publishing 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.

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 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

deathtokoalas

listen, i'm fairly sympathetic to palestinian sovereignty concerns - even if i think they're better off fighting for civil rights inside israel - but, they need to stop pretending they have any legitimate claim to jerusalem. when it was frankish knights trying to resurrect the roman empire, their arguments made sense. but, look at the name of the city. jew-rusalem. if there's anywhere in the region that should be under israeli occupation, it's this city that is the cradle of their civilization. even the muslim claims to the city are some kind of take on the jewish heritage. so,  muslims the world over need to bend on this.

i understand that there isn't really anything left, if they give up jerusalem. but, the truth is that the united nations made a terrible mistake in trying to set the city up as a joint territory, and the palestinians followed the wrong tactic for decades in holding to it. they should have tried to use it as leverage, and ultimately sought abandonment. but, now, it's really too late: all they can do is exploit the demographic problem to their benefit.

gur rah

Your ignorance is towering and is based on Zionist propaganda. It's  the Palestinians that has the ONLY legitimate claim to Jerusalem, which is recognized by international law and by the international community. Everyone knows that the land belong first and foremost to the people who live in it, cultivate it and have a history in it.Never in human history was a religion given the right to sovereignty. Jerusalem was named after the Jebusites, not Jews. Muslims aren't claiming Jerselum, Palestinians are, and only East Jerusalem which is universally recognized.

P. Thomas Garcia

Utter and complete nonsense. "Should be" and "under occupation" are two phrases, when met, that have no justification and amount to total nonsense, exceeded only in the attempt that one would use the name Jerusalem (misreading it and accentuating Jew) to authenticate Israeli or Jewish claim by heritage. Jerusalem predates ancient Israel and means the City of Shalim, named after a Canaanite god.

deathtokoalas

why do you idiots need to start every discussion with an ad hominem? it is your own ignorance that is staggering, and it is the idea that the jebusites and jews are different people that is zionist - and christian - propaganda. in order to accept that account of history, you have to believe that there was somebody named moses that led a tribe of escaped slaves across a desert to inhabit a land that was promised to them by god, and that is something that is utterly ridiculous on it's face. the reality is that there is no evidence that there was ever any migration into israel; the israelites are descended from the canaanites, and the jews are the jebusites.

moses never existed. joshua never existed. david never existed. and, there is no scientific evidence of any exodus from egypt, at all. all evidence suggests absolute continuity throughout the bronze and iron age, and the development of a purely local culture, from the very start. and, it follows that the most ancient inhabitants of jerusalem were the ancestors of today's jews - which are also the ancestors of today's colonized palestinians, who are in truth actually genetic hebrews.

however, there is staggering evidence - it is historical fact - that the city was conquered and colonized by arabs very early on in the muslim conquest. the arabs have no more of a legitimate claim to jerusalem than the english do to los angeles.

now, the point - which you missed entirely, in favour of kneejerking over some identity politics - i was making about jerusalem being partitioned is that the idea is unworkable. you can't split a city in half. if you want to throw around nonsensical allusions to biblical fabrications, consider the story of the judgement of solomon, where it was deduced that the rightful owner of a child is the one that would not cut it in half. it's a lot of nonsense, but i'll admit that i like this story a little better than the one where god trolls his dipshit slave into almost stabbing his son, and then glorifies the lack of critical thinking.

there is no solution in partition. there never was. there is only a recipe for conflict. and, you only support partition if what you actually want is conflict. if you want peace, you throw the idea in the trash heap of history, where it belongs.

also, i can think of lots of other examples where an area should be under occupation. and, if you'd stop to think for yourself for a moment, i'm sure you could, too.

(deleted response)

to be clear: it is not true that the city of jerusalem is named after jews, and that's not what i said. as jews are descended from canaanites, it could very well be true that it was named after a canaanite god by the canaanite ancestors of the modern jews, although that is really just another story and it probably isn't true. what i meant, and this is true, was that the religion of judaism was named after the city of jerusalem, even if it was mostly developed in exile from it.

---

 

fwiw, i just did some cursory research into the etymology of 'jerusalem', and my slightly better than amateur analysis, as cursory as it is, would suggest that the common root 'ur' in the oldest references to the city suggest it was probably sumerian/caucasian in ultimate origin. this is admittedly circumstantial. but, the sumerians and their descendants, urartians, tossed this 'ur' around all over the place. and, as sketchy as the bible is as a historical document, it aligns with the basic truth that if the jews came from anywhere besides the levant, it was from modern day iraq.

 

al-Haider

Jessica you are really for a better lack of better word stupid as hell. How do the Palestinians how have called Jerusalem home for mellinium until the Israeli occupation stop their claim to the city. If someone came and evicted you out of your home claiming that your house once belonged to them 2000 years ago , would you give up your house and space for that ridiculous and non existing claim. BTW it's Jerusalem not jewrusalem

deathtokoalas

jerusalem had a christian phase, but, unless you're referring to the crusades, it was neither white nor on this side of a thousand years ago.

and, the palestinians do not call the city jerusalem. like all colonizing entities, they changed the name; they call it al-quds. that name change alone demonstrates the point about who is colonizing what. i don't think they should expel the palestinians, i believe in full civil rights for them as citizens of israel, but it is the idea that there is any future in a divided city that is stupid, and the unfolding of the last 70 years of history makes that abundantly clear.

i repeat: if the palestinians want peace in the region, they need to drop the idea that they have any legitimate historical claim to jerusalem as a basic pre-condition. there will not be peace here until they drop their historical delusions around this point.

there are no holy cities. there is no holy land. there is simply the cradle of an ethnic identity, which has been destroyed, paved over and colonized.

deathtokoalas

the only solution is a massive, manhatten project style government-led initiative, and the state needs to print the money to do it.

(deleted response)

deathtokoalas

i don't care about the debt.

publishing inri068

in the summer of 2013, two formative things happened at almost exactly the same time: my father died after a lengthy battle with brain cancer and i moved from ottawa, ontario to windsor, ontario. they were within a week from each other; my father died while i was camped out in a tim horton's on tecumseh, waiting to sign a lease and catch a bus back 'home'. but, dad was really the only remaining thing that made ottawa home, in the first place.

the reasons underlying my move were legitimate, if somewhat forced. my gear was stored in my father's garage, and i had been given notice that i would not be able to keep it there more than a moment past his death. my stepmother and i haven't spoken since. i legitimately couldn't find anything in ottawa, so finding the place in windsor was actually somewhat of a stroke of luck, given the urgency of the situation. i had hitched down there to meet friends, but in the end they couldn't sign a lease, so i went by myself.

the culmination of occurrences had me in the mindset of fresh beginnings. i finally had a stable income source on odsp, and a new apartment in a new city. so, i almost immediately set about completing all of the music that i had been putting aside for so long, in preparation for my own imminent demise, relative to the immense expanse that is time.

through whatever coincidence, i am permanently closing my second period during the week that i am being evicted from this same apartment, for the supposed reason of personal use. this apartment will consequently forever be associated with the completion of my second period.

yet, the bulk of the work done in this apartment - through immense difficulties with malfunctioning gear, questionable electrical outlets and a probable atmospheric magnetic field - has been in the realm of (re)mixing, orchestrating, programming and rearranging. it was just the nature of what needed to be done around an assortment of midi compositions and flat mixes from the early 00s. the really heavy lifting in completing my discography will come in finishing the third period, which i will not start until i move into a new apartment, around the corner from here.

with the exception of two vocal tracks (for inri020 and inri062), this disc is a comprehensive document of what was actually written as it was being recorded in the basement at 805 marion ave, in windsor, ontario, canada, in the form of a collection of overdub mixes that can be pasted on top of the existing demos in order to create the final products. it is mostly guitar and bass tracks, but also includes some orchestral and other sequencing and some electronic drum parts. everything else that was done in this basement was either created from existing sound or was constructed from existing midi instructions, however elaborately and however abstractly.

in hindsight, i can state with some force that this basement is not well suited for a recording studio. yet, these problems will be forever embedded within my own history, as well.

with those words, my tenure here ends. so long.

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. this compilation is dated to nov 27, 2017; disc simultaneously created and finalized as lp017 on nov 27, 2017. 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 (2001, 2002, 2014, 2015, 2016, 2017). 

credits

released April 24, 2003

j - electric guitars, digital & analog effects & treatments, bass, synthesizers, electric air reed organ, drum & other sampling, drum programming, drum manipulations, electronic drum kit, orchestral & other sequencing, sound design, soundscaping, loops, digital wave editing, voice, production, composition.

greg - drum performance sample source (2)

the rendered electronic orchestra includes at least one of each of the following: violin, viola, cello, contrabass, koto, french horn, trombone, trumpet, tuba, english horn, saxophone, flute, oboe, piccolo, clarinet, bassoon, agogo, tubular bells, glockenspiel, piano, melodic toms, timpani, orchestral hit, orchestral drum set and various full string sections. it also includes choir. 

publishing inri067

the ftaa project, much like it's namesake, was never an idea that was carefully developed, which is very much an anomaly in this discography, where almost everything is developed at such a microscopic level of detail. the idea initially developed as a means to protest the government's response to the 9/11 attacks, from what most people would identify as a libertarian perspective. however, rabit is wolf ended up becoming my main focus in that period, instead, and by the time i got back to the idea, the initial impetus had largely stalled. all activism was necessarily diverted to stopping the war....

....but, i also found myself in a much different reality, starting in late 2002. for the first (and only) time in my life, i had a partner, and it took away most of the time that i would have otherwise spent on music production. on top of that, i found myself working long hours in order both to maintain a dating lifestyle and to deal with real world expenses that the relationship created, and i hadn't ever had to deal with before. i did create some music over 2003, but my head was almost entirely inside of this relationship.

the ftaa project initially completed in may of 2004 and was composed of some of the parts of this recording plus an anti-war song. it will re-release in that space as my 7th record, but as an instrumental recording like the rest of them, thereby jettisoning both these sample collages to their respective singles and the idea of a record of sample collages altogether.

i considered re-releasing the ftaa project as a double with the samples on the other side, but there's something asynchronous about this that i don't like. further, in hindsight, i ended up putting the deny everything recording through more or less the same process, so it makes more sense to combine the jettisoned tracks together into an outtakes disc, and release it at the end of the second period.

another way to look at this recording is to interpret it as a reaction to the presidency of george w. bush, and i've left the tracks in chronological order for that reason. the first two tracks were initially on deny everything (inri041) and have the thematic unity of being a warning regarding the bush presidency, even if the trudeau character sounds more like trump, in the year 2017. the next two tracks were an explicit reaction to the 9/11 attacks. the fifth track takes those ideas to their conclusion, in exploring the thesis that the attacks were the catalyst to end the period of liberal democracy in the united states, and potentially also in it's satellites, and usher in a period of totalitarian rule. as of 2017, that process appears to be nearing it's completion.

so, this is really the actualization of the intent behind the ftaa project, even if it isn't quite in the form that it was initially released in. as such, it should be viewed as almost an official record - despite the overlap and the historical revisionism.

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. this compilation is dated to nov 26, 2017; disc simultaneously created and finalized as lp016 on nov 26, 2017. 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 (1998, 1999, 2000, 2001, 2002, 2003, 2017). 

credits

released April 23, 2003

j - guitars (electric, nylon, acoustic), mandolin, electric bass, digital & analog effects processing, synths, sampling, pythagorean sequencing (sounder), drum and other programming, drum manipulations, drum kit, voice, flute, sound design, sound raider, noise generators, cool edit sequencing, digital wave editing, composition, production

sean - ring modulator (5)
greg - drum performance sample source (5)

publishing inri066

when i sat down to complete my discography in 2013, one of the ideas that immediately jumped out was to try and reinterpret some of the inri tracks from the late 1990s as modern pieces. as i believed that my source tapes were unusable at the time (which i eventually realized was not the case - see inri024), the conditions for this being a workable project would need to be the existence of the original drum tracks, along with the existence of some midi files.

i was gifted my ry30 in the summer of 1997 to compensate for the loss of my drum kit and studio space, but i did not have any recording gear again until christmas. so, i spent the fall programming the drum machine and teaching myself the basics of sequencing and sound design, using the primitive tools i had available to me. by the time i got my four track, as well as my jx-8p, the ry30 was full, and re-recording my first songs was just a matter of transferring the completed material from the electronic equipment to tape. so, i initially considered making a companion ep to inrisampled that would document my time spent programming the ry30 along with my time sent learning how to manipulate sound. the difference between the drum tracks at this stage and the initial collage experiments, however, is that the drum tracks were not complete songs. so, this was abandoned due to the product being a little dry. but, i still wanted to make an ep around the ry30, perhaps by orchestrating the existing companion midi tracks.

this idea then quickly merged with what would become thru (inri069) and eventually discarded itself within itself when it was realized that the existing midi files for the 90s material were too sparse to really utilize, especially in comparison to the midi files from the early 00s. thru was deleted and then resuscitated over the course of 2014 and 2015, eventually releasing in mid 2015 as a 2001-2003 project, leaving the 90s material in the dustbin of my own history.

it was in june, 2015 that i realized that the source tapes were usable after all, and cycled back around to the beginning of the reconstruction in order to complete the relevant tracks as instrumental pieces. this idea kind of recreated itself in the nature of the source tapes, as i had bounced all of the electronics together into the same channel as a mixing step, back in the 90s. so, i found myself with these ready-to-publish electronic tracks right off the tape that incorporated a combination of the ry30 tracks, jx-8p parts, soundblaster programs, zoom 1010 noises and cool edit experiments. all they really needed was a little attention on the mastering.

i flipped this over, in the end: what each of these tracks are is their final album mixes, with the guitar and bass parts deleted (unless the bass was done on a synthesizer). so, there was some post-production added over 2015 in the form of updated soundfonts, digital mastering and digital effects processing. but, these are really flourishes on the existing tracks.

it was at the end of dec, 2015 that further similar electronics-only ry30-centric remixes were creating for some later songs, as well, thereby filling out the disc and closing the project.

i sold my ry30 in may, 2003 to raise money to go to british columbia. my logic was that i'd really maximized what i was going to get out of it, and that i'd already discarded it, anyways: by that time, i'd been writing drum parts in the scorewriter for a few years already, and had barely touched the ry30 in a long time. but, i regret that decision, in hindsight. and, i expect to pick up another one, one day.

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 on physical media, closed and finalized on nov 26, 2017. 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 (1998, 2000, 2001, 2002, 2014, 2015, 2016, 2017). 

credits

released April 26, 2003

j - drum & other programming, orchestral & other sequencing, guitar effects, digital effects processing, digital wave editing, synthesizers, loops, vocal noises & relics, sampling, sound design, production

the various rendered electronic orchestras include organ, sitar, bells, synthesizer effects, tuba, saxophone, flute, clarinet, orchestra hit, piano, violin, viola, cello, contrabass and various full string sections. 

republishing inri064

this was constructed as a christmas present for my partner, while in a rather absurd state of entirely preposterous euphoria. only a musician can be so absurdly invested in something so thoroughly delusional - or manage to create something so entirely self-reflective out of a theme surrounding somebody else.

the first part of this was shelved before it was ever released. i was over-exaggerating a sense of self-consciousness, but it still strikes me as unworkable. however, i think it's conceptually important in the idea of this as a christmas present and has consequently been uploaded here without modification. the second part was actually presented to sarah as a present, albeit a little after christmas - hence the jan 1 release date. it eventually found it's way to the center of my eighth symphony, reflections.

these tracks were written and recorded over november and december of 2002 and uploaded, unmodified, in may of 2015. this was initially a download only release, but was expanded to a full release and finalized as such on nov 24, 2017. as always, please use headphones.

the second track appears as a component on my eighth record:
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 (2002, 2003, 2015, 2017).

credits

released January 1, 2003

j - guitar, effects, bass, synth, piano, drum programming, light-sound synthesis (coagula), generative programming (sounder), granular synthesis, sound design, digital wave editing, production, composition

republishing inri061

this is the second of two lengthy singles to come out of tracks that were begun in 2002 and not completed to my liking. the mixes in this single chart this song's rather elaborate development over fifteen years, with the first disc consisting of historical versions and the next two discs consisting of finished mixes.

it became clear through the course of july, 2002 that rabit is wolf wasn't really going anywhere and i was better off cutting my losses. we jammed a few times, but it wasn't really serious.

this track was initially written as a folk punk song, but i jumped to the scorewriter with it almost immediately. the expanded guitar demo was written in a scorewriter and then performed, rather than vice versa. it was initially less about explicitly creating a techno song and more about ordering the parts in a way that could be deconstructed more effectively. i wanted a more flexible approach to production that would allow me to take tracks in and out based on sean's input.

i may have gone over this in this space before, but my mixing process up to that point was considerably unconventional. i would record tracks in one by one using a wave editor and then paste them on top of each other. i worked this way because i just didn't have more advanced tools. while there are benefits to this approach (it's additive synthesis, which blurs the mix for soundscaping), it meant that each additional track was destructive. i could not remove tracks once they were added. this meant sean was unable to provide much input into demos i sent to him.

i also picked up a copy of cakewalk to help with this, but i quickly learned that my system couldn't really handle it. at around eight tracks, it just became unresponsive. with less than eight tracks, it didn't matter if the mix was destructive because it was easily reconstructed. so, i went back to the wave editor approach until 2007, when i upgraded to a modern pc.

the taiko drum part was initially just to keep time; it wasn't supposed to be a part of the song. but, as i built it up i began to realize how interesting it sounded as a techno tune and sort of ran with it. once i'd notated it, i had to convert the drums into a soundscape because the midi render just wasn't good enough. this was done using a mix of software drum machines, midi snippets and isolated jimmy chamberlain samples. i then performed the score i had notated, with the exception of a few synths which were sequenced back. unfortunately, the midi file for the synth build up at the beginning of the track has been lost.

the mix never came out well, partly due to ram issues with cakewalk and partly because i got a little pretentious with some of the parts. i was also extremely distracted over this period. despite this all being done to make sean's input more easily integrated into the material, he had no interest in the direction i took it and basically put his nose up at it again. i attempted a few different things over late 2002 and early 2003 to try and salvage it for my own purposes, but in the end i shelved it as unworkable.

when i first set up the bandcamp site around 2010, i realized i had a collection of tracks that fit a sort of techno-guitar description and compiled them together under the name "tetris". i uploaded an incomplete mix for that project, but it was never really done and i never really felt good about it.

it wasn't until late 2014 that i came back to the track, to authoritatively finish my discography. first, a mix was reconstructed from source to include all of the existing sound files. next, three separate sequencer mixes were sculpted out of the score - a jazz fusion mix, an overture mix and an ambient mix. pieces of these sequencer mixes were then isolated and mixed into the reconstructed original mix. finally, a series of extra lead guitar parts were recorded and mixed separately into a final mix and the orchestral mix, creating the end result and an accompanying guitar concerto. the recording process for this was very lengthy, which was ironically partly due to consistent distractions.

this release was revisited in november, 2017 as a part of the process of finalizing period 2 and was expanded from two to three discs through the addition of multiple supplementary mixes.

i've included the midi file of the original composition, if you'd like to mess with it on your own.

written over the summer of 2002 and initially recorded in the early fall of 2002. additional recording, production and mixing occurred from dec, 2014 to apr, 2015. initial final completion occurred on april 27, 2015. however, eight more supplementary remixes were added to the release over nov 17-nov 19, 2017 to expand it into a three disc set. disc finalized on nov 19, 2017. as always, please use headphones.

the album version of the track (track 7) also appears on my sixth record:
jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj-2

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 (2002, 2014, 2015, 2017). 

credits

released September 15, 2002

j - guitars, effects, bass, synthesizers, drum sampling, drum programming, sequencing, sound design, soundscaping, digital wave editing

the various rendered electronic orchestras include electric bass, synth bass, distorted electric guitar, clean electric guitar, acoustic guitar, violin, viola, cello, contrabass, harp, koto, french horn, trombone, trumpet, tuba, english horn, flute, oboe, piccolo, clarinet, bassoon, synthesizers, piano, glockenspiel, vibraphone, hammered percussion, music box, tubular bells, bells, agogo, wood blocks, marimba, melodic toms, timpani, taiko drum, backwards cymbals, synth drums, orchestral drum set and choir. 

republishing inri059

something like this would have been the demo brought along on an acoustic tour that never happened. tracks 1-4 would have represented a live set over the summer of 2002, while tracks five and six are otherwise stranded acoustic demos (and may have been played as encores, where possible). the style could be broadly categorized as folk punk, but it also leans heavily towards the emo of the period.

written and recorded in late 2001 and the first half of 2002. mildly remixed in november, 2014 to make the tracks more presentable; nothing substantial was altered, and no new sound was recorded. final mixes were on november 19, 2014. disc released on physical media and finalized as inri059 on nov 14, 2017. 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 (2002, 2014, 2017).

credits

released August 1, 2002

j - acoustic guitar, voice (3)
sean - vocals, lyrics 

 

 

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. i've placed the third disc at the front of the sequence to stress the july, 2002 release date.

further discussions of the various incarnations of the tracks appear on the track pages, or are linked out from the track pages. please click through.

written over 2001 and rethought repeatedly over 2002, again in 2007, a third time in 2009 and one last time in late 2014. final mixes were completed over the last week of november and the first week of december, 2014. the concept was rethought on nov 3, 2017, which led to the inclusion of five more mixes and an expansion from two cds to four cds. as always, please use headphones.

the album version of the track (track 9), reconstructed in 2014, appears on my seventh record:
jasonparent.bandcamp.com/album/ftaa

the 2002 vocal mix appears on the rabit is wolf demo:
jasonparent.bandcamp.com/album/rabit-is-wolf

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 (2002, 2004, 2006, 2007, 2009, 2014, 2017). 

credits

released july 4, 2002

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.

numbers refer to the physical tracklisting, rather than the bandcamp ordering.

deathtokoalas

i don't tend to have a lot of empathy for soldiers. sorry.

they sold their soul to the devil, and they got burned.

(deleted response)

deathtokoalas

it's not hard to figure out that killing people is evil.

so, i don't really buy that defence.

that's basically "just following orders".

(deleted response)

deathtokoalas

that is not what these trained killers do at all - what they do is protect and uphold american corporate interests at the expense of anything and everything else. the only thing they are servants of is capital.

and, there are certain sorts of criminals that should actually probably be sent to combat instead of to jail.

send the rapists to iraq to fight isis....

(deleted response)

deathtokoalas

suggesting that criminals aren't a good fit for the military is a category error, a contradiction in terms, as one becomes a criminal as soon as they join the military.

we should neither have a standing army nor should we have conscription; we should rely on the ability to spontaneously come together in mass movements of popular solidarity, when we need to.

once in a while, the united states military will do something good - like help the soviets defeat the nazis, or not get too much in the way of the russians defeating isis. isis is the kind of thing that we ought to come together to fight. but, that doesn't change anything, or make the army's existence any less egregious.

(deleted response)

deathtokoalas

what i actually said is that certain kinds of criminals should be forced (conscripted) to serve a military term as part of their sentence. "allowed" implies some kind of privilege; the idea is that this is a punishment.

rich stoner

We are trained to handle situations and be efficient in what we do. We don't go around just killing. We detain if we can but like any criminal trying to get away it's either fight or flight and I'm not going to stand there and get shot. Also the reasons so many Innocents died kids included Muslims/foreign fighters love making vehicles into bombs, setting out landmines and other explosives, mortar rounds, shooting wildly into crowds knowing we won't fire back with bystanders around and most importantly strapping bombs to their own kids. I didn't sell my soul to the devil. So when you are sick, dying, alone and scared I will have no empathy for you. Much love

deathtokoalas

your personal anecdotes deeply belie the evidence released by sources like wikileaks, which present modern warfare rather as something not much different than playing a video game, and with not much more concern for lost life than the average gamer would demonstrate.

rich stoner

hahahaha that's too funny

deathtokoalas

well, it's the truth. you've got what amounts to naive kids playing rpgs, in the military nowadays. the work on the ground is done by local forces, and their lives aren't particularly important, either.

rich stoner

I'm 32 and I'm laughing because you act like you've been there. I know you get all your facts from reading internet garbage and watching the news. So you obviously know they didn't have police over there. We trained and setup an entire police force so they could take care of their own city. We gave people food and water, played soccer with kids. Ate meals with families, pulled tower guard. It's not just guns blazing and killing everything. Its boring about half the time, just gathering Intel so we could figure out where the insurgents were hiding at. I think you watch too many movies little girl.

deathtokoalas

i think perhaps i don't watch enough of them, and if i did i might be more inclined to accept the sanitized, hollywood presentation you're presenting. but, i do know better. sorry.

ps - there were police in iraq before you arrested, tortured and/or executed them all.

but, yeah.

the idea that there are people out there that think you can take a little piece of bread and then say a magic spell and have it turn into the literal flesh of somebody that supposedly died 2000 years ago, and that then ritually eating that flesh absolves you of something somehow...

that's scary shit. it's mortifying. a phobia of this is called reason.

and, not only is it the case that anybody that believes that should be forcibly barred from public office, it's arguably the case that they should be institutionalized.

it's absolute fucking insanity. 

so, what is it that you don't believe in, then?

is it nuclear reactions, or 12-space?

actually, i know that the pope is only supposed to be infallible on theological matters. so, he can be wrong about who played matlock, but he can't be wrong about transubstantiation - which kind of gives a new twist to the rumours that he had a chemistry degree.

"what? it's a nuclear reaction in 12-space. you've seen star trek, right?"

but, it was a good one liner.

yeah.

well, how about this frankie - why don't we continue this discussion when you tell me what school you got your biology degree from.

what's that? oh. the school of infallifuckingbility, huh? right. well, that's what i thought.

i mean, there's been all this talk for years: "should elizabeth may step down?".

i think the green party should throw her out.

you know, the greens seem to be picking up support in protest, but that's not an answer either - and i've been vocal about my opposition to elizabeth may, and why her position in the anglican church makes her a non-starter as a political option.

in order for the greens to be a viable political option, elizabeth may needs to go - and the party needs to distance itself from her religious views. 

the liberals have been terrible. the upcoming cycle should be about finding ways to get them out, and replace them with a more "progressive" (i don't like that word.) option. but, we have not one but two parties on the left that are under the control of religious fundamentalists. and, at the end of the day, i'd rather vote for a secular liberal party than a religious left party, even if i don't agree with them on economics. as the state has a monopoly on violence, it is of the utmost importance that religious zealots be kept out of office - at the behest of everything else.

but, right now, i'm not likely to vote at all. it's going to be a local decision.... 

this is the sum total of the completed rabit is wolf studio experiments, which wound through a number of paths on their way to the project's eventual collapse. while there would be further acoustic demos recorded with sean, i ultimately decided to abandon their folky underpinnings and finish all further tracks as electronic, instrumental recordings. a tour ep of the final recordings exists as inri059.

the recording was initially sequenced as a demo in mid may, 2002 but i foolishly deleted the files (i was running low on hard drive space) only to find out that the burn was corrupt and that the result was skipping. i did eventually recompile an ep of material, but it was in a different order and made no attempt to mix the tracks together. in reconstructing the demo, i've decided to recreate the original sequencing. the only difference between this collection and the initial collection is that the last track now includes sean's vocals, whereas it was initially an (eventually rendered incomplete) instrumental recording.

i need to be clear that the decision in sequencing the material this way is unilateral on my behalf. during this period, sean had made it clear that he was not satisfied with the more experimental and electronic tendencies underlying some of the tracks; specifically, he wasn't happy with the first or last tracks on this disc, as he felt they did not represent his vision for the project. on the other hand, i was less interested in purely acoustic music and more interested in electronic music. i was envisioning the project as having a split personality between an acoustic live presentation and an electronic studio presentation. sean argued this would be disorienting; it's less that i disagreed with him and more that i thought that was a good idea. this divergence in vision is one of the factors leading to the project's dissolution.

while i feel this recording stands up on it's own, i've also taken the time over the second half of 2014 to reclaim some of the tracks as my own instrumental works. only tracks two and four exist uniquely as rabit is wolf collaborations; the other four tracks have been resequenced as completed instrumentals in my main recording sequence. please open the track pages for more information.

written and recorded in late 2001 and early 2002. initially sequenced in may, 2002. released in slightly different forms from 2002-2014. resequenced to mimic the original sequencing 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. 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 (2002, 2014, 2017). 

credits

released June 20, 2002

j - guitars (electric, acoustic, classical), effects, bass, synthesizers, digital piano, electric air reed organ, flute, drum programming, drum manipulations, vocal manipulations, loops, sequencing, sampling, digital wave editing, production, cover art.
sean - vocals, lyrics, harmonica (1), ring modulator (6).

greg - drum performance sample source (5,6)
jon - guitar performance (2) 

 

 

jagmeet singh must cut his beard.

so, what's my ideal unit?

1) i want it to be within walking distance from the tunnel. that's my singular concern regarding location. it can be in any direction, just not much further than i am now. so, that rules out anything east of walker road and anything west of huron church - and anything south of tecumseh. they're going to eventually build a bridge, but who knows when, and it's only valuable to me if i can bicycle over, at which point the city will open right up. if they don't allow bicycle access over the bridge, i'm going to need to continue using the tunnel, anyways, so it won't matter. we'll see if it even gets built. but, i'm going to start caring less in the next 5-10 years, too.

2) there should be a rule saying that you can't enter the building unless you're over 30.

3) no pets. and, the building should be pro-active in trapping strays.

4) no smoking inside or around the building. a designated smoking area should exist at the very distant end of the property.

5) no religious people allowed in the building. not even to visit.

6) i'd like to be on the third or fourth floor, facing away from the road.

7) 550+ square feet. 

8) 650 all inclusive or 600 + hydro.

i'll be explicit if you didn't follow me: in a conflict between southern plantation owners that want to carry on the institution of slavery and keep the profits for themselves and northern bankers and industrialists that want to enter that market and generate new revenue streams for themselves, there isn't a lesser evil.

that is the real lie here: not that the south wasn't operating primarily to save slavery, but that the north had any meaningful interest in dismantling it. what the north actually wanted was a seat at the table - at the head of the table. 

setting up a debate over whether the southern succession was about slavery or states' rights is a false dichotomy, as slavery, in a nineteenth century historical context, is an example of states' rights. succession can be largely about slavery and still be fundamentally about states' rights.

nor is it necessary for the north to be opposed to slavery - it wasn't - for succession to have been about slavery. the bankers in the north may have wanted a larger share of the profit.

generally, academics don't seek to find singular causes for complex events, they look towards multiple factors and narratives. so, why is there such vehement reaction to anybody that dares to extrapolate on the idea that there were other causes of the civil war than slavery, when the same people will take complex and subtle views as to the cause of, say, the revolutionary war, or the world wars of the twentieth century? the reason is that it became connected to a kind of founder myth during reconstruction. the elite tried to build a national identity around abolition and they wanted the civil war to be a triumph of good over evil that was won by good god-fearing christian soldiers. any questioning of this myth become convoluted with a kind of treason, and suspicion of sympathies with future rebellions.

slavery certainly had a lot to do with the civil war and anybody arguing otherwise is being daft. but it was merely a component of deeper class and cultural divisions and competitive pressures.

these debates don't bother me. but, i don't react well to being silenced or being told to adhere to a narrow or monolithic view of history at the exclusion of verifiable facts and evidence.

republishing inri056

time & psi were partially a rejection of the folk idea in favour of glossy, somewhat experimental pop. i realized that it was reasonable to move in a more commercial direction, but folk wasn't something i understood well, so it was a weird direction for me to be moving in. experimental or psychedelic pop, on the other hand, was something i had a solid grasp on...

time had been initially recorded in the fall and was remixed in late february to integrate a drum part. no original files exist. psi was recorded quickly in early march.

the track, as it existed in rabit, was a conscious pop compromise. i had ideas that weren't explored to keep it poppy and that have been expanded upon in the remixes.

the time machine is added here as a bonus track. it's based on an earlier classical guitar composition that was always meant to be reinterpreted as an idm tune and finally was in early 2014. the thematic overlap makes it relevant, but there is otherwise no connection between the two songs.

i started working on what would become my seventh symphony very shortly after the material on this ep was completed, and it really represents the point where i lost interest in rabit as a concept, under pressure to continue moving in a direction i didn't have any interest in. there are folk and psych versions of the track; sean never caught on to the psych version, and i never had my heart in the folk version. there were final folk demos recorded as late as the fall, but the disconnect was not solvable. the vocal version of the seventh symphony is in some way a corollary of but is ultimately too separate from these files to include here. psi & time, together, consequently comprise what is the fourth and final ("psychedelic pop") phase of rabit is wolf.

written in late 2001 and early 2002 and recorded in early 2002 and late 2014. the final mix was finished on nov 18, 2014. the uncorrupted mix was created on nov 18, 2014 and then cut up into the unstuck mix, but not added to the release until nov 2, 2017. the lorentz factor mix and the separated from mix were rendered on nov 2, 2017. disc finalized on nov 2, 2017. as always, please use headphones.

the 2014 instrumental version appears on my sixth record:
jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj-2

the 2002 vocal mix appears on the rabit is wolf demo:
jasonparent.bandcamp.com/album/rabit-is-wolf

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 (2002, 2014, 2017). 

credits

released March 10, 2002

j - electric & acoustic guitars, bass, synthesizers, digital effects & processing, drum manipulations, orchestral & other sequencing, drum notation sequencing, digital wave editing, loops, sound design, production, composition.

sean - vocals, lyrics (3,7)
greg - drum performance sample source (1-3, 5-6)

the rendered electronic orchestra on track 5 includes acoustic bass, synth bass, electric bass, brass, orchestra hit, drum machine, electronic drum kit, nylon guitar, electric guitar, synthesizer effects, music box, piano, bells and mellotron. 

and, yes - i'm scared fucking shitless of christians!

if i won't vote for an open christian because i don't want christianity in government, how could i possibly vote for an open muslim or an open jew or an open sikh without being a hypocrite and, ultimately, guilty of the soft racism of low expectations?

yes, i'm afraid of religious people taking over government. and, if you aren't, you need to give your head a shake. religion is an extremely dangerous thing, and you're crazy to not realize it.

the only argument you could provide as to why you ought to be more afraid of christians than other religious groups, or less afraid of other religious groups than you are of christians,  is that you don't think these other groups are as capable of being tyrannical, and that is the soft racism of low expectations.

blah blah blah.

i don't want religionists running the country; this has nothing to do with his skin colour, and everything to do with his religion. sorry.

i would, have, will and will continue to treat white christian politicians exactly the same way. and, what's going on here is consequently exactly the opposite of what this article is claiming - i am refusing to treat this man differently than i would treat stephen harper or stockwell day or ted cruz or any other religious fanatic running for office.

what he's running up against is an absence of soft racism, the collapse of the expectation that people would give him a pass on his faith because he has dark skin - the refusal to look the other way when presented with a dangerous religious ideology, under the false banner of diversity.

no religion in politics. period.

http://www.aljazeera.com/indepth/opinion/othering-jagmeet-singh-171101094423416.html

(and, fwiw, he was born in india and moved to canada as a child. but, that's not really important, here, other than to point out the ignorance of the author on the point.)

i don't think i've ever said anything nice about the arcade fire.

that's over a decade of negativity, now.

if you were expecting me there, you've deeply misunderstood me; i think they're terrible, and always have.

sorry. that's not me. wrong person...

i'm just trying to imagine what i'd do if you permanently took away the gear.

i'd just snap. i'd be drunk all the time. i might end up in jail, even. i'd just stop caring at all.

and suicide is really a likely end point.

like i say - if it comes down to it, i'll go homeless in order to put my stuff in storage. i'd rather pay $400 for storage and eat out of a shelter than pay $400 for a room and sell or lose my gear. it's saving the electronics that will take priority over everything, even my own safety.

yes, i'm a materialist. i'm all about possessions. and i don't have any patience for your stupid hippie bullshit. 

and, no, i can't sell my gear - i wouldn't have any reason to exist, without it.

that would be a death sentence. i would kill myself. because i wouldn't have any reason to keep living...

it's kind of a real point when you're talking about a room, too, right.

i mean, i can't live in a room. i have thousands of dollars worth of gear. i can't leave it in the living room. i need a door to lock it behind. if it comes to it, i'll have to put it in storage, and i'd be more likely to just live in a shelter until i can find an actual apartment.

but, that's just the point: living in a room necessitates that you waste whatever extra money you have, because you can't spend it on anything valuable because you live in a room.

sure: an extra $400/month could be spent on gear. but, then i'd need an apartment to store it. i can't buy expensive gear and leave it in the room, that's not safe.

i guess if you're obese, you could eat more. i'm not going to do that.

on top of that, if you're stuck in a room, you're likely to feel the urge to get drunk, because you're bored and depressed, and perhaps stressed out from the forced interactions with the other tenants. 

so, i can't even make sense of what the intent even is. i'm not asking for special treatment, here. this is just a stupid way to manage something. it's really a very potent recipe for encouraging alcoholism, as far as i can see.

with low income tenants, you should be trying to taking away as much money from them as you can. 

i'm just trying to, like...

35% of $1200 is $420, which would be enough for a room. and, i'd then end up with about $400 unbudgeted, monthly. this is just standard disability. i'm not getting extra cash. 

what do they expect me to spend this on? beer? marijuana?

i'm disabled. what else am i going to spend it on? 

if i could find a place that cheap that is safe, i'd take it. sure. but, i can't imagine what i'd even do with the extra money. a good proportion of it would no doubt be spent on beer.

i'd rather have a nice apartment than extra beer money.

it's still not enough for a minimum monthly payment on my loan, fwiw.

republishing inri055

my memory is a little fuzzy with this track, other than that it was constructed all at once in the middle of the night on a cold february morning in a basement that wasn't well heated.

i believe that sean initially brought in the a capella vocal that is heard in the acoustic demo under the request that it be developed in a folky style, and the track was built from there. we seem to have done the live version the next week, meaning i must have written it over the week.

there was some hard drive corruption as the demo was being recorded. i was in a glitchy mindset at the time and decided the skips ought to be interpreted musically. i'm not sure i'd make the same choice now, but i'm not willing to second guess myself, either. so, i skittered up the bass and organ parts to make the entire track sound glitchy to compensate for the skips. i also ran the vocal file through a musical algorithm that involved slowing it down and pasting it over itself to create a collage of voices somewhat similar to a robotic choir. as the track is otherwise rather pastoral, all of this glitch provides for an unusual juxtaposition.

as mentioned, the track was built up quickly, but it was always meant as a demo. that is to say that the vocal-driven 2002 version of the track was not complete, and was never completed.

i came around to completing it as an instrumental work in mid october, 2014. the removal of sean's vocals required some mild rethinks in terms of melodic content, but the real additions are threefold. first, it is substantially remixed to make it sound thicker. second, some sound design or soundscaping was constructed, mostly for the beginning of the track, but some guitar parts were also added throughout. third, drums were added. this converts the track out of folk (a genre i spend almost no time in) and back into psychedelic pop (my usual home) with hints of fusion, prog and idm. as it is, this can be viewed as the definitive (if non-comprehensive) third incarnation of rabit is wolf, which was being torn between freak folk and folk punk tendencies in it's general tumbling towards "folk".

written in early 2002 and recorded in early 2002 and late 2014. the final fuck boxes mixes were finished on nov 15, 2014. the gentle mix was created and then left stranded on may 24, 2015. the ambient mix and the guitar mix were rendered on nov 1, 2017. disc finalized on nov 1, 2017. as always, please use headphones.

the 2014 instrumental version appears on my sixth record:
jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj-2

the 2002 vocal mix appears on the rabit is wolf demo:
jasonparent.bandcamp.com/album/rabit-is-wolf

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 (2002, 2014, 2015, 2017). 

credits

released february 20, 2002

j - electric & acoustic guitars, analog & digital effects & processing, electric bass guitar, electric air reed organ, electronic drum kit, voice (1, 5), sampling, sound design, vocal manipulations, digital wave editing, production

sean - vocals/lyrics (2,3,4) 

...and, i'm not ready to find a boyfriend, right now. i probably never will be.

a roommate is a non-starter because of the gear. i couldn't make it make sense anyways - nobody is going to let me set up a drum kit in the living room.

could i take a temporary apartment in a part of town i don't like, and then just leave everything packed and bail the moment something better comes up?

i might have to, maybe.

i'm just imagining what life would be like if i moved to the sandwich area, for example. there's literally nothing anywhere for miles that i'd go to. i went to that metal bar there once and swore i'd never go back. so, i'd spend all my time in my room by myself.

if i were to get out to go to the tunnel, i'd have to plan around an hour or an hour and a half walk to the tunnel. would i take the bus? well, could i walk faster? so, if the show starts at 20:00, i'd want to catch a 19:00 bus and leave the house at 17:30.

that doesn't look as bad as i thought.

maybe i should contemplate units that are a little further, after all.

but, it's such stupidity from my perspective, because i'm just going to end up transiting into town all of the time, anyways. i'd rather pay the extra funds, if they'd just let me.

i need to reiterate the point.

i've never missed a month of rent. never been late. was usually early.

and, i have $1500 in the bank to put down on first and last.

the problem is that the only vacancies in my price range are run by a management company that is illegally pushing down a rent to income ratio, and is refusing to rent to people with student loan defaults.

i could very well walk out of here via the process of putting my items in storage, and ending up in a hostel. and, odsp might even pay for it.

if i were to leave windsor, where would i go?

the only place that makes any sense right now is toronto. but, i'd have to hitch-hike down there and search for something out of a tim horton's. and, it's only going to happen when i'm done the legal fights here.

i could end up in the hostel for months because i have to stay here to sue these people.

it's an absurd situation. i have the means to pay, and there are vacant units in my price range, but i'm not allowed to apply for any of them.

i need to get caught up on the discography, because it's becoming clear that my main focus for the foreseeable future is going to be fighting multiple legal battles, simultaneously.

this is life. all i want to do is play guitar. but there's always some fucking bullshit. 

if i was going to be a lawyer, and i was never going to be a lawyer, then this is what i'd want to do - go after slumlords and try and take down the bourgeoisie. i wouldn't mind sitting on odsp and working pro bono. i gave up because i realized the system is rigged - that these legal principles are just imaginary things, really.

i could very well end up fighting an appeal to stay here as i go after the local management company on human rights charges to try and find somewhere to move to. i might need to fight legal battles on both fronts. and, then i'm doing what i didn't want to do - i'm working for no purpose, spending eight-ten hours a day fighting to keep the gear safe, but not being able to use it. that's as pointless as just getting a fucking job, right?

but, i may very well literally have no other choice.

if i'm lucky, the company will listen to me, or at least give me somewhere nice to stay. that will save everybody a lot of time, and let me get back to doing something i care about within a couple of weeks.

if not, this could be a really long slog.

the single most important factor for me is that i need to be within a half hour walk from the tunnel.

so, that rules out the whole sandwich area - which is a pretty boring part of town, anyways.

i'm a downtown person. i want concrete and streetlights. i want 24 hour convenience stores. and, i don't want wild animals.

i also don't want to live on campus, or to close it. i don't get along with the younger generation very well. and, they don't recognize me as older than them. if i end up moving close to campus, i'm going to end up telling a bunch of kids to leave me alone.

the ideal zone is really a four or five block radius away from where i am. i'd rather move closer to town than away from it. and, stuff is coming up here. i just have to be patient.