Wednesday, November 29, 2017

well, i've got the keys.

so, i'm moving.

yup.


so, i have completed the order.

sort of.

the cover art has been printed, but i need to wait for it to dry. and, i won't have time to ship it until probably tomorrow, if i can stay awake long enough. but, it exists.

i get the keys in less than an hour. hopefully. and, then i need to spend the next 24-48 hours transiting items out of here.

i won't get back to completing the sequence until things are moved, but i'm going to make it a priority to do so, as well. it will be the first thing i do, before i even unpack everything else. and, it shouldn't take more than a few days.

period 2 is really legitimately nearly final.

and, then i'm on to the alter-reality, and a year worth of journal entries from my 16 year old self.

publishing inri071

i've taken to splitting my discography into phases, and my hitch-hiking trip to british columbia is a very important separation point - both in terms of the nature of the material that came out afterwards and what is now a substantial body of work that came before it. that makes it a natural point to look backwards and build compilations of intersecting ideas.

a characteristic of my work is that it does not conform well to genre norms. this is not an accident; when compiling a record, i'm guided more by the late beatles' philosophy of vast diversity in a small space than i am by any kind of desire to collect together nice singles, or by some kind of compulsive organizing into categories or concepts. i write psychedelic music. that means something different in 2015 than it did in 1966, but the commonality is that it's necessarily challenging. i want all of my records to do everything at once, and accomplish everything by their end point. that makes compilations of this sort inherently difficult, because every song touches on every compilation idea at the same time. the jazz record would have the same tracklisting as the punk record, the classical record and the folk record - and none would really be what they're claimed to be.

the one exception to this conundrum is how i interacted with ambient music in this period. i very regularly utilized ideas from the genre, but i tended to interpret ambience as something that is necessarily obscure. in this period, ambient pieces are almost always outtakes or b sides. i tended to interpret covers and remixes as ambient pieces, probably because that was unexpected. when ambient ideas make it on to the record, they're almost always for effect: introductions, endings, connecting passages, that sort of thing.

when i began reconstructing my discography in early 2014, i came across a handful of songs i'd written out into midi format and put aside for later. a number of these ended up reworked into ambient pieces, and released as b sides. i also ended up converting some of the material i wrote in this period into ambient sound collages that are more in the style of music i created after 2003.

the end result is enough bsides and remixes to put together two full cds of ambient music. none of the tracks on volumes one or two are on any official record as they appear here; this is technically a collection of remixes and outtakes.

this package was initially released with a mix tape of fragments from 1996-1999, but it has since been moved into it's own release (inri035): jasonparent.bandcamp.com/album/ambient-works-vol-0

initially written and recorded between 2000-2003 and remixed between 2014-2015. sequenced over mid may, 2015. the final compilation date was initially may 20, 2015, but both discs were mildly updated with some more appropriate mixes of the same tracks on nov 29, 2017; disc subsequently finalized as lp020. 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 (2014, 2015, 2017).
 

credits

released April 28, 2003

j - guitars (acoustic, electric, nylon), effects & treatments, bass, synthesizers, electric air reed organ, orchestral & other sequencing, drum & other programming, generative programming (sounder), "projectile synthesis" (audiomulch), granular synthesis (granulab), sound design, electronic and conventional drum kits, sampling, loops, films, voice, digital wave editing, composition, production.

sean - vocal ideas (tracks 4 & 7, disc 1), ring modulator (track 9, disc 1)
jon - background guitar performance (track 4, disc 1)
greg - drum performance sample source (track 5, disc 1)

the various rendered electronic orchestras include synth bass, electric bass, acoustic bass, electric guitar, acoustic guitar, nylon guitar, guitar effects, guitar noises (fret noises, pick scrapes, knocks), synthesizer, synth pads, mellotron, choir, violin, viola, cello, contrabass, string section, pizzicato strings, french horn, trumpet, trombone, tuba, oboe, english horn, bassoon, clarinet, flute, piccolo, mallet, piano, woodblock, music box, xylophone, tubular bells, other bells, orchestra hit, electronic drum kit, melodic toms, drum machine and orchestral drum kit.

publishing inri072

an unexpected result of the project to complete my discography, undertaken in late 2013, has been the construction of a handful of orchestral pieces, mostly as remixes of original tracks from the jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj period. while these tracks were initially written out as scored pieces for expanded instrumentation, they were generally written around the guitar and the expanded instrumentation was largely meant simply for colour. the exception to this is the psilocybin symphony, which was written as a piano concerto from the start and previously completed in early 2006.

the ability to expand these pieces into orchestral works is the result of the advances in vst sampling technology that have occurred since 2003. while changes in instrumentation have been accompanied by extra writing (mostly on the guitar), tempo shifts and other general rearrangement choices, the existing technology makes it very easy to rearrange a rock song for an orchestra, by simply multiplying staves and changing the sound fonts.

the condition i've set for a piece to be "orchestral" is that it must utilize the entire orchestra: it must have percussion, piano, horns, woodwinds/reeds and strings. guitars are generally treated like "first violins", whereas violins are generally not considered to be more special than other similar string instruments. some of the tracks also have prominent choral sections. all of these pieces meet this condition, except the last one which does not have a woodwind/reed section.

my delve into scorewriting ended in 2003; the material in my third phase is more focused on live and manipulated guitars and synthesizers. i consequently feel that this is an interesting summary of my second period, taken from a specific angle that is otherwise largely relegated to single-only remixes.

initially written and recorded between 2001-2003 and remixed and recorded further over 2014-2015, except track 2 which was completed in early 2006 and track 5 which was completed in 2017. the initial final compilation date was may 23, 2015, but track five was then added on oct 14, 2017 and the disc was finalized as lp021 on nov 29, 2017. track 7 was added as a download-only bonus track on jan 14, 2018. 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 (2014, 2015, 2017, 2018).

* download only
 

credits

released May 1, 2003

j - controller inputs, drum & other programming, orchestral & other sequencing, live guitars, live bass, live synths, effects, sound design, digital wave editing, composition, production.

the various rendered electronic orchestras includes violin, viola, cello, contrabass, electric guitar, nylon guitar, guitar fret noise, bass guitar, synthesizer bass, french horn, trumpet, trombone, tuba, english horn, oboe, bassoon, clarinet, saxophone, bamboo flute, flute, piccolo, synthesizers, mellotron, organ, piano, harp, koto, music box, clavinet, kalimba, xylophone, agogo, mallet, hammered percussion, woodblock, tubular bells, tinkle bells, glockenspiel, orchestra hit, melodic toms, electronic drum kit, timpani, orchestral drum kit and choir.

republishing inri074

around october, 2002 i met a friend. i was sort of in need of a friend, and i mean that in the friend sense. but, the mental condition i was in was the explanation of why i needed a friend, if you see what i mean; i was completely unstable in this period and did all kinds of absurd things, which isolated me - and i wasn't getting any better.

i dropped out of school under the realization that i was walking down a path that wasn't getting me anywhere close to what i wanted out of life. i ended up working three jobs to raise money for gender reassignment, and it crossed me paths with somebody that was also trying to think of ways to get out of the box in terms of ways to exist.

she was trying to save up money to go to british columbia. it was some kind of warped take on the grapes of wrath, where everything works out perfectly. but, the rent was eating into her savings, which was making the goal seem impossible. well, unless we stopped having fun.

so, i suggested she should just stay at my parents place. part of it was a hope that she would move her drum kit in, although that didn't happen. and, i might add that this was done with all of the reckless abandon that could be contemplated - we were moving stuff in without even asking, it was really remarkable.

and, it seemed to me that we were getting pretty close over that period.

so, when the time came that she had all that money put aside to go to bc, it was kind of a downer to let her go. and, she initially wanted to go with a friend who dropped out. so, i ended up going across the country with her.

now, i need to be clear: we weren't planning on coming back. we were going to pick fruit or something - we didn't know, exactly, we'd figure it out when we got there.

so, this was meant as a sort of farewell to certain people i hadn't talked to in months and didn't care if i was leaving, anyways. i think it let me work some things out on weird subconscious levels, but the truth is that these songs really aren't about anybody except me, and there's no use in pretending they are - i just liked the idea of a farewell disc.

this disc was initially passed around with a cut up version of the pretentious untitled mix at the end, but this was almost immediately ejected from future burns and is not present on this ep due to the poor quality of the mix. the remaining five tracks became combined into what i now call my eighth symphony.

written and recorded in late 2002 and early 2003. this was initially uploaded unmodified from a cd-r rip in may, 2015, but this was replaced with a version from source on nov 29, 2017 due to clipping due to an unrealized normalization on the burn. disc finalized as symph008 on nov 29, 2017. as always, please use headphones.

the hidden track is the final version and also appears on my ninth record, {e} (inri08x): 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).
 

credits

released May 3, 2003

j - guitar, effects, bass, synth, voice, piano, drum programming, generative programming (sounder), granular synthesis, sound design, soundscaping, loops, bowls, claps, tables, ebow, orchestral sequencing, digital wave editing, sampling, production, composition

so, i passed out after i ate.

i'm actually now in a hurry to print the covers, and don't think i'll have time to get them all out. we'll see.

i won't be updating anything here, i'll wait to do it in sequence.

Tuesday, November 28, 2017

so, what happened today?

i got the discs printed, and then i realized i was out of paper, or didn't have enough paper to complete the process. so, i decided to do a compost run, only to get there and realize that they've shut it down.

i got my paper, but i haven't created any liner notes yet.

i get the keys tomorrow at 1:30, so that should give me time to ship in the morning. and, then, i'm going to be moving all night. sorry, jessica moss & ben shemie. i'm not sure what you're even up to, but you're in town on the one day this decade that i can't spend at phog. them's the cards, i guess.

i need to eat. then i'm going to shower. and then i'm actually going to throw myself back into sequence.

the ambient works got rearranged a little: i put the ambient mix of fuck boxes where it was intended to go, and replaced the version of the intersection i initially used with a more appropriate one. i also reconstructed reflections from the source; i had previously used a rip that was normalized on the burn, and that was a bad idea.

but, i'm going to actually try to get this done in sequence. i think i can.
ok, so today's the last day for this, until i move, so i want to finish what i'm doing.

i'm not closing the blu-ray disc, yet.
i'm not doing the guitar works (inri069), yet. the idea is developed.
i'm not closing thru, yet (inri070).
the 6th flac disc will close around here. as will the second lp only disc. it's not clear where, exactly.
i will be printing inri071 (ambient works). but i won't finalize it until it gets to sequence.
i will be printing inri072 (reflections), but i won't finalize it until it gets to sequence.
i'm not closing the chamber works, yet (inri073).
i will be printing inri074 (reflections).

the numbers are finally clear. that's what i needed to print the parts at the end.

this order isn't completely done yet. he overpaid for shipping, and he bought two items twice, so he'll get another shipment, after i move.

but i need to get this out...

i might get the keys today. if i do, i'll need to get this going. if i don't, i'll start filling i the pieces this evening.

Monday, November 27, 2017

publishing inri068

in the summer of 2013, two formative things happened at almost exactly the same time: my father died after a lengthy battle with brain cancer and i moved from ottawa, ontario to windsor, ontario. they were within a week from each other; my father died while i was camped out in a tim horton's on tecumseh, waiting to sign a lease and catch a bus back 'home'. but, dad was really the only remaining thing that made ottawa home, in the first place.

the reasons underlying my move were legitimate, if somewhat forced. my gear was stored in my father's garage, and i had been given notice that i would not be able to keep it there more than a moment past his death. my stepmother and i haven't spoken since. i legitimately couldn't find anything in ottawa, so finding the place in windsor was actually somewhat of a stroke of luck, given the urgency of the situation. i had hitched down there to meet friends, but in the end they couldn't sign a lease, so i went by myself.

the culmination of occurrences had me in the mindset of fresh beginnings. i finally had a stable income source on odsp, and a new apartment in a new city. so, i almost immediately set about completing all of the music that i had been putting aside for so long, in preparation for my own imminent demise, relative to the immense expanse that is time.

through whatever coincidence, i am permanently closing my second period during the week that i am being evicted from this same apartment, for the supposed reason of personal use. this apartment will consequently forever be associated with the completion of my second period.

yet, the bulk of the work done in this apartment - through immense difficulties with malfunctioning gear, questionable electrical outlets and a probable atmospheric magnetic field - has been in the realm of (re)mixing, orchestrating, programming and rearranging. it was just the nature of what needed to be done around an assortment of midi compositions and flat mixes from the early 00s. the really heavy lifting in completing my discography will come in finishing the third period, which i will not start until i move into a new apartment, around the corner from here.

with the exception of two vocal tracks (for inri020 and inri062), this disc is a comprehensive document of what was actually written as it was being recorded in the basement at 805 marion ave, in windsor, ontario, canada, in the form of a collection of overdub mixes that can be pasted on top of the existing demos in order to create the final products. it is mostly guitar and bass tracks, but also includes some orchestral and other sequencing and some electronic drum parts. everything else that was done in this basement was either created from existing sound or was constructed from existing midi instructions, however elaborately and however abstractly.

in hindsight, i can state with some force that this basement is not well suited for a recording studio. yet, these problems will be forever embedded within my own history, as well.

with those words, my tenure here ends. so long.

originally written, programmed and recorded in varying states of finality over 2001 and 2002, except the hidden track (which was programmed in 1997). the associated tracks were completed between february, 2014 and may, 2015; these mixes, however, were spun off as late as nov, 2017. this compilation is dated to nov 27, 2017; disc simultaneously created and finalized as lp017 on nov 27, 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, 2016, 2017).
 

credits

released April 24, 2003

j - electric guitars, digital & analog effects & treatments, bass, synthesizers, electric air reed organ, drum & other sampling, drum programming, drum manipulations, electronic drum kit, orchestral & other sequencing, sound design, soundscaping, loops, digital wave editing, voice, production, composition.

greg - drum performance sample source (2)

the rendered electronic orchestra includes at least one of each of the following: violin, viola, cello, contrabass, koto, french horn, trombone, trumpet, tuba, english horn, saxophone, flute, oboe, piccolo, clarinet, bassoon, agogo, tubular bells, glockenspiel, piano, melodic toms, timpani, orchestral hit, orchestral drum set and various full string sections. it also includes choir. 
ok, i got it up as a stub.

to be continued...

https://jasonparent.bandcamp.com/album/percussive-works



i didn't get as much as i wanted done yesterday, but the situation remains the same: i need to ship either tonight or tomorrow morning, probably tomorrow morning, and absolutely still can finish before then.

if not, i guess i'll have a few items to ship next week.

the only other thing i need to do before i move is a compost run. and, worst case, i could always do it after i move. i don't want to do that, though; i want the compost out tomorrow.

it's not year clear what inri068 is going to be. but, i've just pushed the percussive works forward. i feel like the material i've compiled for this is very strong, but there's only a half hour of it. this can and should be an epic release, but it just needs more material in order to bring it there. the beginning of the ninth symphony, as well as an unreleased track from early 2007 called 'the crash', should effectively add to this release. so, i'm planning to release this at the end of period 3, instead. period 3 will run from summer, 2003 to spring, 2007.

if there weren't existing ideas in the discography to flesh this out, i'd consider releasing it as an ep. but, there actually are good ideas to explore for this, and the end result will be better if i wait it out.

Sunday, November 26, 2017

publishing inri067

the ftaa project, much like it's namesake, was never an idea that was carefully developed, which is very much an anomaly in this discography, where almost everything is developed at such a microscopic level of detail. the idea initially developed as a means to protest the government's response to the 9/11 attacks, from what most people would identify as a libertarian perspective. however, rabit is wolf ended up becoming my main focus in that period, instead, and by the time i got back to the idea, the initial impetus had largely stalled. all activism was necessarily diverted to stopping the war....

....but, i also found myself in a much different reality, starting in late 2002. for the first (and only) time in my life, i had a partner, and it took away most of the time that i would have otherwise spent on music production. on top of that, i found myself working long hours in order both to maintain a dating lifestyle and to deal with real world expenses that the relationship created, and i hadn't ever had to deal with before. i did create some music over 2003, but my head was almost entirely inside of this relationship.

the ftaa project initially completed in may of 2004 and was composed of some of the parts of this recording plus an anti-war song. it will re-release in that space as my 7th record, but as an instrumental recording like the rest of them, thereby jettisoning both these sample collages to their respective singles and the idea of a record of sample collages altogether.

i considered re-releasing the ftaa project as a double with the samples on the other side, but there's something asynchronous about this that i don't like. further, in hindsight, i ended up putting the deny everything recording through more or less the same process, so it makes more sense to combine the jettisoned tracks together into an outtakes disc, and release it at the end of the second period.

another way to look at this recording is to interpret it as a reaction to the presidency of george w. bush, and i've left the tracks in chronological order for that reason. the first two tracks were initially on deny everything (inri041) and have the thematic unity of being a warning regarding the bush presidency, even if the trudeau character sounds more like trump, in the year 2017. the next two tracks were an explicit reaction to the 9/11 attacks. the fifth track takes those ideas to their conclusion, in exploring the thesis that the attacks were the catalyst to end the period of liberal democracy in the united states, and potentially also in it's satellites, and usher in a period of totalitarian rule. as of 2017, that process appears to be nearing it's completion.

so, this is really the actualization of the intent behind the ftaa project, even if it isn't quite in the form that it was initially released in. as such, it should be viewed as almost an official record - despite the overlap and the historical revisionism.

written and recorded between dec, 1999 and july, 2002, except the hidden track (which was created in the summer of 1998). none of these tracks were remastered or otherwise modified after 2002. this compilation is dated to nov 26, 2017; disc simultaneously created and finalized as lp016 on nov 26, 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 (1998, 1999, 2000, 2001, 2002, 2003, 2017).
 

credits

released April 23, 2003

j - guitars (electric, nylon, acoustic), mandolin, electric bass, digital & analog effects processing, synths, sampling, pythagorean sequencing (sounder), drum and other programming, drum manipulations, drum kit, voice, flute, sound design, sound raider, noise generators, cool edit sequencing, digital wave editing, composition, production

sean - ring modulator (5)
greg - drum performance sample source (5)

publishing inri066

when i sat down to complete my discography in 2013, one of the ideas that immediately jumped out was to try and reinterpret some of the inri tracks from the late 1990s as modern pieces. as i believed that my source tapes were unusable at the time (which i eventually realized was not the case - see inri024), the conditions for this being a workable project would need to be the existence of the original drum tracks, along with the existence of some midi files.

i was gifted my ry30 in the summer of 1997 to compensate for the loss of my drum kit and studio space, but i did not have any recording gear again until christmas. so, i spent the fall programming the drum machine and teaching myself the basics of sequencing and sound design, using the primitive tools i had available to me. by the time i got my four track, as well as my jx-8p, the ry30 was full, and re-recording my first songs was just a matter of transferring the completed material from the electronic equipment to tape. so, i initially considered making a companion ep to inrisampled that would document my time spent programming the ry30 along with my time sent learning how to manipulate sound. the difference between the drum tracks at this stage and the initial collage experiments, however, is that the drum tracks were not complete songs. so, this was abandoned due to the product being a little dry. but, i still wanted to make an ep around the ry30, perhaps by orchestrating the existing companion midi tracks.

this idea then quickly merged with what would become thru (inri069) and eventually discarded itself within itself when it was realized that the existing midi files for the 90s material were too sparse to really utilize, especially in comparison to the midi files from the early 00s. thru was deleted and then resuscitated over the course of 2014 and 2015, eventually releasing in mid 2015 as a 2001-2003 project, leaving the 90s material in the dustbin of my own history.

it was in june, 2015 that i realized that the source tapes were usable after all, and cycled back around to the beginning of the reconstruction in order to complete the relevant tracks as instrumental pieces. this idea kind of recreated itself in the nature of the source tapes, as i had bounced all of the electronics together into the same channel as a mixing step, back in the 90s. so, i found myself with these ready-to-publish electronic tracks right off the tape that incorporated a combination of the ry30 tracks, jx-8p parts, soundblaster programs, zoom 1010 noises and cool edit experiments. all they really needed was a little attention on the mastering.

i flipped this over, in the end: what each of these tracks are is their final album mixes, with the guitar and bass parts deleted (unless the bass was done on a synthesizer). so, there was some post-production added over 2015 in the form of updated soundfonts, digital mastering and digital effects processing. but, these are really flourishes on the existing tracks.

it was at the end of dec, 2015 that further similar electronics-only ry30-centric remixes were creating for some later songs, as well, thereby filling out the disc and closing the project.

i sold my ry30 in may, 2003 to raise money to go to british columbia. my logic was that i'd really maximized what i was going to get out of it, and that i'd already discarded it, anyways: by that time, i'd been writing drum parts in the scorewriter for a few years already, and had barely touched the ry30 in a long time. but, i regret that decision, in hindsight. and, i expect to pick up another one, one day.

originally written, programmed and recorded from 1996-2002. reclaimed & remixed from june to december of 2015. initial completion date was december 31, 2015. disc finally released on physical media, closed and finalized on nov 26, 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 (1998, 2000, 2001, 2002, 2014, 2015, 2016, 2017).
 

credits

released April 26, 2003

j - drum & other programming, orchestral & other sequencing, guitar effects, digital effects processing, digital wave editing, synthesizers, loops, vocal noises & relics, sampling, sound design, production

the various rendered electronic orchestras include organ, sitar, bells, synthesizer effects, tuba, saxophone, flute, clarinet, orchestra hit, piano, violin, viola, cello, contrabass and various full string sections. 
so, i printed inri065 yesterday, which permanently closes (subject to the eventual completion of the liner notes in the alter-reality) the jjjjjjjjjjjjjjjjjjjjjj phase, even as it opens the trivial group phase.

what's left is the string of compilations, and i need to get the bulk of this done by tomorrow so i can ship on monday. i have to ship on monday, dammit.

this is the remaining sequence, for april, 2003.

april 22nd : 66 is the ry30 disc, which just needs liner notes.
april 23rd: 67 will probably be a sample collage disc, and will take the place of the ftaa disc (although the ftaa disc will still release, instrumental, in may, 2004)
april 24th: 68 will be a guitar works of some sort, but the parameters are unclear.
april 25th: i will finish the blu-ray disc one of these days. 25 gb of flac files. around $750. not entirely comprehensive of periods 1&2 but close.
april 26th: there will also be another flac disc closing around here, too.
april 27th: inri069 is thru, the midi disc.
april 28th: inri070 is the ambient works.
april 29th: inri071 is the orchestral works.
april 30th: inri072 is the chamber works
may 1st: inri073 is reflections.

the drone disc will almost certainly push forwards to the end of period 3. i might still make room for a percussion disc, but it will probably push forward. the piano works will push forward. as will the next vocal disc. and, i'm going to need some shape for 'genesis', as well.

this all has to be worked out in the next 24 hours.

Saturday, November 25, 2017

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. 
 
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.

Friday, November 24, 2017

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.

Thursday, November 23, 2017

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....

Wednesday, November 22, 2017

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. 
 
 
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.

Tuesday, November 21, 2017

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

Monday, November 20, 2017

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 

Sunday, November 19, 2017

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.

Saturday, November 18, 2017

it's the end of the day for me, but i think i've got this put together into a third disc set, and will be able to finalize it when i wake up.


Friday, November 17, 2017

so, i got my first print with the new ink done, and it actually seems to be a little more accurate than the official ink.

so, i'm not worried about quality.

but, i'm a little concerned about leakage, and will have to keep an eye on it.

right now, it seems fine. let's hope i can at least get through the month with it.

and, i'll have to keep track of the exact number of pages i print, as well. even if i only get the same 50 i got last time, i'm paying $20 this time instead of $100, so, it's down into a more reasonable price. and, if i get 100, it's closer to what i initially budgeted for. so, as long as it doesn't leak, this is probably a permanent solution.

the main black ink is supposedly out, too, after something like 30 pages. that's laughable - there must be ink left in the cartridge. so, i guess i'm putting all these cartridges aside for later, to figure out how to get the remaining ink out of them.

right now, i'm going to eat and get back to inri061. 60 is now ready to ship. i could potentially get this out on sunday.

the mail woman left my ink in the box.

she shouldn't have done that. but, ok.

i'll be trying to print the back of inri060 soon.
yeah, my ink's in windsor. but, my mailwoman just always leaves the slip. that's fine, i can get it tomorrow.

getting it today wouldn't help much, as i'm going to need another for 61. but, it looks like i'm expanding this to a third disc by adding some further orchestral reworkings, a percussion mix and maybe a drone mix, to start with. i got the string mix done this morning, and i'm happy with it, but it's bed time.

Thursday, November 16, 2017

my ink might be here tomorrow, actually. have to keep an eye on that. if so, i could ship as early as saturday. if not, it's looking like it will probably be tuesday.

i wanted to ship more today, but i was only able to get inri058 out. that's the 4 cd set. it's shipped.

my drop by odsp was a little underwhelming, but only in the sense of it not being at all formal. i had to write a request by hand. i'll probably type something up before tuesday. i know this is all discretionary, but the situation is rather ridiculous; i can't afford to pay a mover, so if i can't move the furniture then i'll have to leave it here and then go to charity to get more furniture. and, i'd guess that the owners of this place will probably end up donating this furniture to charity. that would be kind of outrageously stupid, right? in the end, the city ends up paying for the moving costs, anyways. but, i know better than to expect pristine logic from the city.

i updated my accounting to reflect the price i actually paid for ink over the last two years, and it makes less of a difference than i thought, overall - my profit decreased from $42 to $34, and sean's went from $6 to $4.50. it's disappointing, but not catastrophic. most of the records i've sold don't have sean on them; i'm actually splitting things 50/50. but, if i get 50 pages out of $20 ink, it's closer to the profit margin i expected.

the actual truth is that i still haven't covered start-up costs.

i'm otherwise fed and am in or the weekend, so i'm going to shower and get to work on inri061. i'm hoping this is the last stretch before i get to the compilations next week.
so, i'm about to get back to work for a few hours over night, but what did i do today?

i gave odsp a call when i woke up this afternoon and realized that i'm going to have to go in and talk to somebody tomorrow. my worker's not in this week. but, i need to get the forms running. and, i need to do that before i call about utilities and estimating moving costs. if i can just get the forms tomorrow and bring them in on tuesday, i'll be happy with that.

after the saga of serving the appeal last week, which was largely a consequence of not being able to find the right tube for my bicycle, i had to make sure i got the thing right, so i went down to the local bicycle store and grilled him on what i needed. with my rain jacket, i maybe seemed a little like the spanish inquisition - but i called ahead, so he had what i needed there when i got there. he talked me into buying a tire. i didn't need a lot of convincing, because i'm going to need a new tire eventually anyways, right? or, to put it another way: i can always use a spare tire.

we can all always use a spare tire.

they should put that on the side of the space shuttles. it's maybe the closest thing to a universal human truth that i've ever fucking seen. really.

anyways.

what was the problem with the tube i got at canadian tire last week - not once, but twice? see, i showed it to the guy and he said my tire must have some glass in it because it's ripped. that's why i bought a tire.

we can all always use a spare tire.

but, i think it actually ripped on the rim, because it didn't fit right. the first one just inflated into it. and the second one felt like i was riding a balloon animal for a few seconds before it popped.  it just didn't fit. that's all there is to it.

i actually got the technically correct correct tubes, this time. see, i'd been hacking out a 28-32 for i don't know how long. the tubes that burst were 23-28, and they were floppy. i should have actually been using 38s the whole time. imagine that. hrmmn.

after a brief stop at the grocery store (with the tire around my neck), i went home and fixed the tire - and fixed it is, yes. i took it out for a spin to make sure. i'm good to go.

so, at the end of the ordeal, i ended up spending a total of about $70 and i got a working bike pump, a spare tire and a spare tube out of it, in addition to getting the thing working. about $15 of that disappeared on bad tubes. but, i learned something from it.

i didn't sit down to eat until close to 9:00, and i had to do dishes and clean up in here after all of that. but i'm ready to finish the cover art for the second mp3 disc and get back to the rest of it after that.

i might be able to print in grey scale, but i have to wait until the ink gets here before i can print the rest of the covers. so, i'm going to go ahead and make the actual discs, and then see if i can print greyscale on them or not. either way, everything should be ready to go when the ink gets here.

and, i should be able to get around and do some things on my bicycle in the morning.

Wednesday, November 15, 2017

so, i bought some cheap ink.

it's high yield for $20. the last package i bought was normal yield for $80. so, this could be less than 1/5th of the price.

i know that there are risks involved with this. i'm feeling like i need to take them.

it should be here before wednesday. and, the truth is that i won't be totally done by then, anyways.

so, i'll hold off on jacking up the price, for now. let's see what i get out of this.

it's 7:00. wow. lol.
i may have less ink in there than i thought.

i think it's worse than that.

1) the size of the cartridges is steadily decreasing.
2) they base their metrics on very minimal coverage, and cover art tends to be very ink heavy. if they say you get 500 pages at 5% coverage and i'm printing at 50% coverage, each page i'm printing is 10 pages in the metrics. so, i'm only getting 50 pages, but it's fifty pages at ten times the metric - and there's your 500 pages.

i'm going to look for something more efficient. but, i think the reality is just that the price of ink is extremely high, and if you want a package like this it's going to cost me some money to make it.

again: it's not so so bad, really.

maybe i lowballed the cost.
i still have a lot of extra cash.

maybe i can do some research into a more efficient printer, before i boost these prices too far.

$15 canadian for an lp is still pretty good. and most of my eps are lp length. $12 isn't too bad at all.

but, i have the prices low for a reason. and i don't really want to have the downloads priced differently than the physical media.
no, i just need to boost the price.

singles are now $10.

eps are now $12.

lps are now $15.

that's what it costs.

sorry.
my printer is out of colour ink, already.

that's about 40-50 pages printed, for an $80 cartridge - meaning it costs $2/page. and, if the disc has a front and a back, it's costing me $4-5 in ink per disc.

i had to do the experiment to figure it out. and, these are the results.

they're outrageous...

i can't sell eps for $7 if i'm spending $5 in ink. based on some basic research, i had ballparked $0.15/disc. so, i'm either going to have to find a cheaper source of ink, or i'm going to have to increase the price.

my estimated static costs were $1.75/disc, meaning that i was clearing $5.25 on an ep and $8.25 on an lp. if my static costs are now $6.45/disc, i'd need to charge $12 for an ep and $15 for an lp to balance out the costs.

i think that's unreasonable.

so, i'm going to have to search for a cheaper source of ink.

i know that the printer cartridge is not out. it has a chip in it. but, i have to find a way around it. maybe i can trick the machine into finishing off the cartridge, to start.
the only really feasible path that i have there and back is via bicycle, and it's going to be cold and raining. there's that ten mile strip with no bus service.

if it was in the summer, i'd probably do it. it's part of the reason i got the bike.

but, for tomorrow, i don't think this makes sense.

i missed st. vincent tonight. everything else aside, it's a big venue, and i just don't enjoy big venue shows. i haven't heard the new record yet, but the lead tracks were underwhelming. and, i get the impression that she's intending to tone it down a little. i'd like to hear what she has to offer on the other side of mellowing out a little in the context of something more orchestral, but i'm not going to get too excited about an americana phase. i guess i'm waiting that out. i hope it doesn't take too long. but, i'll give the new record a chance when i get time to, too.

john mclaughlin is tomorrow night and it's tempting but i don't even know if he's actually playing it. the way he's talking about it is that he's hanging out on stage while somebody else is actually playing. and, he's 75 years old - i can't fault him for not being able to play this material, anymore. this is tough guitar work. but, i'm apprehensive about going all the way to ann arbor if he's not even playing. i'm going to try and find some footage. it's possible.

i've just never seen him play, and if this is my last chance then this is my last chance. but, it's a journey there and back, and i need to make sure it's worth it.

purchasing this release does not come with a download.

inri033: written and demoed in multiple stages from 1996-1999. initially constructed in this form in dec, 1999. slightly resequenced in jan, 2014. finalized on sept 19, 2017. lp007.

inri034: written & recorded in the fall of 1999. originally released on inridiculous in december, 1999. split into it's own ep in january, 2014. remastered & finalized on sept 28, 2017.

inri035: 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. finalized as lp008 on sept 29, 2017.

inri036: written and recorded in late 1999 and early 2000. these versions of these tracks were sequenced without further modification in jan, 2014. remainder of hummer added as a bonus track, and release finalized, on oct 3, 2017.

inri037: recorded in spring, 2000. released, unmodified, in jan, 2014. release finalized on oct 3, 2017.

inri038: written and recorded, 1999-2001. track 3 was reconstructed out of existing sound in june, 2004. initially sequenced in jan, 2014. four new mixes (maximal mix (2017), electronics only mix (2015), single mix for lp010 (2017), full instrumental mix from deny everything (2014)) were added on oct 5, 2017; release subsequently closed.

inri039: this was constructed over a little more than a month: from 7/7-8/20, 2000. it seems to have been recombined into one track around 2007 but has otherwise not been modified since it was completed. first released as an ep in jan 2014. release finalized as symph004 on oct 8, 2017.

inri040: recorded in april, 2000. samples added in oct, 2000. album version reverted to original mix in sept, 2006

inri041: recorded over the space of the year 2000. remixed substantially in 2004, 2006, 2010 and 2014. existing version constructed in jan, 2014. finalized as lp009 on oct 9, 2017.

inri042: this record was recorded over the years 1999 and 2000, but did not take this form until mid september, 2017. the first track list dates to sept 14, 2017. these tracks are technically outtakes, but did not become outtakes until the remastering process removed them from their respective recordings. finalized as lp010 on oct 9, 2017.

inri043: written late 2000 & early 2001. the renders present here are all from either the early months of 2014, the second half of may, 2015 or the 11th/12th of october, 2017. minor instrumentation changes to facilitate a small wind section were implemented in late april, 2014. live guitars were layered into the final version over may 2014. four more mixes were added from may 19-26, 2015. five more mixes were added on oct 11/12, 2017. release finalized on oct 12, 2017.

inri044: written early 2001. drastically rearranged in june, 2014. rendered, arranged and performed over june and july, 2014. remixed and re-rendered several times over late may, 2015 and again over mid oct, 2017. this release cannot formally finalize at this time, but has been put into it's existing state as of oct 15, 2017.

inri045: recorded in the first part of 2001. sequenced as is in january, 2014.

inri046: written in the spring of 2001. lent out for a different project in jan, 2004. reconstructed in the first quarter of 2006, especially over march. the vst mix was added on jan 10, 2015 and the two guitar mixes were added on may 29, 2015. finalized as symph005 on oct 15, 2017.

inri047: written one day in june, 1998. re-created on another day in june, 1999. reimagined on yet another day in june, 2001. a failed remaster occurred at the end of 2013. slightly rearranged and re-rendered at the end of july, 2014. rearranged again at the end of may, 2015 and one last time at the beginning of jan, 2016. expanded and finalized over oct 15-16, 2017.

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.

inri050: written in the fall of 2001. rendered, remastered and remixed in late september and early october, 2014. the string mix was corrected for clicks on june 1, 2015, but unfortunately left accidentally inverted. this was corrected on oct 21, 2017. the lead track was re-rendered with the clickless string mix on oct 21, 2017. disc finalized on oct 21, 2017.

inri051: created in the fall of 2001. resequenced and rereleased on sept 7, 2014. disc finalized on oct 22, 2017.

inri052: tracks 1, 3 and 8 were written in 2001 and reinterpreted and completed in 2014. tracks 2 and 5 were interpreted and completed in 2001. track 4 was written in 2000 and reinterpreted and recorded in 2001. track 6 was written in 2001 and completed in 2006. track 7 was written in 1998, reinterpreted in 2001 and rendered in 2014. tracks 1-7 were sequenced on sept 9, 2014. final completion date is oct 3, 2014. refinalized as lp011 on oct 22, 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.

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.

originally created from 1999-2002. this compilation is dated to sept 1, 2002. slowly remastered, reconstituted, compiled, reconstructed, released and finalized from 2013-2017. compilation finalized on nov 14, 2017. as always, please use headphones.
 

credits

released September 1, 2002

j - electric piano, drum & other programming, orchestral & other sequencing, vocal & drum manipulations, classical & acoustic & electric guitars, ebow, digital & analog effects & treatments, electric bass, mandolin, organ, synthesizers, sound design, noise generators, granular synthesis, generative synthesis, generative percussion, light-sound synthesis, cool edit synthesis, sampling, vocals, vocoders, windows 95 sound recorder, flute, drum kit, hammerhead (909 emulator), pick scrapes, found sounds, metronome, digital wave editing, loops, films, tapes, coughs, a broken equalizer, equalization, production, composition.

sean - vocals, lyrics (inri048, inri049, inri053-059), harmonica (inri054, inri057), ring modulator (inri057, inri058)
greg - drum performance sample source (inri056-inri058)
jon - guitar performance (inri048, inri049, inri057)
bob - hammering (inri058)

the various rendered electronic orchestras include acoustic bass, electric bass, synth bass, upright bass, distorted electric guitar, clean electric guitar, steel string acoustic guitar, nylon guitar, guitar effects, banjo, harp, sitar, french horn, tuba, trumpet, trombone, brass ensemble, saxophone, soprano saxophone, orchestra hit, violin, viola, cello, contrabass, pizzicato strings, full string section, piano, synthesizers, synth pad, synthesizer effects, mellotron, organ, bamboo flute, clarinet, flute, piccolo, oboe, english horn, bassoon, voice, music box, tubular bells, bells, clavinet, kalimba, xylophone, glockenspiel, ukelele, theremin, gongs, woodblock, vibraphone, marimba, taiko drums, detuned piano, pc card, drum kit, jazz drum kit, hand drums, melodic toms, orchestral drum kit, drum machines, hammered percussion, synthetic percussion and electronic drum kit. they also include choir.

https://jasonparent.bandcamp.com/album/mp3-dvd-disc-volume-2