if you think that it's dark or scary to imagine we have no purpose - as though this is an obscure possibility, right - then you are experiencing something called existential dread.

i would argue that it is really existential dread that is at the root cause of the continuing spread of religion, well into an era where it should have ceased to exist many decades ago.

"but, science says the purpose of existence is to maximize your number of descendants, so shouldn't being an atheist mean you want to have as many kids as you can?"

it's funny how religious people tend to think that science perfectly upholds religion, isn't it? i mean, how could it not, if you're absolutely certain in your faith? that's the thing about faith - all possible evidence always upholds it. if you have faith in santa claus, the absence of presents under the tree any given year just proves you were bad. and, if you have faith in god, then any possible set of events that can be thrown at you will just be perverted to offer more and more evidence for it's existence.

faith is a perversion of logic. that is why it is such a dangerous tool, and must be kept away from the state.

in the western/judaic context, this talk of descendant maximization goes all the way back to the torah. god gave abraham this purpose. but, how did this get attached to science? well, it didn't, except in the minds of religious people, that are seeking out some kind of purpose, because that was what they were taught to seek out.

so, we have this problem: when people raised with religious upbringings come into contact with science, they need to frame it in terms that they understand. religion teaches them that existence is about purpose, and that that purpose has something to do with god (although this itself is circular logic, as the purpose is created to justify god, rather than the other way around). if science is to offer some alternative to religion, it must offer some alternate purpose, right? and, from there, they come up with this vulgar dawkinsianism that deduces that our purpose, as humans, is in carrying on the dna. we exist to breed.

but, the reality is that you'd be hard-pressed to find a scientist (or an atheist) of any ability or renown that would accept that humans have any kind of purpose, as that pre-supposes that a god exists to define it, first. who or what defines purpose, if god does not exist? it's a neat trick that the religious person does, here, in defining existence in purely religious terms, before bringing it to the scientific bodies for answers, as, once you have done that, you have hard-wired religion into the question, and made it useless to science. you can walk down this path with philosophy, it's what it's all about, but not with science, which will provide you with no worthwhile answers if you present it with what are brutally leading questions.

science cannot pre-suppose that a purpose exists. science must gather evidence to determine if it suggests that a purpose exists. whether the nature of the purpose is an empirical question or not, which is what the religionists pre-suppose and assign to scientists as a strawman, is reliant on whether the purpose exists or not, first, which is also an empirical question, and not something to pre-suppose at all.

while it would be extremely difficult to do a comprehensive study that empirically disproves that we have purposes, the lack of evidence underlying any purpose is a convincing argument that we have no purposes, for most atheists and most scientists.

and, so this is what the atheist will tell you: science does not argue that our purpose is to breed, but rather that we have no inherent purpose at all, and are free to define our purposes as we see fit to do so.

i've decided that my purpose is not to raise a family but to to complete my discography, and, because i seek to be free, there is nothing in the universe that has the right to challenge my authority on the point.

so, what am i doing, anyways?

from a distance, it probably seems like i've just fallen through the ground and into a rabbit hole, as i was prancing through the rhetorical field of rhetoric.

yes, the rhetorical field of rhetoric. it's a rhetorical field, remember. of rhetoric.

i think christmas is going to end in the next few days. yeah, it's a long one this year. well, i wanted to deal with all of the alter-reality writing - from 12/1996 to 02/1998 and counting - and, as those who have been following this for a while know, my writing tends to get a little more expansive on, err, holidays.

yes, friday is a holiday. legally. really.

so, i've been maintaining the proper mindset, notwithstanding tolerance, since christmas, preparing myself for the writing in the alter-reality...

....and i actually haven't even started yet.

as we can see, i've ranted here quite a bit, and quite nicely, since the 15th of january, when i closed the audio for the first two periods. today, i've been ranting nearly non-stop for like 18 hours or something - although i'm just about to stop. so, i've done a lot of writing, even if it's not in the topic i was intending. but, what i'm really doing is building a master list of album notes, so that i can pull the parts out that i need as i run through the alter-reality and close.

i need to reiterate that i only have to do this once and that, once it is done, the remaining process wil be much, much smoother.

so, what have i done over the last week?

i've built the first 350 pages of the master list up. the document is currently 700 pages, and has notes going to mid 2015 in it.

at this point, i would guess that the final document (1996-2018) will be around 3000 pages long - word, 8.5"x12", 12 pt - although i only expect to get up to around 1000 by the time i get to actually writing.

which will be when?

march.

christmas will be over before january is.

ok, so i've got the facebook pages updated. i'm going to ultimately convert that timeline into something hardcoded, so i'm actually really using it for data redundancy. but, if you want, you can scroll all the way back to 1996 and see a detailed time-based presentation of my first two periods.

https://www.facebook.com/pg/jessicaambermurray/

there's a condensed version mirrored at my personal facebook site, as well.

i need to close the last bunch of releases for the vlog before i can get back to the alter-reality, but first i need to eat...

i've decided that i need to approach the master list a bit more cumulatively to start. so, i should just get right to reading what was written over 1996, and writing 1997 and planning out 1998. i can get to filling the rest in once that's been taken care of.

i plugged my router back in this morning, and it's made an instant difference in speeding up my machine. i had it unplugged because i didn't want to break the network architecture in the old apartment, but now it doesn't matter any more, because i have to rebuild it anyways.

it's facebook, mostly, that's the problem. i'm guessing that, even with adblock, all of the scripts running are just killing the dns, when it's external. pulling the dns down into the router seems to make a massive difference in responsiveness. that's really crazy, actually. for all of the talk of facebook's influence on elections, it seems to have tied itself to the same generation that is in the process of slowly eroding power, while making it unattractive to younger people. and, these slow pages, if they're widely experienced, are going to just add to the problem.

so, i should be a bit more productive today, as i won't be waiting for pages to load. what i'm doing is distributing the last batch of uploads over facebook, which will be a part of building the master list, soon.

so, i just accomplished something - i've closed all of the audio for period 2.

so, this is where i put the placeholder for period 2, for now.
https://jasonparent.bandcamp.com/album/period-2

that means my discography is now completed for the period 1996-2003, with the caveat that i'll need to add a pdf file to each release for liner notes, and i have to finish the period 1 & period 2 discs, which are html front-ends on a pdf file that is the culmination of all of the individual ones.

i still have some work to do on this.

but, what's next?

it's jan, 1998 in the alter-reality. i left off in dec, 1996.that's a year worth a journal writing, and i'll need to get to it soon. but, i need to recalibrate, first.

first, i need to clean in here. i need to ship the rest of that order. but, i feel better about it now, because i'm over that hump.

i'm not sure how long it's going to take to recalibrate and get all this data in line, but i should be coming up on absolute final closes on inri000-inri015 in the upcoming weeks. and, then i need to stay up to date...

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

publishing inri073

it was in may of 2015 that i first contemplated the idea of a chamber works. i was creating compilations to end my second period, when i realized that a couple of the tracks that did not fit well into the orchestral works might work better as chamber pieces. so, the chamber works was intended as a kind of companion disc to the orchestral works, both to offer a different flavour and to collect the remaining tracks into a compilation of serious music, so they are not left out.

so, i went back and did a systematic evaluation of the period 2 material to see which tracks could or could not be converted into chamber pieces. the last three mixes were created at this time, while the first was removed of clicks.

then, i stopped. i decided that an electronic chamber works was an idea of questionable worth, and i should put the idea aside for a bit and take a look at the idea again upon reconstruction of the period 1 tapes.

what the issue really comes down to is how good the electronic strings sound. does this actually sound like chamber music, or does it sound like a computer creating chamber music? and, if it sounds like a computer, is the issue resolvable somehow?

when i came back to completing period 2 in the fall of 2017, i decided in favour of the release, as the sound fonts are convincing enough, even if one needs to ignore a few relics here and there. tracks two and three were subsequently added to the compilation.

i decided at the end that this format has some future to it, whether it is fully realistic or not. string music will probably never go away. but, composers are going to find themselves less and less interested in actual physical reproduction, as time moves forward. the question of realism in the tracks is consequently somewhat misplaced, as the chamber music of the future is likely to be performed by computers, and sound like it just a little bit.

initially written and recorded between 2001-2003 and remixed and recorded further over 2014-2015. an idea for this compilation was developed over the last week of may, 2015, but it was not finished or released at that time. corrected and expanded from october, 2017 to january, 2018. finally released & finalized as lp022 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). 

credits

released May 2, 2003

j - controller input, programming, effects processing, mixing, digital wave editing, composition.

the various rendered electronic orchestras include piano, orchestral drum kit, violin, guitar, viola, cello, contrabass, various string sections and choir.

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 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.

back in 2001, and bleeding into about 2003, i wrote a number of tracks into a scorewriter with the explicit intent of eventually having them performed by live ensembles. at the beginning of 2014, i decided that this wasn't likely to ever actually happen and went about completing the tracks in finalized forms - which happened over 2014 and 2015.

my initial plan for this compilation was to produce a record of midi compositions mapped to modern vst instruments as a "chiptune" (not literally) project, and have it double a record of fully realized versions of the tracks. as i went about completing the project, i began to realize that these vst versions were not sufficiently different enough from the finalized versions to justify a separate album and consequently aborted the project.

however, something that's happened since 2001 is that a more mature market has developed for midi-generated music, largely on the back of the success of the gaming industry. people have nostalgia for the sounds that their childhood gaming consoles made and an interest in listening to original music in the style of the soundtracks to those games.

i need to be clear that these are not gaming soundtracks - they're a mix of various types of classical and jazz, taking in influences from across the musical spectrum but essentially none from gaming. gaming isn't a thing i've ever really done, and the little bit i've done has tended to act as an excuse for listening to music (i had a mild civ2 obsession in early high school).

however, i feel that compiling a record of soundblaster mixes is something that could appeal to a specialized, niche audience and am going to put this record together for those people. i also feel it captures the headspace that i was in at the time. i've decided to mirror this soundblaster disc with the vst disc i was initially contemplating, to demonstrate where the technology has arrived at.

all of these tracks also appear on a set of cross-listed singles, and most of them are sequenced into a record at some point. there's more info on the track pages.

i've included the raw midi files in the download for further listening and modification.

these tracks were written from 2001 to 2003 and in some cases rearranged over the course of 2014 and 2015. all disc 1 tracks rendered through a soundblaster live! device that was manufactured c.1999. all disc 2 tracks created in cubase with vst software synthesizer technology. the compilation date is may 14, 2015. disc finalized as lp019 on jan 13, 2018. as always, please use headphones.

his 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, 2003, 2013, 2014, 2015, 2016, 2017, 2018). 

credits

released April 29, 2003

j - controller inputs, programming, composition, digital wave editing, effects processing, production

the various rendered electronic orchestras include acoustic bass, synth bass, electric bass, flute, clarinet, brass, trumpet, trombone, tuba, soprano saxophone, orchestra hit, violin, cello, string section (tremolo), drum machine, electronic drum kit, hand drums, finger snaps, nylon guitar, electric guitar (distorted, clean), steel string acoustic guitar, fret noise, sitar, banjo, pc card clavinet, music box, piano, organ, bells, synthesizers, mellotron and choir. 

i'm actually not sure how i find myself in this position, here, at 2:00 in the morning.

i needed to detox today, but it manifested itself as typing in bed. i slept most of the day, not up until the afternoon. i wanted to clean, but cleaning means vacuuming and i don't know my neighbours well enough to hate them enough to vacuum at 2:00 am on a saturday morning. no, i'd rather at least wake them up at 8:00.

but, i'm not even convinced i can do that. i kind of feel like all i should be doing right now is sweating and typing, until i'm able to finish the plate of spaghetti i've been working on for four days, now.

what's the probability that i can get done through to inri074 tonight? well, let me give it a shot, right? it's just typing....

so, i'm just coming out of an extended christmas break, and i'm going to be a little bit mentally wander-y for a bit, still. i lost the last few days to distractions, really...

what are my tasks this weekend and into next week and for the rest of the season?

1) i need to finish cleaning in here. this is still move-in cleaning. i had to wait for the isp guy, and then the maintenance guy. floors, especially. so, i'm going to take a few days to do this.
2) i wanted to finish period 2, first, but not now. now, i want to clean first so i can get to the next batch of writing in bed. what's left is just the cover art for inri070-inri074, and i've already shipped inri071, inri072 & inri074. cleaning won't be too long and this will be quick...
3) i'm going to need to go back and finish the outline for period 1. this is the third winter in a row i've tried to do this. i have to actually do it, this time. this will include catching up to the alter-reality. and, once the structure exists, i should be able to carry forward with it. and, i might as well set up the structure for period 2, too.
4) i'll have to do a lot of fixing of things before i'm able to get to period 3. i have a stack of broken and disassembled technology that needs attention. so, there will be an extended studio set-up phase that will also include things like buying bookshelves. basically, this is getting back to what i was doing in the summer, pushing back into the spring. part of that will be catching up on the vlogging, although that will also be a part of building the period 1 disc.
5) notwithstanding any further problems, i should finally be able to start period 3 by summer, hopefully.

did the holocaust actually happen?

well, i might be a product of it. my paternal grandmother just kind of shows up as an orphan in the 30s, without much of any documented history. she was raised in an italian family, and one would no doubt make many errors if forced to differentiate between italians and jews out of a line-up, but i think most people would assume she looks pretty jewish. there's pictures of my dad from the 70s, full bearded, where he actually looks flat out arab, although he aged in a way that made him look not dissimilar to chomsky, in that eastern european jew kind of way - although he aged terribly. his physical appearance was described almost perfectly in the term 'italian jew'. although, when i say he aged in a way that made him look not dissimilar to chomsky, what i mean is that, at 50, he looked not dissimilar to chomsky at 70. i got my mom's genes, on that one; i remember bringing her to a field trip in the fourth grade, when she was almost 30. and having the entire school think she was my teenaged sister. this deduction, though, is ultimately not phenotypical - the two rumours on that side of the family are that she is in some unknown way a product of the holocaust (smuggled in, maybe?) and that she's the product of a mob hit, and sometimes these stories intersect in a tale of starcrossed lovers and racist slaughter by catholic mob bosses that couldn't deal with the interracial, and interreligious, eloping. my grandmother is a catholic. my aunt claims she found them in a newspaper clipping of young lovers tied to railroad tracks (and subsequently annihilated) in ottawa in the 30s, but the evidence is circumstantial, at best. my grandmother doesn't know.

between the time of her adoption and the time she was married, my paternal grandmother's last name was zito. and, ottawa was known to have an international mob presence, at the time. you can find pictures of the big bosses, i think including capone, existing in ottawa. it actually does add up. the fact that she seems to have no known history has led to the speculation that her adopted parents probably knew what happened - perhaps even knew the killers - and just didn't tell her. there is literally no trail. her adopted mother could have been her mother's sister, or something.

or maybe her parents managed to get her out, despite the attempts of north american governments to prevent jews from arriving. certainly, if you wanted to get your jewish infant or toddler child out of germany in 1937, you'd have had to have done something like smuggle it out. and, you wouldn't want a paper trail, because if it's found then the kid will get sent back.

maybe i'll look into it one day...

anyways, whether i'm the result of it or not, did the holocaust actually happen?

i run across this question from time-to-time, and i'm going to provide somewhat of a dodgy response: the holocaust is as well, or better, documented and convincingly demonstrated as any other event in accepted mainstream history. so, i can be as sure that the holocaust happened as i can be about any other event in history.

but, look at the words i'm using, the language, the context: event in history. history.

that is not the argument that my grandparents would provide. they may have been born as it was happening, and not remember it, but it was a part of their lives. this is not even the argument that my parents would provide, as they lived with people that lived it. three of my grandparents are even still alive, and all three of them could very well outlive my mother, between the heroin and the alcohol and the cigarettes, not to mention the half of a dozen duis.

but, the boomers are passing, and this is going to be the new reality around the holocaust: we are approaching the point where no living people have any connection to this any more, and it exists purely as history.

this is the situation that the holocaust memorial people have been preparing us for for the last 60 years, the point where the question is no longer about forgetting, because we don't have memories to forget. you can't forget what you never knew. instead, you need to ask the question: can you trust history?

well, can you?

punk?

it's exceedingly well documented. i understand this. but, so is the life of jesus.

a part of the problem is how central the holocaust story is to the western founding myth, at this point. it's intrinsically interconnected with the ascent of american hegemony, so it is consistently intertwined with narratives that are otherwise blatantly false. turning on cnn, you could very well have a holocaust memorial set sandwiched between a fraudulent expose on the syrian government gassing children and a jaw-droppingly bad interview with kellyanne conway that goes on for twenty minutes without managing to say a single true statement at all. association doesn't produce guilt, but it's a little unsatisfying to come to the conclusion that the only accurate information provided by the media is related to a historical event, even as they misrepresent every other kind of history on a hourly basis. the importance that the media places around it really does make the whole thing seem kind of fishy.

it's exceedingly well documented. i understand this. but, i think there will come a time when nobody really thinks this happened - or that the scale was exaggerated.

"6 million is an exaggeration. maybe it's an error by a scribe. i mean, look at the way that herodotus exaggerated the size of the persian army, for example. they probably added a few zeroes."

so, it's as well documented, or better documented, as any other event in history, sure.

but, analysing history is fundamentally different than analysing the present. this is something that's changing.

if german becomes a dead language, for example, we're going to lose incredible amounts of our scientific and broadly intellectual history, reliant on summaries in english and translations into russian. that is inevitable, though. we will forget this. we eventually won't be able to read it.

your precious hegel will eventually be illegible to even the most sophisticated idle bourgeoisie in berlin. perhaps this is when history implodes upon itself - it just swallows itself whole, and disappears into a wormhole, yelling taunts at humanity as it flees.

it reminds me a little of my argument that all history becomes poetry in the end, and that this relationship is determined by the co-efficient of poeticity, which is naturally pi. i'm not sure i've explored this here. that is for another time.

is human progress, civilization, inherently forgetful?

well, certainly a lot of humans are inherently forgetful. we forget to do things, and forget lessons taught to us, all of the time. maybe the idea that i'm really expressing is that many of us are stupid, but the way this manifests itself is largely as forgetfulness.

now, the individualist will point out that while many, perhaps most, people are forgetful, there are some people that are not and these people will carry on the thrust of human progress, no matter how forgetful we may collectively be. but, their argument relies on the ideological construct of independence, and this is an empirical question with little evidence supporting it. individualism, at best, seems to be rare. so, these individuals are really left with a curatorial task to remind people of what they've forgotten - they're really just the cleared registers in the collective, trying to avoid the garbage collection from clearing them away, urging for a second chance to exist in memory - and failing. it's like a broken system of error-correction; we can remember and forget at the same time. so, this question of the inherent forgetfulness of human progress does not reduce to a question around independent variables.

it's just a different intellectual conception of progress - not as a linear curve tilting off towards some windmill at infinity, but as this messy, chaotic step-function, full of unpredictable fragments.

there is, of course, a hierarchy of seriousness attached to the consequences of forgetting what is being forgotten. geography can be found easily. a lesson can be relearned. but, forgetting science can be devastating.

this is a potentially unrealized consequence of globalization - when the global culture falls, there will be nobody left to remember what was forgotten.

purchasing this release does not come with a download.

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. published without modification on oct 6, 2014. expanded, re-released and finalized as symph006 and lp012 on oct 23, 2017.

inri057: written and recorded in late 2001 and early 2002. initially sequenced in may, 2002. re-sequenced and first released in june, 2002. re-released in slightly different forms from 2002-2014. resequenced to mimic the original sequencing and re-released 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.

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. released may 2, 2015. disc finalized as lp014 on nov 21, 2017. this is my sixth official record.

inri066: 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, closed and finalized on nov 26, 2017. lp015.

inri067: 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. disc simultaneously created and finalized as lp016 on nov 26, 2017.

inri068: 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. released as lp017 on nov 27, 2017. expanded and finalized on jan 1, 2018.

inri069: initially written and recorded between 1997-2003. this compilation idea was developed and expanded upon as an intended full record release between 2006 and 2011. reinterpreted, reconstructed and remixed between 2014-2018. sequenced over december, 2017 and january, 2018. disc released & finalized as lp018 and tetris I-IV on jan 7, 2018.

originally created from 1997-2003. this compilation is dated to april 28, 2003. slowly remastered, reconstituted, compiled, reconstructed, released and finalized from 2013-2018. compilation finalized on jan 9, 2018. as always, please use headphones. 

credits

released April 28, 2003

j - guitars (electric, acoustic, classical), digital & analog effest processing, bass, bass synth, synthesizers, electric & grand pianos, electric air reed organ, digital piano, flute, mandolin, voice, vocal noises & relics, electronic & analog drum kits, drum programming, drum manipulations, drum sampling, vocal manipulations, loops, orchestral & other sequencing, sampling, equalization, sound raider, found sounds, octavers, noise generators, cool edit synthesis, granular synthesis, generative synthesis, coughs, digital wave editing, production, composition, cover art.

sean - vocals, lyrics (inri053, inri057), harmonica (inri057, inri063, inri069), ring modulator (inri057, inri067, inri069).
greg - drum performance sample source (inri057, inri063, inri067-inri069)
jon - guitar performance (inri057)

the various rendered electronic orchestras include acoustic bass, synth bass, electric bass, brass, ftuba, french horn, trombone, trumpet, english horn, saxophone, oboe, clarinet, bassoon, flute, bamboo flute, piccolo, organ, sitar, bells, orchestra hit, melodic toms, timpani, orchestral drum set, drum machine, electrmoic drum kit, piano, clavinet, kalimba, hand drums, nylon guitar, distorted & clean electric guitars, guitar effects, guitar noises, synthesizers, synthesizer effects, music box, agogo, tubular bells, glockenspiel, koto, violin, viola, cello, contrabass and various full string sections. it also includes choir. 

 

 https://jasonparent.bandcamp.com/album/lps-only-volume-2

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. released may 2, 2015. disc finalized as lp014 on nov 21, 2017. this is my sixth official record.

inri064: these tracks were written and recorded over november and december of 2002 and uploaded, unmodified, in may of 2015. released on may 2, 2015. re-released on physical media and finalized on nov 24, 2017.

inri065: written and recorded in early 2003. transcribed, slightly rearranged, remixed repeatedly and re-rendered repeatedly over may, 2015. released on may 16, 2015. expanded & finalized on nov 25, 2017.

inri066: 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, closed and finalized on nov 26, 2017. lp015.

inri067: 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. disc simultaneously created and finalized as lp016 on nov 26, 2017.

inri068: 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. released as lp017 on nov 27, 2017. expanded and finalized on jan 1, 2018.

inri069: initially written and recorded between 1997-2003. this compilation idea was developed and expanded upon as an intended full record release between 2006 and 2011. reinterpreted, reconstructed and remixed between 2014-2018. sequenced over december, 2017 and january, 2018. disc released & finalized as lp018 and tetris I-IV on jan 7, 2018.

originally created from 1997-2003. this compilation is dated to april 26, 2003. slowly remastered, reconstituted, compiled, reconstructed, released and finalized from 2014-2017. compilation finalized on jan 9, 2018. as always, please use headphones. 

credits

released April 26, 2003

j - electric & acoustic & classical guitars, electric bass guitar, bass synth, digital & analog effects processing, synthesizers, electric air reed organ, electric & grand pianos, flute, voice, vocal noises & relics, analog & electronic drum kits, drum programming, drum manipulations, drum sampling, bowls, claps, tables, ebow, mandolin, orchestral & other sequencing, sampling, loops, equalization, light-sound synthesis, generative programming, granular synthesis, sound raider, noise generators, cool edit sequencing, found sounds, octavers, coughs, digital wave editing, sound design, production, composition.

sean - harmonica (inri063, inri069), ring modulator (inri067, inri069)
greg - drum performance sample source (inri063, inri067-inri069)

the various rendered electronic orchestras include tuba, french horn, trombone, trumpet, english horn, saxophone, brass section, oboe, clarinet, bassoon, flute, bamboo flute, piccolo, orchestra hit, melodic toms, hand drums, timpani, orchestral drum set, piano, agogo, celesta, xylophone, marimba, clavinet, kalimba, vibraphone, glockenspiel, tubular & other bells, music box, woodblock, mallet, electronic drum kit, drum machine, jazz drum kit, koto, synth pad, synth bass, synthesizer, synthesizer effects, mellotron, organ, sitar, acoustic bass, synth bass, electric bass, fingered bass guitar, picked electric guitar, nylon guitar, distorted & clean electric guitars, guitar effects, bowed electric guitar, guitar noises (fret noises, knocks, pick scrapes), violin, viola, cello, contrabass and various full string sections. it also includes choir. 

 

 https://jasonparent.bandcamp.com/album/flac-dvd-disc-volume-6

i spent the day creating purchase options on the bandcamp site - another thing that is kind of boring but need to be done.

i should be back to inri070, soon.

but, the update is that i added a lot of physical bundles around the alephs and the now four sequences i'm running: symph, lp, ambient and tetris. there's also some new bundles, so that most lps now have a pairing in a rational potential double record. i always intended to do this eventually, and here it is.

it's a big step in closing down period 2.

https://jasonparent.bandcamp.com/merch

publishing inri069

the origins of the tetris project emerge in my records some time in mid-2006. i must have been filing some things on my hard drive, and wanting to put a bunch of the loose ends in the same folder, because what i remember is having a lot of loose tracks and trying to find a way to fit them together. the best commonality i could find in these tracks is that they all attempted to merge guitar music with electronic music, so i devised a project that would utilize these tracks by exploring this theme to it's fullest.

tetris is the idea of combining guitar music with technology. it just sat that way, for years, as a folder on my hard drive, with little progress towards actual completion.

when i set up the bandcamp site in 2010, i uploaded a number of these loose tracks under the album header 'tetris', with a promise to add tracks to it, slowly, until it completes. this was intended to be an eventual official record with an explicit techno flavour, and some tracks were, in fact, added to it. as of january, 2018, the majority of these tracks have been completed and re-released on my fifth or sixth records. so, this project has been dismantled, as it initially existed.

upon initial completion of my second period in may of 2015, i sat down to create a guitar volume. some work was completed on a mix tape of solo parts, but this was ultimately where i left off to go back to complete period 1. before i put it aside, i had decided on a three-volume set: a mix tape and a 2xcd set, with one cd being a tetris volume 1 (converted to an end-of-period compilation) and the other cd being of atmospheric, political and noise sections.

i didn't get back to this until late december, 2017 and sat down to create a tetris volume 1 as i had decided upon in 2015. but, what i started to realize as i was compiling it was that the reason that this connection presented itself amongst the scattered tracks i initially applied it to was that it is a fundamental aspect of my art - nearly every track i've written since 1998 takes the guitar through an exploration in the world of electronic music. i started to think more abstractly about it, this combination of technology with guitars, so that the definition fit across more genres than techno and idm. this wider interpretation of the project's mandate created a larger pool of tracks to choose from, and i eventually settled on two volumes for tetris: one with a faster tempo and more danceable tracks and one with a slower tempo and jazzier or more psychedelic tracks. some tracks that i identified as 'orchestral' were also put aside for future release on a later tetris volume.

the atmospheric disc wasn't initially contemplated of as a tetris release, it was rather meant to make the release an inclusive guitar works, as that is also a major component of my guitar presentation. but, my wider interpretation of the mandate allowed me to see that the tracks i had put aside for this compilation were also an exploration of guitars and technology. so, i created this disc as a tetris volume. a strategic decision was made to not include tracks on the first ambient works, but rather to defer to it as the ambient component of my second period guitar work.

i had also decided in late 2017 that i would create a compilation of guitar-only mixes for the lp sequence to close period 2, to draw special attention to the primary focus of my creations, which is the guitar work. i strongly contemplated releasing only disc 4 in this space of inri069, and leaving the other three for a later release, as a coherent multi-disc part tetris. however, the need to include inri071a in the tetris sequence necessitated releasing these tetris volumes in this space. further, a standalone release of disc 4 would also require a tetris number - it is certainly an integration of technology and guitars.

that makes inri071a tetris 5. i've also decided that inri072, the orchestral works, should be tetris 6.

as a six volume set, this compilation touches upon nearly every track that was written between 1998-2003 and has guitars in it by placing it into one or more of these six slightly overlapping categories. as such, this is a comprehensive introduction to my first two periods, from the perspective off my work as a guitarist.

initially written and recorded between 1997-2003. this compilation idea was developed and expanded upon as an intended full record release between 2006 and 2011. reinterpreted, reconstructed and remixed between 2014-2018. sequenced over december, 2017 and january, 2018. disc released & finalized as lp018 and tetris 1-4 on jan 7, 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 (2015, 2017-2018). 

credits

released April 26, 2003

j - guitars (electric, acoustic, nylon), digital & analog effects processing, ebow, mandolin, bass, bass synth, drum programming, analog & electronic drum kits, drum sampling, drum manipulations, vocals, vocal noises, sampling, orchestral & other sequencing, soundscaping, sound design, synthesizers, electric & grand pianos, electric reed organ, found sounds, octavers, noise generators, cool edit synthesis, granular synthesis, generative synthesis, loops, flute, coughs, digital wave editing, production

sean - harmonica (track 19), ring modulator (track 36)
greg - drum performance sample source (track 21)

the rendered electronic orchestra includes acoustic bass, synth bass, electric bass, brass, french horn, trombone, trumpet, tuba, english horn, saxophone, flute, bamboo flute, oboe, piccolo, clarinet, bassoon, orchestra hit, drum machine, electronic drum kit, agogo, tubular bells, glockenspiel, clavinet, kalimba, piano, melodic toms, hand drums, timpani, orchestral drum set, koto, nylon guitar, distorted & clean electric guitars, guitar effects, guitar noises, synthesizers, synthesizer effects, music box, piano, bells, organ, sitar, violin, viola, cello, contrabass, full string sections and mellotron. it also includes choir.

tetris 1-4 (inri069) is now completed.

tetris 5 will be the ambient works, vol 1 (inri071a). tetris 6 will be the orchestral works (inri072). there's no use in recreating these as tetris volumes, but they are developed guitar ideas in my discography that ought to be catalogued. further tetris volumes will follow at the ends of periods 3 (2003-2007) and 4 (2007-2011).

to recap, tetris is the idea of fusing guitar music with technology. it is also one of the central themes of my work, as a composer. the tetris series catalogues my various approaches towards this theme.

tetris 1: guitar-driven dance music.
tetris 2: guitar driven electro-psych.
tetris 3: guitar driven noise collages.
tetris 4: guitar-only mixes of selected period 2 tracks
tetris 5: guitar driven ambient music
tetris 6: guitar driven orchestral music

tetris 7: guitar driven 'epic rock' - extended pieces.
the ideas in volumes 1-3, 5-6 may be reprised for further volumes.

formal close to follow.

the compilation is done.

it's five and a half hours, and touches on pretty much every major track in the first two periods of my discography.

it will take some time to upload.

so, where am i with things?

i've finished up the fourth tetris disc, and have a rough listing for the third. the last mix had to be reconstructed to finish it...

the third disc is going to be a compilation of tracks where the guitar is used to create a wash of noise, or something otherwise atmospheric.

i had to replace this track.



the deleted mix was actually intended to be temporary; it was done a few days before i finished the main track, and i was going to then go back and re-render it when i finished it. this didn't happen. so, the mix ended up with some synthesizers in it that had to be taken out. it's now also an accurate "guitar only mix" for the final version of the track.

this mix will also appear on tetris. the discarded mix will be moved to the alephs.

republishing inri058

there are a few ideas in my discography that i've explored from multiple angles, but nothing else at all like this track, which has been through multiple complete rethinks involving multiple people over the course of sixteen years. as the revisions are so diverse, i think that a comprehensive collection of interpretations is a proper entry within my discography.

in the end, this emerges as my seventh symphony.

the collection is to be arranged chronologically in four discs consisting of two 2xcd sets, with the first two discs consisting of mixes that were meant for inclusion in band projects and the third and fourth consisting of mixes that were created after the track was moved into my own various one-person projects. further discussions of the various incarnations of the tracks appear on the track pages.

written over 2001 and 2002 and rethought repeatedly between 2002-2014, with no clear resolution in a final mix. reconstructed from source in late 2014 and then rendered at multiple stages to create a series of snapshots. final mixes were completed over the last week of november and the first week of december. released as a two-volume set on dec 7, 2014. the concept was rethought on nov 3, 2017, which led to the inclusion of five more mixes and an expansion to four cds. re-released in four volumes & finalized as symph007 on nov 12, 2017. the raw guitar mix was corrected on jan 6, 2018. as always, please use headphones.

credits

j - electric & acoustic & classical guitars, analog & digital effects & processing, electric bass guitar, synthesizers, drum programming, orchestral sequencing (12), drum manipulation, vocal manipulation, voice (9), digital wave editing, loops, equalizers, soundscaping, sampling, composition, production, cover art

sean - vocals/lyrics (2,5,7), ring modulator (7-9, 11, 13-14, 16)

greg - drum performance sample source (4, 6-9, 11, 13)

bob - hammering (3)

the rendered electronic orchestra on track 12 includes tuba, saxophone, flute, clarinet, orchestra hit, piano, violin, viola, cello, contrabass and various full string sections.

released july 4, 2002

another decision: i had included a few 'orchestral' works in the epic rock compilation, because it sort of fit, but i've taken them out. the way i'm going to do this is that the guitar disc for the orchestral pieces will be the orchestral works, and i'll add the slow version of the time machine as a bonus track.

there will be material from the orchestral works in the tetris compilation, but where it fits.

i just felt forced to include the guitar concerto on a guitar works, but it doesn't really fit the description of tetris well - it's an overture and concerto and should be catalogued accordingly.

and, so, i should be explicit, and rename the release to tetris, 1-4.

on second thought, now that i've put the third disc aside as two further potential volumes, i can release a four volume set, if i include the guitar mixes, and why not, it fits the theme.

four is just permanent.

i still need to determine what i actually am going to create and then order it afterwards...

the most recent update is that the second tetris disc is sequenced, but the third has been put aside; it may end up as two discs. there is at least one more tetris disc to sequence, but i won't be releasing any of them in the inri069 space. as of now. i think. they will likely have a release date of something like 2011, in something like a 6 disc set. but, i could still decide that it's worthwhile to release a double in this space.

right now, what i'm wanting to do is sequence the guitar collage disc, as it kind of has to be sequenced before the next tetris disc. and, i'm realizing that one of my guitar mixes isn't a guitar mix at all.

so, i'm going to have to update inri058. i wish i would have caught this in november, but so be it.

it looks like this guitar collage disc will be what is published in inri069, unless i get a good 4 disc tetris set, in which case i can release the remaining volumes later.

so, where am i with things?

i've got the second and third tetris discs created, i just have to sequence them. but, i'm leaning towards not releasing this for a while, perhaps positioning it as late as 2013 in a 5 or 6 volume set.

tetris is the idea of mixing technology with guitar music. the three compiled expressions of this are in the form of a dance music setlist, a psychedelic music setlist and an epic rock setlist. a fourth expression of this in the form of atmospheric guitar music may follow shortly.

the only thing i've put aside for definite release in the inri069 space is the disc of guitar mixes - that is, songs stripped down only to the guitar parts. i'm also going to be getting a head start on a number of mix tapes, with the possibility of a release, but the likelihood of half-releases, to be put aside for later.

what i'm doing right now is sequencing these two discs and taking a look at the fourth volume.

i was just using my compass to pull a piece of lint out of my lighter (it's the worst when that happens...), when i started to realize that the ancient greeks probably used compasses for pretty much everything. if you can imagine this bearded greek old man, using this giant compass as a claw in his daily tasks - holding pita bread sandwiches, swapping away flies, getting that itch in that hard to reach spot. it's almost like that edward scissor-hands, isn't it?

i'm now fully convinced that all greeks lived like this, with compass as primary general utensil.

what we understand in the universe is largely restricted to concepts of motion. unfortunately, a fairly good understanding of motion may have led us to a false conclusion that we understand the universe well because we understand it's motions well.

most objects in the universe still perplex us at the most basic levels - we don't really know what they do, and if we do know then we don't know why, and if we don't know then we propose mathematical theories about them.

take the sun. we can measure how the sun moves fairly well. and, we know it shines. but, we don't really have any predictive theory to explain how the fluctuations in the sun's strength vary. this is a total mystery.

we may in the end find out that the laws of motion are actually not particularly useful in understanding the universe at all.

so, i put my upload of this mix on hold, to explore the possibility of adding another track, to spin inside dull aberrations. this would have required some strategic cuts to fit on to one cd, but it was plausible, and a cut was made. but, the track just doesn't fit the aesthetic on the disc, as much as i want it to.

so, what is this, then? this is the first officially complete volume of tetris, an idea i've been kicking around for a while, since i think 2007. and, it may in the end end up separated from inri069, and placed in a release sequence deep in 2011 instead, as the first part of a two or four cd set. but, this is a volume in a set of some sort, at least.

tetris is an idea that is meant to combine technology with lead guitar work, which i realized around ten years ago is a dominant theme in my work, worth separately cataloguing. many rough lists of tracks intended for a tetris release have circulated, over the years. there will be a tetris release of some sort that documents 2003-2011, potentially several.

the first tetris release is intended to focus on danceable tracks driven with a lead guitar part. spin is just too much of a rock song. i'm considering a second immediate tetris release, focused on trip-hop, but it may be put off until 2007.

i'm considering a third volume of atmospheric guitar music, but that too may be put off - as might the mix tape of solos.

so, there's still a lot of work to do in compiling and organizing the components of this release. but, this cd will be a completed segment, moving forwards.

so, are we just tiny microscopic life forms in the greater context of a much wider biological entity, possibly with some kind of consciousness?

i'm just struck by the synchronicity of the dimming of the sun with the warming of the atmosphere, almost as though one is acting to balance the other out - and while some may want to interpret this as a sign of a higher power, i think a more naturalistic explanation lies in something mechanistic, like the parts of a living organism. maybe the stars that form this organism even arrange into a constellation of a duck, if you could see it from the outside, which we will never be able to, because we are on the inside of it. well, maybe we could catch a reflection, somehow. or be lucky enough to catch a glimpse into some curvature in space. but, we can't see ourselves in the night sky.

now, you could run a computer simulation to determine the empirical question of whether our mathematical understanding of the universe projects a duck into other parts of the galaxy, if we have anything approximating enough data. you could potentially model it on a computer screen, but you'd have to go to virtual reality to really see the duck that we may or may not project. and, there would always be uncertainty levels.

no, to truly determine the empirical question of whether or not the galaxo-spacial biological entity we exist as a component of appears as a duck to other parts of the galaxy will require travelling there to see for ourselves. that's settled.

but, then, what if the constellations that we see are also galaxo-spacial biological entities? see, as i've mentioned a few times, i'm kind of open to the idea of religion as a ufo cult - and astrology was at one point a religion. contemporary westerners of a liberal scientific mindset tend to scoff at astrology as a lot of contrived nonsense, and they're not technically wrong, but their scorn obscures the fact that these ideas come from a lost religion that acted as a syncretic bridge between mathematics, astronomy and mysticism - that this is actually derived from legitimate ancient science. that doesn't mean that there's any value to the zodiac - this is not my argument, don't misunderstand me. but, it does suggest that there are maybe ritualized relics embedded in the zodiac that remember the relatively advanced science of the babylonian era, which was a high point for astronomy in the ancient world, this period of learning itself spurred by even more ancient stories, such as those told in egypt.

they kept very careful records, apparently. they were tracking things, looking for patterns. but, people don't realize how long this period of early civilization really was, before the languages started to change in the middle east, with the persians and then the greeks. if you're standing in babylon in the year 500 bce, you have 4000 years of astronomical records to draw on. the egyptians had even more than that. our science is based on a few hundred years of observation. so, they had more observations than we do, and more data to infer from. one has to think that inferences were made. if we could retrieve this data somehow, we might be able to predict the next several solar cycles better, if we could see a longer term pattern.

some of these patterns may be hidden in the zodiac, but you'd have to be careful, because it's also full of traps. first, if it finds a pattern, it's inevitably going to project it too perfectly, and project a cycle far less chaotic than reality. second, the mathematical writing that they used was cumbersome, and it produced a lot of error due to crude approximation arising from difficulties using that system. so, their calendar was actually wrong. and, it's been out of sync for centuries. it would require a lot of calculation to resync this, and then it wouldn't even be clear what you're comparing. it seems absurd to consult a source for predictive value when it can't even get the date right, right?

still, there could be useful information in there, if it's calibrated right. we'll never know until we pass through it and look back and reconstruct it. why were they so interested in the stars in the first place, though? and what's with all these stories of people coming up and down from the sky?

if there are living galaxo-spacial biological entities in the universe, then perhaps the movement of bodies in the sky has more to do with how the ancients imagined it than we currently think.

"have you seen my cat?"

that's twice, this week. and, here's the hard truth for windsorites: your cat ran away to join the colony, and you'll have to deal with it. the feral cats here have a really strong invisible network of scent signals that will lure your cat away immediately, if you let sight of it for even one second, outside. i wouldn't even be surprised to hear about cats darting out when doors are left open a crack, after waiting all day to follow the smell, as it walked by outside.

i've been arguing that the city needs a serious straight out feline cull. i know what they say about how trap, neuter & return is a preferable option, but that presumes a certain level of manageability. we may, unfortunately, be at the point where we require an all out slaughter of feral cats, because their existing numbers are already too much of a problem for a t-n-r to cut down on.

but, the colony will in some way affect your cat, even if it's isolated enough from the aromas that it only gets  the odd sniff of it. the ones that it drags out, zombie like, will be converted to the cause of the colony upon arrival. and, this is simply hormonal - no amount of pleading will change your cat's minds. once assimilated, they are gone - never to return to snuggling, or to the far more subversive kneading, at that. their minds are washed of their existence as slaves to humans, however absurd that formulation is when related to cats, and given a new life of meaning to protect, defend and expand the colony. do not waste your time - they are gone.

as it's purely chemical, and we're both basically the same kind of mammal, of course this is possible in humans, if you can find the right magic password, the right chemical bonds. you can get an idea of how we're sometimes driven purely by hormones when you look at the fight or flight response; we literally don't think in these situations, we just succumb to this hormone that forces us to react. this is a ways from actual chemical mind control. and, the instincts available to program are likely to be biological responses that might not be useful and might even be dangerous - lust, for example. but, i think the chemistry likely exists to turn a human's brain right off in order to accomplish a biological urge, and it would probably be experienced by the conscious host as a blackout in memory. one could no doubt find detailed examples that fit this description.

if you lose your cat around here, though? it's gone. to the colony.

i think i'm done my distraction with the usb key, now. i didn't salvage anything off of it, but i convinced myself that what was on it was routine. i was just paranoid about forgetting something. if i did, there's no evidence it existed.

i still don't know what happened with that; i stopped writing to the key immediately after the weirdness happened, so the files should have been easily accessible. but, they only came up on a deep scan, and they came with some directory corruption, as though they'd been decaying on the drive a while. it's all very strange.

what i remember doing is deleting two files in the root directory, leaving a folder called bd-2 in tact. that's a little blurry as to the exactness of the directory structure, which is what it causing me all of this pause. but, the whole drive wiped. my initial thought was that i accidentally deleted the folder and it should be a quick undelete. but it seems more like that the thing collapsed under itself; it just vanished. do file directories randomly collapse like that, or is it further sign of intrusion?

dude. remember the prime directive. you can't be fucking with my files like this. i actually have no delusions as to the nature of "network privacy", but zapping my usb key crosses boundaries. if somebody did zap me, please don't do it again.

i accidentally deleted files off of my usb key, and i'm kind of dumbfounded as to why they're not showing up in the file system. i haven't touched the drive. it's just full of random dates, almost more like it got flooded with data. but i'm waiting for one more scan to make sure it's not just hiding with a weird name.

i guess maybe the file table could have gone out? is that something that happens? i don't think there was much on there, i'm just going to have this nagging feeling like i forgot something.

something else i read while the internet was down was the gibson classic, neuromancer. i'd read half of it a dozen times and made sure i actually finished it this time. i think it's overrated as a work, even if it was enjoyable enough as basic fiction. but, something i think he got wrong was the idea with the implants. the female protagonist had mechanical implants inserted into her eyes. i think the way this is going to actually work is that people are going to get injections full of hormones designed to rearrange their dna: that we're going to actually reprogram ourselves to use the hardware we have better, not get new hardware attached to ourselves. i think the potentials of this are quite staggering, but it's going to require a difficult period of human experimentation, where people get programmed in disturbing ways, sometimes accidentally and sometimes on purpose.

one medical application i can think of, as a transgendered person, would be actual genetic therapy for transition. you could just reprogram your cells to produce estrogen instead of testosterone. i think diabetics could put this to use, as could anyone else with a problem in hormone regulation - including people with high levels of bad cholesterol.

but, the key futuristic element was in finding ways to use technology to enhance our abilities. and, i think the novel made an error in imagination that was kind of ubiquitous at the time.

did you know that humans have the dna to understand magnetism, and therefore electricity, as a sixth sense?

i was just thinking about epi-genetics when i was going for a walk outside, and it is cold right now here, as i saw a series of cats cross my path - one very black, and the other very white.

i started to wonder if cats had the genetic ability to change their fur colour. i've never seen a cat actually do this. but, the white cat seemed strangely adapted to the snow, while the black cat seemed equally adapted for the night. i suppose the traditional explanation is that cats are born with variations in fur colour, and that the ones best suited to the environment survive. but, i'm not sure the laboratory conditions provide that as a clear explanation, as this population of cats is only semi-feral, and the snow here is actually unusual.

well, maybe the darwinian explanation isn't so lacking if you explore it carefully - you just have to accept a lot of coincidences, but then you need to have good luck to get the right mutations in the first place, right? let's explore other possibilities, without pursuing the need to debunk anything.

so, what if house cats can actually change their fur colour? the ability to change fur colour, often in winter, is a common adaptation of species descended from the common ancestor of the carnivore clade, and some species with older common ancestors, like rabbits, seem to have these genes, as well. they appear to be very old mammal genes. cats probably have them, cleverly inactivated around humans.

i started to wonder if humans may have even selected specimens of house cats that didn't utilize this adaptation, as it would be alarming to watch the cat transform - perhaps into an evil spirit. and, perhaps that evil spirit was somewhat real - perhaps the change in fur colour came with hormonal changes that made the animal more aggressive. perhaps. perhaps.

but, then, if something like that happened, your cat may have a special power that it isn't using, so as not to alarm you. we identify cats by their colours. they need to project a static representation of themselves to remain identifiable. they don't want to be changing their fur colours.

a semi-feral cat lost outside in a snow storm has a very different set of priorities, and one has to wonder whether the stress is enough to flip the switch.

it led me to thinking about humans, and this sixth sense that we have. we have this sixth sense because our ancestors had it - not our recent ones this geologic epoch, but our distant ancestors, before life moved out of the oceans. our ancestors could intuitively measure magnetic fields - think about that. and, why don't we have this ability any more? because it's an ocean adaptation. the utility of sensing magnetic fields through a liquid medium didn't transfer over to a gaseous one, the sense fell into disuse and, in the end, the more successful individuals were probably coincidentally born deficient of it. if you can imagine an existence so dark that eyes are so useless that the blind outcompete those that can see....

but, that truth might be eroding. our atmosphere is now full of magnetic fields, of our creation. how many humans have been born with this sense, and studied as mystical, or perhaps laughed at as delusional? it should happen from time to time as an error, or a mutation, whatever word you want to use. these people should actually exist. but, then, how many of us could flip it on, if we only knew which collection of hormones to concoct?

i don't know what we would realistically be able to do in reading a cell phone signal or transmitting wireless data. it may very well end up as a terrible way to interpret reality, full of indecipherable amounts of noise at strengths that produce pain. but, perhaps we can order the data quite well, and abstract it relatively easily. this is really an experimental question.

it's a different way to think about evolution, this realization that we have the history of billions of years of adaptations existing in our genetic codes, potentially ready to utilize under the magic chemical password. and it's a bit humbling to realize the power and the complexity of the genome.

purchasing this release does not come with a download.

inri000: originally released dec 25, 1996. remastered oct 30, 2013. finalized june 26, 2016.

inri001: originally released jun 1, 1997. remastered nov 8, 2013. finalized july 3, 2016.

inri002: originally written and recorded over 1996-1997. sequenced and mildly modified in dec, 2013. released dec 11, 2013. finalized on july 3, 2016. lp000.

inri003: created in mid 1997. sequenced and converted to stereo in november, 2013. released on nov 9, 2013. corrected in september, 2014. finalized on july 5, 2016.

inri004: originally written in 1997 and first created in 1998. a failed rescue was attempted in 2013. finally reconstructed in the summer of 2015 and extrapolated upon over the first half of 2016. released on july 4, 2016. finalized on july 5, 2016.

inri005: initially written in 1997. recreated in jan, 1998. a failed rescue was attempted in 2013. reclaimed july 1, 2015. deconstructed dec 18, 2015. released on jan 4, 2016. finalized on july 6, 2016. lead track added and refinalized july 20, 2016.

inri006: originally created in 1998. a failed rescue was attempted in 2013. reconstructed in the summer of 2015 and then manipulated further in the summer of 2016. released & finalized on july 7, 2016. hidden track added and re-finalized on july 18, 2016.

inri007: initially written in 1997. recreated in feb, 1998. a failed rescue was attempted in 2013. reclaimed july 5, 2015. remixed july 12, 2015. electronics added on july 16, 2015. released on jan 4, 2016. sequenced on jan 6-8, 2016. finalized on july 10, 2016. hidden track added and refinalized on july 21, 2016.

inri008: initially written in 1996. recreated in feb, 1998. a failed rescue was attempted in 2013. reclaimed june 29, 2015. remixed july 15, 2015. released on jan 4, 2016. finalized on july 11, 2016. bonus tracks added and re-finalized on july 18, 2016.

inri009: initially written in 1994. first full recording in 1996. recreated in mar, 1998. a failed rescue was attempted in 2013. reclaimed & remixed on july 18, 2015. released jan 7, 2016. sequenced jan 6-8, 2016. finalized on july 20, 2016.

inri010: initially written in 1996. recreated in april, 1998. a failed rescue was attempted in 2013. reclaimed july 12, 2015. vocals added july 15, 2015. sequenced, released and finalized on july 22, 2016.

inri011: originally created in april, 1998. a failed rescue was attempted in 2013. reclaimed july 4, 2015. remixed july 15, 2015. vocals added jan 6, 2016. released on jan 6, 2016. finalized on july 23, 2016.

inri012: initially written in 1996. recreated in the spring of 1998. a failed rescue was attempted in 2013. reclaimed june 29, 2015. corrected to control for malfunctioning electronics on nov 26, 2015. sequenced on jan 10, 2016. released & finalized on july 24, 2016.

inri013: written and demoed from 1994-1998. initially constructed in this form in june, 1998. a failed rescue was attempted in 2013. sequenced on jan 6-7, 2016 from parts that were rebuilt over 2013-2016. released jan 7, 2016. finalized on july 29, 2016. symph001.

inri014: initially written in 1996. recreated mostly in feb, 1998 (schizoid, terrorists) but also partly in june, 1998 (abusive). sequenced in this form in june, 1998. a failed rescue was attempted in 2013. "terrorists" was reclaimed june 28-29, 2015 & remixed july 15, 2015. the main mix was corrected on nov 19, 2015. "schizoid" was reclaimed on july 12, 2015 & reprogrammed on dec 31, 2015. the main mix was corrected on jan 3, 2016 and remixed repeatedly jan 3-5, 2016. the lead track was sequenced on jan 5, 2016 and split back apart on jan 8, 2016. released on jan 5, 2016. audio permanently closed on aug 1, 2016. release finalized on oct 9, 2016.

inri015: written and demoed in multiple stages from 1994-1998. initially constructed in this form in june, 1998. a failed rescue was attempted in 2013. reconstructed and resequenced jan 6-10, 2016 from parts that were rebuilt over 2013-2016. re-released jan 10, 2016. audio permanently closed on aug 10, 2016. finalized on oct 10, 2016. lp001.

inri016: created in the summer of 1998. released as a standalone ep on nov 16, 2013. audio permanently closed on oct 12, 2016. release finalized on oct 27, 2016.

inri017: initially written over the course of 1997. recreated and expanded over the course of 1998. lead track first sequenced in this form in feb, 1999. further remixes generated over the course of 1999. a failed rescue was attempted in 2013, and another in late 2015. remastered in november, 2016 from various sources, 1997-2015. finalized & released on nov 17, 2016.

inri018: initially written in 1997. recreated and reconceptualized in late 1998. salvaged somewhat at the end of 1999. remastered in 2013. compiled & released on nov 13, 2016. finalized on nov 19, 2016. final album version added as a bonus track and refinalized on dec 15, 2016.

inri019: written and demoed from 1996-1999. initially constructed in this form in january, 1999. a failed rescue was attempted in 2013. compiled on nov 13, 2016. sequenced on nov 22-24, 2016 from parts that were rebuilt over 2013-2016. released on nov 24, 2016. release finalized on nov 27, 2016. symph002..

inri020: initially written in 1993. first full recording in 1996. recreated in dec, 1997 and again in jan, 1999. a failed rescue was attempted in 2013. reclaimed on july 2, 2015. remixed on july 15, 2015. reconceptualized & remixed repeatedly over november & december, 2016. released & finalized on dec 13, 2016.

inri021: written and demoed in multiple stages from 1993-1999. initially constructed in this form in feb, 1999. a failed rescue was attempted in 2013. reconstructed and resequenced over november and december, 2016 from parts that were rebuilt over 2013-2016. finalized & re-released on dec 15, 2016. lp002.

inri022: recorded over 1998. compiled and remastered in late 2013. released dec 27, 2013. corrected to normalize for stereo in september, 2014. expanded incrementally between dec, 2014 and dec, 2016. merged with inricycled b and then finalized and re-released on december 16, 2016.

inri023: constructed over 1998. compiled and remastered in late 2013. released dec 27, 2013. the first two tracks were corrected to stereo in sept, 2014. the last two tracks were added for re-release as a remix lp in dec, 2016. re-released & finalized as lp003 on dec 17, 2016.

inri024: initially written and recorded between 1996-1999 and remixed over the summer of 2015, with a lengthy pause due to malfunctioning electronics. final compilation date is jan 3, 2016. finalized dec 17, 2016. lp004.

inri025: this idea was developed in parallel to the inriclaimed project over the summer of 2015 and first compiled on nov 27, 2016. released & finalized on dec 17, 2016. lp005.

inri026: initially written in the fall of 1997. recorded in the winter of 1999. remixed in late 2013 and again in early 2014. this track was separated from my second record in january, 2016 but the single was not completed until it was remixed one last time in sept, 2017. released & finalized on sept 10, 2017.

inri027: streamed to disk in one take on the afternoon of march 9, 1999. ripped back to wav format from cd-r in late 2013. released as a one track single on nov 21, 2013. release finalized on sept 12, 2017.

inri028: constructed over a few days in april, 1999. ripped back to wav format from cd-r in late 2013. released as a one track single on nov 21, 2013. release finalized on sept 12, 2017.

inri029: recorded over 1997-1999. constructed in this form in june, 1999. published on november 30, 2013. re-released (with new hidden track) and finalized as symph003 on sept 13, 2017.

inri030: initially created in sept, 1997. remixed and reimagined repeatedly over 1998 and 1999. a failed rescue was attempted in 2013. partially reclaimed dec 8, 2014. rebuilt and resequenced on jan 9, 2016 out of material that had been remastered over 2013-2016. reimagined again on oct 26, 2016 out of material that was created in jan, 2016, but not released (and finalized) until sept 13, 2017, in order to properly fit into sequence.

inri031: recorded over the spring and summer of 1999. originally released on inrimake in october, 1999 (with an accidental phase reverse). the first section was modified further at the end of 1999. minimally altered and split into it's own ep on january 3rd, 2014. spliced further, appended to and remastered over sept, 2017. re-released and finalized on sept 28, 2017.

inri032: recorded sporadically, and without cohesive intent, over '98 and '99. originally compiled in the fall of '99. augmented and minimally altered in january, 2014. released on jan 3, 2014. finalized as lp006 on sept 21, 2017. as always, please use headphones - but note that they are especially mandatory for this recording.

inri033: written and demoed in multiple stages from 1996-1999. initially constructed in this form in dec, 1999. slightly resequenced in jan, 2014. re-released jan 3, 2014. finalized as lp007 on sept 19, 2017. this is my third official record.

inri034: written & recorded in the fall of 1999. originally released on inridiculous in december, 1999. split into it's own ep on january 3, 2014. remastered, finalized & re-released 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. released on jan 9, 2014. re-released on physical media and finalized on oct 3, 2017, with the remainder of hummer added as a bonus track.

inri037: recorded in spring, 2000. released, unmodified, on jan 10, 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 on jan 12, 2014. expanded with remixes from 2014-2017, re-released with a newly remastered lead version and subsequently finalized on oct 5, 2017.

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 2006 but has otherwise not been modified since it was completed. first released as an ep on jan 14, 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. released as a single on jan 14, 2014. expanded & finalized on oct 9, 2016.

inri041: recorded over the space of the year 2000. remixed substantially in 2004, 2006 and 2014. existing version released on jan 14, 2014. finalized as lp009 on oct 9, 2017. this is my fourth official record.

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. released & finalized as lp010 on oct 9, 2017.

inri043: written late 2000 & early 2001. the renders present here are all from after 2013. 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. released in a single volume on june 7, 2014. four new orchestral mixes were added in late may, 2015. re-released in a single volume on may 26, 2017. this release was split into jazz and orchestral volumes in early oct, 2017. two renders were then added to the jazz volume, while three new mixes were created for the orchestral volume. re-released in two volumes and finalized on oct 12, 2017. a

inri044: written early 2001. drastically rearranged in june, 2014. rendered, arranged and performed over june and july, 2014. released on july 21, 2014. six new mixes were added in late may, 2015. re-released on may 28, 2015. four new mixes were added in mid october, 2017. re-released & put on indefinite hold as to status on oct 15, 2017.

inri045: recorded in the first part of 2001. initially released as a bandcamp upload in august, 2010. re-released on january 18, 2014. finalized on oct 14, 2017.

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. released as a one track single on april 1, 2006. expanded with alternate mixes and re-released on july 23, 2014. the vst mix was added on jan 10, 2015 and the two guitar mixes were added on may 29, 2015. re-released 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. released in a single volume on july 25, 2014. re-released in a single volume with a new string orchestra mix on may 30, 2015. this release was split into two cds on oct 15, 2017, with the first disc being composed solely of the process piece. four new tracks were added to the second disc. re-released in two volumes and finalized on oct 16, 2017.

inri048: written in the summer of 2001. remembered over july, 2014. completed august-september, 2014. released sept 24, 2014. expanded, finalized and re-released on oct 16, 2017

inri049: written and recorded in the fall of 2001. released on sept 6, 2014. expanded, re-released and finalized on oct 21, 2017.

inri050: written in the fall of 2001. rendered, remastered and remixed in late september and early october, 2014. released oct 3, 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. sequenced and released 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. this is my fifth official record.

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. published without modification on oct 6, 2014. expanded, re-released and finalized as symph006 and lp012 on oct 23, 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. released on oct 21, 2014. disc closed on oct 30, 2017.

inri055: written in early 2002 and recorded and mixed in early 2002 and late 2014. released on nov 15, 2014. expanded, re-released & finalized on nov 1, 2017.

inri056: written & recorded in late 2001 and early 2002 and mixed in early 2002 and late 2014. released on nov 19, 2014. expanded, re-released and finalized on nov 2, 2017.

inri057: written and recorded in late 2001 and early 2002. initially sequenced in may, 2002. re-sequenced and first released in june, 2002. re-released in slightly different forms from 2002-2014. resequenced to mimic the original sequencing and re-released 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 2002 and rethought repeatedly between 2002-2014, with no clear resolution in a final mix. reconstructed from source in late 2014 and then rendered at multiple stages to create a series of snapshots. final mixes were completed over the last week of november and the first week of december. released as a two-volume set on dec 7, 2014. the concept was rethought on nov 3, 2017, which led to the inclusion of five more mixes and an expansion to four cds. re-released in four volumes & finalized as symph007 on nov 12, 2017.

inri059: written and recorded over 2001 and 2002. mildly remixed in november, 2014 to make the tracks more presentable; nothing substantial was altered, and no new sound was recorded. released on november 19, 2014. re-released on physical media and finalized on nov 14, 2017.

inri060: written in august, 2002. track one was remixed in december, 2014 to turn the rest of the track up relative to the vocals. released on 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 writing, arranging, recording, production and mixing occurred from dec, 2014 to apr, 2015. released as a two volume set on april 27, 2015. this release was expanded to include a third disc on nov 17, 2017 and filled in with eight new remixes over the next few days. re-released as a slightly rearranged three volume set and finalized on nov 19, 2017.

inri062: this track was written in late 2002 and completed over april and may, 2015. released 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. released may 2, 2015. disc finalized as lp014 on nov 21, 2017. this is my sixth official record.

inri064: these tracks were written and recorded over november and december of 2002 and uploaded, unmodified, in may of 2015. released on may 2, 2015. re-released on physical media and finalized on nov 24, 2017.

inri065: written and recorded in early 2003. transcribed, slightly rearranged, remixed repeatedly and re-rendered repeatedly over may, 2015. released on may 16, 2015. expanded & finalized on nov 25, 2017.

inri066: 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, closed and finalized on nov 26, 2017. lp015.

inri067: 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. disc simultaneously created and finalized as lp016 on nov 26, 2017.

inri068: 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. released as lp017 on nov 27, 2017. expanded and finalized on jan 1, 2018.

originally created from 1996-2003. this compilation is dated to apr 25, 2003. slowly remastered, reconstituted, compiled, reconstructed, released and finalized from 2013-2017. compilation finalized on nov 27, 2017. as always, please use headphones. 

credits

released April 25, 2003

j - guitars (electric, acoustic, classical), analog & digital effects processing, electric mandolin, ebow, electric bass guitar, bass synth, keyboards, synthesizers, electric & grand pianos, electric air reed organ, flute, orchestral & other sequencing, drum & other programming, drum kit, electronic drum kit, percussion, drum & vocal manipulations, pick scrapes, metronomes, vocals, vocal relics, mic noises, vocoders, octavers, films, tapes, sampling, found sounds, paper, strategies, sampling, cool edit wave synthesis, windows 95 sound recorder, noise generators, noise reduction, light-wave synthesis, granular synthesis, generative synthesis, generative percussion, soundraider, hammerhead, sound design, soundscaping, digital wave editing, loops, treaments, equalizers, a broken tape deck, coughs, bowls, claps, tables, pens, chance, text-to-speech synthesis, remixes, reconstructions, reinterpretations, production.

sean - vocals, lyrics (inri048-049, inri053-inri059, inri061), harmonica (inri054, inri057, inri063), ring modulator (inri057-inri058, inri067), vocal concept (inri062)
jon - guitar performance (inri048, inri049, inri057)
greg - drum performance sample source (inri056-inri058, inri063, inri067-inri068)
bob - hammering (inri058)

the various rendered electronic orchestras include acoustic bass, electric bass guitar (fingered & picked), synth bass, upright bass, distorted electric guitar, clean electric guitar, bowed electric guitar, guitar noises (fret noises, knocks, pick scrapes), steel string acoustic guitar, nylon guitar, guitar effects, ukelele, banjo, harp, koto, sitar, french horn, english horn, tuba, trumpet, trombone, brass ensemble, saxophone, soprano saxophone, orchestra hit, theremin, 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, tinkle bells, agogo, clavinet, kalimba, xylophone, celesta, glockenspiel, woodblock, vibraphone, hammered percussion, mallet, marimba, taiko drums, gong, detuned piano, pc card, drum kit, jazz drum kit, hand drums, melodic toms, timpani, orchestral drum kit, drum machines, synthetic percussion, backwards cymbals and electronic drum kit. they also include choir. 

 https://jasonparent.bandcamp.com/album/flac-bd-disc-volume-1