today's post is inri064, and is the first for a number of things - it's the first trivial group release, the first 2003 release and the first fully post-rabit release. it's also the first sarah-era release; even when she's not the subject of the songs, she's kind of ubiquitous in my life for the next few years. if 2001 was mostly about writing scored music (jjjjjjjjjjjjjjj) and 2002 saw me pull away from that to focus on something vaguely approaching rock-era music (rabit is wolf) or spinning out into something much more chaotic and noisy (ftaa), the trivial group was about pulling that all back together into a single thing, as abstract rock compositions that wander all over the place. so, whereas compositions over 2001-2002 tended to focus on specific ideas in disparate genres, trivial group compositions tend to focus on multiple genres within a specific track. a new noise project eventually develops (called cycles per second), but it's really intended to be outside the realm of traditional music, in any remote sense; virtually everything else ends up as trivial group, now, from the start of 2003 to the end of 2006, when the project starts to close itself down, as i start to look beyond it's instrumental constraints.

so, that's the setup for period 3 - anything resembling music is folded into a single project called the trivial group, whereas purely mathematical sound art experiments are split off to cycles per second

the trivial group is a kind of math joke - there is only one group with one member. i toyed with crediting all sound to i or e but in the end decided j was good enough, if somewhat nonstandard. it's not even a map, it's just a substitution. my obsession with scientific themes starts to turn over a little, and specifically starts to lean into abstract mathematics, instead. it's just a function of where my head was at, otherwise.

for now, this is actually a bit of a ways from that. i'll be honest - i look back at this and laugh at myself for it. but, it's a document of what i was feeling, and it's entirely real, as laughable as that seems, now. 

my dad had a friend with a phd in chemistry for a while; he was actually the father of one of my sister's friends, and they hit it off in a pta meeting or something. this guy hit the jackpot in the bre-x fiasco by buying it as a penny stock and having it balloon to many times it's worth and ended up a multimillionaire out of it - which meant he was the most bourgeois motherfucker you've ever met. he just sat and home and drank wine all day, until he ran out of money and ended up teaching at algonquin. and, you can imagine the resentment from his kids, right? raised filthy rich and then - sorry! just kidding!

anyways, he was often stumbling around the house, and took some interest in me due to the fact that i was in a science program (or science-y program after i switched to math). and, he used to always warn me that i'd lose a semester due to falling in love. 

it was something like that, anyways - even if it was utter nonsense, and utter delusion. but, isn't it always, in hindsight? truly?

i don't know if i'm better off, to avoid the cliche directly. i guess it doesn't matter, does it?

but, everything about me starts to change here, from my disposition to my vocals to my guitar style. and, the dominant underlying factor is, in fact, sarah.

no apologies to the butthole surfers; only the slightest condolences to paul mccartney.

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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 (inri074). 

these tracks were written and recorded over november and december of 2002 and uploaded, unmodified, in may of 2015. released on may 2, 2015. re-released on physical media and finalized on nov 24, 2017. as always, please use headphones. 

the second track appears as a component 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 (2002, 2003, 2015, 2017).

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