purchasing this release comes with the immediate download of the release that you linked to it off of. be sure you make the right choice.

inri048: written in the summer of 2001. remembered over july, 2014. completed august-september, 2014. expanded and finalized on oct 16, 2017.

inri049: written and recorded in the fall of 2001. compiled on sept 6, 2014. expanded and finalized on oct 20-21, 2017.

inri053: written late 2001 and early 2002. this file is ripped from a cd-r that was burnt around 2002, as that was the option that would produce the most accurate reproduction of the original composition. republished without modification in 2014. on oct 23, 2017, the poem was added to the disc as an introduction to the track and the disc was subsequently closed and finalized as symph006 and lp012.

inri054: recorded in late 2001 and early 2002. track 6 was constructed in may, 2004 out of files recorded 1999-2001. tracks 1-4 were reconstructed over october, 2014. final mixes were finished on october 18, 2014. disc closed on oct 30, 2017.

inri055: written in early 2002 and recorded in early 2002 and late 2014. the final fuck boxes mixes were finished on nov 15, 2014. the gentle mix was created and then left stranded on may 24, 2015. the ambient mix and the guitar mix were rendered on nov 1, 2017. disc finalized on nov 1, 2017.

inri056: written & recorded in late 2001 and early 2002 and mixed in early 2002 and late 2014. the final mix was finished on nov 18, 2014. the uncorrupted mix was created on nov 18, 2014 and then cut up into the unstuck mix, but not added to the release until nov 2, 2017. the lorentz factor mix and the separated from mix were rendered on nov 2, 2017. disc finalized on nov 2, 2017.

inri057: written and recorded in late 2001 and early 2002. initially sequenced in may, 2002. released in slightly different forms from 2002-2014. resequenced to mimic the original sequencing on november 8, 2014. except to sequence the record, these files have not been altered since 2002. disc finalized as lp013 on nov 3, 2017.

inri058: written over 2001 and rethought repeatedly over 2002, again in 2007, a third time in 2009 and one last time in late 2014. final mixes were completed over the last week of november and the first week of december, 2014. the concept was rethought on nov 3, 2017, which led to the inclusion of five more mixes (from 2002, 2009, 2014, 2015 and 2017) and an expansion from two cds to four cds. disc finalized as symph007 on nov 12, 2017.

inri059: written and recorded in late 2001 and the first half of 2002. mildly remixed in november, 2014 to make the tracks more presentable; nothing substantial was altered, and no new sound was recorded. final mixes were on november 19, 2014. disc released on physical media and finalized as inri059 on nov 14, 2017.

inri061 :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. initial final completion occurred on april 27, 2015. however, eight more supplementary remixes were added to the release over nov 17-nov 19, 2017 to expand it into a three disc set. disc finalized on nov 19, 2017.

inri062: this track was written in late 2002 and completed over april and may, 2015. final completion date is may 11, 2015. disc finalized on nov 20, 2017.

inri063: 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. this is my sixth official record; disc finalized as lp014 on nov 21, 2017.

inri065: written and recorded in early 2003. transcribed, slightly rearranged, remixed repeatedly and re-rendered repeatedly over may, 2015. all renders finalized on may 16, 2015. the download-only orchestral mix was completed on may 23, 2015 and added to this release on nov 25, 2017. disc finalized on nov 25, 2017.

originally created from 2001-2003. this compilation is dated to april 21, 2003. slowly remastered, reconstituted, compiled, reconstructed, released and finalized from 2014-2017. compilation finalized on nov 25, 2017. as always, please use headphones. 

credits

released April 21, 2003

j - guitars (electric, acoustic, nylon), electric bass, electric mandolin, orchestral & other sequencing, synthesizers, drum & melodic programming, electric air reed organ, digital piano, flute, regular drum kit, electronic drum kit, sampling, digital and analog effects processing, digital wave editing, sound design, soundscaping, loops, granular synthesis, noise generators, equalization, vocals, vocoders, drum & vocal manipulations, bowls, claps, tables, e-bow, production
sean - vocals (inri048-inri049, inri053-inri059, inri061), harmonica (inri054, inri057), ring modulator (inri057-inri058), vocal concept (inri062) .

jon - guitar performance (inri048-inri049, inri057)
greg - drum performance sample source (inri056-inri058)
bob - hammering (inri058)

the various rendered electronic orchestras include acoustic bass, synth bass, electric bass, fingered bass guitar, brass, tuba, french horn, trombone, trumpet, english horn, brass section, saxophone, flute, clarinet, oboe, piccolo, bassoon, orchestra hit, drum machine, nylon guitar, electric guitar (distorted & clean, bowed & picked), acoustic guitar, guitar noises (fret noises, knocks, pick scrapes), synthesizer, synthesizer effects, synth pad, music box, harp, koto, piano, glockenspiel, vibraphone, hammered percussion, mallet, bells, tubular bells, agogo, wood blocks, marimba, celesta, xylophone, melodic toms, timpani, taiko drum, backwards cymbals, synth drums, electronic drum kit, jazz drum kit, orchestral drum set, mellotron, violin, viola, cello, contrabass and various full string sections. there is also choir. 

 

 https://jasonparent.bandcamp.com/album/rabit-is-wolf-box-set

some time in late 2002, sean sent me a message over msn or icq requesting that we begin a song based on looped birds chirping. i thought his idea was kind of cliched, but i took to working around his suggestions by converting them into something more musically expressive. i didn't want to write a song that literally climaxes around birds chirping, but i was willing to write something tonal that evoked the feeling of birds chirping.

at the time, i had my sister's electronic piano downstairs. she had a miniature grand upstairs. it was initially written on the keyboard with a very strange timing, which the scorewriter had difficulties capturing - partly because i was inconsistent in performing it. the piece was greatly simplified as it was arranged.

however, i believe the piece sat for a long time before the second section was added to it.

sean and i didn't talk much over the next few months, and the truth is that i just never brought this piece up to him. by the time it was finished, i had firmly placed it in my successor project, the trivial group. it was initially dedicated to sean as a part of the going away disc (reflections), but that's really as close as this ever got to being a rabit tune.

i don't have clear memories around composing it, although circumstantial evidence makes it very likely that this happened in the late winter and early spring of 2003. i vaguely recall playing it on the grand upstairs, which could have only happened after sarah moved home to the outer suburbs to get ready for the trip. this was around march. i do remember recording the guitar parts and percussion parts, and am convinced this was in the spring due to memories of the spring sun hitting the bowls. the april 20th date may be a little late, but i have every reason to believe that this was not finished until after exams that year.

the percussion sections in the track are notable. the metallic sounds were created by smashing cutlery into a metal bowl, whereas the woody sounds were created by "playing" a pen on a desk. the track also includes hand claps.

these percussion parts were not notated until 2015. this was a careful, lengthy process that required a lot of careful listening, and a bit of napkin math. notating the percussion allowed for a more comprehensive exploration of the track over midi.

i've included the midi files of the original composition, if you'd like to mess with it on your own.

written and recorded in early 2003. transcribed, slightly rearranged, remixed repeatedly and re-rendered repeatedly over may, 2015. all renders finalized on may 16, 2015. the download-only orchestral mix was completed on may 23, 2015 and added to this release on nov 25, 2017. disc finalized on nov 25, 2017. as always, please use headphones.

the title track appears as a component on my eighth record:
jasonparent.bandcamp.com/album/e

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 (2003, 2015, 2017).

*download only 

credits

released April 20, 2003

j - guitars, effects, bass, synth, voice, bowls, claps, tables, ebow, orchestral sequencing, drum & other programming, loops, digital wave editing, composition, production.

the various rendered electronic orchestras include synth pad, synth bass, synthesizer, mellotron, fingered bass guitar, picked electric guitar, bowed electric guitar, guitar noises (fret noises, knocks, pick scrapes), violin, viola, contrabass, cello, string section, brass section, piano, celesta, xylophone, marimba, vibraphone, glockenspiel, tubular bells, woodblock, mallet, electronic drum kit, jazz drum kit, orchestral drum kit and choir.

i'll point something else out, though: the ontario government is doing gai trials, and i'd get something like a doubling in income if that were to go through. it probably wouldn't create much inflation. the energy rebates won't matter much, if that goes live...

so, i called the worker at 8:31 and she told me everything is going through.

i called the landlord after noon, and she told me everything will be fine.....but i have to wait until the 29th.

i can't tell my existing landlord that i'm moving until i get the keys.

i have until the 4th to file the appeal, if this collapses. but, i can technically afford first & last month's rent on the 30th, regardless, so it's hard to see what's going to happen besides my new landlord bailing on the deal.

i put my fridge up on kijiji, but i'm wondering if it might be more efficient than what's there. i didn't really check. it's a very big fridge, but it's decently efficient for it's size - it's 700 kwh/year, which is about 60 kwh/month. if the fridge in the unit is very old, i might be better off bringing this one.

with the discount i'm getting, my energy budget is about 250 kwh/month - if i go over that, i start having to actually pay. given that i don't use the stove or the air conditioning, and i'm not paying for heat or hot water, i actually don't think i'll have much to worry about in at least keeping it under 300 kwh/month, which would be about a $10/month charge.

i've never had to pay electricity before, but there's so much hysteria around it that i wasn't going to find anything all inclusive. and, like i say, with the rebate, i'm almost better off with it separated from the rent. the rebate was really the key point, though. if that rebate collapses i might even have to move. but, i'm going to come down on this really conservatively to start: i'm going to keep everything off between 7 am and 7 pm for the first cycle, and try to keep my usage to the absolute bare minimum, to start, just to get a kind of background noise. i'm even going to disconnect my cable modem when i'm not using it. it's just to help me figure out what the bare minimum cost is, so i can slowly bring in more and more things.

i'm going to presume, for example, that my pod xt is probably a pig. if my background noise - fridge, stove top, microwave, lights, one computer at a time, battery charger - is closer to 100 kwh than 200 kwh, i shouldn't worry much about plugging in. but, if i end up pushing the 250 right off the bat, i'm going to need to be more careful.

i only have a few more discs left to close. i'm going to focus entirely on that this weekend, and hope to ship the balance of the remaining order on monday, so i can get ready for the move on tuesday and actually move on wednesday, thursday & friday.

republishing 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 a little after christmas - hence the jan 1 release date. it eventually found it's way to the center of my eighth symphony, reflections.

these tracks were written and recorded over november and december of 2002 and uploaded, unmodified, in may of 2015. this was initially a download only release, but was expanded to a full release and finalized as such on nov 24, 2017. as always, please use headphones.

the second track appears as a component on my eighth record:
jasonparent.bandcamp.com/album/e

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 (2002, 2003, 2015, 2017).

credits

released January 1, 2003

j - guitar, effects, bass, synth, piano, drum programming, light-sound synthesis (coagula), generative programming (sounder), granular synthesis, sound design, digital wave editing, production, composition

that's the second day in a row that i passed out waiting for a call.

so, what got accomplished yesterday?

1) i got the moving estimate to odsp, who in turn got it to the city. so, that's in process.
2) i got the oesp consent mailed. so, hydro is set up.
3) i got the internet transferred.

i don't have phone or cable services. & the building will cover heat & water. so, my only utilities are hydro & internet. that's done.

4) i got the issue with the direct deposit worked out - i should get a full check on november 30th, and i'll have to make sure everything is good after that. the worker is still being weird about it, but i'll have to wait until i move to push back on it.
5) i talked to the city about covering the moving costs and last month's rent, and got to the point where the city just needed to call the landlord and call me back.

the ciy never called me back.

so, i'll be on the phone, haranguing them, first thing in the morning.

they never asked me for my landlord's phone number, leaving me to conclude that they'd need to find the information on their own. unless they already have it in some database, they're not going to find it. and, that might be a big problem.

again: i wish they would have left me a message last night so i at least knew what was going on. but, i'm not going to be shy about calling them repeatedly until i at least get an answer.

my takeaway from this situation is that the city is taking far too great an initiative in micro-managing this, and it might in the end work against both myself and my existing landlord, who may have to deal with an appeal that i thought i had avoided. there's no reason to do any of the things that they're doing. i brought them a lease, with a request for last month's rent and an estimate for moving costs. there is no evidence that i have substance abuse issues, gambling problems or any other concerns that would lead to me having difficulty getting the funds from a to b; if such evidence did exist, they may be justified in micro-managing, but the benefit of the doubt should be with the applicant, and these steps that they're taking should be extraneous rather than automatic. they should have just taken the lease and the receipts and written me a check for the difference.

but, i'll be as annoying as i have to be for as long as i have to be. once again: there was an easy answer, but this ubiquity of human stupidity is necessitating this byzantine nonsense.

so, i actually fell asleep around 3:30 without making any calls.

i dunno; my eyes are really strained. it might be this big monitor. but, my diet's been a little off the last few days, too. and, the smoke from upstairs is noticeable, now that the weather has changed. whatever it is, it knocked me out. but, it wasn't a really short day, either - i was up about 18-19 hours, in total.

it means i need to call the city in the morning to check up on the worker, first, and then call the moving place to see what's going on with the estimate, second. it's almost 3:00. i need to eat. it'll be time to call before i know it.

what do i do if my worker didn't do what she told me she was going to do? well, i'm going to have to see if i can bypass her, first. my primary concern is access to these funds. and, i might have to file a complaint against her and/or ask for a new worker.

i may be misinterpreting a mild push back for an attempt at sabotage. we'll find out in a few hours....

so, the check cleared today.

i guess it took her a few days to cash it.

that's ok.

i called the odsp worker around 10:00; she claims she didn't get an estimate from the mover. i talked her into submitting the applications without the direct payment, but she was very weird about it, and i'm not sure she actually did; i'll have to call around 3:30 to see.

so, i called a different mover, and he said he'd send me a quote over email before 2:00. no quote, yet. ugh.

i want to wait before i call teksavvy...

so, i wanted this dealt with by the end of the day. it looks like today was just a big waste of time, instead. *sigh*.

purchasing this release comes with the immediate download of the release that you linked to it off of. be sure you make the right choice.

inri048: written in the summer of 2001. remembered over july, 2014. completed august-september, 2014. expanded and finalized on oct 16, 2017.

inri054: recorded in late 2001 and early 2002. track 6 was constructed in may, 2004 out of files recorded 1999-2001. tracks 1-4 were reconstructed over october, 2014. final mixes were finished on october 18, 2014. disc closed on oct 30, 2017.

inri055: written in early 2002 and recorded in early 2002 and late 2014. the final fuck boxes mixes were finished on nov 15, 2014. the gentle mix was created and then left stranded on may 24, 2015. the ambient mix and the guitar mix were rendered on nov 1, 2017. disc finalized on nov 1, 2017.

inri056: written & recorded in late 2001 and early 2002 and mixed in early 2002 and late 2014. the final mix was finished on nov 18, 2014. the uncorrupted mix was created on nov 18, 2014 and then cut up into the unstuck mix, but not added to the release until nov 2, 2017. the lorentz factor mix and the separated from mix were rendered on nov 2, 2017. disc finalized on nov 2, 2017.

inri061 :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. initial final completion occurred on april 27, 2015. however, eight more supplementary remixes were added to the release over nov 17-nov 19, 2017 to expand it into a three disc set. disc finalized on nov 19, 2017.

inri062: this track was written in late 2002 and completed over april and may, 2015. final completion date is may 11, 2015. disc finalized on nov 20, 2017.

inri063: 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. this is my sixth official record; disc finalized as lp014 on nov 21, 2017.

originally created from 2001-2002. this compilation is dated to dec 2, 2002. slowly remastered, reconstituted, compiled, reconstructed, released and finalized from 2014-2017. compilation finalized on nov 22, 2017. as always, please use headphones. 

credits

released December 2, 2002

j - guitars (electric, acoustic, nylon), electric bass, electric mandolin, orchestral & other sequencing, synthesizers, drum & melodic programming, electric air reed organ, digital piano, flute, regular drum kit, electronic drum kit, sampling, digital and analog effects processing, digital wave editing, sound design, soundscaping, loops, granular synthesis, noise generators, equalization, vocals, vocoders, drum & vocal manipulations, production

sean - vocals (inri048, inri054-inri056, inri061-inri062), harmonica (inri054)
jon - guitar (inri048)
greg - drum performance sample source (inri056)

the rendered electronic orchestra includes orchestra hit, piano,

the various rendered electronic orchestras include acoustic bass, synth bass, electric bass, brass, tuba, french horn, trombone, trumpet, english horn, saxophone, flute, clarinet, oboe, piccolo, bassoon, orchestra hit, drum machine, electronic drum kit, nylon guitar, electric guitar (distorted & clean), acoustic guitar, synthesizer, synthesizer effects, music box, harp, koto, piano, glockenspiel, vibraphone, hammered percussion, bells, tubular bells, agogo, wood blocks, marimba, melodic toms, timpani, taiko drum, backwards cymbals, synth drums, orchestral drum set, mellotron, violin, viola, cello, contrabass and various full string sections. there is also choir. 

 

 https://jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj-2-box-set

 

to her benefit (of the doubt), this number seems to have a history as a landlord going back a few years.

so, this is either a repeat scam artist, or an agent in a cult, or legit.

if this is not legit, this person is going to have to deal with the following:

1) i signed a lease.
2) i put down a balance.
3) i'm going to get the city of windsor to write her a check for $700.
4) i've got the local electrical company hooking me up.
5) i'll need to get the internet transferred in the morning, too.

that's a lot of people to help me in figuring out who owns the building, who this person is and what the fuck is going on.

again: this is not what i want to be doing. but, this is life. and i can;t change it.

i'm going to lose most of the day today, but i should get the whole day tomorrow to get through most of inri065, and get started on the comps.

so, i found a facebook page linking to a company that bought this building in 2009, but that company no longer exists. it appears to have been shut down by the ontario government in 2013 for a securities violation. the building appears to have been managed by the management company with the human rights violations around 2011, when there was a fire in the basement. i have no further relevant information.

i'd be willing to accept the idea that it's just a holding company for a local person, but she said that the company is in british columbia, indicating they own multiple properties. you would expect a website...

the address on the form is occupied by somebody with the same name as the person that signed the check. but, some further sleuthing from local obituaries suggests that this person is quite a bit older than the person i met.

i could always call that number and see if it rings to the same person. but, this cell # is consistent and should be sufficient in identifying the person i signed the lease with, if i have to do that.

there is also a new unit for rent at that address with the same number - which could just as easily mean that the two buildings are owned by the same company and they have a common landlord as it could mean anything else.

i need to have this check cleared by friday. if it's not, i have to file on monday. and, i could very well call the number from a pay phone.

ugh.

well, this is life, for me. it's always been life, for me. it's just one absurd tragedy after another. but, this really seems strangely orchestrated.

i'm fully expecting to have to cause problems at odsp in the morning.

i also have to mail the oesp form...

but, i'm going to get something to eat and at least finish the last aleph, first. i'll give the office a call around 9:00 and go from there.

so, i don't even know what the hell is going on, but i'm starting to get alarmed, and concerned that i may have to file this appeal, after all.

i got my respondent's letter respecting evidence in the mail, today. i suspect the lawyer didn't look into the situation very closely, as he's trying to rule out evidence that was used in court under the argument that it wasn't served on the landlord. i actually have until the 4th to file, but i should know what's going on by the 29th.

i thought i was just being overly cautious in waiting the situation out before i informed by landlord of an intention to leave. see, if i tell them i'm leaving, and something doesn't pan out, i'm in a lot of trouble. so, it's better for me to be quiet until i actually get the keys. my due diligence is in getting the keys as quickly as possible.

however, my down payment hasn't gone through yet. i called my bank, and they're telling me there's no evidence it was cashed. i called the landlord yesterday and she told me she cashed it. i have a receipt, and a lease, right?

the company on the lease does not exist on the internet, which basically means they don't exist at all. what the fuck? i need to figure out who owns this building...

i went to odsp yesterday; my worker was gone last week, so i had to wait until she came back. she tried to get me to sign a direct deposit form, which i thought was a little odd, and that she'd fax the information afterwards. so, i called the city directly and they told me that she actually can't do that, and she's supposed to call them. so, i'm going to have to go in tomorrow and demand that we call the city together, and i'm listening in on the process. and, if she won't, i'm going to have to go over her head, somehow.

i also called some moving people that were referred to me by the city, and they said they'd call the worker directly, which is odd. i'll find out tomorrow if they called the worker or not.

it feels like i'm dealing with some kind of local cult that's out to get me, or something. it's very strange, to say the least.

maybe it all aligns properly in the next 48 hours.

but, if that check doesn't clear soon, i'm going to have to get the documents ready.

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. this is my sixth official record; disc finalized as lp014 on nov 21, 2017. as always, please use headphones.

this release also includes a printable jewel case insert and will also eventually include a comprehensive package of journal entries from all phases of production (2001, 2002, 2014, 2015, 2017). 

credits

released December 1, 2002

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.

sean - harmonica (2), melody (6)
greg - drum performance sample source (4)

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. 

i'm considering doing a pop record, and calling it "music for children".

so, where am i on this?

i printed inri061 & inri062 yesterday, and the ink still seems fine, although the printer seems to be wasting more & more of it by the day.

61 was a big item, and needed a lot of cyan, and i screwed up 62 on the first print. so, i've already printed around 30 pages and 8 discs, and i'm only a third down. if i get 100 pages out of it, that's $0.20/page. and that's more like something i can budget around, long term.

i need to go in the other room to finish the back for aleph-14, which is the 5th flac dvd disc. 63 is the record, and it's done. then, there's the box set, which is more typing. 64 is the flying single, which is done - but is also the first 2003 release, and the first trivial group release. it's a definite shift. but, the period doesn't end until may, when i leave for bc. 65 is refractions, which is the last one of these that will require any serious input into expansion, and may end up as a 2xcd set.

after that, there's a string of several compilation records that will need to be finalized all at once. that really closes period 2.

but, the last release in this string of items is my eighth symphony, the reflections ep, which i need to expand to be comprehensive. that is dated to may 1, 2003 and represents the absolute end of my second period.

period 3 will pick back up again in september, 2003, after i've come back home and had some time to lose my mind a little bit more. i don't know if i'll get to this before the 1st or not. but, the material coming after this has not been recently published, and in some cases hasn't ever been published.

i need to prioritize the alter-reality. and, the move is going to mean reconstructing all of the electronics in my life. so, this material may sit for a while.

but, i'm turning a corner on this. soon. very soon.

purchasing this release does not come with a download.

inri054: recorded in late 2001 and early 2002. track 6 was constructed in may, 2004 out of files recorded 1999-2001. tracks 1-4 were reconstructed over october, 2014. final mixes were finished on october 18, 2014. disc closed on oct 30, 2017.

inri055: written in early 2002 and recorded in early 2002 and late 2014. the final fuck boxes mixes were finished on nov 15, 2014. the gentle mix was created and then left stranded on may 24, 2015. the ambient mix and the guitar mix were rendered on nov 1, 2017. disc finalized on nov 1, 2017.

inri056: written & recorded in late 2001 and early 2002 and mixed in early 2002 and late 2014. the final mix was finished on nov 18, 2014. the uncorrupted mix was created on nov 18, 2014 and then cut up into the unstuck mix, but not added to the release until nov 2, 2017. the lorentz factor mix and the separated from mix were rendered on nov 2, 2017. disc finalized on nov 2, 2017.

inri057: written and recorded in late 2001 and early 2002. initially sequenced in may, 2002. released in slightly different forms from 2002-2014. resequenced to mimic the original sequencing on november 8, 2014. except to sequence the record, these files have not been altered since 2002. disc finalized as lp013 on nov 3, 2017.

inri058: written over 2001 and rethought repeatedly over 2002, again in 2007, a third time in 2009 and one last time in late 2014. final mixes were completed over the last week of november and the first week of december, 2014. the concept was rethought on nov 3, 2017, which led to the inclusion of five more mixes (from 2002, 2009, 2014, 2015 and 2017) and an expansion from two cds to four cds. disc finalized as symph007 on nov 12, 2017.

inri059: written and recorded in late 2001 and the first half of 2002. mildly remixed in november, 2014 to make the tracks more presentable; nothing substantial was altered, and no new sound was recorded. final mixes were on november 19, 2014. disc released on physical media and finalized as inri059 on nov 14, 2017.

inri060: written in august, 2002. track one was mildly remixed on dec 12, 2014; two and three were uploaded unmodified. final completion date is dec 12, 2014. disc finalized on nov 14, 2017.

inri061 :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. initial final completion occurred on april 27, 2015. however, eight more supplementary remixes were added to the release over nov 17-nov 19, 2017 to expand it into a three disc set. disc finalized on nov 19, 2017.

inri062: this track was written in late 2002 and completed over april and may, 2015. final completion date is may 11, 2015. disc finalized on nov 20, 2017.

originally created over the course of 2002, with some files dating to late 2001. this compilation is dated to nov 30, 2002. slowly remastered, reconstituted, compiled, reconstructed, released and finalized from 2014-2017. compilation finalized on nov 21, 2017. as always, please use headphones. 

credits

released November 30, 2002

j - guitars (electric, acoustic, nylon), electric bass, electric mandolin, sequencers, synthesizers, drum & melodic & orchestral programming, electric air reed organ, digital piano, flute, regular drum kit, electronic drum kit, sampling, digital and analog effects processing, sound design, soundscaping, loops, granular synthesis, noise generators, voice, vocoders, drum & vocal manipulations, digital wave editing, equalizers, production, composition.

sean - vocals/lyrics (inri054-inri059, inri061), harmonica (inri054, inri057), ring modulator (inri057-inri058), vocal concept (inri062)
greg - drum performance sample source (inri056-inri058)
jon - guitar performance (inri057)
bob - hammering (inri058)

the various rendered electronic orchestras include acoustic bass, synth bass, electric bass, brass, french horn, trombone, trumpet, tuba, english horn, saxophone, flute, oboe, piccolo, clarinet, bassoon, orchestra hit, drum machine, electronic drum kit, nylon guitar, electric guitar (distorted & clean), acoustic guitar, synthesizers, synthesizer effects, glockenspiel, vibraphone, hammered percussion, music box, tubular bells, bells, agogo, wood blocks, marimba, melodic toms, timpani, taiko drum, backwards cymbals, synth drums, orchestral drum set, harp, koto, piano, bells, mellotron, violin, viola, cello, contrabass and various full string sections. there is also choir. 

 

https://jasonparent.bandcamp.com/album/flac-dvd-disc-volume-5

this was meant to be the last rabit is wolf track, but instead morphed into the first trivial group song. this single explores the track from various angles.

sean wanted a song that just went "lalalala". i think his intent was to try and simplify my thought process, because what i'd been doing sounded more like FTIeikdTY7isdD7E5dk!. he was just kind of like "how about.....lalalala.".

it got a bit of an eye roll from me, as you could imagine, but i played with it. he wasn't really that excited about what i did, and it just didn't move forward. there were no further sessions, as he became interested in working with a more conventional early 00s "emotional hardcore" (think at the drive in) style guitarist and i got very involved in a relationship.

despite his initial suggestion, i'd consider the result to clearly be of my own doing. so, i took the core of what i did and warped it into the first track on the reflections symphony. this track has lain dormant since, comfortably completed.

it's now 2015, and i'm completing my discography. that puts this track in a blurry space: it was completed, but not as initially intended. while there may have been a vocal part recorded, i don't have it any more. yet, the intention is clear enough - and the manipulation would have been thick enough - that i do not consider it to be invasive to complete it on my own.

i'm releasing it as rabit because it's collaborative in the abstract, despite sean not actually existing in the track. this track was written in late 2002 and completed over april and may, 2015. final completion date is may 11, 2015. disc finalized on nov 20, 2017. as always, please use headphones.

the album version of the track (track 3) also appears on my sixth record:
jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj-2

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 (2002, 2015, 2017). 

credits

released November 15, 2002

j - guitar, effects, bass, drum programming, soundscaping, sound design, sampling, vocals, vocoders, digital wave editing

sean - lyrical concept 

republishing inri061

this is the second of two lengthy 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 fifteen years, with the first disc consisting of historical versions and the next two discs consisting of finished mixes.

it became clear through the course of july, 2002 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". 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.

this release was revisited in november, 2017 as a part of the process of finalizing period 2 and was expanded from two to three discs through the addition of multiple supplementary mixes.

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. initial final completion occurred on april 27, 2015. however, eight more supplementary remixes were added to the release over nov 17-nov 19, 2017 to expand it into a three disc set. disc finalized on nov 19, 2017. as always, please use headphones.

the album version of the track (track 7) also appears on my sixth record:
jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj-2

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 (2002, 2014, 2015, 2017). 

credits

released September 15, 2002

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, vibraphone, hammered percussion, music box, tubular bells, bells, agogo, wood blocks, marimba, melodic toms, timpani, taiko drum, backwards cymbals, synth drums, orchestral drum set and choir. 

good news and bad news.

the bad news is that i just lost my screen on my backup laptop. it's been flickering for a few days. so it's not unexpected. and i can see the screen if i look closely enough, so it seems to just be the light that's out. this is essentially the same thing that happened to my main laptop, so i'm suspecting that it's a power issue in the unit. i may learn, once i've moved, that a lot of the problems i've been having down here are from bad wiring.

when i rebuild my access point, it's going to be on a desktop. but, i'm going to need to have a laptop of some sort. i was hoping it would be this one...i'll have to see what it costs to fix it...

for right now, there's not much to do besides send the signal out to a monitor.

the good news is that i'm finished with inri061 and will be spending the rest of the night doing the write-up for it, with the intent to ship in the afternoon.