....and that closes this down.
it's weird how this represents such a segue. it's on the ass-end of my kiddy releases, but it's reaching towards something more mature and realized. on that note, i need to be clear that, while these are technically remixes and/or covers and/or reinterpretations, they often differ so far from the source material that the connection is barely discernible. the ones that are instrumental are really original compositions in the style of something like the art of noise.
if you're going to listen to this, it absolutely requires headphones and some serious focus. pretty much all these songs are built around very dramatic and very hard panning effects. it's not just a little sci-fi kind of gimmicky sort of thing, the disorientation that the panning creates is really key to interacting with this.
as with most of my more extensive releases, this touches on a wide array of outsider genres: 60s garage-psych, experimental trip-hop, idm, prog, jazz fusion, psychedelia, synth pop, skate punk and several others. at it's core, though, this is both on the art rock fringe of the experimental/industrial genre and on the electronic fringe of the psychedelic genre. that's how to interpret this.
==
something that happened in the late 90s, when fans of bands started getting together and talking on the internet, was the phenomena of the unauthorized remix. schemes were hatched all over the internet to create remix records, tribute discs, fan collaborations and whatnot. in hindsight, given what the internet turned into, it was actually a refreshingly productive use of networking.
different artists have reacted in different ways. i got yelled at by the now deceased singer of god lives underwater for one of these. trent reznor, on the other hand, eventually went so far as to set up a competition (which i didn't take part in, as i'd moved beyond the idea by that point).
once i'd put a few remixes/recreations together, and received more positive feedback doing it than with any of my own songs, i began to realize that if i could get somebody's attention then i could construct myself a launching pad. it seems like that's what a lot of people were thinking; it didn't work out, but i did end up with a number of remixes.
unfortunately, i've lost a lot of them. about a third of them ended up on a cd-r i threw together at the end of 1999. a third just sat on my hard drive, and a third disappeared into the internet. i'm putting them all together here under the title of the 1999 release, 'inrimake'. the initial release ended after "the day inri messed the world up"; the last five songs are 'bonus tracks'. i've further split off the first two tracks to a standalone ep, liquify (inri031), partially because they never fit here properly and partially because it pares the augmented version down to under 80 minutes.
now, i should point out that i was very much going for the *abstract* remix sound rather than the club-friendly mix. you can't really dance to these. you're not supposed to. you're supposed to blare them through headphones and trip out into them.
in terms of my own work, this record very much extends a bridge from the inri period into the deny everything period, to the extent that it arguably realizes the goals of both phases better than either phase does.
recorded sporadically, and without cohesive intent, over '98 and '99. originally compiled in the fall of '99. augmented and minimally altered in january, 2014.
HEADPHONES ARE MANDATORY TO EXPERIENCE THIS AS INTENDED.
credits:
j - guitars, effects, bass, synths, drum programming, digital wave
editing, cool edit synthesis, sampling, sequencers, loops, remixes,
reconstructions, reinterpretations
released october 15, 1999
