publishing inri081

this is a big deal - the 7th record is now released.

and, i'm up to mid 2004 in terms of the rebuild structure.

i need to spend the night filing.

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when it was released in the summer of 2004, this would have been my fifth official recording, after inri, inriched, inridiculous and deny everything. sarah and i moved into a place for the beginning of may; she was working overnight (22:00-6:00) in a diner, so it gave me time to read and record. things seemed like they were starting anew, so i took the time to sort through the discography and reassemble what i actually had. 

a decision was quickly made to unpublish the first three records in favour of a zappa/keneally-style disc of cut-up guitar shorts that i called inricycled, and start seriously at deny everything. the written music that now exists in this space only existed in the form of completed scores, during this period. so, the only other things i had were the rabit is wolf demo, the recently completed reflections ep, some classical guitar stuff and a bunch of these noise demos. this was consequently the extent of the truncated discography, in mid-2004: inricycled (as it was then), deny everything (as it existed then), the rabit is wolf demo, reflections and a 5-track version of this ftaa disc. 

now that i have republished the three inri demos as instrumental recordings, stripped the deny everything lp of samples and converted the rabit is wolf material into two instrumental discs, taking this project to it's final conclusion becomes the process of removing samples from the 2004 demo, and converting it into my 7th completed original lp. 

the ftaa project was supposed to be a combination of political poetry and sample art projects that presented a vaguely "anarchist" political messaging. my concept of anarchism in 2004 was mostly economic, and mostly about presenting an alter-globalization alternative to the rising tide of "free trade" blocs that focused more on local worker control than on the outsourcing of cheap labour to countries with poor labour standards, which is what this term "globalization" actually means, in an economic sense. so, it was supposed to be about syndicalism, and it was supposed to be a *very* noisy and very abstract project. 

but, then 9/11 happened at about the same time as i was starting with this and the entire anti-nafta left just evaporated, as the war took over the popular movements and the more socially conservative aspects of the union movement dissented against the backlash and started looking elsewhere. we seem to forget that the real origins of the shift to the right amongst unionized workers is really cultural, and comes from a disconnect that developed in the anti-war left after 2001; a very large number of workers felt the country had been attacked, and wanted to respond with force. 

i kind of came in somewhere between. i was certainly opposed to the war, and for the right reasons, but i also felt that globalization was a bigger problem and deserved more attention. i think a lot of organizers on the left kind of got tricked by the size of the anti-war protests, into thinking there was more of a path in opposing the war. and people just kind of forgot about the trade issues. and, i also felt that the civil rights breaches that the government was ramming through were bigger issues than either the war or the trade protests. 

so, the record kind of shifted along with the realities around it's construction into something that retained a broadly anarchist ideology but was really more about reacting to the onset of fascism in the united states. so, the initial 5-track release included a track with a poem about the war in afghanistan, a sample collage about the incoherence of using more trade to undo the problems created by trade, a sample collage decrying rights lost in the 9/11 attacks, an instrumental noise collage raided from the then unreleased (and expected to remain unreleased) curious george suite and this sprawling 25-minute exploration of the collapse of liberal democracy into statist authoritarianism and cultural fascism. 

but, as with the other recordings, the samples have been removed to leave an almost entirely instrumental recording. i have retained the poem in the first track because the track is much stronger with it, which is an unusual decision for me. 

however, the initial intent of the record is salvaged on inri067, spoke: 

jasonparent.bandcamp.com/album/spoke 

now, if you want to hear the record exactly as it was initially released in 2004, you'll need to take a look at the aleph disc, as you would need to do in order to hear the initial pressings of my other early recordings, as well. this is intentional as i believe the record is stronger in it's current incarnation and want to present it that way as final. 

i have added instrumental versions of atom's and taught to twist the affected so low as bonus tracks to the lp in order to make it comprehensive. that is, the lp now has the strongest versions of all of the ftaa material. 

these tracks were written and recorded from 2000-2004, mostly as throwaway experiments over the course of an afternoon. the counter-example is the seventh symphony, trepanation nation, which was reconstructed repeatedly over the years 2001-2014. this record was initially constructed in this form (minus the last two tracks) in june, 2004. reconstructed and resequenced in theory (but not in fact) at the end of sept, 2019 from parts that were rebuilt over 2014, but not actually reconstructed, resequenced and uploaded until june of 2021. finally re-released on june 20, 2021. audio permanently closed on . finalized as lp025 on . this is my seventh official record; as always, please use headphones. 

released june 1, 2004 

j - electric & acoustic & classical guitars, effects, bass, synthesizers, vocals, electric mandolin, live drums, drum sample manipulation, drum programming, piano programming, noise generators, granular synthesis, ring modulators, sequencers, sampling, sound design, digital wave editing, composition, production 

greg - drum performance sample source on track 5 

sean - ring modulator on track 5

 

publishing inri080

so, inri080 is done up to finalizing...

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as mentioned below this, inri080 is now released - and this one's done to start. 

i needed a way to release an updated, corrected version of this tune, as i'll be removing the vocals from the 7th lp, which is set to release imminently. the version on the art show demo is normalized, but i'm leaving it like that. so, this fills a gap that opened up. 

the first part of the track (quantum psychosis) was written on heather's acoustic guitar in sarah's bedroom one night when i was there by myself and recorded directly to four-track tascam at the same time. several electric guitar overdubs were added either right away or very shortly. i digitized this in 2004 and do not know where the tape went; it is presumed lost, in 2021. 

the second part of the track was constructed more or less all at once in january, 2004 for the purposes of creating an art show demo. i had just finished reading a couple of books on afghan history, and had imagined this idea already, so i just implemented it all in one go. i haven't altered the recording substantively, since. 

the demo doesn't appear to have found an audience in it's initial presentation. 

the track itself is pretty esoteric. if you're not following the lyrics, it's a summary of the history of afghanistan, starting from the period of persian hegemony. afghanistan used to be a wealthy and buddhist place, but it was utterly demolished by the mongols in the 13th century and has yet to recover. it climaxes in the bombing of what is left of an afghan family, and then sputters out into a 14 minute transmigration of their souls, as they split apart and rejoin the ancestral soul pool. well, it's about a historically buddhist region; the victims might be muslims, but their ancestors would no doubt forgive them for it. 

this is a comprehensive collection of the different versions, as of mid-2021 and i don't expect to expand it further. 

written and recorded from 2001-2004. all versions here constructed over early 2004 from sound written in 2001 (the piano part) and/or recorded in late 2003 (the vocal quantum psychosis folk section) or early 2004 (the transmigration section). compiled and uploaded on june 19, 2021. as always, please use headphones. 

released february 1, 2004 

j - electric & acoustic guitars, effects, drum programming, vocals, noise generators, piano programming, noise generators, digital wave editing, composition, production 

special thanks to heather's guitar, which was just sitting in the corner minding it's own business before i picked it up to jam a bit.

inri078 initial demo upload

today's period 3.1 run through post is for inri078, which is the lost symphony and will complete the trivial group 2xlp when it completes over the next few weeks. 

i have many demos of this track to sort through, and most of them will end up on this single, which will be like the other singles in being comprehensive. but, because this is the lost symphony and not an incomplete composition, these will actually be multiple demo versions, and i'm going to want to find a way to pull them together, as well.

for right now, i'm just posting a link to the demo from 2007 that has been up there for a while and will *not* form a literal basis for the version i'm about to start one last time from scratch. however, it's the most complete version...

this will sequence after xenophanes to close the 2xlp, but it is dated to late 2003 (whereas xenophanes only completes in mid 2006). 

jasonparent.bandcamp.com/album/the-lost-symphony

inri076

so, it's uploaded now and it's staying there.

i think that, of the pieces not yet released, this one is the most emotionally difficult to let into the public listening sphere. it was a long time ago...

if it's not obvious, the track is pretty sardonic. but, this is also, like, just pure sound art - i was feeling fucked up and just wanted to capture it best i could.

do i sound like sean in the recording? well, sean admitted he was trying to sound like me in the first place. the rabit working relationship was always sort of weird, as i was in total control of the whole process from the very start, so sean sounded the way he did because i made him sound that way (and he never figured out how to recreate that, if he actually wanted to). what is true is that there is some lingering feeling from that part of the discography, which had at that point just closed down a few months previous. but, i never released this until today, and it doesn't linger much longer than this.

that noise file i found from 2004 actually uses the same jx-8p sound effect i used in this track, and there's a conceptual idea i wanted to document that's kind of lingering, so i will probably add a noise composition to the start of this that is based on that existing file. that works out quite well.

i'm past due to eat....

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inri076 will be a short single with the early version of eleventh dimension (& all you need...) 

soul swap piece? 

============ 

i'll do a write-up for this a little later. 

for now, i'm just going to point out that my brain sort of broke in the middle of 2003, and this was the result of it. it sort of speaks for itself in some sense. 

i think maybe two people have heard this.... 

the second track got cleaned up and used for the start of the interplanetary isomorphism (the third trivial group symphony), but the first track just got completely discarded - and there's lots of reasons for that that we'll go over later. 

what i've done in 2021, for now, is remaster the track to turn the vocals down. the track is otherwise bitwise identical (excluding some intentional clipping). 

i may write an original piece to precede this to close it. 

written & recorded in 2003. remastered in 2021. inri076. 

as always, please use headphones.

released september 1, 2003 

j - guitars, drum programming, digital wave editing, synthesizers, electric mandolin, vocals

first upload of inri075

the next chunk of material to come up is going to be inri075-inri080, inclusive. some of this is totally done (inri079, inri080), some of it needs a brief look at (inri076) and some of it will be a project to finish (inri075, inri077, inri078). i'm going to try to get an approximate document for each project up, one per day, over the next week. this was an unstable period, so some of these releases will be short eps meant to represent ideas that were temporarily abandoned due to needing to relocate and finished elsewhere in a different mindset as a result...

for today, here is a rough outline of inri075: 

jasonparent.bandcamp.com/album/akousmatic-performance

this release is meant to document a tracklist of acoustic material, as performed over the summer of 2003, when i was backpacking across canada. some of these will be tracks from period 2 and others will be demos for the upcoming period 3. as such, it's a sort of middle point between what was done over 2000--2002 and what is coming up for 2003-2007. 

i want to re-record a number of these tracks on acoustic guitar because the demoes i have were done for electric or classical, and may rerecord everything in the process. we'll have to see.

for now, this is a starting ep that i'll fill out over the next few weeks as i finish these releases for period 3.1, which ran from mid-2003 to mid-2004 and was kind of unfocused and scattered due to reality around me.

inri075 cover art

so, this is how i'm doing this...

this is a sketch of me performing on the big steps at the ubc, done in june of 2003 by an anonymous sketch artist (presumably a student) that snuck up behind me and handed it to me:

i keep it on my wall, because who wouldn't?

i would have been performing a mix of older songs and newer ones and i'm pretty sure i know what most of them are; in fact, i had a sort of a setlist that i would normally go over that was roughly an hour or so. i don't remember exactly what it was, but i can fudge it enough to make it worthwhile.

so, that's going to be my bc release - a compilation of acoustic pieces, as i recall them.

and, that's my inri075, that's settled. just let me put it together.