02/03-01-2016: done!

tracks worked on in this vlog:
https://jasonparent.bandcamp.com/album/inriclaimed
https://jasonparent.bandcamp.com/album/schizoid-terrorist-2
https://jasonparent.bandcamp.com/album/inrimixed
https://jasonparent.bandcamp.com/track/fuck-the-dead-instrumental-mix

fuck the dead (instrumental mix)

when i rebuilt this track, i skipped the spiderman theme shake down in the middle. it was initially added into the track in a cut and paste process; it didn't fit the theme of the inriclaimed project to resplice the track like that. but, this is a better approximation of a recreation of the full track.

originally created in 1998. a failed rescue was attempted in 2013. finally reconstructed in the summer of 2015 and re-edited on jan 3, 2016.

https://jasonparent.bandcamp.com/track/fuck-the-dead-instrumental-mix

schizoid (total)

this version may be better than the version on the record, but there's a conceptual unity i want to maintain.

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updated electronic orchestra added to version reconstructed in 2015 from tape. 

initially written in 1996. recreated in feb, 1998. reclaimed july 12, 2015. reprogrammed and reconstructed on dec 31, 2015. corrected to control for malfunctioning electronics and remixed as alternate on jan 3, 2016.

https://jasonparent.bandcamp.com/track/schizoid-total

schizoid (clean)

there's a complete remix on the inrimixed page.

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bass blur removed from version reconstructed in 2015 from tape. 

initially written in 1996. recreated in feb, 1998. reclaimed july 12, 2015. corrected to control for malfunctioning electronics and remixed as alternate on jan 3, 2016.

https://jasonparent.bandcamp.com/track/schizoid-clean

publishing inriclaimed (inri024)

when i sat down to complete my discography in the fall of 2013, one of the first problems i came up against was what to do with my first two proper records, inri and inriched. in some sense, these records were complete: they were early works, but they were complete recordings and the records were sequenced with quite a bit of detail. it would not be right to modify them in a structural sense, as they were completed as they were when they were. however, the mixes had been degraded rather substantially through compression and the vocals had a lot of problems. further, i knew the source material was incomplete, but did not actually check the master tapes to see how incomplete they were.

i decided that the best thing to do was to try and remaster them using izotope. the result was noticeably "better", and they were released in that form. i also released a compilation of shorts that focused on instrumental sections as inricycled b. however, i had to make a lot of compromises to get to that point. further, the fact that i couldn't remove the vocals continued to bother me.

i finally got around to digitizing the tapes in december of 2014, as an archival step. i did not expect to be able to do anything with this material, but i wanted it digitized to prevent the tapes from deteriorating further. what i learned through this process was that the masters were far more complete than i thought. samples and continuity were missing, but i seem to have dumped most of the sequencing and a lot of the digital noise generation. this forced me to rethink what i was able to present. i decided that if i was going to go through these tracks and recreate them then i was going to do it comprehensively, which would mean completely recreating a number of the tracks. i decided that this would be a project better left for a later date.

by june of 2015, i had made it through the discography to the end of the second period and began finalizing the aleph sequence of dvd and bd flac/mp3 compilations. i decided that the only cohesive way to present period one is as a single disc, which meant i needed to address reconstructing the tracks immediately in order to close it.

the material was digitized via the exact same tascam four-track it was recorded on to, sent out track by track. however, the material was bounced heavily when it was recorded, which means the digitized tracks generally have multiple parts. the four tracks generally exist as follows:

1) an electronics track. drum machines, synths, sequencers, loops, noises.
2) a guitars track. there are usually several guitar parts in this one track.
3) a bass track, or a synth bass track.
4) a vocal track.

unfortunately, digitizing the tracks one by one left them out of sync at a rate of around a half a second per minute, but there is no clear pattern in how they are out of sync. shifting them back in sync was a time consuming process done in cubase by importing the remastered tracks and trying to find markers in the wave files, then using a sort of "newton's method" to compress or decompress the files until they lined up with the master. this issue was compounded by the fact that the initial masters were sometimes subtly out of time. once they were shifted back in sync, the tracks had to be equalized very carefully to try and isolate the constituent parts. for example, a track with a drum machine and a synth may have been split across a high and low shelf to isolate them in the mix. with the exception of this heavy equalization work (and amp simulation for the bass parts), these songs have not been modified from their original form - except to remove the vocals.

this release has rendered the previous inri009, inricycled b, as superfluous and consequently replaces it in the sequence. it has now been moved to inrijected.

i am very happy to finally be able to present this material in a form that i would find listenable, today, as an adult. this has been a very long process. i hope you feel that the results were worth the effort put into it, periodically, over many years.

initially written and recorded between 1996-1999 and remixed over the summer of 2015, with a lengthy pause due to malfunctioning electronics. final compilation date is jan 3, 2016. as always, please use headphones.

credits:
j - guitars, effects, bass, synth bass, drum programming, synthesizers, octavers, noise generators, sequencers, sampling, found sounds, cool edit synthesis, digital wave editing, loops, mic noises & vocal relics, production

released january 29, 1999

http://jasonparent.bandcamp.com/album/inriclaimed

finalizing while i can’t always convince myself that my paranoia is frivolous, i can effectively control how it affects others

this is absolutely final. the record is totally closed.

initially written in 1996. recreated in feb, 1998. reclaimed july 12, 2015. corrected to control for malfunctioning electronics on jan 3, 2016.

https://jasonparent.bandcamp.com/track/while-i-cant-always-convince-myself-that-my-paranoia-is-frivolous-i-can-effectively-control-how-it-affects-others