Wednesday, August 13, 2014

there are some sufficiently cracked out horns, wish i would have remembered this last week...

http://www.youtube.com/watch?v=Ir5lap-oJu4

the other thing i wanted to mention (but forgot to) is that i'm getting substantial traffic at my youtube channel lately (https://www.youtube.com/user/deathtokoalas/featured) from trolling everything i possibly can; i haven't uploaded any rabit yet because i want to remaster most of it and maybe convert some if it to instrumental, but when i do upload vocal tracks (probably psi, me myself, time & 9:46) in the next few weeks it will be on the front page and the hit count should quickly grow to at least a few hundred, and *will* continue to grow over time, probably into the mid thousands. so, quite a few people are going to hear it.

j
aha!

i turned the master down at some point to make some more space, and it had an effect on the eq at the master stage. putting it back to where it was has reclaimed the "bite" on the guitars, although it's going to require some mild remixing....

loose end

hi.

as i mentioned previously, i'm currently completing a track that was meant to be a cynicide song and releasing it under that name (that would be here: http://jasonparent.bandcamp.com/album/to-spin-inside-dull-aberrations).

this particular track was written with the assumption that jon & i would switch instruments if it was ever performed, just simply because it's my song and i'd have to play it myself to get it right. but it was meant to have vocals. and, in fact, it turned into the song you know as "day i saw you cry", although i further morphed into it what i now call my fourth symphony.

so, i feel the need to provide you with the opportunity to provide vocals, if you want. it was written with that aim. if you were to do so, i'd center that single around the vocal version and place the instrumental version on the disc i'm working towards. most of the music i was writing in '01 before cynicide & rabit was written out in scores and put aside because i didn't have the resources to get the instrumentation to do it properly. but the technology has now improved to the point that i can use computers to render the tracks realistically, so i'm finally finishing it.

i continually have rough mixes up here:
http://googledrive.com/host/0B5JfVE9XTZikMS1zek9ER0xSU1E/scratchpad/

the track is in process, but it's easy to get the idea, if you want to provide vocals. i'd just ask that you send them back completely isolated so that i can mix them in the way i want to.

the only boundary i'd provide you with is the section between where the sole bass drum comes in up until the third "salsa-jangle part", which i think should be obvious if you listen to it. that's roughly 1:55 - 3:30. the boundary on that part is that i'm going to put in some vocal harmonizing that is roughly similar to the tremolo'd guitar part. there's going to be synths and strings through there as well, so any vocals over that section should be relatively toned down.

the other request is to try and get your head into the space you were in in 2001, if you're going to do it, both in terms of singing style and vocal content.

no pressure. and the opportunity won't be present for future tracks. it's just a chance, for me, to finish something the way it was intended.

j

soundcheck

sept 16, 2001.

no further comment.

i'm pretty sure this is my final take on this.

a lot of the problems i'm having in sequencing this ultimately have to do with me adding several minutes of updated takes on very old material. i initially thought it would make sense to add them to the end of the disc as a sort of bonus to it, but that was under the assumption i'd have more than enough space. then, i was considering expanding it to a double to make room for those tracks. it's silly to extend that for these tracks.

further, if i place it between the first ftaa single and the clarity single i think it represents an actual end of the concept. the early rabit is wolf material starts in september, but it wasn't yet clear if it was really a band or if i really wanted to use the material i was writing for it. mmattittwagi came out of a jam session. clarity was something i was in the process of writing for my own material (i was actually thinking of a trinri, again) but worked into rabit on request. time existed, but it was in a different state and was meant for cynicide. actually, that reminds me - i should check to see if there's a mix of it. there weren't any songs really written *for* rabit until 2002. so, parking this in december and allowing it to close the thought makes quite a bit more sense.

i'm also thinking i should work the track i'm working on into this, as it now fits the theme of orchestrated music.

so, that leaves me with an 8 track record.

- stuck (done)
- time machine (done)
- symphony of madness (done)
- intersection (done)
- spin (process)
- mmattittwagi (next) <---needs to be rethought.
- choir (next next) <----probably merely rendered
- #9 (last) <-------needs to be rethought

that will be around 80 minutes.

http://jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj

i was wondering if i should put a rough mix of me, myself... on the cynicide disc but the chronology doesn't make it make sense. jon has a guitar part on some versions, but he ultimately rejected the track so it doesn't make sense to do that.

so, the next single after spin...is me, myself. then the ftaa disc. then i'll have to finish the last two orchestral tracks.

some alternate takes of #9 will appear on a single for clarity, which i half want to include a version for the orchestral disc, but can't, conceptually, because it isn't.

i'm going to want to put early mixes as the lead singles for clarity and me, myself.. as i did with the deny everything material. for me, myself ... it's because i added a guitar part in may, 2002. for clarity, it's because i want an instrumental version out there.
i don't understand the tricks my ears are playing on me regarding this treble knob.

either the volume out seems to be very sensitive (you'd expect that on a tube amp in real time, but not on a digital amp playing a recording of a guitar recorded through an amp emulator.....?), or maybe the pot is dirty or.....?

?

whatever. i've got the sweet spot back, and it's flat like it should be.

i'm getting a pizza, because i've been very good about not getting pizza for a long time, but i should seriously be back at it by sunrise at the latest.

uploading teenage jesus to youtube

so, the final track of my first inri casette demo will come up in about 24 hours, although i'm posting the reconstructed version. i don't want multiple versions of the same track on youtube, it's just silly.

as with much of the stuff on the first demo tape, the pieces for this track go back to about 1994 or so, but it was first conceived of as a connected suite when i first put it together at the end of 1996. i never really promoted it that way until earlier in the year, but the idea was there from the first recording. the second recording was done mostly in the very beginning of 1998, but it was put aside until the end of 1998 and finished completely in the first few months of 1999.

i've explained a bit about it on the youtube page, and copied it after the line of equal signs.

this one will only be up ten days this time around, to finish the recording for christmas, 1996. it's not merely symbolic - the dates i've picked are rough, but i do consciously remember finishing the tape up on christmas eve (and being yelled at to come up to eat). i'll have to post the demo here on the 24th, but there's then a 66 day period where i was grounded (starting after new year's, my parents weren't that sadistic) before i started demo tape 2, and i'll have to pause to reflect that. i won't be posting youtube updates here over that period, but i'll be cycling the first demo tape in 6 day cycles (there's 11 components, total - including 3 in boogeyman and 2 in this track).

this version of the track has a noise intro and a synth ending that was added, but it's otherwise similar to the demo tape version that is up on youtube. the differences are that the drums in this version are sequenced, there's some added synth (i didn't have a synth in 1996) and the vocals are a bit different.

i got slowed down by a number of irritating things over the last two weeks and didn't hit my target. i do expect to be done the song i'm doing within the next 10 days.

==========================

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....

the vocals seem dead, and may confuse people looking at this as 90s punk (which is retroactively defined by it's screamy vocals). at the time, i considered screaming to be sort of contrived and passe. the recitation is a very considered reaction to something i interpreted as largely cartoonish. i mean, i was still 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.

the initial, somewhat abridged version was initially the end of my first inri cassette demo, which you can get to by clicking through the links.

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.

http://jasonparent.bandcamp.com/album/inriched

https://www.youtube.com/watch?v=Lt7AWQ7QiOE