this is the next ep release, and what i'll be considering before i close it is whether or not it needs to have all of these tracks, or if they might be better left as download only. for this ep, i think i will likely stick with the full treatment, but we'll see.
https://jasonparent.bandcamp.com/album/skaters
Tuesday, July 5, 2016
finalizing fuck the dead (inri004)
audio permanently closed for inri004.
i've created a new single release on my final administrative run through the material, and i want to defend the decision to do so. when i was creating the singles in january, this track didn't have any alternate cuts from the new session - i just had the remaster and a bunch of failed versions. there was no drum machine remix and no original demo. so, it wasn't fit for single treatment.
but, material for this track generated as i explored the different ways to present the record. i recreated the middle section for the record. then, i brought in limited vocals for the on sexual confusion in adolescence mini-epic. so, now i do have a couple of alternate versions, and it does make sense to release a single.
i should stress that the single is the vocal cut, which does not make it's way on to any of the album-type configurations.
===
i've created a new single release on my final administrative run through the material, and i want to defend the decision to do so. when i was creating the singles in january, this track didn't have any alternate cuts from the new session - i just had the remaster and a bunch of failed versions. there was no drum machine remix and no original demo. so, it wasn't fit for single treatment.
but, material for this track generated as i explored the different ways to present the record. i recreated the middle section for the record. then, i brought in limited vocals for the on sexual confusion in adolescence mini-epic. so, now i do have a couple of alternate versions, and it does make sense to release a single.
i should stress that the single is the vocal cut, which does not make it's way on to any of the album-type configurations.
===
"wait - do you, like, fuck the dead, or something?"
i wasn't the target; i was merely an observer. but, i kind of lived it, too. so, i had to suggest a proper response.
see, i think the absurdity of the response follows from the absurdity of the question, and the proper way to react is to acknowledge the absurdity of the exchange by playing along. my proposal would be to take the topic to it's most absurd logical conclusion by engaging in a logical defense of the absurd accusation, and then annoying that person by bringing it up all of the time. if i saw him walking in the halls, i'd run up to him and loudly tell him that i've got a great argument for necrophilia if he wants to hear it....
now, i wasn't the person being taunted. so, i never got to act on those impulses. nor was the person that was being taunted nearly as indifferent to social conventions as i was. so, my suggestions were never interpreted seriously - despite their sincerity. i think i should acknowledge that i didn't properly understand what this person wanted. see, if it were me, my goal would be to have this person never ever look at me ever again. i would react by providing a set of disincentives to bother me. the more infamous, the more effective. but, i just wanted for them to leave me the fuck alone. this person wanted some kind of "acceptance", so those kinds of belligerent actions were counter-productive in seeking a final resolution.
so, the song is imagining how i would react if i were to be taunted in such a way.
i've created a new single release on my final administrative run through the material, and i want to defend the decision to do so. when i was creating the singles in january, this track didn't have any alternate cuts from the new session - i just had the remaster and a bunch of failed versions. there was no drum machine remix and no original demo. so, it wasn't fit for single treatment.
but, material for this track generated as i explored the different ways to present the record. i recreated the middle section for the record. then, i brought in limited vocals for the on sexual confusion in adolescence mini-epic. so, now i do have a couple of alternate versions, and it does make sense to release a single.
this is not the very first track that i recorded with my new four-track in 1998, but it's the first cut that made the record. something that got lost in the multiple transfers of the file was that the track was built up around a lot of guitar effects and was meant to have a swirling, shoegaze-y kind of feel. i then cut that recording up and inserted a short collage of computer generated sound, followed by a short jam of me playing guitar over a sample of the spiderman theme song - the original one, from 1967. the recorded track then clicks in and concludes itself in some more layered guitar harmonies. i draw attention to this because it is the juxtaposition of folk-y guitars with oppressive, synthesized percussion that forms the basis of interest in this, musically. it's structurally a blues guitar piece, it's just been ported substantially through technology.
originally created in late 1997 and early 1998. a failed rescue was attempted in 2013. finally reconstructed in the summer of 2015 and extrapolated upon over the first half of 2016. released on july 4, 2016. finalized on july 5, 2016. as always, please use headphones.
the album version of this track appears on my first record, inri (inri015):
i wasn't the target; i was merely an observer. but, i kind of lived it, too. so, i had to suggest a proper response.
see, i think the absurdity of the response follows from the absurdity of the question, and the proper way to react is to acknowledge the absurdity of the exchange by playing along. my proposal would be to take the topic to it's most absurd logical conclusion by engaging in a logical defense of the absurd accusation, and then annoying that person by bringing it up all of the time. if i saw him walking in the halls, i'd run up to him and loudly tell him that i've got a great argument for necrophilia if he wants to hear it....
now, i wasn't the person being taunted. so, i never got to act on those impulses. nor was the person that was being taunted nearly as indifferent to social conventions as i was. so, my suggestions were never interpreted seriously - despite their sincerity. i think i should acknowledge that i didn't properly understand what this person wanted. see, if it were me, my goal would be to have this person never ever look at me ever again. i would react by providing a set of disincentives to bother me. the more infamous, the more effective. but, i just wanted for them to leave me the fuck alone. this person wanted some kind of "acceptance", so those kinds of belligerent actions were counter-productive in seeking a final resolution.
so, the song is imagining how i would react if i were to be taunted in such a way.
i've created a new single release on my final administrative run through the material, and i want to defend the decision to do so. when i was creating the singles in january, this track didn't have any alternate cuts from the new session - i just had the remaster and a bunch of failed versions. there was no drum machine remix and no original demo. so, it wasn't fit for single treatment.
but, material for this track generated as i explored the different ways to present the record. i recreated the middle section for the record. then, i brought in limited vocals for the on sexual confusion in adolescence mini-epic. so, now i do have a couple of alternate versions, and it does make sense to release a single.
this is not the very first track that i recorded with my new four-track in 1998, but it's the first cut that made the record. something that got lost in the multiple transfers of the file was that the track was built up around a lot of guitar effects and was meant to have a swirling, shoegaze-y kind of feel. i then cut that recording up and inserted a short collage of computer generated sound, followed by a short jam of me playing guitar over a sample of the spiderman theme song - the original one, from 1967. the recorded track then clicks in and concludes itself in some more layered guitar harmonies. i draw attention to this because it is the juxtaposition of folk-y guitars with oppressive, synthesized percussion that forms the basis of interest in this, musically. it's structurally a blues guitar piece, it's just been ported substantially through technology.
originally created in late 1997 and early 1998. a failed rescue was attempted in 2013. finally reconstructed in the summer of 2015 and extrapolated upon over the first half of 2016. released on july 4, 2016. finalized on july 5, 2016. as always, please use headphones.
the album version of this track appears on my first record, inri (inri015):
jasonparent.bandcamp.com/album/inri-3
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 (1998, 2013, 2015, 2016).
credits:
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 (1998, 2013, 2015, 2016).
credits:
j - guitars, effects, bass, drum programming, vocals, samples, digital wave manipulation, cool edit synthesis, production
released january 9, 1998
released january 9, 1998
finalizing inrisampled (inri003)
that was a nice clean listen. but as far as i can tell, it's just luck. i'm going to let things stabilize in here further before i start bringing in any more gear, as i don't fully understand the fluctuations, yet. i hope my luck lasts indefinitely, but then it wouldn't be luck - something would have changed. i saw the crews coming to put in led lights on the street, and i'd think that should turn the volume down a little, anyways. but, i'm not jumping to conclusions. right now, it's just luck.
i'm going to close inri003.
this is a collection of sound experiments from 1997 that i split off into a self-contained ep in the fall of 2013. the initial idea was for it to comprehensively fill the time gap over the fall of 1997, which meant including some of the drum machine tracks that i was programming at the time, but i quickly split that idea off into a different project, leaving a kind of skeleton of sound art experiments. i then found myself listening to a playlist of those tracks on repeat, as i was trying to figure out how to organize them. the most obvious choice became apparent.
there is actually a thematic continuity across these tracks, as they were all constructed entirely out of samples of existing sound that were layered over top of each other after being looped, time-manipulated, distorted and whatever else. so, the projects split cleanly. as a self-contained unit of sound, this is certainly about as weird a piece of music that you could imagine, which just made it that much more appealing to listen to. as the tracks are all short, they come off more as sections of a longer piece when run directly into each other, despite being nowhere related.
so, the main purpose of this release remains autobiographical, but i'll stand by it as a compelling piece of music, nonetheless.
==
i spent the summer and fall of 1997 programming drum tracks into an ry30, notating them into a tablature program and sequencing them using noteworthy composer. i did not know how i was going to record these tracks. i think i was expecting to use the computer, but that was probably naive; instead, i was gifted a 4-track recording machine. i then spent the next year and a half rearranging and rerecording the songs i programmed over that period. as these tracks were recorded into my pc, they are time stamped...so i have a much clearer understanding of when they were finished.
the jump to incorporating computers into the recording process is something i always wanted to do, it's just that it wasn't really previously feasible. first, there was a learning curve. i was a smart kid, though; the learning curve was just a time concern. the larger problem was simply access to a pc. i did have a pc at my disposal, but it did not have a modem and it was only equipped to run windows 3.1, which basically meant i could run civ 2 and wolfenstein and little else. the windows 95 computer had dial up but it was in a central location for family use.
when we moved across the city, my dad bought a new computer and i happily inherited his old one. this gave me internet access, which allowed me to download some freeware. it also gave me the time i needed to learn how to do certain things.
i'm separating out a handful of my first electronic sound experiments and collecting them together into an ep. what these blasts of noise have in common is that they were constructed on a windows 95 computer out of samples or generated sound and with very primitive software while i was waiting to get some kind of recording equipment. most of it was pasted together meticulously using the windows 95 sound recorder; the rest of it was constructed in cool edit, which i used as a sort of a synthesizer.
for the most part, these weren't really ever meant to be songs. i ended up using them as connectors, introductions, background. "continuity". yet, i find the idea of throwing them together here to be interesting from an autobiographical perspective.
created in mid 1997. sequenced and converted to stereo in november, 2013. released on nov 9, 2013. corrected in september, 2014. finalized on july 5, 2016. 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 (1997, 2013, 2016).
credits:
j - cool edit (wave synthesis, digital wave editing), windows 95 sound recorder (sampling, digital wave editing), yamaha ry30 drum machine (programming)
released december 1, 1997
i'm going to close inri003.
this is a collection of sound experiments from 1997 that i split off into a self-contained ep in the fall of 2013. the initial idea was for it to comprehensively fill the time gap over the fall of 1997, which meant including some of the drum machine tracks that i was programming at the time, but i quickly split that idea off into a different project, leaving a kind of skeleton of sound art experiments. i then found myself listening to a playlist of those tracks on repeat, as i was trying to figure out how to organize them. the most obvious choice became apparent.
there is actually a thematic continuity across these tracks, as they were all constructed entirely out of samples of existing sound that were layered over top of each other after being looped, time-manipulated, distorted and whatever else. so, the projects split cleanly. as a self-contained unit of sound, this is certainly about as weird a piece of music that you could imagine, which just made it that much more appealing to listen to. as the tracks are all short, they come off more as sections of a longer piece when run directly into each other, despite being nowhere related.
so, the main purpose of this release remains autobiographical, but i'll stand by it as a compelling piece of music, nonetheless.
==
i spent the summer and fall of 1997 programming drum tracks into an ry30, notating them into a tablature program and sequencing them using noteworthy composer. i did not know how i was going to record these tracks. i think i was expecting to use the computer, but that was probably naive; instead, i was gifted a 4-track recording machine. i then spent the next year and a half rearranging and rerecording the songs i programmed over that period. as these tracks were recorded into my pc, they are time stamped...so i have a much clearer understanding of when they were finished.
the jump to incorporating computers into the recording process is something i always wanted to do, it's just that it wasn't really previously feasible. first, there was a learning curve. i was a smart kid, though; the learning curve was just a time concern. the larger problem was simply access to a pc. i did have a pc at my disposal, but it did not have a modem and it was only equipped to run windows 3.1, which basically meant i could run civ 2 and wolfenstein and little else. the windows 95 computer had dial up but it was in a central location for family use.
when we moved across the city, my dad bought a new computer and i happily inherited his old one. this gave me internet access, which allowed me to download some freeware. it also gave me the time i needed to learn how to do certain things.
i'm separating out a handful of my first electronic sound experiments and collecting them together into an ep. what these blasts of noise have in common is that they were constructed on a windows 95 computer out of samples or generated sound and with very primitive software while i was waiting to get some kind of recording equipment. most of it was pasted together meticulously using the windows 95 sound recorder; the rest of it was constructed in cool edit, which i used as a sort of a synthesizer.
for the most part, these weren't really ever meant to be songs. i ended up using them as connectors, introductions, background. "continuity". yet, i find the idea of throwing them together here to be interesting from an autobiographical perspective.
created in mid 1997. sequenced and converted to stereo in november, 2013. released on nov 9, 2013. corrected in september, 2014. finalized on july 5, 2016. 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 (1997, 2013, 2016).
credits:
j - cool edit (wave synthesis, digital wave editing), windows 95 sound recorder (sampling, digital wave editing), yamaha ry30 drum machine (programming)
released december 1, 1997
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