slow down (original album mix)

this is the last one of these sample collage things; my noise pieces after this are at a higher level of abstraction.

there's a bit of a shape of a trip in it's rise to a peak and slow fall.

created in february, 1998. remixed in dec, 1999.

https://jasonparent.bandcamp.com/track/slow-down

the wonderful noise (original album mix)

this is taken directly from my first demo tape:
jasonparent.bandcamp.com/track/the-wonderful-noise

it's a cleaner recording, here, actually.

recorded in november, 1996. edited in dec, 1999.

https://jasonparent.bandcamp.com/track/the-wonderful-noise-2

medicated to the one i love (remix/cover for inrimake)

this was for a project on the god lives underwater mailing list. it's a pretty abstract remix that has a few things of note:

1) this is the first thing i can recall recording directly into the computer, without using the 4-track as a temporary medium. well, i was still using it as a mixer for a little bit, but i wasn't recording directly to tape. it was just pragmatism: i had constructed the drum loops using a wave editor and didn't have the right cord to transfer it to tape without it getting all full of tape hiss. i also remember being a little sick of having to run everything through noise reduction (which adds these high pitched burbles and other weirdness).

here's the thing, though. it's 1999. i'm 18. i don't have cash to shell out on fancy software like cakewalk (now sonar) or logic (now garage band). warez existed, but internet connections were slow. dial-up slow. there was also restrictions regarding the speed of my pentium I, or whatever it was; i managed to find myself an 'evaluation copy' of logic, but the computer was only able to use it as a sequencer.

so, i had to improvise. i didn't realize the ramifications of the approach i took until years later when i took a math course in wavelet design, of all things. the approach i settled on wasn't merely a shift in technology, it had a *dramatic* effect on the composition process.

what i did was pretty crude - i recorded files in one at a time and pasted them on top of each other. what i didn't realize is that this is actually carrying out a type of *synthesis* rather than a type of *mixing*. this creates a blurry sound that produces an impressionist aesthetic that i would learn to take full advantage of.

2) this is my first conscious attempt at something trip-hop.

3) some time after i posted it to the list, i got a snotty email in my box from david reilly (singer of god lives underwater) that said something along the lines of "i am aware of what you did to my song", as though it was some kind of travesty. i laughed...

recorded in february, 1999.

https://jasonparent.bandcamp.com/track/medicated-to-the-one-i-love

jesus gets fucked on robitussin (original album mix)

robitussin was never a recreational drug of choice, but i was sick enough for a few days that spring that i had to stay home from school so i decided to experiment with some very high doses. this is kind of what i ended up feeling like...

recorded in mar, 1999.

https://jasonparent.bandcamp.com/track/jesus-gets-fucked-on-robitussin

publishing gene-o’s – a soundtrack for an italian breakfast cereal (inri027)

somebody asked me to do this for them for a school project. we're both italian. silly joke, no offense intended.

i never saw the final version, but the guy described it to me. it was an anti drinking and driving ad (think madd) for a marketing class. they sequenced it up with shots of one of them stumbling towards a car, getting in and driving off. very clownish, apparently.

recorded in the spring of 1999. released as a standalone single on nov 21, 2013. as always, please use headphones.

this track eventually appears on my 3rd record:
http://jasonparent.bandcamp.com/album/inridiculous

credits
j - hammerhead (909 emulator), digital wave editing

released march 9, 1999

https://jasonparent.bandcamp.com/album/gene-os-a-soundtrack-for-an-italian-breakfast-cereal

gene-o’s - a soundtrack for an italian breakfast cereal (original album mix)

somebody asked me to do this for them for a school project. we're both italian. silly joke, no offense intended.

i never saw the final version, but the guy described it to me. it was an anti drinking and driving ad (think madd) for a marketing class. they sequenced it up with shots of one of them stumbling towards a car, getting in and driving off. very clownish, apparently.

recorded in mar, 1999.

https://jasonparent.bandcamp.com/track/gene-os-a-soundtrack-for-an-italian-breakfast-cereal-2

publishing pop music (a tribute to carbon doxide) (inri028)

i can't date this exactly. i know it was the first half of the second semester of grade 12, which was spring of 1999. further, i'm taking it forward to about midway because the first part of the course was about voice-leading and i spent it orchestrating the beatles' something.

i was lucky: i went to a high school with a big music department. not an arts school, mind you. just a school that had enough funding to run a wide array of course options that are outside the basic core topics. there were three main assignments in the course, and while i don't remember the exact assignment questions, i do have two pieces to show for it.

this, here, is a conceptual piece about pop music. all of the sounds are created from pop cans. yes, puns are fun. the samples run from pouring water out of pop cans into the sink, to crushing and smashing pop cans, to opening them, to exploding them, etc.

i used the tab of a pop can as a pick as i played the ambient guitar parts. it's all thrown together, processed, warped and perfected in a wave editor.

recorded in the spring of 1999. released as a standalone single on nov 21, 2013. as always, please use headphones.

this track eventually appears on my 3rd record:
jasonparent.bandcamp.com/album/inridiculous

credits:
j - guitars, effects, samples, loops, digital wave editing

released april 15, 1999

pop music (a tribute to carbon dioxide) (original album mix)

i can't date this exactly. i know it was the first half of the second semester of grade 12. further, i'm taking it forward to about midway because the first part of the course was about voice-leading and i spent it orchestrating the beatles' something.

i was lucky: i went to a high school with a big music department. not an arts school, mind you. just a school that had enough funding to run a wide array of course options that are outside the basic core topics. there were three main assignments in the course, and while i don't remember the exact assignment questions, i do have two pieces to show for it.

this, here, is a conceptual piece about pop music. all of the sounds are created from pop cans. yes, puns are fun. the samples run from pouring water out of pop cans into the sink, to crushing and smashing pop cans, to opening them, to exploding them, etc.

i used the tab of a pop can as a pick as i played the ambient guitar parts. it's all thrown together, processed, warped and perfected in a wave editor.

recorded in april, 1999.

https://jasonparent.bandcamp.com/track/pop-music-a-tribute-to-carbon-dioxide

inriverted (remix/cover for inrimake)

tricil and i were on some of the same lists in the late 90s. he put out a request for remixes, and i took it up.

dating this exactly is difficult. the mp3 i have is time stamped to early 2000. tricil suggests it may have been late '98. there's the possible window. yet, judging from the style, i think it has to be post-demo. i have a lull in the april-june period. judging from other tracks of the period, it also seems to coincide best with my 'shockingly crude samples' phase.

regarding those samples. well, they're from reservoir dogs. three levels. first, i was thinking, listening to it, that it would work well with reservoir dogs. i eventually rejected the idea as too restricting, but i was entertaining the idea of working in film scores at the time. what i'm saying is that the music reminded me of the scene rather than the other way around, so i tossed the scene in. second, once i actually got it together, i enjoyed how twisted it sounded, 'cause i was like that. third, i was thinking a lot about huge dicks at the time - coming off the rejected ruiner cover and in general. i should note, however, that i've removed roughly 45 seconds of the track due to the reservoir dogs samples (the john hughes / madonna scene) being pointlessly crude.

musically, what i've done here is take the chord progression in the track and build something entirely different out of it. there's but a single loop in the track. i'm basically just jamming with myself in building up the different tracks. yet, it's a radical departure that exists firmly in the pivot point i was taking.

this is so dramatically different from the original that it's reasonable to say something like that it's "inspired by" the original rather than a remix or a cover. it does contain creatively reinterpreted samples of the original.

here's something more recent from tricil:
http://www.youtube.com/watch?v=gITRmVkZp7A

recorded in may, 1999. edited on nov 21, 2013.

https://jasonparent.bandcamp.com/track/inverted

berlin seems to be a real magnet for resistance against america. the money and meetings surround 9/11 trace to berlin, as do a number of "terrorist" drug laundering networks.

the germans nearly started a war over echelon in the 90s. they were livid. and they know what's going on.

...or maybe it's just the cheap russian gas? who knows...

http://www.theguardian.com/world/2013/nov/06/sarah-harrison-edward-snowden-berlin

the question of 9/11 is something that comes up all over the internet. anybody that spends a lot of time on the internet is necessarily going to have at least pondered it.

i have to accept that i think the idea of a false flag attack is a valid question. nor would i put it beyond the americans to do that. there are historical precedents - gulf of tonkin is the most blatant, but also the bombing that set off the spanish american war. lusitania and pearl harbour are similar, but not exact analogues. in the context of the project for a new american century? there's some logic to this. yet, if you follow those precedents, 9/11 seems too extreme. one would think they'd fake an attack on a ship outside of yemen or something.

i've never been comfortable with bin laden's complete rejection, and the media circus that tried to skew statements into a confession. nor has the state department ever released any evidence. where the truthers are right is in pointing out that the investigation was trying to cover something up.

but, if you accept that 9/11 is too extreme for a false flag, what might they have been trying to cover up? a lack of evidence, perhaps? maybe. maybe they were trying to shield an ally, or actually *prevent* a larger world war type scenario.

i think a real investigation of 9/11 would begin with the assumption that the sophistication of the attacks suggests involvement from a state. i've rejected a false flag offhand as too extreme. the question is, then, which states have that kind of sophistication.

let's note that israel has the sophistication, but reject the idea outright. too much power in washington. too much to lose. too careful and methodical for that kind of risk.

the saudis have stronger motives and are much less methodical, but i doubt they have the sophistication. likewise with cuba, venezuela, iraq, iran and all of the other smallish states with uneasy relationships with america.

the french could conceivably do this. it's well known that they have deep intelligence networks in the united states. yet, i don't see a motive.

nor do i see a motive from india, whether they had the sophistication at the time or not.

the russians and chinese seem far more interested in preventing conflict than creating it. especially in the 90s. they wanted into the wto, apec - integration. they've retreated from this position since then in favour of bilateral co-operation to build a power in opposition to washington. but this wasn't the case at the time. they would have been acting against their own interests; it doesn't make any sense.

that leaves the germans, through a process of elimination. a motive? there were talks of a trade war between germany and the united states throughout the 90s as a consequence of adopting the euro. one way to make the dollar crash would be to send the americans on a military adventure against an enemy they can't define.

this is a deductive argument, but i find it compelling.

when you add the circumstantial evidence that sets the entire process as being planned in berlin, my eyebrows raise.

regarding intelligence sharing, i obviously have no idea what actually exists. i do, however, know the following.

1) the americans do NOT want to let the germans into the world war two era intelligence sharing agreements that still define everything. the entire network was set up to spy on germany during the war. it's still functioning. the germans are massively spied on. they're not invited.
2) american intelligence eaves dropping is industrial in nature. that is to say that the nsa spies on german companies and sells the information to american companies. you have to understand that the nazi state was largely run by large industrial cartels like ig farben and thyssen steel. it made sense to spy on them. why dismantle a functioning network?
3) the germans hate everything about this. they hate the fact that they're spied on. they hate the fact that american business spies on them. they hate the fact that they're not invited. and they've threatened economic sanctions / tariffs to fight back.

so, again, we see a reason why the germans might want to do this sort of thing...

entirely deductive. entirely circumstantial. but, of all the cities in the world, why did they all end up in berlin?

there are currently free trade agreements being worked out between europe and canada, and europe and the us. national security motives aside, it would eliminate an economic weapon from germany's disposal. there may be a hope that it would lead to greater intelligence sharing, and maybe less spying.

but germany is also very interested in deep economic integration with the countries to it's east. it's a balancing act that has the potential to turn ugly.

we usually think of germany as one of the central pieces in the western alliance, but this is a racial perception rather than one based on reality, economics or history. they've been purposefully kept at an arm's length and treated as a client state, and it's never been clear that they won't up and bounce - because they don't like that treatment.

historically, europe has been broken into at least three spheres of influence, never two. germany has usually dominated it's own sphere, and has rarely been aligned with either france or england.

well, not since charlemagne, anyways.

so, yeah. this is kind of out there. all deduction; no evidence. i wouldn't suggest any action based on this analysis....

but i'm usually right about these sorts of things.