this is (tentatively) mostly done. one more mix. but, i need to listen, too.
Sunday, November 27, 2016
publishing inri019
this is
the final section of the last proper inri demo, which was written as
somewhat of a suite, but only in a fleeting moment, and then forgotten.
it's a sort of sardonic take on the jesus story, in that it follows a
persecuted person through a suicide and a resurrection, with tongue in
cheek commentary.
initially, it was a song suite about being young and not listened to, culminating in a rather dramatic overreaction - that i ridiculed as counter-productive, partly by reference to kurt cobain, whose suicide is an event that hangs over the childhood of my generation. people that were adults at the time might want to think of it in the same way that they interpreted watching kennedy get his brains blown out on live tv. as i grew up (stated loosely - i was still 17/18, here), i realized this is a general condition of society that is not limited to young people. so, i generalized it to reflect the illusion of what we call "democracy", and gave it an exaggerated persecution complex. the cynicism was targeted at the clinton administration, but in a broader sense i'm sort of ridiculing the rather cartoonish perception of generation x as this kind of raelian mass of fatalist children....
my final vocal edit for viewless focused on a small part of the verse and cut the chorus out altogether. i then distributed that small part into the rest of the song by cutting into parts and pasting it in where i wanted. this drops the more general commentary, which seems like an anachronism, in favour of refocusing the listener on the direct storyline of individual persecution. for suicide, i left the vocal track largely in tact, except to remove the suicide note, which in hindsight also seems like a giant distraction from the satirical storyline. what's left is more direct.
i also want to note that there was a conscious decision to move to a more recited vocal style on the 1999 rerecording (and subsequent 2016 reconstruction), rather than the screamy style that dominates the initial 1996 demo. at the time, i considered screaming to be sort of contrived and passe. the recitation is actually a very considered reaction to something i interpreted as largely cartoonish. i was certainly still heavily influenced by the screamy stuff i grew up with, but it wasn't a characteristic of much of anything i was attracted to after about '97 or so and actually something that i really wanted to distance myself from.
i've pulled back from insisting on recited vocals in order to minimize that contrivedness, but the truth is that the vast majority of music released after about '97 that has screamed vocals very much *is* contrived. time has only cemented my rejection of falsely emotionalized vocals in punk-derived genres.
written and demoed from 1996-1999. initially constructed in this form in january, 1999. a failed rescue was attempted in 2013. compiled on nov 13, 2016. sequenced on nov 22-24, 2016 from parts that were rebuilt over 2013-2016. audio permanently closed on nov 24, 2016. release finalized on nov 27, 2016. this is my second symphony; as always, please use headphones.
section one ("epilag"): initially created in early 1999. remastered on nov 23, 2016.
section two ("viewless"): initially written in 1996. recreated over 1998 and finalized in dec, 1998. a failed rescue was attempted in 2013. reclaimed july 19, 2015. corrected to control for malfunctioning electronics on dec 29, 2015. sequenced nov 22, 2016. vocals added on nov 23, 2016. corrected to remove an errand click on nov 24, 2016.
section three ("anticipation"): background noise built in 1996. rebuilt in late 1998. edited in late 2013. remastered on nov 24, 2016.
section four ("suicide"): initially written in 1996. recreated over 1998 and finalized in dec, 1998. a failed rescue was attempted in 2013. reclaimed july 20, 2015. corrected to control for malfunctioning electronics on dec 27, 2015. sequenced nov 22, 2016. vocals added on nov 23, 2016.
section five ("resurrection"): initially written and recorded on january 4, 1999.
the album version of this track appears on my second record:
jasonparent.bandcamp.com/album/inriched
this release is compiled in the following places:
this release also includes a printable jewel case insert and will also eventually include a comprehensive package of journal entries from all phases of production (1996, 1998, 1999, 2013, 2014, 2015, 2016).
*download only
initially, it was a song suite about being young and not listened to, culminating in a rather dramatic overreaction - that i ridiculed as counter-productive, partly by reference to kurt cobain, whose suicide is an event that hangs over the childhood of my generation. people that were adults at the time might want to think of it in the same way that they interpreted watching kennedy get his brains blown out on live tv. as i grew up (stated loosely - i was still 17/18, here), i realized this is a general condition of society that is not limited to young people. so, i generalized it to reflect the illusion of what we call "democracy", and gave it an exaggerated persecution complex. the cynicism was targeted at the clinton administration, but in a broader sense i'm sort of ridiculing the rather cartoonish perception of generation x as this kind of raelian mass of fatalist children....
my final vocal edit for viewless focused on a small part of the verse and cut the chorus out altogether. i then distributed that small part into the rest of the song by cutting into parts and pasting it in where i wanted. this drops the more general commentary, which seems like an anachronism, in favour of refocusing the listener on the direct storyline of individual persecution. for suicide, i left the vocal track largely in tact, except to remove the suicide note, which in hindsight also seems like a giant distraction from the satirical storyline. what's left is more direct.
i also want to note that there was a conscious decision to move to a more recited vocal style on the 1999 rerecording (and subsequent 2016 reconstruction), rather than the screamy style that dominates the initial 1996 demo. at the time, i considered screaming to be sort of contrived and passe. the recitation is actually a very considered reaction to something i interpreted as largely cartoonish. i was certainly still heavily influenced by the screamy stuff i grew up with, but it wasn't a characteristic of much of anything i was attracted to after about '97 or so and actually something that i really wanted to distance myself from.
i've pulled back from insisting on recited vocals in order to minimize that contrivedness, but the truth is that the vast majority of music released after about '97 that has screamed vocals very much *is* contrived. time has only cemented my rejection of falsely emotionalized vocals in punk-derived genres.
written and demoed from 1996-1999. initially constructed in this form in january, 1999. a failed rescue was attempted in 2013. compiled on nov 13, 2016. sequenced on nov 22-24, 2016 from parts that were rebuilt over 2013-2016. audio permanently closed on nov 24, 2016. release finalized on nov 27, 2016. this is my second symphony; as always, please use headphones.
section one ("epilag"): initially created in early 1999. remastered on nov 23, 2016.
section two ("viewless"): initially written in 1996. recreated over 1998 and finalized in dec, 1998. a failed rescue was attempted in 2013. reclaimed july 19, 2015. corrected to control for malfunctioning electronics on dec 29, 2015. sequenced nov 22, 2016. vocals added on nov 23, 2016. corrected to remove an errand click on nov 24, 2016.
section three ("anticipation"): background noise built in 1996. rebuilt in late 1998. edited in late 2013. remastered on nov 24, 2016.
section four ("suicide"): initially written in 1996. recreated over 1998 and finalized in dec, 1998. a failed rescue was attempted in 2013. reclaimed july 20, 2015. corrected to control for malfunctioning electronics on dec 27, 2015. sequenced nov 22, 2016. vocals added on nov 23, 2016.
section five ("resurrection"): initially written and recorded on january 4, 1999.
the album version of this track appears on my second record:
jasonparent.bandcamp.com/album/inriched
this release is compiled in the following places:
this release also includes a printable jewel case insert and will also eventually include a comprehensive package of journal entries from all phases of production (1996, 1998, 1999, 2013, 2014, 2015, 2016).
*download only
credits
released January 13, 1999
j - guitars, effects, bass, synthesizers, electric piano, vocals, drum kit, drum programming, sequencing, cool edit synthesis, sampling, light-wave synthesis, noise generators, sound design, loops, tapes, digital wave editing, production
j - guitars, effects, bass, synthesizers, electric piano, vocals, drum kit, drum programming, sequencing, cool edit synthesis, sampling, light-wave synthesis, noise generators, sound design, loops, tapes, digital wave editing, production
i'm mildly detouring.
this idea of a purely vocal compilation was going to come up one way or another. i was toying with putting it at the end of period 1, or even midway into period 2...
...but it needs to be at the end of period 1.2 and i'm dropping it in right now. it's not going to be completely done for a few days, as i need to complete the new vocals for boogeyman and remaster too cold.
this idea of a purely vocal compilation was going to come up one way or another. i was toying with putting it at the end of period 1, or even midway into period 2...
...but it needs to be at the end of period 1.2 and i'm dropping it in right now. it's not going to be completely done for a few days, as i need to complete the new vocals for boogeyman and remaster too cold.
Saturday, November 26, 2016
i crashed on the first listen through, but i got some listening done when i woke up. i then lost pretty much the entire day to pulling shit out of my face and then running around in the afternoon. it was a long day, all in all - and i crashed long and hard. i've been trying to get going since about 6 am. i've done lots of ranting, at least...
i want to finish the write-up for inri019 before i eat and then at least finish inri020 by the end of the night. that would make it likely that i'll start editing on sunday night, with a potential upload date of tuesday or wednesday.
on some reflection, i've decided that if the aim is really to dissuade stalkers then the two week target is more appropriate because i tend to talk about what i'm doing a week or two in advance. i'm actually even considering moving it up to a month. if i make that decision, it will be in the new year.
for now, i'd say to expect the vlog for the 15th to come up at 00:30 on the 30th - and for me to hold to at least that kind of separation, moving forwards.
i want to finish the write-up for inri019 before i eat and then at least finish inri020 by the end of the night. that would make it likely that i'll start editing on sunday night, with a potential upload date of tuesday or wednesday.
on some reflection, i've decided that if the aim is really to dissuade stalkers then the two week target is more appropriate because i tend to talk about what i'm doing a week or two in advance. i'm actually even considering moving it up to a month. if i make that decision, it will be in the new year.
for now, i'd say to expect the vlog for the 15th to come up at 00:30 on the 30th - and for me to hold to at least that kind of separation, moving forwards.
Thursday, November 24, 2016
i'm going to spend a little time listening to inri019 this afternoon,
and hopefully get the cover art mostly done. it's probably going to be
the extent of labour completed for the day.
i've got running around to do for tomorrow. but, inri20 and the remaining three tracks for inri021 are what is up, next.
i've got running around to do for tomorrow. but, inri20 and the remaining three tracks for inri021 are what is up, next.
it turns out that i had a click in the track "viewless", and that it had been there from the start. when i finish this, i'm going to do a proper completion of the listening phase i aborted, previously. if i find further clicks, i will address them. but, i've been nulling regularly, so i think it's unlikely...
that means, i've had to update everything with the track in it.
1) inriclaimed:
2) the entire end sequence of inriched:
3) all relevant tracks on inri019, which is also now permanently closed. note the addition of the frustrated mix, too.
that means, i've had to update everything with the track in it.
1) inriclaimed:
2) the entire end sequence of inriched:
3) all relevant tracks on inri019, which is also now permanently closed. note the addition of the frustrated mix, too.
Wednesday, November 23, 2016
i thought i had inri019 done, but i realized at the last minute that i have a noisy plugin. so, i'll need to isolate it and re-render.
i should also double check that everything i've uploaded over the last few days is outputting cleanly, as a sanity check.
inri019 is done. and, i can probably upload the last five tracks for inri021, too. just give me some time to double check that there aren't clicks or pops.
i should also double check that everything i've uploaded over the last few days is outputting cleanly, as a sanity check.
inri019 is done. and, i can probably upload the last five tracks for inri021, too. just give me some time to double check that there aren't clicks or pops.
Tuesday, November 22, 2016
i spent all night fighting with the interference, and specifically ruling out various ways out of the problem. for example, i learned when the power went out that i have two circuits in the unit. is the wiring better, or the load lighter, on the other circuit? nothing worked.
i eventually got a few hours of clear listening in, but all the experience did was uphold my previous hypothesis: the interference is caused by a magnetic field that is generated by electrical usage in the neighbourhood. so, i need to mix when the neighbourhood goes quiet, until i can find some way to block the magnets.
today, that was from about 6:00-9:00 am. that was it. three hours...
i had to take a break to renew my prescription online. i'll be back offline again in a few minutes, and probably until it's done, this time.
as mentioned, there will be no vlogs edited or uploaded until this is completed.
i got a few more tracks up, now. all in all, that's 1-8 + 12. i don't think i'm going to need to listen much in order to complete the mixes for 13-17, which seems to be what i'm doing next (unless the interference subsides, unexpectedly. but i think i'm going to need to wait until at least after midnight.).
i eventually got a few hours of clear listening in, but all the experience did was uphold my previous hypothesis: the interference is caused by a magnetic field that is generated by electrical usage in the neighbourhood. so, i need to mix when the neighbourhood goes quiet, until i can find some way to block the magnets.
today, that was from about 6:00-9:00 am. that was it. three hours...
i had to take a break to renew my prescription online. i'll be back offline again in a few minutes, and probably until it's done, this time.
as mentioned, there will be no vlogs edited or uploaded until this is completed.
i got a few more tracks up, now. all in all, that's 1-8 + 12. i don't think i'm going to need to listen much in order to complete the mixes for 13-17, which seems to be what i'm doing next (unless the interference subsides, unexpectedly. but i think i'm going to need to wait until at least after midnight.).
Monday, November 21, 2016
i'm back online because my tongue is tingling and i wanted to look it up. the technical explanation seems to be reduced blood flow to my lingual nerve. but it seems to have a large number of possible causes.
what it actually feels like is as though i have giant hair in my mouth. like, a foot long or something. i know there's nothing in there. there's also a mild taste of blood in my mouth.
i first noticed it when i just woke up at about 4 pm on the 20th but it was brief and minor. it's come back after eating.
the precise sensation ceases when i move it around and bathe it within saliva - it comes back when it dries. if it's tingling due to low blood flow, that makes sense.
i'm going to sit still until it passes. presuming it passes.
i spent the night constructing remixes for boogeyman, which is going to have a larger single than initially planned. and that's ok. we'll have to see what happens with my tongue before i determine what's going on with the rest of the day.
one of the things this is associated with is ms. again. everything is a symptom of ms. down the list. but, it could be anything. nerve damage. a blood clot. who knows...
i don't have any other symptoms, except some anxiety. no chest pains. the same mild background headache i've had all week.
i dunno. i know i don't want to have a seizure when i'm doing the dishes. so, i'm staying in bed until it passes.
what it actually feels like is as though i have giant hair in my mouth. like, a foot long or something. i know there's nothing in there. there's also a mild taste of blood in my mouth.
i first noticed it when i just woke up at about 4 pm on the 20th but it was brief and minor. it's come back after eating.
the precise sensation ceases when i move it around and bathe it within saliva - it comes back when it dries. if it's tingling due to low blood flow, that makes sense.
i'm going to sit still until it passes. presuming it passes.
i spent the night constructing remixes for boogeyman, which is going to have a larger single than initially planned. and that's ok. we'll have to see what happens with my tongue before i determine what's going on with the rest of the day.
one of the things this is associated with is ms. again. everything is a symptom of ms. down the list. but, it could be anything. nerve damage. a blood clot. who knows...
i don't have any other symptoms, except some anxiety. no chest pains. the same mild background headache i've had all week.
i dunno. i know i don't want to have a seizure when i'm doing the dishes. so, i'm staying in bed until it passes.
Sunday, November 20, 2016
the interference. fuck the interference...
the only thing i've been able to link it to is high usage periods in the neighbourhood. sunday morning? well, there's a church across the street...
i'm stuck for a few hours, at least. i'm mastering pre-recorded audio and need a stable signal. the fear is that i may end up cranking the treble because the interference is taking the highs out, thereby creating a tinny output.
i can get two or three minutes at a time by draining the cord. but, i need more than that to get any actual work done. and, it's coming back hard and with consistency. i'm stuck.
i have at least finalized the first four tracks. it's a start. i wish it was more. but, i'll have to wait until the power usage around me decreases before i can get back at it.
the only thing i've been able to link it to is high usage periods in the neighbourhood. sunday morning? well, there's a church across the street...
i'm stuck for a few hours, at least. i'm mastering pre-recorded audio and need a stable signal. the fear is that i may end up cranking the treble because the interference is taking the highs out, thereby creating a tinny output.
i can get two or three minutes at a time by draining the cord. but, i need more than that to get any actual work done. and, it's coming back hard and with consistency. i'm stuck.
i have at least finalized the first four tracks. it's a start. i wish it was more. but, i'll have to wait until the power usage around me decreases before i can get back at it.
Saturday, November 19, 2016
i've got the album back on inri018 up, now. totally done.
i'm behind schedule, as always. i've been unexpectedly hungry the last few days. i dunno. but i need to eat again.
the next task is to sequence inri021 (the record) and i'll be heading offline to do it. if all goes well, i should have several completions through the next update - including a new lp and a new symphony.
i'm behind schedule, as always. i've been unexpectedly hungry the last few days. i dunno. but i need to eat again.
the next task is to sequence inri021 (the record) and i'll be heading offline to do it. if all goes well, i should have several completions through the next update - including a new lp and a new symphony.
publishing inri018
this track
represents my first serious attempt to break out of the synth-pop sound
i'd been developing over the first half of 1998 and into the more epic
electro-noise-rock that defines the next period. while i'd been
careening in this direction the whole time, and the track is ultimately a
failed experiment, this is really the portal i go through that
ultimately opens the way for what follows.
conceptually, the track was initially meant to mock the news cycle; the circus riff was tongue-in-cheek. you can imagine wolf blitzer and judy woodruff getting out of their clown cars and reading their teleprompter, type of thing. while i've eliminated the vocals from the official release, and there were never any produced for the re-recording, the bonus tracks are both early vocal mixes. it's admittedly hard to ignore the conceptual history of the track in explaining why i have a punk song built around the circus theme, but by the time i got to re-recording the track in late 1998 i'd truly moved past the concept.
yet, i wanted to retain the musical ideas in the track and even take it to a different level. the way the track is sequenced here retains a memory of how i wanted the track to unfold into a lengthy, multi-part epic separated by long sections of guitar-effects generated and digitally shaped ambience. this is not just an idea that would resurface in my next piece, my second symphony, but also something that would follow me for my entire musical career. these collages are crude, but this is where the idea first developed.
conceptual issues aside, i also had a lot of difficulty getting the guitar tone i wanted for the track - a problem i really hadn't previously had on this kind of scale. in hindsight, i think i'd just become a little more aware of the tonal options in front of me. up to this point, when i ran into the problem of the evasive tone, putting it down for a few days and approaching it fresh solved it, but that wasn't working. this track was dragging on for months. i was lost in production...
then, out of the blue, there was a power outage that knocked my computer out as i was running a part of the track through an ambient transform. the track - and all the digital additions i had added to it - were largely destroyed. what was left was this completely corrupted wave file of disjointed guitar fragments. i've never been a religious person (obviously), and i don't want to say i took at as a sign or something. yet, i let chance assert itself; the corrupted wave file became the final version of the track, and i moved on to the next thing.
the actual, proper track was then forgotten about for years. i'm only finally dusting it off now, in 2016, and releasing it here as a single, along with a collection of experimental collages that approximate what the track was meant to sound like. this ep should really be thought of as consisting of two versions of the song, separated by the two minutes of silence after the fifth track. the track was abandoned for good reason; the motif is silly. so, my frustrations with the composition shall have to be recorded in the annals of time.
initially written in 1997. recreated and reconceptualized in late 1998. salvaged somewhat at the end of 1999. remastered in 2013. compiled on nov 13, 2016. finalized on nov 19, 2016. as always, please use headphones.
the album version of this track appears on my second record:
jasonparent.bandcamp.com/album/inriched
this release is compiled in the following places:
jasonparent.bandcamp.com/merch/inri-box-set
this release also includes a printable jewel case insert and will also eventually include a comprehensive package of journal entries from all phases of production (1997, 1998, 2013, 2016).
*download only
conceptually, the track was initially meant to mock the news cycle; the circus riff was tongue-in-cheek. you can imagine wolf blitzer and judy woodruff getting out of their clown cars and reading their teleprompter, type of thing. while i've eliminated the vocals from the official release, and there were never any produced for the re-recording, the bonus tracks are both early vocal mixes. it's admittedly hard to ignore the conceptual history of the track in explaining why i have a punk song built around the circus theme, but by the time i got to re-recording the track in late 1998 i'd truly moved past the concept.
yet, i wanted to retain the musical ideas in the track and even take it to a different level. the way the track is sequenced here retains a memory of how i wanted the track to unfold into a lengthy, multi-part epic separated by long sections of guitar-effects generated and digitally shaped ambience. this is not just an idea that would resurface in my next piece, my second symphony, but also something that would follow me for my entire musical career. these collages are crude, but this is where the idea first developed.
conceptual issues aside, i also had a lot of difficulty getting the guitar tone i wanted for the track - a problem i really hadn't previously had on this kind of scale. in hindsight, i think i'd just become a little more aware of the tonal options in front of me. up to this point, when i ran into the problem of the evasive tone, putting it down for a few days and approaching it fresh solved it, but that wasn't working. this track was dragging on for months. i was lost in production...
then, out of the blue, there was a power outage that knocked my computer out as i was running a part of the track through an ambient transform. the track - and all the digital additions i had added to it - were largely destroyed. what was left was this completely corrupted wave file of disjointed guitar fragments. i've never been a religious person (obviously), and i don't want to say i took at as a sign or something. yet, i let chance assert itself; the corrupted wave file became the final version of the track, and i moved on to the next thing.
the actual, proper track was then forgotten about for years. i'm only finally dusting it off now, in 2016, and releasing it here as a single, along with a collection of experimental collages that approximate what the track was meant to sound like. this ep should really be thought of as consisting of two versions of the song, separated by the two minutes of silence after the fifth track. the track was abandoned for good reason; the motif is silly. so, my frustrations with the composition shall have to be recorded in the annals of time.
initially written in 1997. recreated and reconceptualized in late 1998. salvaged somewhat at the end of 1999. remastered in 2013. compiled on nov 13, 2016. finalized on nov 19, 2016. as always, please use headphones.
the album version of this track appears on my second record:
jasonparent.bandcamp.com/album/inriched
this release is compiled in the following places:
jasonparent.bandcamp.com/merch/inri-box-set
this release also includes a printable jewel case insert and will also eventually include a comprehensive package of journal entries from all phases of production (1997, 1998, 2013, 2016).
*download only
credits
released December 1, 1998
j - guitars, effects, bass, drum kit, synthesizers, sequencers, drum programming, noise generators, sound design, sampling, found sounds, tapes, digital wave editing, cool edit synthesis, loops, vocals, chance, production
j - guitars, effects, bass, drum kit, synthesizers, sequencers, drum programming, noise generators, sound design, sampling, found sounds, tapes, digital wave editing, cool edit synthesis, loops, vocals, chance, production
if i knew it was going to take me a year and a half to get through this detour of remixing material from 1998, i'm not sure i would have taken it. i think the results speak for themselves: this was worthwhile. but, it was terribly time consuming, too.
a lot of the delay was the consequence of malfunctioning gear and environmental noise. i probably would have been dealing with the same problems, regardless.
but i'm almost there. finally. a few more days.
a lot of the delay was the consequence of malfunctioning gear and environmental noise. i probably would have been dealing with the same problems, regardless.
but i'm almost there. finally. a few more days.
this morning's been kinda weird, actually.
i have finished the cover art for inri017. it is 100% completely done.
i've closed the audio for inri018. but, in the process of writing up the liner notes, i ended up publishing all of the remaining inri material - except the final sequence on the second lp, which i need to sequence the vocals out of.
that means.
1) inri019. symphony #2.
https://jasonparent.bandcamp.com/album/teenage-jesus
2) inri020. boogeyman ep single.
https://jasonparent.bandcamp.com/album/boogeyman
3) inri021. lp #2.
https://jasonparent.bandcamp.com/album/inriched
4) inri022. outtakes from 1998.
https://jasonparent.bandcamp.com/album/inrijected
5) inri023. glitch remixes from 1998.
https://jasonparent.bandcamp.com/album/inrimixed
6) inri024. reclaimed mixes from 1998, directly from tape (2015).
https://jasonparent.bandcamp.com/album/inriclaimed
period 1.3 starts here
7) inri025. too cold single.
https://jasonparent.bandcamp.com/album/too-cold
8) medinricated glu remix stub.
https://jasonparent.bandcamp.com/track/02-medicated-to-the-one-i-love
9) inri026. grade 12 marketing project donation request.
https://jasonparent.bandcamp.com/album/gene-os-a-soundtrack-for-an-italian-breakfast-cereal
10) inri027. grade 12 electronic music assignment.
https://jasonparent.bandcamp.com/album/pop-music-a-tribute-to-carbon-dioxide
11) inverted tricil remix stub.
https://jasonparent.bandcamp.com/track/03-inverted
12) inri028. grade 12 electronic music project.
https://jasonparent.bandcamp.com/album/warning
13) inri029. war ep.
https://jasonparent.bandcamp.com/album/war
14) inri030. liquify ep.
https://jasonparent.bandcamp.com/album/liquify
15) inri031. remix compilation.
https://jasonparent.bandcamp.com/album/inrimake
16) inri032. lp #3.
https://jasonparent.bandcamp.com/album/inridiculous
17) inri033. book it! single.
https://jasonparent.bandcamp.com/album/book-it
18) inri034. ambient works vol 0 compilation.
https://jasonparent.bandcamp.com/album/ambient-works-vol-0
now, i need to finish mastering the first couple and write liner notes for the rest....
i'm going to stop for a bagel, though.
i have finished the cover art for inri017. it is 100% completely done.
i've closed the audio for inri018. but, in the process of writing up the liner notes, i ended up publishing all of the remaining inri material - except the final sequence on the second lp, which i need to sequence the vocals out of.
that means.
1) inri019. symphony #2.
https://jasonparent.bandcamp.com/album/teenage-jesus
2) inri020. boogeyman ep single.
https://jasonparent.bandcamp.com/album/boogeyman
3) inri021. lp #2.
https://jasonparent.bandcamp.com/album/inriched
4) inri022. outtakes from 1998.
https://jasonparent.bandcamp.com/album/inrijected
5) inri023. glitch remixes from 1998.
https://jasonparent.bandcamp.com/album/inrimixed
6) inri024. reclaimed mixes from 1998, directly from tape (2015).
https://jasonparent.bandcamp.com/album/inriclaimed
period 1.3 starts here
7) inri025. too cold single.
https://jasonparent.bandcamp.com/album/too-cold
8) medinricated glu remix stub.
https://jasonparent.bandcamp.com/track/02-medicated-to-the-one-i-love
9) inri026. grade 12 marketing project donation request.
https://jasonparent.bandcamp.com/album/gene-os-a-soundtrack-for-an-italian-breakfast-cereal
10) inri027. grade 12 electronic music assignment.
https://jasonparent.bandcamp.com/album/pop-music-a-tribute-to-carbon-dioxide
11) inverted tricil remix stub.
https://jasonparent.bandcamp.com/track/03-inverted
12) inri028. grade 12 electronic music project.
https://jasonparent.bandcamp.com/album/warning
13) inri029. war ep.
https://jasonparent.bandcamp.com/album/war
14) inri030. liquify ep.
https://jasonparent.bandcamp.com/album/liquify
15) inri031. remix compilation.
https://jasonparent.bandcamp.com/album/inrimake
16) inri032. lp #3.
https://jasonparent.bandcamp.com/album/inridiculous
17) inri033. book it! single.
https://jasonparent.bandcamp.com/album/book-it
18) inri034. ambient works vol 0 compilation.
https://jasonparent.bandcamp.com/album/ambient-works-vol-0
now, i need to finish mastering the first couple and write liner notes for the rest....
i'm going to stop for a bagel, though.
Friday, November 18, 2016
publishing inri017
these
three tracks were not initially connected in any way, other than being
the lead sequence on my second record. they are not even connected in
time: the first section was written in late 1997 around the ry30, the
second section was written in early 1997 around an octaver and the last
section was written in mid 1998 as a sound design experiment. however,
they've been connected together since they were sequenced together in
early 1999.
it was in early 2014 that i first got the idea of splitting the opening sequence into it's own release, in order to upload the tracks together to youtube. i eventually ruled against it as it didn't have a deep enough conceptual unity to justify.
the idea has come back with the revisitation of my first period and the construction of a series of experimental singles. for reasons of chronology, it was somewhat necessary for me to release a single for idiotic in the summer of 1998. but what made the single worthwhile to me in this form was the ability to reversion the concept using the different glitch mixes of the first and third tracks. the result is a challenging and epic listen, and i hope you enjoy it.
--
section 2...
i was violently anti-tobacco in my teens. to an extent, i still am. but, i was also largely just repeating things that had been said to me, without the critical filter that comes with defining a sense of individuality. i think we probably all remember a time when we repeated things told to us by teachers, parents and the media without fully thinking them through. we don't, however, all have demos of songs that we wrote before we'd come to understand who we really are, as individuals.
looking back at the initial recording, i mostly just wish that i had articulated myself a little bit better. i never dropped my opposition to tobacco, not even when i was a smoker. i'm not sure that i ever really even admitted to myself that i was a smoker. so, i don't want to distance myself particularly far from the basic crux of my opinion that smoking tobacco is really pretty stupid - i never really altered that opinion. what i do want to distance myself from is some of the precise language and arguments that i used, as they are not reflective of my own thoughts.
for example, i wouldn't present the health care argument. first, i'm a strong advocate of universal health care. second, the accounting underlying the idea is not well defined, and difficult to construct. third, i reject the entire concept of currency. nor do i think we'd have to make resource-based decisions about health care if it weren't for the limits provided by currency. so, i'm retracting that statement - along with many others.
by the time i got to recording a second version of the track in mid 1998, i'd smoked a few other things and enjoyed them. a purely anti-tobacco song no longer seemed all that relevant to me; more relevant to me was a song comparing marijuana use to tobacco use. so, i hid the vocals through a very heavy vocoder effect and piled a lot of silly samples, many about marijuana, on top of the track. it stayed that way for almost fifteen years.
when i sat down to remaster in late 2013, removing samples was a dominant priority. thankfully, i actually had an archived instrumental version from back in 1998. this allowed me to replace the track with only minimal editing.
there were continuity reasons why i went with the sample version the first time around, but it was against my better judgement, even then. i should have followed my gut.
-
section 1...
i had earlier recorded a vocal version of this, but i had the good sense to realize it was awful and replaced the vocal parts with synth sections, creating an electronic/ambient piece with a liberal use of noise. it's admittedly a little elevator-music sounding, but i think that's sort of part of it's charm. it's very precious sounding.
this is one of my favourite early pieces. i used to just sit and play the simple guitar outro, with drum loop in my sennheiser 440-IIs, for hours at a time...
the decision to remove the vocals on this track was largely a reflection of my growing confidence in the quality of the music to stand up on it's own. over the '98-'99 period, i was largely aware of how cringeworthy my lyrics were and put them into three overlapping categories: (1) comedy/satire, in which case i let them stand as they were, (2) cries for help, in which case i upheld them as they were hoping somebody would listen, (3) songs that i had no lyrical idea for but that i felt needed lyrics, in which case i felt trapped by the genre conventions and upheld ideas that i truly didn't even like at the time simply so the songs would have vocals. over time, i eventually got to the point where i had enough confidence in the music that i no longer felt that the songs required lyrics, and i started to look at it as something to use sparingly based on whether i actually had an idea to express. while there are definitely songs in this period that i wish i had kept instrumental versions of, the final mixes only include a couple with lyrics that i actively regret. this is the first time i was able to mentally push back against myself and say "no. this song does not need lyrics.".
--
section 3...
this is what it sounds like when you open dlls with a wave editor. there was some strategic reshaping, but that's where the bulk of the sound comes from.
--
initially written over the course of 1997. recreated and expanded over the course of 1998. lead track first sequenced in this form in feb, 1999. further remixes generated over the course of 1999. a failed rescue was attempted in 2013, and another in late 2015. remastered in november, 2016 from various sources, 1997-2015. finalized on nov 17, 2016. as always, please use headphones.
the album version of this track appears on my second record:
jasonparent.bandcamp.com/album/inriched
this release is compiled in the following places:
jasonparent.bandcamp.com/merch/inri-box-set
this release also includes a printable jewel case insert and will also eventually include a comprehensive package of journal entries from all phases of production (1997, 1998, 1999, 2013, 2015, 2016).
*download only
it was in early 2014 that i first got the idea of splitting the opening sequence into it's own release, in order to upload the tracks together to youtube. i eventually ruled against it as it didn't have a deep enough conceptual unity to justify.
the idea has come back with the revisitation of my first period and the construction of a series of experimental singles. for reasons of chronology, it was somewhat necessary for me to release a single for idiotic in the summer of 1998. but what made the single worthwhile to me in this form was the ability to reversion the concept using the different glitch mixes of the first and third tracks. the result is a challenging and epic listen, and i hope you enjoy it.
--
section 2...
i was violently anti-tobacco in my teens. to an extent, i still am. but, i was also largely just repeating things that had been said to me, without the critical filter that comes with defining a sense of individuality. i think we probably all remember a time when we repeated things told to us by teachers, parents and the media without fully thinking them through. we don't, however, all have demos of songs that we wrote before we'd come to understand who we really are, as individuals.
looking back at the initial recording, i mostly just wish that i had articulated myself a little bit better. i never dropped my opposition to tobacco, not even when i was a smoker. i'm not sure that i ever really even admitted to myself that i was a smoker. so, i don't want to distance myself particularly far from the basic crux of my opinion that smoking tobacco is really pretty stupid - i never really altered that opinion. what i do want to distance myself from is some of the precise language and arguments that i used, as they are not reflective of my own thoughts.
for example, i wouldn't present the health care argument. first, i'm a strong advocate of universal health care. second, the accounting underlying the idea is not well defined, and difficult to construct. third, i reject the entire concept of currency. nor do i think we'd have to make resource-based decisions about health care if it weren't for the limits provided by currency. so, i'm retracting that statement - along with many others.
by the time i got to recording a second version of the track in mid 1998, i'd smoked a few other things and enjoyed them. a purely anti-tobacco song no longer seemed all that relevant to me; more relevant to me was a song comparing marijuana use to tobacco use. so, i hid the vocals through a very heavy vocoder effect and piled a lot of silly samples, many about marijuana, on top of the track. it stayed that way for almost fifteen years.
when i sat down to remaster in late 2013, removing samples was a dominant priority. thankfully, i actually had an archived instrumental version from back in 1998. this allowed me to replace the track with only minimal editing.
there were continuity reasons why i went with the sample version the first time around, but it was against my better judgement, even then. i should have followed my gut.
-
section 1...
i had earlier recorded a vocal version of this, but i had the good sense to realize it was awful and replaced the vocal parts with synth sections, creating an electronic/ambient piece with a liberal use of noise. it's admittedly a little elevator-music sounding, but i think that's sort of part of it's charm. it's very precious sounding.
this is one of my favourite early pieces. i used to just sit and play the simple guitar outro, with drum loop in my sennheiser 440-IIs, for hours at a time...
the decision to remove the vocals on this track was largely a reflection of my growing confidence in the quality of the music to stand up on it's own. over the '98-'99 period, i was largely aware of how cringeworthy my lyrics were and put them into three overlapping categories: (1) comedy/satire, in which case i let them stand as they were, (2) cries for help, in which case i upheld them as they were hoping somebody would listen, (3) songs that i had no lyrical idea for but that i felt needed lyrics, in which case i felt trapped by the genre conventions and upheld ideas that i truly didn't even like at the time simply so the songs would have vocals. over time, i eventually got to the point where i had enough confidence in the music that i no longer felt that the songs required lyrics, and i started to look at it as something to use sparingly based on whether i actually had an idea to express. while there are definitely songs in this period that i wish i had kept instrumental versions of, the final mixes only include a couple with lyrics that i actively regret. this is the first time i was able to mentally push back against myself and say "no. this song does not need lyrics.".
--
section 3...
this is what it sounds like when you open dlls with a wave editor. there was some strategic reshaping, but that's where the bulk of the sound comes from.
--
initially written over the course of 1997. recreated and expanded over the course of 1998. lead track first sequenced in this form in feb, 1999. further remixes generated over the course of 1999. a failed rescue was attempted in 2013, and another in late 2015. remastered in november, 2016 from various sources, 1997-2015. finalized on nov 17, 2016. as always, please use headphones.
the album version of this track appears on my second record:
jasonparent.bandcamp.com/album/inriched
this release is compiled in the following places:
jasonparent.bandcamp.com/merch/inri-box-set
this release also includes a printable jewel case insert and will also eventually include a comprehensive package of journal entries from all phases of production (1997, 1998, 1999, 2013, 2015, 2016).
*download only
credits
released August 5, 1998
j - guitars, effects, bass, drum kit, synthesizers, sequencers, vocoders, octavers, drum programming, noise generators, sound design, sampling, digital wave editing, loops, a broken tape deck, production
j - guitars, effects, bass, drum kit, synthesizers, sequencers, vocoders, octavers, drum programming, noise generators, sound design, sampling, digital wave editing, loops, a broken tape deck, production
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