putting this in any kind of 'best-of' list makes no sense to me at all.
if it was my record label, i wouldn't even release it.
https://sambarker.bandcamp.com/album/utility
Wednesday, December 25, 2019
first liner note release for inri027
somebody
asked me to do this for them for a school project in the second half of
grade 12, which was early 1999. we're both italian. silly joke, no
offense intended.
i never saw the final version, but the guy described it to me. it was an anti drinking and driving ad (think madd) for a marketing class. they sequenced it up with shots of one of them stumbling towards a car, getting in and driving off. very clownish, apparently.
i didn't spend a lot of time on this, so i didn't charge them for it or anything. i think i was more hoping that it would float around a little, but if it did i'm not aware of it.
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. first liner note released added on dec 25, 2019. as always, please use headphones.
this track appears in slightly modified form on my third record, inridiculous (inri033): jasonparent.bandcamp.com/album/inridiculous
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 (1999, 2013-2019). as of dec 25, 2019, the release includes a 4 page booklet in doc, pdf & html, with an html5 audio frontend, that includes journal entries from the remastering process over nov, 2013.
i never saw the final version, but the guy described it to me. it was an anti drinking and driving ad (think madd) for a marketing class. they sequenced it up with shots of one of them stumbling towards a car, getting in and driving off. very clownish, apparently.
i didn't spend a lot of time on this, so i didn't charge them for it or anything. i think i was more hoping that it would float around a little, but if it did i'm not aware of it.
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. first liner note released added on dec 25, 2019. as always, please use headphones.
this track appears in slightly modified form on my third record, inridiculous (inri033): jasonparent.bandcamp.com/album/inridiculous
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 (1999, 2013-2019). as of dec 25, 2019, the release includes a 4 page booklet in doc, pdf & html, with an html5 audio frontend, that includes journal entries from the remastering process over nov, 2013.
credits
released March 9, 1999
j - hammerhead (909 emulator), digital wave editing
https://jasonparent.bandcamp.com/album/gene-os-a-soundtrack-for-an-italian-breakfast-cereal
j - hammerhead (909 emulator), digital wave editing
https://jasonparent.bandcamp.com/album/gene-os-a-soundtrack-for-an-italian-breakfast-cereal
regarding this floating points disc, i just want to double down on the analysis. it's enjoyable, but it's just not that creative. iirc, the first record pulled heavily from chick corea. on this one, you can tell when he wants to sound like rdj, or autechre, or key/goettel/(western), or radiohead or debussy or whatever else - and if you don't know, you don't know, but if you do know, it pulls the sound into the realm of something that already exists.
but, i mean, i've been saying for around ten years now that this genre is pretty much closed. a lot of people are just tuning in; i get it. but, pretty much anything you can imagine doing in techno has already been done, so, like rock music, what's left to do is just novelty acts.
and, i think that's the broader point that a lot of people are missing - it's not just rock that's over, it's the collection of genres that developed alongside rock that are over, too.
this guy is still pretty young. he could still find himself.
but, as it is, you have to interpret this as what it is, which is derivative pop music rather than forward-thinking experimental music.
so, i'll give him a B for the enjoyment level. but, we both know he deserves an F for plagiarism.
https://floatingpoints.bandcamp.com/album/crush
but, i mean, i've been saying for around ten years now that this genre is pretty much closed. a lot of people are just tuning in; i get it. but, pretty much anything you can imagine doing in techno has already been done, so, like rock music, what's left to do is just novelty acts.
and, i think that's the broader point that a lot of people are missing - it's not just rock that's over, it's the collection of genres that developed alongside rock that are over, too.
this guy is still pretty young. he could still find himself.
but, as it is, you have to interpret this as what it is, which is derivative pop music rather than forward-thinking experimental music.
so, i'll give him a B for the enjoyment level. but, we both know he deserves an F for plagiarism.
https://floatingpoints.bandcamp.com/album/crush
first liner note release for inri016
this is something i did between inri demos. i needed a break from structured writing. just wanted to make some noise...
i suppose this is the biggest sample collage of them all, but it's best not to take it too seriously. the idea here eventually morphed into a project called "fuel true anarchy in the americas" (inri068), a play on the ftaa trade agreement, which itself got toned down in scope.
there's everything from science docs to hitler in here. it's meant to be a passive trip through real and imaginary time that is experienced with the aid of psychedelic drugs, rather than any kind of political statement. it's quite consciously absurd, often juxtaposing ironic statements with their contradictions.
the core of the ambience was produced by a program called sound raider. i then took the sound it created and shaped it by adding in vocal samples, looping certain parts, running things through effects, sequencing the noise into a more melodic shape, etc. it's consequently a sort of a collaboration between myself and the machine, rather than the work of the machine itself.
no sane person could really listen to this passively. you basically *need* drugs to get anything out of this at all.
...and i think i'm probably the only person that ever experienced it properly. hey, it's never too late...
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. first liner not release added on dec 25, 2019. as always, please use headphones.
this track also appears on my third record, inridiculous (inri033): jasonparent.bandcamp.com/album/inridiculous
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 (1998, 2013, 2016). as of dec 25, 2019, the release includes a 5 page booklet in doc, pdf & html, with an html5 audio frontend, that includes journal entries from the remastering process over nov, 2013.
i suppose this is the biggest sample collage of them all, but it's best not to take it too seriously. the idea here eventually morphed into a project called "fuel true anarchy in the americas" (inri068), a play on the ftaa trade agreement, which itself got toned down in scope.
there's everything from science docs to hitler in here. it's meant to be a passive trip through real and imaginary time that is experienced with the aid of psychedelic drugs, rather than any kind of political statement. it's quite consciously absurd, often juxtaposing ironic statements with their contradictions.
the core of the ambience was produced by a program called sound raider. i then took the sound it created and shaped it by adding in vocal samples, looping certain parts, running things through effects, sequencing the noise into a more melodic shape, etc. it's consequently a sort of a collaboration between myself and the machine, rather than the work of the machine itself.
no sane person could really listen to this passively. you basically *need* drugs to get anything out of this at all.
...and i think i'm probably the only person that ever experienced it properly. hey, it's never too late...
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. first liner not release added on dec 25, 2019. as always, please use headphones.
this track also appears on my third record, inridiculous (inri033): jasonparent.bandcamp.com/album/inridiculous
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 (1998, 2013, 2016). as of dec 25, 2019, the release includes a 5 page booklet in doc, pdf & html, with an html5 audio frontend, that includes journal entries from the remastering process over nov, 2013.
credits
released July 1, 1998
j - sound raider, sampling, cool edit synthesis/sequencing, digital effects processing, digital wave editing, flute
gauntk9 - anti-social quip
https://jasonparent.bandcamp.com/album/eat-my-fuck
j - sound raider, sampling, cool edit synthesis/sequencing, digital effects processing, digital wave editing, flute
gauntk9 - anti-social quip
https://jasonparent.bandcamp.com/album/eat-my-fuck
see, i like this, and i could very well spend most of the afternoon listening to it, and with the collapse of electronic music near the turn of the century it may come off as groundbreaking to a lot of younger ears, but the general impression i've always had of floating points is that, yes, it's enjoyable, but it's also highly derivative and this upholds that - it sounds like a mashup of early 90s warp & subconscious releases, as remixed by william orbit.
which is a good idea.
but, it's retro.
and, i want these lists to be full of forward-thinking artistry, not kids trying to sound like something that already happened.
if you kids like this, that's good, this is far more interesting than the stuff in the nightclubs right now, but check out some of the stuff that i just, err, plugged.
https://floatingpoints.bandcamp.com/album/crush
which is a good idea.
but, it's retro.
and, i want these lists to be full of forward-thinking artistry, not kids trying to sound like something that already happened.
if you kids like this, that's good, this is far more interesting than the stuff in the nightclubs right now, but check out some of the stuff that i just, err, plugged.
https://floatingpoints.bandcamp.com/album/crush
i've heard of a few more of these, but there's not much more substantive, here.
maybe i should check a few of these out, though, and let you know what i think of them.
http://www.brooklynvegan.com/brooklynvegans-top-50-albums-of-2019/
maybe i should check a few of these out, though, and let you know what i think of them.
http://www.brooklynvegan.com/brooklynvegans-top-50-albums-of-2019/
i actually haven't heard any of these records, except a couple that i checked out briefly in relation to shows, and dismissed offhand. there are a few that i'm guessing i'd probably like well enough.
but, with the sole exceptions of floating points and fka twigs, everything i'd be interested in in this list was created by people in the 40-60 age range.
https://pitchfork.com/features/lists-and-guides/best-albums-2019/
but, with the sole exceptions of floating points and fka twigs, everything i'd be interested in in this list was created by people in the 40-60 age range.
https://pitchfork.com/features/lists-and-guides/best-albums-2019/
i will need to do a lookahead for january soon, but i don't see any obvious shows until march, and i may decide to stay in until then.
the scary winter that the weather people forecasted, and that i was skeptical about, appears to be happening slightly to my north; i've ducked in under the jetstream, which is indicative of a slightly stronger magnetic field from the sun, which is on schedule. it should be another ten years or so before the brutally cold winters return, and we'll have to see if they're even able to take hold at all, with the warmer oceans.
but, even a warm january is still cold, in detroit. and, the kinds of all-nighters that i like to pull on marginally interesting shows are not going to be very realistic for quite a while. i'd have to really want to get out to something, and, for right now, i don't see it. we'll see, though.
if i get out to anything this winter, it's most likely to be at the dso.
i actually expect to tone things down for 2020. i don't do resolutions, but i'm aware that the interestingness of the shows that are happening is decreasing with my age. and, with the pivot back to finishing releases, i actually expect to be too immersed in my art to care much.
as far as i can tell, we're living through a down period for music as an art form. the music of the 20th century (which includes techno & hip-hop, in addition to rock & jazz) has already exited it's creative phase and is winding itself down, and what promises to replace it, these amalgams of electronic and psychedelic music, hasn't materialized into an actual art form, yet. maybe i should be contributing; but, maybe i am.
if something changes, i'll react. but, it seems like the most interesting shows this year are probably going to be rock bands full of aging gen xers, and legacy electronic artists that actually aren't that much younger.
if the millennial generation (which, like their boomer inspiration, are primarily consumers and emulators of art rather than innovators or creators of it) runs from 1980-2000, then the youngest of them will be entering their 20s soon, and there will be pressure on them for generational overturn relatively soon. i've been very clear that i think there's more potential with gen z as a kind of "gen x echo", and you can see it starting to develop with the youngest millennials who are maybe blazing a bit of a path. but, this will probably take a few more years to develop.
i'm happy to focus on my own work, while i'm waiting.
but, i do have to keep an ear to the ground, even if it's a critical one. as a musician, i'm required to have some concept of what's happening around me, even if i just dismiss it.
the scary winter that the weather people forecasted, and that i was skeptical about, appears to be happening slightly to my north; i've ducked in under the jetstream, which is indicative of a slightly stronger magnetic field from the sun, which is on schedule. it should be another ten years or so before the brutally cold winters return, and we'll have to see if they're even able to take hold at all, with the warmer oceans.
but, even a warm january is still cold, in detroit. and, the kinds of all-nighters that i like to pull on marginally interesting shows are not going to be very realistic for quite a while. i'd have to really want to get out to something, and, for right now, i don't see it. we'll see, though.
if i get out to anything this winter, it's most likely to be at the dso.
i actually expect to tone things down for 2020. i don't do resolutions, but i'm aware that the interestingness of the shows that are happening is decreasing with my age. and, with the pivot back to finishing releases, i actually expect to be too immersed in my art to care much.
as far as i can tell, we're living through a down period for music as an art form. the music of the 20th century (which includes techno & hip-hop, in addition to rock & jazz) has already exited it's creative phase and is winding itself down, and what promises to replace it, these amalgams of electronic and psychedelic music, hasn't materialized into an actual art form, yet. maybe i should be contributing; but, maybe i am.
if something changes, i'll react. but, it seems like the most interesting shows this year are probably going to be rock bands full of aging gen xers, and legacy electronic artists that actually aren't that much younger.
if the millennial generation (which, like their boomer inspiration, are primarily consumers and emulators of art rather than innovators or creators of it) runs from 1980-2000, then the youngest of them will be entering their 20s soon, and there will be pressure on them for generational overturn relatively soon. i've been very clear that i think there's more potential with gen z as a kind of "gen x echo", and you can see it starting to develop with the youngest millennials who are maybe blazing a bit of a path. but, this will probably take a few more years to develop.
i'm happy to focus on my own work, while i'm waiting.
but, i do have to keep an ear to the ground, even if it's a critical one. as a musician, i'm required to have some concept of what's happening around me, even if i just dismiss it.
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