yeah. i just got a quick, clean listen of inri001 in on the official setup and it sounds great. i can only hope that this clarity lasts. i'm going to try it through the other gear, but i'm closing it.
this record is very much a continuation of the first demo, but it's also a kind of an appendix to it. if the charm of the first demo is in it's outsider music abstraction, this demo could easily be overlooked. but, it's in truth a more honest representation of the more ordered side of what i was attempting to create. the record also contains cringey moments, but they're not as pronounced and in truth are even largely overshadowed by the increased order in sound. so, despite the charms of the first demo, this is far more predictive regarding the music i would create over the next few years.
near the end of the demo, i become cognizant of the fact that my family is moving and i will lose the recording space - specifically the drums and the recording machine. i kept the guitars, as i was intellectually invested in them previous to the room, and my dad kept the bass. this awareness of an end point brought me to several summary type songs near the end, where i'm attempting to close the idea down prematurely. i always intended for this demo to be the same length as the first one, i just ran out of time. so, the cassette will leave the second side of a 100 minute tape blank.
while i can ultimately not honestly diagnose this demo as any more listenable than the first one, in absolute terms, it is certainly a lot closer to it. again: is this an asset or a drawback? it depends on the perspective. there's something to be said for me finishing my ideas more clearly, even if it means a loss at the level of the surreal - which is actually important in appreciating this, as one cannot actually listen to it.
that's not to say that this demo doesn't get outright weird, as it certainly does. it's just that the weirdness is more composed and less accidental - again, it's a stale academic argument, but it has a real meaning in the contrasted aesthetics.
so, i'd request that you interpret it as a reflection of the first demo rather than try and build a direct comparison with it. i'm pointing this out because i'm bundling them together in chronological time and associating them to one another due to the shared recording environment, but the value of this is more in the contrast than in the comparison.
so, i think it has a path to an audience, if not necessarily an obvious one just right now. it's too good to be intriguingly awful, but not good enough to appeal on it's own merits. so, it has to be understood in chronological context - as a transitional recording.
==
my second demo, recorded over the second half of the tenth grade, is a considerably more polished recording. by this time, i had learned a lot about how to record things and had improved my drumming and keyboard playing. while the vocals remain highly erratic, ranging from precociously insightful to devastatingly stupid, the music here is actually not far from a professional recording.
recorded in spring 1997, remastered in fall 2013. finalized on july 3, 2016. as always, please use headphones.
i consider this an archival release with little direct listening value. i've pointed out repeatedly that i was 16. however, various segments have been isolated and pulled out for a higher listenability value over here:
jasonparent.bandcamp.com/album/inricycled-a
this release also includes a printable j-card insert and will also eventually include a comprehensive package of journal entries from all phases of production (1997, 2013, 2016).
credits
j - guitars, effects, bass, drums, keyboards, tapes, vocals, found sounds, metronomes, production\
released june 1, 1997
