this is my seventh symphony, now inri058, which i spent about five months on in mid-2002, at the start of my first stint through hormone therapy, in between multiple moves and at the start of somewhat of a crisis in my academic identity, as i closed down my second year in the pure math program with the conclusion that i wanted out of it. in all of it's incarnations, this is a confusing, dark, demented piece of music, which is of course how i like it, and a reflection of the shift in existence that i was going through at the time.

i think this was a little much for sean to process. his reaction was to decide it should be reworked for my own projects, which it then was. but, i mean....i gave him a ridiculous 25 minute masterpiece and he asked for a three minute radio song, instead. it didn't end quite there, but it was somewhere around this point that i decided i couldn't be fucking bothered anymore.

this track actually has two reworks, in the end - the cynicide version (inri048) that best represents it's initial construction as a cynicide collaboration piece and the ftaa version (inri058), which is how it eventually ends up in the end, after going through rabit is wolf on it's way there.

so, this is the biggest, most developed thing that came out of that period, and forms the template of what i would do for the next several years, moving forwards, as it pulls together all of the various disparate influences and concepts into the format of a sprawling, morphing, roughly half hour epic.

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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. further discussions of the various incarnations of the tracks appear on the track pages. 

written over 2001 and 2002 and rethought repeatedly between 2002-2014, with no clear resolution in a final mix. reconstructed from source in late 2014 and then rendered at multiple stages to create a series of snapshots. final mixes were completed over the last week of november and the first week of december. released as a two-volume set on dec 7, 2014. the concept was rethought on nov 3, 2017, which led to the inclusion of five more mixes and an expansion to four cds. re-released in four volumes & finalized as symph007 on nov 12, 2017. the raw guitar mix was corrected on jan 6, 2018. as always, please use headphones. 

the album version of the track (track 13), reconstructed in 2014, appears on my seventh record, ftaa (inri079): jasonparent.bandcamp.com/album/ftaa 

the 2002 vocal mix appears on the rabit is wolf demo (inri057): 

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, 2008, 2009, 2014, 2017). 

released july 4, 2002 

j - guitars (electric, acoustic, classical), bass, synthesizers, drum programming, orchestral sequencing (12), drum manipulation, vocal manipulation, voice (9), live & digital effects processing, 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.