that was a nice clean listen. but as far as i can tell, it's just luck. i'm going to let things stabilize in here further before i start bringing in any more gear, as i don't fully understand the fluctuations, yet. i hope my luck lasts indefinitely, but then it wouldn't be luck - something would have changed. i saw the crews coming to put in led lights on the street, and i'd think that should turn the volume down a little, anyways. but, i'm not jumping to conclusions. right now, it's just luck.
i'm going to close inri003.
this is a collection of sound experiments from 1997 that i split off into a self-contained ep in the fall of 2013. the initial idea was for it to comprehensively fill the time gap over the fall of 1997, which meant including some of the drum machine tracks that i was programming at the time, but i quickly split that idea off into a different project, leaving a kind of skeleton of sound art experiments. i then found myself listening to a playlist of those tracks on repeat, as i was trying to figure out how to organize them. the most obvious choice became apparent.
there is actually a thematic continuity across these tracks, as they were all constructed entirely out of samples of existing sound that were layered over top of each other after being looped, time-manipulated, distorted and whatever else. so, the projects split cleanly. as a self-contained unit of sound, this is certainly about as weird a piece of music that you could imagine, which just made it that much more appealing to listen to. as the tracks are all short, they come off more as sections of a longer piece when run directly into each other, despite being nowhere related.
so, the main purpose of this release remains autobiographical, but i'll stand by it as a compelling piece of music, nonetheless.
==
i spent the summer and fall of 1997 programming drum tracks into an ry30, notating them into a tablature program and sequencing them using noteworthy composer. i did not know how i was going to record these tracks. i think i was expecting to use the computer, but that was probably naive; instead, i was gifted a 4-track recording machine. i then spent the next year and a half rearranging and rerecording the songs i programmed over that period. as these tracks were recorded into my pc, they are time stamped...so i have a much clearer understanding of when they were finished.
the jump to incorporating computers into the recording process is something i always wanted to do, it's just that it wasn't really previously feasible. first, there was a learning curve. i was a smart kid, though; the learning curve was just a time concern. the larger problem was simply access to a pc. i did have a pc at my disposal, but it did not have a modem and it was only equipped to run windows 3.1, which basically meant i could run civ 2 and wolfenstein and little else. the windows 95 computer had dial up but it was in a central location for family use.
when we moved across the city, my dad bought a new computer and i happily inherited his old one. this gave me internet access, which allowed me to download some freeware. it also gave me the time i needed to learn how to do certain things.
i'm separating out a handful of my first electronic sound experiments and collecting them together into an ep. what these blasts of noise have in common is that they were constructed on a windows 95 computer out of samples or generated sound and with very primitive software while i was waiting to get some kind of recording equipment. most of it was pasted together meticulously using the windows 95 sound recorder; the rest of it was constructed in cool edit, which i used as a sort of a synthesizer.
for the most part, these weren't really ever meant to be songs. i ended up using them as connectors, introductions, background. "continuity". yet, i find the idea of throwing them together here to be interesting from an autobiographical perspective.
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. 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 (1997, 2013, 2016).
credits:
j - cool edit (wave synthesis, digital wave editing), windows 95 sound recorder (sampling, digital wave editing), yamaha ry30 drum machine (programming)
released december 1, 1997
