Sunday, June 14, 2015

re-publishing ambient works vol 0 (inri035)

i've split this off from inri048 into it's own release, inri017. this required shifting the previous inri017 down to inri016, and so forth, to inri001 - which is now inri000.

==

when i sat down to make the ambient works, i wanted a "mix tape" style cd-r of ambient fragments that ran from 1996-2003 as a volume 0. but, when i sat down to actually make it, i ended up with a 90 minute actual mix tape of material from 1996-1999. it actually split itself fairly cleanly into an inri period release, but a number of factors made it a pain in the ass to actually place it there.

i've decided to flip-flop on this, mostly due to the desire to keep the period 1 disc self-contained. i couldn't release something like that without this on it.

what i'm going to have to do is rename the first 17 releases by taking them down a number - so, inri001 becomes inri000, all the way up to inri017, which will allow me to insert the ambient works into that space.

that's going to require a lot of typing this evening which will slow me down another day, but i think it's the right choice.

so, here is the new inri017.

initially written and recorded between 1996-1999 and remixed between 2013-2015. initially released as part zero of a three volume set on may 21, 2015. split into it's own release on june 14, 2015. as always, please use headphones.

credits:
j - guitar, effects, bass, pick scrapes, tapes, metronome, synth, electric piano, drum & other programming, sound design, cool edit synthesis, windows 95 sound recorder, loops, sampling, sequencing, sound raider, digital wave editing, production, composition

released december 31, 1999

https://jasonparent.bandcamp.com/album/ambient-works-vol-0

pj’s was not the best venue for white lung, as the sound was reliant on an in-house tech that didn’t get it

i've been to lots of bars with disengaged sound techs, and they end up flagging themselves. it's less as a place to avoid, and more as a disappointment that the band you like is playing x rather than y. you deal with it.

pj's is a different animal, as it seems to have an *over*-engaged sound tech. i have less experience with this phenomenon, but it seems like it's a greater concern. a disengaged sound tech lets the band make it's own mistakes, which at least gives them control of their own presentation. but, an over-engaged sound tech can turn the band you've gone to see into something else entirely.

white lung is a band that thrives heavily on the guitarist's upper range. he's not a lead player, he's just a very talented punk guitarist. this plays off heavily with the dramatic and generally harsh vocal delivery, which is more in the mid range, and the busy but metronome-style drumming. generally, you get a fairly clean split - bass on the bottom, guitars up top and vocals in the middle.

so, to hear the sound tech drown the guitars in bass and bury the vocals altogether is to have him make sound decisions that really aren't in his realm to make. he seemed to interpret them as some kind of doom/metalcore act, rather than as the very melodic hardcore punk band that they are. what makes them special is that detail in the upper range. so, it kind of sucked to hear it almost entirely drowned out by flooring the bass - as one would mix a modern metal band.

the singer was visibly and vocally perturbed that people weren't getting into it. but, we couldn't really hear it. all we could hear was that muffled bass. i mean, imagine people showing up at a dance cub and getting a triangle beat instead of a big bass, or people showing up at a folk festival and getting metal riffs. you'd expect it to foster a disconnect.

i knew the songs well enough to fill them in mentally, but the content just wasn't cutting through the mix. and, i've seen enough youtube clips to know that this isn't a general problem on their end.

as for the band itself, i think they've hit the point in their career where they need to make some bold moves. they had a good groove going on with sorry, but it's started to turn into a formula. you can only write the same basic song so many times before it starts to seem unnecessary - i'd argue that sorry is a developing classic, but what that means is that there's not any really good reason to listen to another record (or three) in the same style. that's going to piss some people off, but the other option is people slowly tuning out.

i'm left to conclude that i need to be careful with this venue. but, i don't want to dissuade people from checking out the band. at the very least, the aforementioned record is very notable and something very much worth looking into.


ironically, obliterations were better live than i had expected from sound samples - largely because the mix was better, with the vocals turned down and the guitars given some more chunk. see, the tech made the right choice with these guys.

i mean, the mixing decisions didn't relieve it of it's boneheadedness. but, they softened it to the point that it made me think more of a modern take on soundgarden or pearl jam than yet another converge-influenced bro-rock band - which is what i was expecting.


http://dghjdfsghkrdghdgja.appspot.com/categories/shows/2015/06/13.html