
the various rendered electronic orchestras include electric bass, synth bass, distorted electric guitar, clean electric guitar, acoustic guitar, violin, viola, cello, contrabass, harp, koto, french horn, trombone, trumpet, tuba, english horn, flute, oboe, piccolo, clarinet, bassoon, synthesizers, piano, glockenspiel, music box, tubular bells, bells, agogo, melodic toms, timpani, taiko drum, orchestral drum set and choir.
released september 15, 2002
https://jasonparent.bandcamp.com/album/untitled
--
this is the second of two double ep singles to come out of tracks that were begun in 2002 and not completed to my liking. the mixes in this single chart this song's rather elaborate development over twelve and a half years, with the first disc consisting of new mixes and the second consisting of old mixes.
it became clear through the course of july that rabit is wolf wasn't really going anywhere and i was better off cutting my losses. we jammed a few times, but it wasn't really serious.
this track was initially written as a folk punk song, but i jumped to the scorewriter with it almost immediately. the expanded guitar demo was written in a scorewriter and then performed, rather than vice versa. it was initially less about explicitly creating a techno song and more about ordering the parts in a way that could be deconstructed more effectively. i wanted a more flexible approach to production that would allow me to take tracks in and out based on sean's input.
i may have gone over this in this space before, but my mixing process up to that point was considerably unconventional. i would record tracks in one by one using a wave editor and then paste them on top of each other. i worked this way because i just didn't have more advanced tools. while there are benefits to this approach (it's additive synthesis, which blurs the mix for soundscaping), it meant that each additional track was destructive. i could not remove tracks once they were added. this meant sean was unable to provide much input into demos i sent to him.
i also picked up a copy of cakewalk to help with this, but i quickly learned that my system couldn't really handle it. at around eight tracks, it just became unresponsive. with less than eight tracks, it didn't matter if the mix was destructive because it was easily reconstructed. so, i went back to the wave editor approach until 2007, when i upgraded to a modern pc.
the taiko drum part was initially just to keep time; it wasn't supposed to be a part of the song. but, as i built it up i began to realize how interesting it sounded as a techno tune and sort of ran with it. once i'd notated it, i had to convert the drums into a soundscape because the midi render just wasn't good enough. this was done using a mix of software drum machines, midi snippets and isolated jimmy chamberlain samples. i then performed the score i had notated, with the exception of a few synths which were sequenced back. unfortunately, the midi file for the synth build up at the beginning of the track has been lost.
the mix never came out well, partly due to ram issues with cakewalk and partly because i got a little pretentious with some of the parts. i was also extremely distracted over this period. despite this all being done to make sean's input more easily integrated into the material, he had no interest in the direction i took it and basically put his nose up at it again. i attempted a few different things over late 2002 and early 2003 to try and salvage it for my own purposes, but in the end i shelved it as unworkable.
when i first set up the bandcamp site around 2010, i realized i had a collection of tracks that fit a sort of techno-guitar description and compiled them together under the name "tetris" (jasonparent.bandcamp.com/album/tetris). i uploaded an incomplete mix for that project, but it was never really done and i never really felt good about it.
it wasn't until late 2014 that i came back to the track, to authoritatively finish my discography. first, a mix was reconstructed from source to include all of the existing sound files. next, three separate sequencer mixes were sculpted out of the score - a jazz fusion mix, an overture mix and an ambient mix. pieces of these sequencer mixes were then isolated and mixed into the reconstructed original mix. finally, a series of extra lead guitar parts were recorded and mixed separately into a final mix and the orchestral mix, creating the end result and an accompanying guitar concerto. the recording process for this was very lengthy, which was ironically partly due to consistent distractions.
i've included the midi file of the original composition, if you'd like to mess with it on your own.
written over the summer of 2002 and initially recorded in the early fall of 2002. additional recording, production and mixing occurred from dec, 2014 to apr, 2015. final completion occurred on april 27, 2015. as always, please use headphones.
credits
j - guitars, effects, bass, synthesizers, drum sampling, drum programming, sequencing, sound design, soundscaping, digital wave editing
the various rendered electronic orchestras include electric bass, synth bass, distorted electric guitar, clean electric guitar, acoustic guitar, violin, viola, cello, contrabass, harp, koto, french horn, trombone, trumpet, tuba, english horn, flute, oboe, piccolo, clarinet, bassoon, synthesizers, piano, glockenspiel, music box, tubular bells, bells, agogo, melodic toms, timpani, taiko drum, orchestral drum set and choir.
released september 15, 2002
https://jasonparent.bandcamp.com/album/untitled
untitled (guitar concerto)
this takes the orchestral mix and expands it into a guitar concerto.
track completed april 27, 2015.
https://jasonparent.bandcamp.com/track/untitled-guitar-concerto-mix
track completed april 27, 2015.
https://jasonparent.bandcamp.com/track/untitled-guitar-concerto-mix
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