well, i've got the keys.
so, i'm moving.
yup.
Wednesday, November 29, 2017
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.
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).
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.
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
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.
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).
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
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
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