hillary clinton is literally walking around admitting that she's trying to bring back the cold war.
how do we get this woman sent to the hague?
jagmeet singh must cut his beard.
Tuesday, October 24, 2017
why don't we take their nuclear waste while we're at it?
the headline should read: britain tricks colony into accepting it's garbage.
we should send their trash back where it came from, and send them the bill.
https://www.theweathernetwork.com/news/articles/britain-to-transfer-ownership-of-hms-erebus-and-terror-to-canada/88151/
jagmeet singh must cut his beard.
the headline should read: britain tricks colony into accepting it's garbage.
we should send their trash back where it came from, and send them the bill.
https://www.theweathernetwork.com/news/articles/britain-to-transfer-ownership-of-hms-erebus-and-terror-to-canada/88151/
jagmeet singh must cut his beard.
at
03:45
Monday, October 23, 2017
purchasing this release does not come with a download.
inri043: written late 2000 & early 2001. the renders present here are all from either the early months of 2014, the second half of may, 2015 or the 11th/12th of october, 2017. minor instrumentation changes to facilitate a small wind section were implemented in late april, 2014. live guitars were layered into the final version over may 2014. four more mixes were added from may 19-26, 2015. five more mixes were added on oct 11/12, 2017. release finalized on oct 12, 2017.
inri044: written early 2001. drastically rearranged in june, 2014. rendered, arranged and performed over june and july, 2014. remixed and re-rendered several times over late may, 2015 and again over mid oct, 2017. this release cannot formally finalize at this time, but has been put into it's existing state as of oct 15, 2017.
inri045: recorded in the first part of 2001. sequenced as is in january, 2014.
inri046: written in the spring of 2001. lent out for a different project in jan, 2004. reconstructed in the first quarter of 2006, especially over march. the vst mix was added on jan 10, 2015 and the two guitar mixes were added on may 29, 2015. finalized as symph005 on oct 15, 2017.
inri047: written one day in june, 1998. re-created on another day in june, 1999. reimagined on yet another day in june, 2001. a failed remaster occurred at the end of 2013. slightly rearranged and re-rendered at the end of july, 2014. rearranged again at the end of may, 2015 and one last time at the beginning of jan, 2016. expanded and finalized over oct 15-16, 2017.
inri048: written in the summer of 2001. remembered over july, 2014. completed august-september, 2014. expanded and finalized on oct 16, 2017.
inri049: written and recorded in the fall of 2001. compiled on sept 6, 2014. expanded and finalized on oct 20-21, 2017.
inri050: written in the fall of 2001. rendered, remastered and remixed in late september and early october, 2014. the string mix was corrected for clicks on june 1, 2015, but unfortunately left accidentally inverted. this was corrected on oct 21, 2017. the lead track was re-rendered with the clickless string mix on oct 21, 2017. disc finalized on oct 21, 2017.
inri051: created in the fall of 2001. resequenced and rereleased on sept 7, 2014. disc finalized on oct 22, 2017.
inri052: tracks 1, 3 and 8 were written in 2001 and reinterpreted and completed in 2014. tracks 2 and 5 were interpreted and completed in 2001. track 4 was written in 2000 and reinterpreted and recorded in 2001. track 6 was written in 2001 and completed in 2006. track 7 was written in 1998, reinterpreted in 2001 and rendered in 2014. tracks 1-7 were sequenced on sept 9, 2014. final completion date is oct 3, 2014. refinalized as lp011 on oct 22, 2017.
inri053: written late 2001 and early 2002. this file is ripped from a cd-r that was burnt around 2002, as that was the option that would produce the most accurate reproduction of the original composition. republished without modification in 2014. on oct 23, 2017, the poem was added to the disc as an introduction to the track and the disc was subsequently closed and finalized as symph006 and lp012.
originally created from 2001-2002, but mostly in 2001. this compilation is dated to jan 20, 2002. slowly remastered, reconstituted, compiled, reconstructed, released and finalized from 2013-2017. compilation finalized on oct 22, 2017. as always, please use headphones.
inri043: written late 2000 & early 2001. the renders present here are all from either the early months of 2014, the second half of may, 2015 or the 11th/12th of october, 2017. minor instrumentation changes to facilitate a small wind section were implemented in late april, 2014. live guitars were layered into the final version over may 2014. four more mixes were added from may 19-26, 2015. five more mixes were added on oct 11/12, 2017. release finalized on oct 12, 2017.
inri044: written early 2001. drastically rearranged in june, 2014. rendered, arranged and performed over june and july, 2014. remixed and re-rendered several times over late may, 2015 and again over mid oct, 2017. this release cannot formally finalize at this time, but has been put into it's existing state as of oct 15, 2017.
inri045: recorded in the first part of 2001. sequenced as is in january, 2014.
inri046: written in the spring of 2001. lent out for a different project in jan, 2004. reconstructed in the first quarter of 2006, especially over march. the vst mix was added on jan 10, 2015 and the two guitar mixes were added on may 29, 2015. finalized as symph005 on oct 15, 2017.
inri047: written one day in june, 1998. re-created on another day in june, 1999. reimagined on yet another day in june, 2001. a failed remaster occurred at the end of 2013. slightly rearranged and re-rendered at the end of july, 2014. rearranged again at the end of may, 2015 and one last time at the beginning of jan, 2016. expanded and finalized over oct 15-16, 2017.
inri048: written in the summer of 2001. remembered over july, 2014. completed august-september, 2014. expanded and finalized on oct 16, 2017.
inri049: written and recorded in the fall of 2001. compiled on sept 6, 2014. expanded and finalized on oct 20-21, 2017.
inri050: written in the fall of 2001. rendered, remastered and remixed in late september and early october, 2014. the string mix was corrected for clicks on june 1, 2015, but unfortunately left accidentally inverted. this was corrected on oct 21, 2017. the lead track was re-rendered with the clickless string mix on oct 21, 2017. disc finalized on oct 21, 2017.
inri051: created in the fall of 2001. resequenced and rereleased on sept 7, 2014. disc finalized on oct 22, 2017.
inri052: tracks 1, 3 and 8 were written in 2001 and reinterpreted and completed in 2014. tracks 2 and 5 were interpreted and completed in 2001. track 4 was written in 2000 and reinterpreted and recorded in 2001. track 6 was written in 2001 and completed in 2006. track 7 was written in 1998, reinterpreted in 2001 and rendered in 2014. tracks 1-7 were sequenced on sept 9, 2014. final completion date is oct 3, 2014. refinalized as lp011 on oct 22, 2017.
inri053: written late 2001 and early 2002. this file is ripped from a cd-r that was burnt around 2002, as that was the option that would produce the most accurate reproduction of the original composition. republished without modification in 2014. on oct 23, 2017, the poem was added to the disc as an introduction to the track and the disc was subsequently closed and finalized as symph006 and lp012.
originally created from 2001-2002, but mostly in 2001. this compilation is dated to jan 20, 2002. slowly remastered, reconstituted, compiled, reconstructed, released and finalized from 2013-2017. compilation finalized on oct 22, 2017. as always, please use headphones.
credits
released January 20, 2002
j - electric piano, drum & other programming, orchestral & other sequencing, classical & acoustic & electric guitars, ebow, digital & analog effects & treatments, electric bass, mandolin, organ, synthesizers, sound design, noise generators, cool edit synthesis, sampling, vocals, vocoders, digital wave editing, loops, equalization, production, composition.
sean - vocals, lyrics (inri048, inri049, inri053)
jon - guitar performance (inri048, inri049)
the various rendered electronic orchestras include acoustic bass, electric bass, synth bass, upright bass, distorted electric guitar, clean electric guitar, steel string acoustic guitar, nylon guitar, guitar effects, banjo, harp, sitar, french horn, tuba, trumpet, trombone, brass ensemble, saxophone, soprano saxophone, orchestra hit, violin, viola, cello, contrabass, pizzicato strings, full string section, piano, synthesizers, synth pad, synthesizer effects, mellotron, organ, bamboo flute, clarinet, flute, piccolo, oboe, english horn, bassoon, voice, music box, tubular bells, bells, clavinet, kalimba, xylophone, glockenspiel, woodblock, vibraphone, marimba, taiko drums, detuned piano, pc card, drum kit, jazz drum kit, hand drums, melodic toms, orchestral drum kit, drum machines, hammered percussion, synthetic percussion and electronic drum kit. they also include choir.
j - electric piano, drum & other programming, orchestral & other sequencing, classical & acoustic & electric guitars, ebow, digital & analog effects & treatments, electric bass, mandolin, organ, synthesizers, sound design, noise generators, cool edit synthesis, sampling, vocals, vocoders, digital wave editing, loops, equalization, production, composition.
sean - vocals, lyrics (inri048, inri049, inri053)
jon - guitar performance (inri048, inri049)
the various rendered electronic orchestras include acoustic bass, electric bass, synth bass, upright bass, distorted electric guitar, clean electric guitar, steel string acoustic guitar, nylon guitar, guitar effects, banjo, harp, sitar, french horn, tuba, trumpet, trombone, brass ensemble, saxophone, soprano saxophone, orchestra hit, violin, viola, cello, contrabass, pizzicato strings, full string section, piano, synthesizers, synth pad, synthesizer effects, mellotron, organ, bamboo flute, clarinet, flute, piccolo, oboe, english horn, bassoon, voice, music box, tubular bells, bells, clavinet, kalimba, xylophone, glockenspiel, woodblock, vibraphone, marimba, taiko drums, detuned piano, pc card, drum kit, jazz drum kit, hand drums, melodic toms, orchestral drum kit, drum machines, hammered percussion, synthetic percussion and electronic drum kit. they also include choir.
jagmeet singh must cut his beard.
at
16:26
republishing inri053
this came
out of a two-person psychedelic folk project i was working in over late
2001 and into mid 2002. we had brainstormed the idea of a piece that
slowly built itself up, like a wave, and that had sporadic pieces of
poetry interspersed as it did so. of the two of us, i was the musician,
and he was the poet; i generally produced the music by myself. however,
my vision of the track proved to be much larger than his, to the point
that the two ideas could not be effectively reconciled given the deficit
of technology available to us (i simply couldn't find a way to get
enough resources to condense the track to under ten minutes). that left
me with this seventy minute ambient piece that has mostly stayed hidden
in my closet over the last twelve years.
in 2014, i strongly contemplated reconstructing the short version out of existing material, but it would have required a rethink of the process that i felt would be invasive to the poet involved. the reality is that the music that i created was not well suited as accompaniment for the poem, and it should just be left at that. in oct of 2017, i added the poem to the disc, a capella, as an introduction to the track.
this is very much process music. it's built on 36 distinct loops of identical length (just under 57 seconds) that assemble the collage up on a loop by loop basis, hitting it's full point only in the 35th loop. the 36th loop does not fit into any of the patterns that define the first 35, but is nonetheless the climax of the piece. this is followed by a disassembling process that is precisely the reverse of the assembling process. together, this produces the effect of a long wave of sound washing over the listener.
aesthetically, it's likely clear that i had been listening to a lot of "kosmische" style synthesizer music of european origin. it's actually a key part of my musical style, so a bigger exploration of it's themes is not at all out of place. however, i generally prefer to take ideas from the genre and recontextualize them rather than delve into a full exploration. this is somewhat unique in my discography as being an album-length analog synthesizer work.
either as ambient or kosmische or process music, this is mostly meant as background music.
written late 2001 and early 2002. this file is ripped from a cd-r that was burnt around 2002, as that was the option that would produce the most accurate reproduction of the original composition. republished without modification in 2014. on oct 23, 2017, the poem was added to the disc as an introduction to the track and the disc was subsequently closed and finalized as symph006 and lp012. as always, please use headphones.
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 (2001, 2002, 2014, 2017).
in 2014, i strongly contemplated reconstructing the short version out of existing material, but it would have required a rethink of the process that i felt would be invasive to the poet involved. the reality is that the music that i created was not well suited as accompaniment for the poem, and it should just be left at that. in oct of 2017, i added the poem to the disc, a capella, as an introduction to the track.
this is very much process music. it's built on 36 distinct loops of identical length (just under 57 seconds) that assemble the collage up on a loop by loop basis, hitting it's full point only in the 35th loop. the 36th loop does not fit into any of the patterns that define the first 35, but is nonetheless the climax of the piece. this is followed by a disassembling process that is precisely the reverse of the assembling process. together, this produces the effect of a long wave of sound washing over the listener.
aesthetically, it's likely clear that i had been listening to a lot of "kosmische" style synthesizer music of european origin. it's actually a key part of my musical style, so a bigger exploration of it's themes is not at all out of place. however, i generally prefer to take ideas from the genre and recontextualize them rather than delve into a full exploration. this is somewhat unique in my discography as being an album-length analog synthesizer work.
either as ambient or kosmische or process music, this is mostly meant as background music.
written late 2001 and early 2002. this file is ripped from a cd-r that was burnt around 2002, as that was the option that would produce the most accurate reproduction of the original composition. republished without modification in 2014. on oct 23, 2017, the poem was added to the disc as an introduction to the track and the disc was subsequently closed and finalized as symph006 and lp012. as always, please use headphones.
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 (2001, 2002, 2014, 2017).
credits
released january 15, 2002
j - synthesizers, electric & acoustic guitars, electric bass guitar, digital wave editing, production, composition
sean - vocals, lyrics
sean - vocals, lyrics
jagmeet singh must cut his beard.
at
15:21
purchasing this release does not come with a download.
inri002: originally written and recorded over 1996-1997. sequenced and mildly modified in dec, 2013. released dec 11, 2013. finalized on july 3, 2016. lp000.
inri015: written and demoed in multiple stages from 1994-1998. initially constructed in this form in june, 1998. a failed rescue was attempted in 2013. reconstructed and resequenced jan 6-10, 2016 from parts that were rebuilt over 2013-2016. audio permanently closed on aug 10, 2016. finalized on oct 10, 2016. lp001.
inri021: written and demoed in multiple stages from 1993-1999. initially constructed in this form in feb, 1999. a failed rescue was attempted in 2013. reconstructed and resequenced over november and december, 2016 from parts that were rebuilt over 2013-2016. finalized on dec 15, 2016. lp002.
inri023: constructed over 1998. compiled and remastered in late 2013. the first two tracks were corrected to stereo in sept, 2014. the last two tracks were added for re-release as a remix lp in dec, 2016. finalized on dec 17, 2016. lp003.
inri024: 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. finalized dec 17, 2016. lp004.
inri025: this idea was developed in parallel to the inriclaimed project over the summer of 2015 and first compiled on nov 27, 2016. finalized on dec 17, 2016. lp005.
inri032: recorded sporadically, and without cohesive intent, over '98 and '99. originally compiled in the fall of '99. augmented and minimally altered in january, 2014. finalized as lp006 on sept 21, 2017. as always, please use headphones - but note that they are especially mandatory for this recording.
inri033: written and demoed in multiple stages from 1996-1999. initially constructed in this form in dec, 1999. slightly resequenced in jan, 2014. finalized on sept 19, 2017. lp007.
inri035: initially written and recorded between 1996-1999 and remixed between 2013-2015. initially released as part zero of a three volume set on may 21, 2015. split into it's own release on june 14, 2015. finalized as lp008 on sept 29, 2017.
inri041: recorded over the space of the year 2000. remixed substantially in 2004, 2006, 2010 and 2014. existing version constructed in jan, 2014. finalized as lp009 on oct 9, 2017.
inri042: this record was recorded over the years 1999 and 2000, but did not take this form until mid september, 2017. the first track list dates to sept 14, 2017. these tracks are technically outtakes, but did not become outtakes until the remastering process removed them from their respective recordings. finalized as lp010 on oct 9, 2017.
inri052: tracks 1, 3 and 8 were written in 2001 and reinterpreted and completed in 2014. tracks 2 and 5 were interpreted and completed in 2001. track 4 was written in 2000 and reinterpreted and recorded in 2001. track 6 was written in 2001 and completed in 2006. track 7 was written in 1998, reinterpreted in 2001 and rendered in 2014. tracks 1-7 were sequenced on sept 9, 2014. final completion date is oct 3, 2014. refinalized as lp011 on oct 22, 2017.
originally created from 1996-2001. this compilation is dated to dec 16, 2001. slowly remastered, reconstituted, compiled, reconstructed, released and finalized from 2013-2017. compilation finalized on oct 23, 2017. as always, please use headphones.
inri002: originally written and recorded over 1996-1997. sequenced and mildly modified in dec, 2013. released dec 11, 2013. finalized on july 3, 2016. lp000.
inri015: written and demoed in multiple stages from 1994-1998. initially constructed in this form in june, 1998. a failed rescue was attempted in 2013. reconstructed and resequenced jan 6-10, 2016 from parts that were rebuilt over 2013-2016. audio permanently closed on aug 10, 2016. finalized on oct 10, 2016. lp001.
inri021: written and demoed in multiple stages from 1993-1999. initially constructed in this form in feb, 1999. a failed rescue was attempted in 2013. reconstructed and resequenced over november and december, 2016 from parts that were rebuilt over 2013-2016. finalized on dec 15, 2016. lp002.
inri023: constructed over 1998. compiled and remastered in late 2013. the first two tracks were corrected to stereo in sept, 2014. the last two tracks were added for re-release as a remix lp in dec, 2016. finalized on dec 17, 2016. lp003.
inri024: 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. finalized dec 17, 2016. lp004.
inri025: this idea was developed in parallel to the inriclaimed project over the summer of 2015 and first compiled on nov 27, 2016. finalized on dec 17, 2016. lp005.
inri032: recorded sporadically, and without cohesive intent, over '98 and '99. originally compiled in the fall of '99. augmented and minimally altered in january, 2014. finalized as lp006 on sept 21, 2017. as always, please use headphones - but note that they are especially mandatory for this recording.
inri033: written and demoed in multiple stages from 1996-1999. initially constructed in this form in dec, 1999. slightly resequenced in jan, 2014. finalized on sept 19, 2017. lp007.
inri035: initially written and recorded between 1996-1999 and remixed between 2013-2015. initially released as part zero of a three volume set on may 21, 2015. split into it's own release on june 14, 2015. finalized as lp008 on sept 29, 2017.
inri041: recorded over the space of the year 2000. remixed substantially in 2004, 2006, 2010 and 2014. existing version constructed in jan, 2014. finalized as lp009 on oct 9, 2017.
inri042: this record was recorded over the years 1999 and 2000, but did not take this form until mid september, 2017. the first track list dates to sept 14, 2017. these tracks are technically outtakes, but did not become outtakes until the remastering process removed them from their respective recordings. finalized as lp010 on oct 9, 2017.
inri052: tracks 1, 3 and 8 were written in 2001 and reinterpreted and completed in 2014. tracks 2 and 5 were interpreted and completed in 2001. track 4 was written in 2000 and reinterpreted and recorded in 2001. track 6 was written in 2001 and completed in 2006. track 7 was written in 1998, reinterpreted in 2001 and rendered in 2014. tracks 1-7 were sequenced on sept 9, 2014. final completion date is oct 3, 2014. refinalized as lp011 on oct 22, 2017.
originally created from 1996-2001. this compilation is dated to dec 16, 2001. slowly remastered, reconstituted, compiled, reconstructed, released and finalized from 2013-2017. compilation finalized on oct 23, 2017. as always, please use headphones.
credits
released December 16, 2001
j - guitars of all types (electric, acoustic, classical), ebow, effects, pick scrapes, mandolin, bass, bass synth, keyboards, organ, synthesizers, piano, drum & other programming, drum kits, orchestral & other sequencing, flute, sampling, vocals, vocal relics, mic noises, octavers, cool edit synthesis, windows 95 sound recorder, found sounds, strategies, soundraider, hammerhead, noise generators, noise reduction, sound design, light-wave synthesis, generative synthesis, granular synthesis, generative percussion, metronome, tapes, digital & analog effects processing, treatments, digital wave editing, loops, films, a broken tape deck, a broken equalizer, chance, coughs, text-to-speech synthesis, remixes, reconstructions, reinterpretations, composition, production
the star trek sample in 'gravity's rainbow' is from the episode "errand of mercy" (mar 23, 1967).
the various rendered electronic orchestras include acoustic bass, electric bass, synth bass, distorted electric guitar, clean electric guitar, steel string acoustic guitar, nylon guitar, ukelele, sitar, trumpet, trombone, brass ensemble, orchestra hit, saxophone, violin, cello, viola, contrabass, pizzicato strings, string ensemble, synth pads, piano, synthesizers, synthesizer effects, mellotron, organ, bamboo flute, clarinet, flute, voice, music box, tubular bells, bells, tinkle bells, clavinet, kalimba, theremin, drum kit, hand drums, taiko drums, drum machines, gongs and electronic drums.
j - guitars of all types (electric, acoustic, classical), ebow, effects, pick scrapes, mandolin, bass, bass synth, keyboards, organ, synthesizers, piano, drum & other programming, drum kits, orchestral & other sequencing, flute, sampling, vocals, vocal relics, mic noises, octavers, cool edit synthesis, windows 95 sound recorder, found sounds, strategies, soundraider, hammerhead, noise generators, noise reduction, sound design, light-wave synthesis, generative synthesis, granular synthesis, generative percussion, metronome, tapes, digital & analog effects processing, treatments, digital wave editing, loops, films, a broken tape deck, a broken equalizer, chance, coughs, text-to-speech synthesis, remixes, reconstructions, reinterpretations, composition, production
the star trek sample in 'gravity's rainbow' is from the episode "errand of mercy" (mar 23, 1967).
the various rendered electronic orchestras include acoustic bass, electric bass, synth bass, distorted electric guitar, clean electric guitar, steel string acoustic guitar, nylon guitar, ukelele, sitar, trumpet, trombone, brass ensemble, orchestra hit, saxophone, violin, cello, viola, contrabass, pizzicato strings, string ensemble, synth pads, piano, synthesizers, synthesizer effects, mellotron, organ, bamboo flute, clarinet, flute, voice, music box, tubular bells, bells, tinkle bells, clavinet, kalimba, theremin, drum kit, hand drums, taiko drums, drum machines, gongs and electronic drums.
jagmeet singh must cut his beard.
at
14:21
purchasing
this release comes with the immediate download of the release that you
linked to it off of. be sure you make the right choice.
inri038: written and recorded, 1999-2001. track 3 was reconstructed out of existing sound in june, 2004. initially sequenced in jan, 2014. four new mixes (maximal mix (2017), electronics only mix (2015), single mix for lp010 (2017), full instrumental mix from deny everything (2014)) were added on oct 5, 2017; release subsequently closed.
inri043: written late 2000 & early 2001. the renders present here are all from either the early months of 2014, the second half of may, 2015 or the 11th/12th of october, 2017. minor instrumentation changes to facilitate a small wind section were implemented in late april, 2014. live guitars were layered into the final version over may 2014. four more mixes were added from may 19-26, 2015. five more mixes were added on oct 11/12, 2017. release finalized on oct 12, 2017.
inri044: written early 2001. drastically rearranged in june, 2014. rendered, arranged and performed over june and july, 2014. remixed and re-rendered several times over late may, 2015 and again over mid oct, 2017. this release cannot formally finalize at this time, but has been put into it's existing state as of oct 15, 2017.
inri045: recorded in the first part of 2001. sequenced as is in january, 2014.
inri046: written in the spring of 2001. lent out for a different project in jan, 2004. reconstructed in the first quarter of 2006, especially over march. the vst mix was added on jan 10, 2015 and the two guitar mixes were added on may 29, 2015. finalized as symph005 on oct 15, 2017.
inri047: written one day in june, 1998. re-created on another day in june, 1999. reimagined on yet another day in june, 2001. a failed remaster occurred at the end of 2013. slightly rearranged and re-rendered at the end of july, 2014. rearranged again at the end of may, 2015 and one last time at the beginning of jan, 2016. expanded and finalized over oct 15-16, 2017.
inri050: written in the fall of 2001. rendered, remastered and remixed in late september and early october, 2014. the string mix was corrected for clicks on june 1, 2015, but unfortunately left accidentally inverted. this was corrected on oct 21, 2017. the lead track was re-rendered with the clickless string mix on oct 21, 2017. disc finalized on oct 21, 2017.
inri052: tracks 1, 3 and 8 were written in 2001 and reinterpreted and completed in 2014. tracks 2 and 5 were interpreted and completed in 2001. track 4 was written in 2000 and reinterpreted and recorded in 2001. track 6 was written in 2001 and completed in 2006. track 7 was written in 1998, reinterpreted in 2001 and rendered in 2014. tracks 1-7 were sequenced on sept 9, 2014. final completion date is oct 3, 2014. refinalized as lp011 on oct 22, 2017.
originally created from 1999-2001. this compilation is dated to dec 15, 2001. slowly remastered, reconstituted, compiled, reconstructed, released and finalized from 2013-2017. compilation finalized on oct 23, 2017. as always, please use headphones.
inri038: written and recorded, 1999-2001. track 3 was reconstructed out of existing sound in june, 2004. initially sequenced in jan, 2014. four new mixes (maximal mix (2017), electronics only mix (2015), single mix for lp010 (2017), full instrumental mix from deny everything (2014)) were added on oct 5, 2017; release subsequently closed.
inri043: written late 2000 & early 2001. the renders present here are all from either the early months of 2014, the second half of may, 2015 or the 11th/12th of october, 2017. minor instrumentation changes to facilitate a small wind section were implemented in late april, 2014. live guitars were layered into the final version over may 2014. four more mixes were added from may 19-26, 2015. five more mixes were added on oct 11/12, 2017. release finalized on oct 12, 2017.
inri044: written early 2001. drastically rearranged in june, 2014. rendered, arranged and performed over june and july, 2014. remixed and re-rendered several times over late may, 2015 and again over mid oct, 2017. this release cannot formally finalize at this time, but has been put into it's existing state as of oct 15, 2017.
inri045: recorded in the first part of 2001. sequenced as is in january, 2014.
inri046: written in the spring of 2001. lent out for a different project in jan, 2004. reconstructed in the first quarter of 2006, especially over march. the vst mix was added on jan 10, 2015 and the two guitar mixes were added on may 29, 2015. finalized as symph005 on oct 15, 2017.
inri047: written one day in june, 1998. re-created on another day in june, 1999. reimagined on yet another day in june, 2001. a failed remaster occurred at the end of 2013. slightly rearranged and re-rendered at the end of july, 2014. rearranged again at the end of may, 2015 and one last time at the beginning of jan, 2016. expanded and finalized over oct 15-16, 2017.
inri050: written in the fall of 2001. rendered, remastered and remixed in late september and early october, 2014. the string mix was corrected for clicks on june 1, 2015, but unfortunately left accidentally inverted. this was corrected on oct 21, 2017. the lead track was re-rendered with the clickless string mix on oct 21, 2017. disc finalized on oct 21, 2017.
inri052: tracks 1, 3 and 8 were written in 2001 and reinterpreted and completed in 2014. tracks 2 and 5 were interpreted and completed in 2001. track 4 was written in 2000 and reinterpreted and recorded in 2001. track 6 was written in 2001 and completed in 2006. track 7 was written in 1998, reinterpreted in 2001 and rendered in 2014. tracks 1-7 were sequenced on sept 9, 2014. final completion date is oct 3, 2014. refinalized as lp011 on oct 22, 2017.
originally created from 1999-2001. this compilation is dated to dec 15, 2001. slowly remastered, reconstituted, compiled, reconstructed, released and finalized from 2013-2017. compilation finalized on oct 23, 2017. as always, please use headphones.
credits
released December 15, 2001
j - electric & acoustic & classical guitars, ebow, effects, bass, synthesizers, electric piano, organ, orchestral & other sequencing, drum & other programming, vocals, vocoders, sound design, sampling, digital effects & treatments, digital wave editing, loops, composition, production
the rendered electronic orchestras variously include piano, acoustic bass, electric bass, synth bass, upright bass, distorted electric guitar, clean electric guitar, other guitar effects, steel string acoustic guitar, nylon string classical guitar, harp, sitar, banjo, violin, viola, cello, contrabass, pizzicato strings, mellotron, french horn, trumpet, trombone, tuba, soprano saxophone, generalized brass section, oboe, english horn, bassoon, synthesizers, synthesizer effects, synth pads, clarinet, flute, piccolo, bamboo flute, xylophone, glockenspiel, vibraphone, music box, clavinet, kalimba, detuned piano, woodblock, tubular bells, bells, orchestra hit, jazz drum kit, hand drums, melodic toms, orchestral drum kit, hammered percussion, marimba, taiko drum, synthetic percussion, drum machine, pc card and electronic drum kit. they also include choir.
j - electric & acoustic & classical guitars, ebow, effects, bass, synthesizers, electric piano, organ, orchestral & other sequencing, drum & other programming, vocals, vocoders, sound design, sampling, digital effects & treatments, digital wave editing, loops, composition, production
the rendered electronic orchestras variously include piano, acoustic bass, electric bass, synth bass, upright bass, distorted electric guitar, clean electric guitar, other guitar effects, steel string acoustic guitar, nylon string classical guitar, harp, sitar, banjo, violin, viola, cello, contrabass, pizzicato strings, mellotron, french horn, trumpet, trombone, tuba, soprano saxophone, generalized brass section, oboe, english horn, bassoon, synthesizers, synthesizer effects, synth pads, clarinet, flute, piccolo, bamboo flute, xylophone, glockenspiel, vibraphone, music box, clavinet, kalimba, detuned piano, woodblock, tubular bells, bells, orchestra hit, jazz drum kit, hand drums, melodic toms, orchestral drum kit, hammered percussion, marimba, taiko drum, synthetic percussion, drum machine, pc card and electronic drum kit. they also include choir.
jagmeet singh must cut his beard.
at
13:07
i've just been hard at work, with little to really comment on.
there's supposed to be an inspection today. i pushed a curve ball in throwing a possible asbestos remediation at them. that would essentially condemn the building. they're late. curious.
i don't know what they're actually up to.
no word on the case yet.
i've got up to inri053 and aleph-11 done, except cover art for the last four releases: aleph-9 to aleph-11, and inri053. that's next, while i wait.
jagmeet singh must cut his beard.
there's supposed to be an inspection today. i pushed a curve ball in throwing a possible asbestos remediation at them. that would essentially condemn the building. they're late. curious.
i don't know what they're actually up to.
no word on the case yet.
i've got up to inri053 and aleph-11 done, except cover art for the last four releases: aleph-9 to aleph-11, and inri053. that's next, while i wait.
jagmeet singh must cut his beard.
at
13:06
the idea that there's not any difference between liberals and socialists has never been more absurd than it is today.
but, the realization that there's not any real substantive difference between contemporary liberals (who are what they used to call moderate conservatives) and contemporary conservatives (aka neo-liberals) should be more apparent than it's ever been.
the irony is that, with all the language shifts, classical conservatives have somehow ended up on the left.
jagmeet singh must cut his beard.
but, the realization that there's not any real substantive difference between contemporary liberals (who are what they used to call moderate conservatives) and contemporary conservatives (aka neo-liberals) should be more apparent than it's ever been.
the irony is that, with all the language shifts, classical conservatives have somehow ended up on the left.
jagmeet singh must cut his beard.
at
04:09
Sunday, October 22, 2017
is fourth wave feminism actually a thing?
i don't see the fundamental differences between the third and the so-called fourth that existed between the third and second, and the second and first. the characteristics that the fourth wants to present as defining are just the same ideas that defined the third. this apparent dawn of a new wave of feminism is also happening a lot sooner than it did in the past.
it rather strikes me as a way for capital to profit off of generational politics. the previous waves occurred over several generations. what is being referred to as a fourth wave really doesn't strike me as any different than the mainstreaming of a third wave - it's the process of a third wave becoming the status quo.
technology does not generate new ideas, but rather reinforces existing ones. there's no evolution of thought here.
i would rather react negatively to the premise of generational politics and suggest that a long-lasting feminism should rather seek to abolish generational divisions as arbitrary constructs of capitalism that have no place in an egalitarian society. this is something that entered the public consciousness as a way to define a market for baby boomers. it's about selling clothes and soda to kids, it's not about social change. all ideas need to evolve, but if you're trying to define a new feminism every twenty years to generate new markets, you've lost the plot - you're just buying into the divide and conquer of capitalist control and upholding the broader system of exploitation.
i think the deeper criticism of the idea is an observation that late capitalism has turned feminism into a product, and i guess you could write some essays about how feminism is being co-opted in the broader neo-liberal agenda. maybe that's what people mean when they take about "fourth waves". but, you should force them to be more specific, and resist the co-option of the language. there's no wave, here. there's just the continued encroachment of neo-liberalism.
jagmeet singh must cut his beard.
i don't see the fundamental differences between the third and the so-called fourth that existed between the third and second, and the second and first. the characteristics that the fourth wants to present as defining are just the same ideas that defined the third. this apparent dawn of a new wave of feminism is also happening a lot sooner than it did in the past.
it rather strikes me as a way for capital to profit off of generational politics. the previous waves occurred over several generations. what is being referred to as a fourth wave really doesn't strike me as any different than the mainstreaming of a third wave - it's the process of a third wave becoming the status quo.
technology does not generate new ideas, but rather reinforces existing ones. there's no evolution of thought here.
i would rather react negatively to the premise of generational politics and suggest that a long-lasting feminism should rather seek to abolish generational divisions as arbitrary constructs of capitalism that have no place in an egalitarian society. this is something that entered the public consciousness as a way to define a market for baby boomers. it's about selling clothes and soda to kids, it's not about social change. all ideas need to evolve, but if you're trying to define a new feminism every twenty years to generate new markets, you've lost the plot - you're just buying into the divide and conquer of capitalist control and upholding the broader system of exploitation.
i think the deeper criticism of the idea is an observation that late capitalism has turned feminism into a product, and i guess you could write some essays about how feminism is being co-opted in the broader neo-liberal agenda. maybe that's what people mean when they take about "fourth waves". but, you should force them to be more specific, and resist the co-option of the language. there's no wave, here. there's just the continued encroachment of neo-liberalism.
jagmeet singh must cut his beard.
at
23:15
this is a
full record of material documenting tracks written in 2001 that were in a
more "serious" style and completed from 2001-2014.
the intent with the core of the material (1,3,6,7,8) was for it to be performed by live musicians one day. in early 2014, i came to the conclusion that this was not going to ever happen and was pleasantly surprised to learn that the technology had improved enough for a realistic presentation of the material using sequencers. these versions of (1,3,6) also include live guitars.
tracks 2 and 5 were salvaged from an aborted project meant to reinterpret classical guitar music as modern noise. the project was permanently aborted due to the loss of the sheet music that was necessary to finish it.
track 4 is an electric folk tune with heavy counterpoint that i was playing live as a party trick at the time.
the ordering is roughly chronological, based on the date the track took the form it exists in. tracks 1, 3 and 8 were written in 2001 and reinterpreted and completed in 2014. tracks 2 and 5 were interpreted and completed in 2001. track 4 was written in 2000 and reinterpreted and recorded in 2001. track 6 was written in 2001 and completed in 2006. track 7 was written in 1998, reinterpreted in 2001 and rendered in 2014. tracks 1-7 were sequenced on sept 9, 2014. final completion date is oct 3, 2014. refinalized as lp011 on oct 22, 2017. this is my fifth official record; as always, please use headphones.
the intent with the core of the material (1,3,6,7,8) was for it to be performed by live musicians one day. in early 2014, i came to the conclusion that this was not going to ever happen and was pleasantly surprised to learn that the technology had improved enough for a realistic presentation of the material using sequencers. these versions of (1,3,6) also include live guitars.
tracks 2 and 5 were salvaged from an aborted project meant to reinterpret classical guitar music as modern noise. the project was permanently aborted due to the loss of the sheet music that was necessary to finish it.
track 4 is an electric folk tune with heavy counterpoint that i was playing live as a party trick at the time.
the ordering is roughly chronological, based on the date the track took the form it exists in. tracks 1, 3 and 8 were written in 2001 and reinterpreted and completed in 2014. tracks 2 and 5 were interpreted and completed in 2001. track 4 was written in 2000 and reinterpreted and recorded in 2001. track 6 was written in 2001 and completed in 2006. track 7 was written in 1998, reinterpreted in 2001 and rendered in 2014. tracks 1-7 were sequenced on sept 9, 2014. final completion date is oct 3, 2014. refinalized as lp011 on oct 22, 2017. this is my fifth official record; as always, please use headphones.
credits
released December 1, 2001
j - electric piano, programming, classical & acoustic & electric guitars, ebow, digital & analog effects & treatments, organ, synthesizers, sound design, sampling, vocals, digital wave editing, loops, production, composition.
the various rendered electronic orchestras include acoustic bass, electric bass, synth bass, distorted electric guitar, clean electric guitar, steel string acoustic guitar, nylon guitar, trumpet, trombone, brass ensemble, orchestra hit, violin, cello, viola, contrabass, piano, synthesizers, mellotron, organ, bamboo flute, clarinet, flute, voice, music box, bells, clavinet, kalimba, drum kit, hand drums, drum machines and electronic drums.
j - electric piano, programming, classical & acoustic & electric guitars, ebow, digital & analog effects & treatments, organ, synthesizers, sound design, sampling, vocals, digital wave editing, loops, production, composition.
the various rendered electronic orchestras include acoustic bass, electric bass, synth bass, distorted electric guitar, clean electric guitar, steel string acoustic guitar, nylon guitar, trumpet, trombone, brass ensemble, orchestra hit, violin, cello, viola, contrabass, piano, synthesizers, mellotron, organ, bamboo flute, clarinet, flute, voice, music box, bells, clavinet, kalimba, drum kit, hand drums, drum machines and electronic drums.
jagmeet singh must cut his beard
at
08:09
finalizing inri051
i don't
have an exact date for these files, so i'm picking november 11th. as
others were, i was concerned about the president abolishing the magna
carta after 9/11 and congress doing little more than helping him do it.
however, this was meant to be a more encompassing project that combined
harsh noise with political sampling that was pushing an anarchist
agenda. the name of the project (ftaa) was chosen as a pun - it could
either be the free trade agreement of the americas or about fueling true
anarchy in the americas. i ended up dropping the sampling aspect and
just focusing on the noise for the project's completion (which is the
ftaa release in mid 2004: jasonparent.bandcamp.com/album/ftaa
), so i'm going to upload these two pilot tracks (with the sampling in
tact) as an introductory single and place them in this more topical
chronological space.
in hindsight, i think there's something profound about juxtaposing the fair trade movement with the 9/11 attacks as, looking back, it really sucked the life out of the movement.
created in the fall of 2001. resequenced and rereleased on sept 7, 2014. disc finalized on oct 22, 2017. as always, please use headphones.
these tracks appear without samples on my seventh record:
jasonparent.bandcamp.com/album/ftaa
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 (2001, 2014, 2017).
in hindsight, i think there's something profound about juxtaposing the fair trade movement with the 9/11 attacks as, looking back, it really sucked the life out of the movement.
created in the fall of 2001. resequenced and rereleased on sept 7, 2014. disc finalized on oct 22, 2017. as always, please use headphones.
these tracks appear without samples on my seventh record:
jasonparent.bandcamp.com/album/ftaa
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 (2001, 2014, 2017).
credits
released November 11, 2001
j - noise generators, cool edit, sequencers, guitars (electric, nylon, acoustic), mandolin, effects & processing, digital wave editing, sampling, production
j - noise generators, cool edit, sequencers, guitars (electric, nylon, acoustic), mandolin, effects & processing, digital wave editing, sampling, production
jagmeet singh must cut his beard.
at
07:27
this was a
piece i wrote up in the fall of 2001. i can't remember exactly what the
root of it was, but it had something to do with a voice-leading
assignment for what was the equivalent of a course in music theory 101.
the root of the piece may consequently come from what was presented to
me. i can't recall exactly - but i believe the assignment was to build
the different voices up.
my negative relationship with music theory is stated throughout this page and was well established well before the end of 2001. i had an interest in the music theory course for the purposes of deconstructing the theory - in the context of writing, specifically, and not performing. i actually have one of those classic stories - i failed this course. it is actually the _only_ course i have _ever_ legitimately received an _F_ in. hey, if einstein can fail math, i can fail music theory.
the story actually revolves around sight-reading aspect of the course, and specifically it's vocal content. there were three aspects of the course (theory, vocal sight-reading and african drumming which i'm thinking was meant to be a rhythmic component but was really just a ridiculous waste of time). i really wish they would have let me sight read on a guitar, or even a piano, because i'm just simply not a talented singer; i've never had aspirations to become one, and i had a lot of problems controlling my vocals. even with that being said, the reality is that i had a very low level of _interest_ in this. i probably could have passed the course if i spent less time on abstract algebra and more time singing in the mirror, but i just couldn't be bothered...
i really disapprove of the way the course was designed. i was interested in learning about music theory, and needed the course as a pre-req for more advanced courses, which i never ended up taking. i still don't fully understand why i had to pass a singing exam to take further composition courses. the best answer i got was that the school didn't want graduates who couldn't pass a singing exam, but i was at no point enrolled in a b. music so it's a pretty weak response.
anyways, this was a voice-leading assignment that i perverted into something mildly atonal and then built up into something else. you can hear it if you listen, except that it's all "wrong". i'd have to sit down and analyse it to come to a more detailed exposition on it's "wrongness", and i'm not going to, but it's not hard to hear how "wrong" it is, either.
i was clearly listening to a lot of glass at the time, but this goes beyond his medievalism. i'm using so many "wrong" notes that it's ultimately just chromatic - although there's no tone rows or anything that's formally serialist about it. it's not meant to abolish the structure so much as it's meant to just flaunt the rules. that gives it an almost satanic feel, in the context of a vocal piece using "forbidden" intervals.
but, looking back, i think that what the piece really explores is existential anguish. i was in the second year of a math degree (after switching from physics after switching from software engineering) and really had little idea where i was going with it. i was considering switching into music and probably would have had i not failed the singing exam. the thing is i actually knew i was going to fail the course at that point, and was just feeling lost as a result of it. i ended up in math as this sort of default choice, vaguely thinking i might end up teaching somewhere but not having any real interest in it...
so much choice, so few options. i suppose that this is how i expressed what i was feeling about this reality at the time.
i can't remember the exact way this happened, but i believe the piece was initially written for voice (as a voice-leading assignment) and then expanded into further voices and then converted into a composition for nine instruments. i believe the primary reason i converted it from a vocal piece is that i ended up writing well outside a realistic vocal range, but i've kept the electronic choir parts as they are because i'm not really restricted to reality in this way. i've picked halloween as the date, but that's symbolic - it was around then, anyway. it would have been around december that it was put aside, because i don't remember working on it after i moved.
i've included the midi files of the original composition, if you'd like to mess with it on your own.
written in the fall of 2001. rendered, remastered and remixed in late september and early october, 2014. the string mix was corrected for clicks on june 1, 2015, but unfortunately left accidentally inverted. this was corrected on oct 21, 2017. the lead track was re-rendered with the clickless string mix on oct 21, 2017. as always, please use headphones.
the album version of the track (track 1) appears on my fifth record:
jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj
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 (2001, 2014, 2015, 2017).
jagmeet singh must cut his beard
my negative relationship with music theory is stated throughout this page and was well established well before the end of 2001. i had an interest in the music theory course for the purposes of deconstructing the theory - in the context of writing, specifically, and not performing. i actually have one of those classic stories - i failed this course. it is actually the _only_ course i have _ever_ legitimately received an _F_ in. hey, if einstein can fail math, i can fail music theory.
the story actually revolves around sight-reading aspect of the course, and specifically it's vocal content. there were three aspects of the course (theory, vocal sight-reading and african drumming which i'm thinking was meant to be a rhythmic component but was really just a ridiculous waste of time). i really wish they would have let me sight read on a guitar, or even a piano, because i'm just simply not a talented singer; i've never had aspirations to become one, and i had a lot of problems controlling my vocals. even with that being said, the reality is that i had a very low level of _interest_ in this. i probably could have passed the course if i spent less time on abstract algebra and more time singing in the mirror, but i just couldn't be bothered...
i really disapprove of the way the course was designed. i was interested in learning about music theory, and needed the course as a pre-req for more advanced courses, which i never ended up taking. i still don't fully understand why i had to pass a singing exam to take further composition courses. the best answer i got was that the school didn't want graduates who couldn't pass a singing exam, but i was at no point enrolled in a b. music so it's a pretty weak response.
anyways, this was a voice-leading assignment that i perverted into something mildly atonal and then built up into something else. you can hear it if you listen, except that it's all "wrong". i'd have to sit down and analyse it to come to a more detailed exposition on it's "wrongness", and i'm not going to, but it's not hard to hear how "wrong" it is, either.
i was clearly listening to a lot of glass at the time, but this goes beyond his medievalism. i'm using so many "wrong" notes that it's ultimately just chromatic - although there's no tone rows or anything that's formally serialist about it. it's not meant to abolish the structure so much as it's meant to just flaunt the rules. that gives it an almost satanic feel, in the context of a vocal piece using "forbidden" intervals.
but, looking back, i think that what the piece really explores is existential anguish. i was in the second year of a math degree (after switching from physics after switching from software engineering) and really had little idea where i was going with it. i was considering switching into music and probably would have had i not failed the singing exam. the thing is i actually knew i was going to fail the course at that point, and was just feeling lost as a result of it. i ended up in math as this sort of default choice, vaguely thinking i might end up teaching somewhere but not having any real interest in it...
so much choice, so few options. i suppose that this is how i expressed what i was feeling about this reality at the time.
i can't remember the exact way this happened, but i believe the piece was initially written for voice (as a voice-leading assignment) and then expanded into further voices and then converted into a composition for nine instruments. i believe the primary reason i converted it from a vocal piece is that i ended up writing well outside a realistic vocal range, but i've kept the electronic choir parts as they are because i'm not really restricted to reality in this way. i've picked halloween as the date, but that's symbolic - it was around then, anyway. it would have been around december that it was put aside, because i don't remember working on it after i moved.
i've included the midi files of the original composition, if you'd like to mess with it on your own.
written in the fall of 2001. rendered, remastered and remixed in late september and early october, 2014. the string mix was corrected for clicks on june 1, 2015, but unfortunately left accidentally inverted. this was corrected on oct 21, 2017. the lead track was re-rendered with the clickless string mix on oct 21, 2017. as always, please use headphones.
the album version of the track (track 1) appears on my fifth record:
jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj
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 (2001, 2014, 2015, 2017).
credits
released October 31, 2001
j - programming, effects, mixing, production, composition.
the various rendered electronic orchestras include voice, piano, bells, synthesizer, violin, viola, cello, contrabass, electric bass and guitar.
j - programming, effects, mixing, production, composition.
the various rendered electronic orchestras include voice, piano, bells, synthesizer, violin, viola, cello, contrabass, electric bass and guitar.
jagmeet singh must cut his beard
at
04:19
of course, the moment we change the calendar, jesus will show up like a vampire in a puff of smoke:
surprise!
you, you're over there....you're over here...you just stay put. where are you going? i'm separating you. stay where you are. well, no, you'll just have to wait your turn.
and, we'll all have to look at our feet, like we're in shoegaze bands, as we mutter to ourselves, "oh, shit. shouldda listened to neils.".
jagmeet singh must cut his beard.
surprise!
you, you're over there....you're over here...you just stay put. where are you going? i'm separating you. stay where you are. well, no, you'll just have to wait your turn.
and, we'll all have to look at our feet, like we're in shoegaze bands, as we mutter to ourselves, "oh, shit. shouldda listened to neils.".
jagmeet singh must cut his beard.
at
00:39
so, when are we going to change the calendar?
i'm sick of dating things relative to jesus' birth date, which everybody knows is wrong, anyways. it's beyond trivial, at this point. it's offensive.
i've seen people float the idea of the moon landing as the new year zero, but i actually don't think that solves anything - two thousand years from now, nobody is going to believe that happened, either. it's at least the right idea.
we like enlightened jews, so why not pick einstein's birthday? sorry noam, but there's really no comparison in terms of importance. i think there's something more fundamentally meaningful about this, as well, as it's going to be einstein's theory that leads us into the universe. we don't even really completely understand it yet. we're going to need a relativistic nicea before we can even get there - and don't bullshit me with copenhagen, that's just a bunch of hand waving.
we, the pre-eminent german scientists, hereby declare that we cannot figure this shit out. therefore, nobody in the future of the history of the universe will ever figure this shit out. let it be written.
i don't think there's any question that we'll still be grappling with relativity in a thousand years. it'll be another 500 before we can even clearly articulate it. so, there's a potential for relevance deep into the future.
another thousand years from now, jesus is probably going to end up confused with gandhi and recast as a space alien sent here to save us from ourselves. we need to get this shit out of the calendar, before it's too late.
einstein was born on march 14th, so why don't we start the year at the spring equinox? that makes more sense anyways, right? we can have new years day & st. paddy's day a week apart, as we start a new year on the same schedule as the trees.
we can still have the winter solstice, but it shouldn't be the start of the year, it should be the last, darkest quadrant.
that would make it the year 138. or 139? i dunno, roll a die...
jagmeet singh must cut his beard.
i'm sick of dating things relative to jesus' birth date, which everybody knows is wrong, anyways. it's beyond trivial, at this point. it's offensive.
i've seen people float the idea of the moon landing as the new year zero, but i actually don't think that solves anything - two thousand years from now, nobody is going to believe that happened, either. it's at least the right idea.
we like enlightened jews, so why not pick einstein's birthday? sorry noam, but there's really no comparison in terms of importance. i think there's something more fundamentally meaningful about this, as well, as it's going to be einstein's theory that leads us into the universe. we don't even really completely understand it yet. we're going to need a relativistic nicea before we can even get there - and don't bullshit me with copenhagen, that's just a bunch of hand waving.
we, the pre-eminent german scientists, hereby declare that we cannot figure this shit out. therefore, nobody in the future of the history of the universe will ever figure this shit out. let it be written.
i don't think there's any question that we'll still be grappling with relativity in a thousand years. it'll be another 500 before we can even clearly articulate it. so, there's a potential for relevance deep into the future.
another thousand years from now, jesus is probably going to end up confused with gandhi and recast as a space alien sent here to save us from ourselves. we need to get this shit out of the calendar, before it's too late.
einstein was born on march 14th, so why don't we start the year at the spring equinox? that makes more sense anyways, right? we can have new years day & st. paddy's day a week apart, as we start a new year on the same schedule as the trees.
we can still have the winter solstice, but it shouldn't be the start of the year, it should be the last, darkest quadrant.
that would make it the year 138. or 139? i dunno, roll a die...
jagmeet singh must cut his beard.
at
00:17
Saturday, October 21, 2017
republishing inri049
rabit is
wolf arose accidentally from the cynicide project (inri048), but
produced far more material in the end. what happened was sean and i
showed up to a few jam sessions and the guitarist (jon - it was his
band) didn't, so we started writing some material without him...
initially, the intent was to include rather than exclude jon but he quickly developed a disinterest due to a variety of obvious if never fully articulated reasons. i was playing guitar parts on the demos, which he couldn't deal with. we were doing joy division songs, which were outside of his sphere of interest. we were writing without him, which made him feel unimportant. we were talking about songs without drums, which he wasn't interested in at all. etc. however, he did record a guitar part (that i wrote) that was never replaced.
upon release in 2014, this was a collection of demos from the first month of rabit is wolf, which included multiple versions of the title track and a joy division cover. in the end, none of this would be released in the form it's in here (which was only available for download), but it created a cohesive (if short) introduction to what followed that was self-contained in a historical context. stated differently, this was the first (post-punk) incarnation of rabit is wolf.
in oct of 2017, this release was expanded to act as a comprehensive exploration of this track and made available for physical purchase. seven further versions were added: three from 2002, three from 2014/2015 and one from 2010. disc finalized on oct 21, 2017.
i don't analyse sean's lyrics, but the subject matter is clearly that of contemplating suicide - i believe from the perspective of an imagined character.
written and recorded in the fall of 2001. compiled on sept 6, 2014. expanded and finalized on oct 20-21, 2017. as always, please use headphones.
the album version of the track (track 11) appears on the rabit is wolf demo:
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 (2001, 2002, 2010, 2014, 2015, 2017).
initially, the intent was to include rather than exclude jon but he quickly developed a disinterest due to a variety of obvious if never fully articulated reasons. i was playing guitar parts on the demos, which he couldn't deal with. we were doing joy division songs, which were outside of his sphere of interest. we were writing without him, which made him feel unimportant. we were talking about songs without drums, which he wasn't interested in at all. etc. however, he did record a guitar part (that i wrote) that was never replaced.
upon release in 2014, this was a collection of demos from the first month of rabit is wolf, which included multiple versions of the title track and a joy division cover. in the end, none of this would be released in the form it's in here (which was only available for download), but it created a cohesive (if short) introduction to what followed that was self-contained in a historical context. stated differently, this was the first (post-punk) incarnation of rabit is wolf.
in oct of 2017, this release was expanded to act as a comprehensive exploration of this track and made available for physical purchase. seven further versions were added: three from 2002, three from 2014/2015 and one from 2010. disc finalized on oct 21, 2017.
i don't analyse sean's lyrics, but the subject matter is clearly that of contemplating suicide - i believe from the perspective of an imagined character.
written and recorded in the fall of 2001. compiled on sept 6, 2014. expanded and finalized on oct 20-21, 2017. as always, please use headphones.
the album version of the track (track 11) appears on the rabit is wolf demo:
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 (2001, 2002, 2010, 2014, 2015, 2017).
credits
released October 15, 2001
j - electric bass guitar, electric & acoustic guitars, analog & digital effects & processing, synthesizers, score writing, writing, production
sean - vocals, lyrics, writing
jon - some extra guitar performance (6-8, 10-11, 13)
j - electric bass guitar, electric & acoustic guitars, analog & digital effects & processing, synthesizers, score writing, writing, production
sean - vocals, lyrics, writing
jon - some extra guitar performance (6-8, 10-11, 13)
jagmeet singh must cut his beard.
at
05:06
an enlightened way to approach a kid like that is to force her to write an essay on islamic imperialism, the muslim slave trade and arabic colonialism, and ask her to reflect on how what she's learned makes her feel about her co-operation in canadian colonialism, as a muslim.
jagmeet singh must cut his beard.
jagmeet singh must cut his beard.
at
02:36
does she think she's not participating in colonialism, because she's not white? as though arabs don't have a history of colonialism and slavery that is as bad or worse than white colonialism? or as though the vast majority of cultural arabs, including this one according to my eyes, aren't white in the first place?
the reality is that she might very well know absolutely nothing about the history of islam, it's complicity in african slavery, it's history of conquest or it's violent colonial past - because she's a white canadian with a tenuous connection to her own roots who has been force fed a poorly generalized pseudo-academic theory that at best applies very narrowly to the descendants of african slaves in the southern united states.
if she's discriminating, it's on the basis of religion. that's the only reason this person thinks she's not as involved in white canadian colonialism as any other white eurasian immigrant - which is exactly what she is, and exactly what she's caught up in.
she's a hypocrite.
that said, she should not face academic penalties. she needs an education, not a punishment.
i don't know how she got that position. if she was voted in, due process will make her face her peers - although i might suggest that she should be pressured to resign. and, if she was appointed, she should be fired for misconduct.
but, that's not an academic penalty. nobody should feel comfortable about universities policing expression, regardless of their views on what she said.
https://beta.theglobeandmail.com/news/national/dalhousie-student-faces-disciplinary-action-for-concerning-facebook-post/article36674220/
jagmeet singh must cut his beard.
the reality is that she might very well know absolutely nothing about the history of islam, it's complicity in african slavery, it's history of conquest or it's violent colonial past - because she's a white canadian with a tenuous connection to her own roots who has been force fed a poorly generalized pseudo-academic theory that at best applies very narrowly to the descendants of african slaves in the southern united states.
if she's discriminating, it's on the basis of religion. that's the only reason this person thinks she's not as involved in white canadian colonialism as any other white eurasian immigrant - which is exactly what she is, and exactly what she's caught up in.
she's a hypocrite.
that said, she should not face academic penalties. she needs an education, not a punishment.
i don't know how she got that position. if she was voted in, due process will make her face her peers - although i might suggest that she should be pressured to resign. and, if she was appointed, she should be fired for misconduct.
but, that's not an academic penalty. nobody should feel comfortable about universities policing expression, regardless of their views on what she said.
https://beta.theglobeandmail.com/news/national/dalhousie-student-faces-disciplinary-action-for-concerning-facebook-post/article36674220/
jagmeet singh must cut his beard.
at
02:16
Friday, October 20, 2017
so, what am i doing now?
well, i spent the morning looking through listings and - minus the blurry thinking on the possibility of renting office space - there's still nothing on the market that looks preferable to this place.
there's nothing happening in detroit that i want to go to this weekend. and, the temperature just collapsed, out of nowhere - it was supposed to be warm today. the chelsea wolfe show on sunday is sold out (that club never sells out. weird.). boris on wednesday is possible.
i think i'm going to spend the weekend closing records and reevaluate things on monday.
i don't know the outcome of the court case, but it seems like i'm going to be putting things in storage for a while, if i lost.
jagmeet singh must cut his beard.
well, i spent the morning looking through listings and - minus the blurry thinking on the possibility of renting office space - there's still nothing on the market that looks preferable to this place.
there's nothing happening in detroit that i want to go to this weekend. and, the temperature just collapsed, out of nowhere - it was supposed to be warm today. the chelsea wolfe show on sunday is sold out (that club never sells out. weird.). boris on wednesday is possible.
i think i'm going to spend the weekend closing records and reevaluate things on monday.
i don't know the outcome of the court case, but it seems like i'm going to be putting things in storage for a while, if i lost.
jagmeet singh must cut his beard.
at
09:01
i'm starting to think these are being advertised as price per square foot.
none of the ads say that anywhere. but it has to be the truth of it.
so, my $12/month would be more like $850/month in a usable room, and then this doesn't work.
jagmeet singh must cut his beard.
none of the ads say that anywhere. but it has to be the truth of it.
so, my $12/month would be more like $850/month in a usable room, and then this doesn't work.
jagmeet singh must cut his beard.
at
08:48
what i'm worried about is...
can i get disability if i "own a business"?
looks like it should be ok, so long as i don't make more than $200 profit/month, which i never have.
well, i don't have great options. i should look into this.
http://www.mcss.gov.on.ca/en/mcss/programs/social/odsp/income_support/odsp_business.aspx
jagmeet singh must cut his beard.
can i get disability if i "own a business"?
looks like it should be ok, so long as i don't make more than $200 profit/month, which i never have.
well, i don't have great options. i should look into this.
http://www.mcss.gov.on.ca/en/mcss/programs/social/odsp/income_support/odsp_business.aspx
jagmeet singh must cut his beard.
at
04:22
this city is full of abandoned office space, and it costs nearly nothing.
i could legally set up a recording studio and move all of my gear in, then sleep on the couch. i'll just say i'm up all night recording. even if they cut me off the rent portion of disability, i could conceivably end up with more money, so long as i'm paying less than the difference over $480 - which is currently about $200. at $12/month, i could handle $150 worth of electrical & internet without losing money - and it would no doubt be fast, too.
if i can find an office with a shower....
i should ask my worker about this.
https://www.point2homes.com/CA/Commercial-For-Rent/ON/Windsor/City-Centre/100-OUELLETTE/44834295.html
jagmeet singh must cut his beard.
i could legally set up a recording studio and move all of my gear in, then sleep on the couch. i'll just say i'm up all night recording. even if they cut me off the rent portion of disability, i could conceivably end up with more money, so long as i'm paying less than the difference over $480 - which is currently about $200. at $12/month, i could handle $150 worth of electrical & internet without losing money - and it would no doubt be fast, too.
if i can find an office with a shower....
i should ask my worker about this.
https://www.point2homes.com/CA/Commercial-For-Rent/ON/Windsor/City-Centre/100-OUELLETTE/44834295.html
jagmeet singh must cut his beard.
at
04:11
Thursday, October 19, 2017
that was a brawl.
n12s are probably the hardest thing a tenant can fight - there's a certain concept of entitlement underlying them that has to be overturned by a demonstration of bad faith, an appeal to rigour in the burden of proof and a little bit of good luck in compassion from the judge on s. 83 grounds. that was my argument. and, i made it as well as i could.
if i lost, i put up a helluva scrap. and, i have to think that if she was going to throw me out, she would have done it on the spot.
but, i got a little bit of extra luck: this landlord is legitimately daft. she didn't want to listen to her counsel, and she gave me a dozen openings when she didn't need to. some of it was necessitated by a need to bullshit one way or the other: for example, the excuse they gave about moving mom in had to do with her having lifelong epilepsy, but there was a unit open upstairs in july, so what they really had to do was manufacture an event between july 1 and august 30th, but they instead pretended they planned this all along, which let me question why they didn't move mom into the open unit. the counsel was cringing. i noticed. the judge noticed. i also caught her in an open lie and think i managed to convince the judge of it, which was so key - and totally unneeded on her behalf. again: she clearly didn't understand what was going on around her, and it got her into some messes that might end up being the difference.
but, as mentioned, i had a difficult task in front of me, and i can only hope i pulled it off.
the judge will type up a decision some time next week and mail it out the week after that. if i'm out, i'll get at least 11 days. but, she's obligated to consider extending this due to my situation, which is legitimately pretty dire.
i think this is accurate: we went the distance. and, the judge will need to rule on a tko. it's either going to come down to her entitlements overpowering everything, or the judge is going to flat out call bullshit.
jagmeet singh must cut his beard.
n12s are probably the hardest thing a tenant can fight - there's a certain concept of entitlement underlying them that has to be overturned by a demonstration of bad faith, an appeal to rigour in the burden of proof and a little bit of good luck in compassion from the judge on s. 83 grounds. that was my argument. and, i made it as well as i could.
if i lost, i put up a helluva scrap. and, i have to think that if she was going to throw me out, she would have done it on the spot.
but, i got a little bit of extra luck: this landlord is legitimately daft. she didn't want to listen to her counsel, and she gave me a dozen openings when she didn't need to. some of it was necessitated by a need to bullshit one way or the other: for example, the excuse they gave about moving mom in had to do with her having lifelong epilepsy, but there was a unit open upstairs in july, so what they really had to do was manufacture an event between july 1 and august 30th, but they instead pretended they planned this all along, which let me question why they didn't move mom into the open unit. the counsel was cringing. i noticed. the judge noticed. i also caught her in an open lie and think i managed to convince the judge of it, which was so key - and totally unneeded on her behalf. again: she clearly didn't understand what was going on around her, and it got her into some messes that might end up being the difference.
but, as mentioned, i had a difficult task in front of me, and i can only hope i pulled it off.
the judge will type up a decision some time next week and mail it out the week after that. if i'm out, i'll get at least 11 days. but, she's obligated to consider extending this due to my situation, which is legitimately pretty dire.
i think this is accurate: we went the distance. and, the judge will need to rule on a tko. it's either going to come down to her entitlements overpowering everything, or the judge is going to flat out call bullshit.
jagmeet singh must cut his beard.
at
17:39
oct 18-19 vlog, where i go to court to fight a frivolous eviction attempt by an aggressive, malicious, dishonest landlord.
i have a recording of this, but i can't upload it, as it's against the law to distribute court recordings in public.
at
12:00
Wednesday, October 18, 2017
so, i wanted to stay up all day so i could sleep tonight, but that didn't actually happen: the headache came back in this morning, and i ended up sleeping all day.
it's not friday. but, there's a stench in here. i'm going to have to get some activated charcoal right after i win the case. i've been waiting, as i didn't want to buy it if i have to leave, but it's clear at this point that it will be necessary.
i'm going to eat. i may go back to sleep.
it's not likely that i'll get anything at all done before i get back from court.
jagmeet singh must cut his beard.
it's not friday. but, there's a stench in here. i'm going to have to get some activated charcoal right after i win the case. i've been waiting, as i didn't want to buy it if i have to leave, but it's clear at this point that it will be necessary.
i'm going to eat. i may go back to sleep.
it's not likely that i'll get anything at all done before i get back from court.
jagmeet singh must cut his beard.
at
22:54
i've said enough about this: i don't like religion, but i don't support the fashion police.
i'm less concerned about "religious freedom", which i think is an oxymoron, and more concerned about the question as to whether something like this is actually effective. this bill ignores history, and the fact that attempts to suppress religion always lead to religion coming back stronger. if we wish to stamp out religion once and for all, we need to take more enlightened tactics than this. we're better off finding ways to increase integration through gentle coercion. that's what actually works.
what i want to see is muslim women coming together at feminist rallies and burning their niqabs in a show of defiance against muslim patriarchy. i want to see sikh men feel like it's time to move forwards and let go of the past, and cut their beards off and leave their daggers at home. we need gentler tactics in order to accomplish this.
these laws will have them double down, and grow more insular at a time when it is more important than ever to open their social groupings and religious meetings up to outside ideas and secular influences.
i would be more likely to argue in favour of individual expression than religious freedom. but, as it is, individual expression is the more correct argument anyway, because the religion doesn't actually mandate this. this isn't a ban on religious symbols, it's a ban on a fashion decision that is ubiquitous in a specific religion. that's a very different thing, and that much more contemptible: there are excuses for cracking down on religion because it is inherently oppressive, but there are no excuses for restricting individual expression.
i've pointed out before that, despite questionable polling, quebeckers have proven at the ballot box that they don't actually support these laws. the pq has completely exited the left, at this point. let's hope that quebec solidaire takes advantage of this and cleans up.
http://www.cbc.ca/news/canada/montreal/quebec-niqab-burka-bill-62-1.4360121
jagmeet singh must cut his beard.
i'm less concerned about "religious freedom", which i think is an oxymoron, and more concerned about the question as to whether something like this is actually effective. this bill ignores history, and the fact that attempts to suppress religion always lead to religion coming back stronger. if we wish to stamp out religion once and for all, we need to take more enlightened tactics than this. we're better off finding ways to increase integration through gentle coercion. that's what actually works.
what i want to see is muslim women coming together at feminist rallies and burning their niqabs in a show of defiance against muslim patriarchy. i want to see sikh men feel like it's time to move forwards and let go of the past, and cut their beards off and leave their daggers at home. we need gentler tactics in order to accomplish this.
these laws will have them double down, and grow more insular at a time when it is more important than ever to open their social groupings and religious meetings up to outside ideas and secular influences.
i would be more likely to argue in favour of individual expression than religious freedom. but, as it is, individual expression is the more correct argument anyway, because the religion doesn't actually mandate this. this isn't a ban on religious symbols, it's a ban on a fashion decision that is ubiquitous in a specific religion. that's a very different thing, and that much more contemptible: there are excuses for cracking down on religion because it is inherently oppressive, but there are no excuses for restricting individual expression.
i've pointed out before that, despite questionable polling, quebeckers have proven at the ballot box that they don't actually support these laws. the pq has completely exited the left, at this point. let's hope that quebec solidaire takes advantage of this and cleans up.
http://www.cbc.ca/news/canada/montreal/quebec-niqab-burka-bill-62-1.4360121
jagmeet singh must cut his beard.
at
21:52
i was not a fan of the tragically hip - i found them to be excessively pretentious and excruciatingly boring - and i'm not going to pretend that i was.
jagmeet singh must cut his beard.
jagmeet singh must cut his beard.
at
20:25
Since this is the Landlord’s
application, the Landlord bears the burden of proving, on a balance of
probabilities that her son genuinely intends to move into the premises. The
Landlord failed to prove on a balance of probabilities that it is more likely
than not that her son does genuinely intend to move into the premises. Since
the Landlord failed to meet the burden of proof, the Landlord’s application
must be dismissed.
this is very reassuring to read from the most likely adjudicator on the case.
https://www.canlii.org/en/on/onltb/doc/2017/2017canlii60235/2017canlii60235.html?searchUrlHash=AAAAAQANbjEyIGFmZmlkYXZpdAAAAAAB&resultIndex=5
...considering that there's still no affidavit. i'll call one more time tonight, i guess before i crash. it looks like i'm going to get to cross-examine, as they're going to do it in real-time. i'm hoping it's the mom as that's going to be fun to rip apart. "you're going to pay your ex-husband rent?". but, something i didn't think was viable was the idea that it could be the guy upstairs - the father. that struck me as absurd on it's face, but there are cases where parents take over basement units for themselves, albeit not separate ones like this. see, here's the thing: he has threatened me with eviction repeatedly. hey, he ran his mouth off and has to deal with it - but it's his attitude that's the problem in the first place.
i'm confident, but i can't get cocky. and, if it goes to trial, which i am not convinced it will, then this is far from over, one way or the other. i think this guy is going to get overwhelmed by the stack of paper i give him, freak out and fold.
and, that would be smart.
if he's smart, he'll know when to fold.
i was up early in the evening, did the shopping i needed to do for the rest of the month (minus peppers, which were bad, and eggs, which i forgot), dotted the rest of the is i needed for the case (mostly burning the disc, and making sure i have extra emails on usb if i need to print on the spot) and then got distracted at canlii.
i read dozens of cases through and there's a common theme: n12s are hard to beat, unless the landlord fucks up in leaving behind evidence, and this one has done quite a bit of that. i have eight documented threats of eviction - that is the kind of thing that helps. something else that helps is evidence demonstrating that the landlord is irritated or angry about being forced to do repairs, which is actually what one of my n5s was: she cluelessly filed an n5 requesting i be evicted for asking her to landlord, which is exactly what i need to prove to the court. the large amount of conflict is the other thing i need to demonstrate. i also have examples of her behaving in bad faith. i even have evidence suggesting she wants to sell (two fire inspections and an appraisal in the same week). nobody wants this, but i couldn't ask for a better situation, if i have to have it. the few cases that i was able to find that seem similar led to a dismissal.
even so, if i somehow lose, the outcome is usually an extension. i can also claim hardship, given that i live on odsp. that's usually good for a few months, and by then the building might be sold, which should give me time to appeal.
i need to push myself to stay awake until late in the afternoon so i'm up fresh on thursday morning. i think i've got together everything i can get together. so, i should get some work done over the next few hours.
i'm not going to ship before thursday. it will be soon, though. 48 will be printed tonight, at least.
jagmeet singh must cut his beard.
this is very reassuring to read from the most likely adjudicator on the case.
https://www.canlii.org/en/on/onltb/doc/2017/2017canlii60235/2017canlii60235.html?searchUrlHash=AAAAAQANbjEyIGFmZmlkYXZpdAAAAAAB&resultIndex=5
...considering that there's still no affidavit. i'll call one more time tonight, i guess before i crash. it looks like i'm going to get to cross-examine, as they're going to do it in real-time. i'm hoping it's the mom as that's going to be fun to rip apart. "you're going to pay your ex-husband rent?". but, something i didn't think was viable was the idea that it could be the guy upstairs - the father. that struck me as absurd on it's face, but there are cases where parents take over basement units for themselves, albeit not separate ones like this. see, here's the thing: he has threatened me with eviction repeatedly. hey, he ran his mouth off and has to deal with it - but it's his attitude that's the problem in the first place.
i'm confident, but i can't get cocky. and, if it goes to trial, which i am not convinced it will, then this is far from over, one way or the other. i think this guy is going to get overwhelmed by the stack of paper i give him, freak out and fold.
and, that would be smart.
if he's smart, he'll know when to fold.
i was up early in the evening, did the shopping i needed to do for the rest of the month (minus peppers, which were bad, and eggs, which i forgot), dotted the rest of the is i needed for the case (mostly burning the disc, and making sure i have extra emails on usb if i need to print on the spot) and then got distracted at canlii.
i read dozens of cases through and there's a common theme: n12s are hard to beat, unless the landlord fucks up in leaving behind evidence, and this one has done quite a bit of that. i have eight documented threats of eviction - that is the kind of thing that helps. something else that helps is evidence demonstrating that the landlord is irritated or angry about being forced to do repairs, which is actually what one of my n5s was: she cluelessly filed an n5 requesting i be evicted for asking her to landlord, which is exactly what i need to prove to the court. the large amount of conflict is the other thing i need to demonstrate. i also have examples of her behaving in bad faith. i even have evidence suggesting she wants to sell (two fire inspections and an appraisal in the same week). nobody wants this, but i couldn't ask for a better situation, if i have to have it. the few cases that i was able to find that seem similar led to a dismissal.
even so, if i somehow lose, the outcome is usually an extension. i can also claim hardship, given that i live on odsp. that's usually good for a few months, and by then the building might be sold, which should give me time to appeal.
i need to push myself to stay awake until late in the afternoon so i'm up fresh on thursday morning. i think i've got together everything i can get together. so, i should get some work done over the next few hours.
i'm not going to ship before thursday. it will be soon, though. 48 will be printed tonight, at least.
jagmeet singh must cut his beard.
at
03:46
Tuesday, October 17, 2017
i'm glad i gave myself a few days, but that didn't take as long as i feared it would.
i have a mountain of evidence to sort through, designed to question whether they're acting in good faith, which i think they clearly aren't.
i'm expecting the judge to throw the case out, if the paralegal even lets it get there.
this was a ploy cooked up to generate a settlement. there's no chance i'm going to sign on to this: the choices are that they can walk away and avoid a counter-suit, or they can go through with it and suffer the consequences.
they are not intelligent people, and i do not expect them to make a smart choice.
jagmeet singh must cut his beard.
i have a mountain of evidence to sort through, designed to question whether they're acting in good faith, which i think they clearly aren't.
i'm expecting the judge to throw the case out, if the paralegal even lets it get there.
this was a ploy cooked up to generate a settlement. there's no chance i'm going to sign on to this: the choices are that they can walk away and avoid a counter-suit, or they can go through with it and suffer the consequences.
they are not intelligent people, and i do not expect them to make a smart choice.
jagmeet singh must cut his beard.
at
08:48
i didn't realize it at the time, but that principle had thatcher hair.
it was your typical mindless anti-science, pro-conformity conservatism that had her tell me to go sit down and be quiet and wait my turn. the test scores were clear enough, but the data was no match for her wisdom.
jagmeet singh must cut his beard.
it was your typical mindless anti-science, pro-conformity conservatism that had her tell me to go sit down and be quiet and wait my turn. the test scores were clear enough, but the data was no match for her wisdom.
jagmeet singh must cut his beard.
at
01:03
iq scores.
i've done well on these my whole life. i was identified as gifted as a kid and recommended to be skipped forward grades, although the principal stepped in and decided against it. in hindsight, the principal was a moron: she claimed that my behavioural problems suggested i should not be skipped, when any behavioural expert would have immediately realized i was acting out because i was bored. i obviously needed more stimulation, and she specifically stepped in to deny it. she was a very stupid woman and made a clearly wrong choice.
i wrote an iq test for the government of canada about ten years ago, and scored in the 99th percentile. when i showed up to the interview, the guy thought it was a typo - and i was unable to convince him that it wasn't. he'd done hundreds of interviews and never seen a score that high.
the self-identified genius, trump, vs. tyrannicalasaurus rex? i actual don't think trump does particularly poorly on an iq test. clinton was a rhodes scholar, and trump is not that, but he's not legitimately stupid like bush was, either. his iq likely comes in around average, to perhaps a tad above average. the fact that he's teetotal actually probably helps him a little, here - but he really is a reflection of your average fox watching blue collar stiff, and his iq scores will no doubt reflect this. if he wasn't born into money, he'd have been an assembly line worker somewhere. and he fucking well knows it.
what is likely to be more surprising is to learn that t. rex actually uses his sharp, pointy teeth to eat fruit - that he's about average intelligence, too.
verdict: statistically interchangeable.
jagmeet singh must cut his beard.
i've done well on these my whole life. i was identified as gifted as a kid and recommended to be skipped forward grades, although the principal stepped in and decided against it. in hindsight, the principal was a moron: she claimed that my behavioural problems suggested i should not be skipped, when any behavioural expert would have immediately realized i was acting out because i was bored. i obviously needed more stimulation, and she specifically stepped in to deny it. she was a very stupid woman and made a clearly wrong choice.
i wrote an iq test for the government of canada about ten years ago, and scored in the 99th percentile. when i showed up to the interview, the guy thought it was a typo - and i was unable to convince him that it wasn't. he'd done hundreds of interviews and never seen a score that high.
the self-identified genius, trump, vs. tyrannicalasaurus rex? i actual don't think trump does particularly poorly on an iq test. clinton was a rhodes scholar, and trump is not that, but he's not legitimately stupid like bush was, either. his iq likely comes in around average, to perhaps a tad above average. the fact that he's teetotal actually probably helps him a little, here - but he really is a reflection of your average fox watching blue collar stiff, and his iq scores will no doubt reflect this. if he wasn't born into money, he'd have been an assembly line worker somewhere. and he fucking well knows it.
what is likely to be more surprising is to learn that t. rex actually uses his sharp, pointy teeth to eat fruit - that he's about average intelligence, too.
verdict: statistically interchangeable.
jagmeet singh must cut his beard.
at
00:44
Monday, October 16, 2017
republishing inri048
this track represents somewhat of a refocus, but it never found itself to fruition in the way it was meant to.
over the summer of 2001, a friend of a friend decided he wanted to start a band and asked me to play bass. now, we didn't really have a lot in common besides both being musicians. i was spiralling out into obscure independent music, and he was into all the mainstream rock bands. 2001 was the point where grunge was losing it's last bit of mainstream potential, and giving way to nu metal and various watered down, corporatized offshoots of hardcore. so, i was sitting around listening to tortoise and writing jazz compositions and he was sitting around listening to limp bizkit and writing mtv/radio rock. how could this legitimately work?
there was a small amount of overlap, centred mostly around tool. it so happened to be that tool had just released a new record, we were both listening to it and neither of us really had anybody else to talk to about it. so, something formed out of that.
now, when you're an isolated twenty year old that's never been lucky enough to meet another musician you can start a band with, you take what you can get. it seemed implausible that it was going anywhere, but wasn't that the case for every other band that ever went anywhere when they first started off? i don't think either of us thought we were natural creative partners, but we had a set of common goals and if we could put aside our differences...
see, the thing is i knew that the only way anything was going to happen is if i sat down and recorded a bunch of stuff. but, i also knew that this is a guy that defines himself in terms of his oversized ego and that the whole purpose of it from his perspective was to give himself a way to explore it. that's not the worst trait to have if you want to start a band, either. my overwhelmingly shy introversion hasn't exactly got me filling stadiums, has it? nor is it ever going to, and i realized it even at that stage. so, a natural role would be for me to play the producer (along with the bass guitar) while he throws some stuff at me. if that meant i'd be doing 90% of the actual recording, that would be ok, but i realized i had to let him provide the actual song structures or he'd storm off and pout about it.
so, i waited for him to provide some material. and waited. eventually it became clear that he didn't actually have any serious songs. we did a few demos, but he could barely play what he was trying to demo and the tracks were not of a gigging quality level.
in the mean time, he'd recruited a guitarist. he kept saying he was talking to a drummer (no drummer ever appeared), and he also recruited another friend of a friend as a singer. so, we had what seemed like a full band, if you include the imaginary drummer. what i saw was an opportunity. if he wasn't going to write some songs, i guess i'd have to...
the other guitarist almost immediately dropped out, and the whole project really fell apart rather quickly when the guy that initiated the whole thing stopped showing up to practice. it was several weeks in a row that only the singer and i showed up. i had a few songs i had written, so we started working on those instead and that became rabit is wolf. predictably, there was much pouting.
that leaves this particular song in an isolated limbo. when it was reworked for rabit is wolf (inri057), it took on the epic and experimental nature i was exploring at the time and lost the crux of itself as a stadium rock song. i feel something valuable was lost in this process, if for no other reason that this is so dramatically different than anything else i was doing at the time.
thankfully, i still have the original drum files, and i remember how to play the guitar part, so it's simply a process of recreating it. the raw mix sounds exactly as the track did in 2001. the complete mix takes it to it's final conclusion.
a number of literal remixes were added on oct 16, 2017, including the electronics only mix for the ry30 disc, from dec 27, 2015.
the ep also includes some files from 2001 that are attached to the initial cynicide project.
written in the summer of 2001. remembered over july, 2014. completed august-september, 2014. released sept 24, 2014. expanded, finalized and re-released on oct 16, 2017. as always, please use headphones.
credits
released september 16, 2001
j - electric guitars, analog & digital effects & processing, electric bass guitar, synthesizers, orchestral & other sequencing, drum programming, digital wave editing, sampling, loops, equalization, vocals (8), production
the rendered electronic orchestra includes tuba, saxophone, flute, clarinet, orchestra hit, piano, violin, viola, cello, contrabass and various full string sections.
sean - vocals (track 9)
jon - acoustic guitar (track 9)
jagmeet singh must cut his beard.
at
07:31
i have eight items left to ship on that huge order.
i was hoping to ship at least two before i had to stop for the court process, which is on thursday morning. in order to do that, i'd have to at least get done 48 and 56.
i'm just about to close 48. i'm not going to be able to look at 56 at all.
the date is on thursday. of course i'm stressed out about it, but all logic suggests that i have a very strong case in front of me.
i don't know how long it's going to take for me to prepare. i don't plan on taking any video, but i'm going to have to print some pictures of things like dead cockroaches. looking at what's between 48 and 56, 55 is the only substantial hurdle. the important thing is that i get the numbers right...
i might be able to ship this week, still.
if not, i'll still have until the 31st here - and probably until dec 1st, worst case.
again: i can't imagine a judge ruling against me, given the circumstances. if i was the judge in this case, i'd demand extreme documentation. as far as i can tell, they haven't submitted an affidavit, and i might even be lucky enough to get to cross-examine it in real-time if they leave it to a verbal statement on the day of. but, let's suppose the reason they give is medical. given the circumstances, if i were the judge i'd demand a doctor's certificate to back up the statement. this is a landlord that has already attempted to evict me three times without cause - it is an extraordinary claim for them to claim their parents need the unit, all of a sudden, so they need extraordinary proof.
i'm dealing with a paralegal, here. but, i think they've already fucked the situation up so badly that the case is virtually impossible. if they claim it's medical, for example...how? this place is not near a hospital, it has insects and the air quality is terrible. how do you get a medical claim out of that?
the place should probably be declared uninhabitable, and i'll take a scorched earth policy if i need to...
...but i'm kind of relying on the ability of the judge to smell bullshit. and, it stinks. badly.
further, if i get the expected judicial response, it opens them up to damages. even if i lose, and they list the unit, as of course they will, they're still opening themselves up to months of damages. i'm going to have to reiterate to them, as i already have, that they're better off walking away from the trial. virtually any other choice is going to cost them a small fortune. and, if i end up evicted for chasing cats off the property, you can be certain that i'll make them pay dearly for it.
i'm going to close 48 and get something to eat. then, i'm on pause until further notice. i apologize to the guy that bought this stuff, but this is a really dire scenario - i don't have another option, and could very well end up living in a storage bin for months.
jagmeet singh must cut his beard.
i was hoping to ship at least two before i had to stop for the court process, which is on thursday morning. in order to do that, i'd have to at least get done 48 and 56.
i'm just about to close 48. i'm not going to be able to look at 56 at all.
the date is on thursday. of course i'm stressed out about it, but all logic suggests that i have a very strong case in front of me.
i don't know how long it's going to take for me to prepare. i don't plan on taking any video, but i'm going to have to print some pictures of things like dead cockroaches. looking at what's between 48 and 56, 55 is the only substantial hurdle. the important thing is that i get the numbers right...
i might be able to ship this week, still.
if not, i'll still have until the 31st here - and probably until dec 1st, worst case.
again: i can't imagine a judge ruling against me, given the circumstances. if i was the judge in this case, i'd demand extreme documentation. as far as i can tell, they haven't submitted an affidavit, and i might even be lucky enough to get to cross-examine it in real-time if they leave it to a verbal statement on the day of. but, let's suppose the reason they give is medical. given the circumstances, if i were the judge i'd demand a doctor's certificate to back up the statement. this is a landlord that has already attempted to evict me three times without cause - it is an extraordinary claim for them to claim their parents need the unit, all of a sudden, so they need extraordinary proof.
i'm dealing with a paralegal, here. but, i think they've already fucked the situation up so badly that the case is virtually impossible. if they claim it's medical, for example...how? this place is not near a hospital, it has insects and the air quality is terrible. how do you get a medical claim out of that?
the place should probably be declared uninhabitable, and i'll take a scorched earth policy if i need to...
...but i'm kind of relying on the ability of the judge to smell bullshit. and, it stinks. badly.
further, if i get the expected judicial response, it opens them up to damages. even if i lose, and they list the unit, as of course they will, they're still opening themselves up to months of damages. i'm going to have to reiterate to them, as i already have, that they're better off walking away from the trial. virtually any other choice is going to cost them a small fortune. and, if i end up evicted for chasing cats off the property, you can be certain that i'll make them pay dearly for it.
i'm going to close 48 and get something to eat. then, i'm on pause until further notice. i apologize to the guy that bought this stuff, but this is a really dire scenario - i don't have another option, and could very well end up living in a storage bin for months.
jagmeet singh must cut his beard.
at
05:31
republishing inri047
to understand this piece, it's necessary to go back to 1998.
i was working out primitive sequencer parts for the first inri demo and it just sort of crossed my mind that there was really nothing stopping me from composing symphonies except for a lot of music theory. well, if i could write electronic music without training, why couldn't i write symphonies without training? i mean, the score writing program exists in front of me. it was just a question of experimenting with it. i could do it myself...
...but i actually already had a pretty hefty disdain for music theory by the age of 17. i'd managed to come across a music history textbook that traced the deconstruction of western theory from beethoven through to schoenberg and this, combined with my experiences as a guitarist, was enough to prevent me from taking it seriously. the perception i had was of modern composers viewing music theory sort of like how biologists viewed creationism. i use that analogy fairly frequently. it just didn't strike me as relevant.
now, i've softened a bit over time to a view that music theory is best understood in terms of the underlying physics. this renders the theory useless, but upholds the basic relationships between tones as physical, mathematical realities. the thing is the next step of abstraction is understanding that these mathematical objects can be arranged and analyzed in any arbitrary way, and the conventional theory really *is* a fallacy akin to creationism. so, i still hold to the general thesis. this is actually the first serious example of me putting that disdain for the idea that music should have a theory into real action. i remain adamantly of the view that art is not a realm where theories should exist or be viewed with anything other than scorn. theories are rigid, formal things; art is informal, chaotic.
so, it's 1998. i have a scorewriter and a very basic soundcard and i want to bullshit a symphony out of it. i did this by composing a single brief melody by randomly mashing notes into a scorewriter. i then took that melody and pasted it over top of itself at differing speeds (64th, 32nd, 16th, 8th, quarter, half, whole notes). i then took that, cut it off near the end of the half notes and pasted it over itself, backwards.
that might sound like it's going to sound awful, but it actually sounds quite lovely. one could analyze it quite easily, but it's creation is beyond the realm of any rules of construction.
which is where art belongs.
...excepting the algorithm i used, of course. i suppose it's more reich than schoenberg, but kind of more xenakis than either.
the initial version ended up subsumed underneath a messy noise collage that i created independently and have lost the source material for. that messy noise collage was eliminated from the track for the 1999 version, which was reconstructed by reproducing the algorithm. these are tracks 19 and 20 on this systematic exploration of the theme.
in 2001, i ran the midi file through my soundblaster live!, which as primitive as it is, has a much nicer wavetable in it than the primitive soundcard i used in 1998 and 1999 (i don't remember what it was). this is track 21. i also slowed it down by about 20 bpm and allowed the full file to "intersect", which let it breathe more; this is track 22. i've previously not done anything with this mix other than append it to some mix cds. the guitars on the soundblaster are notoriously bad, so there wasn't a lot to do with it....
why? well, i was writing a lot with scorewriters at the time and was just experimenting with the old file, really. but i was also finishing up what would be the only year i would spend in the math-physics department, and thought it sounded like i would imagine intersecting particles *should* sound like. i was generally interested in finding ways to combine science with music then - an interest that is present in older tracks as well and that has stuck with me. i may explore these themes further in time. one of the ideas i really wanted to accomplish was a physical modelling of the universe, to actually simulate the music of the spheres, as pythagoras imagined it. i think i underestimated the complexity of such a task....
of course, i never expected the music of the spheres to be tonal. and i wouldn't expect the sound of particles intersecting to be musical, either. but, we can take some artistic license. if intersecting particles are to make a sound, it OUGHT to be something like this!
now, the place to work out the actual intersection is rather arbitrary. i had initially cut off the entire section of pure whole notes, back in '98. what i wanted to do in '01 was create a sequence where it's cut off incrementally, creating shorter and shorter pieces. i didn't actually do that then, but i did do it in july of 2014.
as for the piece, i haven't changed it much or the 2014 reconstruction. i've doubled the guitar with a pizzicato string section, and put it through a better guitar synthesizer (and amp simulator, and effects). the sound fonts are otherwise identical, just updated mildly to a better synthesizer.
a string orchestra mix was added at the end of may, 2015. a new album mix for my first record was created at the beginning of jan, 2016, but not added until october of 2017, along with the failed 2013 remaster and solitary forwards and backwards versions built on the 2016 mix. the release was also split into two discs at this point.
i've included the midi files of the original composition, if you'd like to mess with it on your own.
written one day in june, 1998. re-created on another day in june, 1999. reimagined on yet another day in june, 2001. a failed remaster occurred at the end of 2013. slightly rearranged and re-rendered at the end of july, 2014. rearranged again at the end of may, 2015 and one last time at the beginning of jan, 2016. expanded and finalized over oct 15-16, 2017. as always, please use headphones.
the 2014 version appears on my fifth record:
jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj
the 2016 version appears on the final remaster of my first record:
jasonparent.bandcamp.com/album/inri-3
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 (1998, 1999, 2001, 2014, 2015, 2016, 2017).
i was working out primitive sequencer parts for the first inri demo and it just sort of crossed my mind that there was really nothing stopping me from composing symphonies except for a lot of music theory. well, if i could write electronic music without training, why couldn't i write symphonies without training? i mean, the score writing program exists in front of me. it was just a question of experimenting with it. i could do it myself...
...but i actually already had a pretty hefty disdain for music theory by the age of 17. i'd managed to come across a music history textbook that traced the deconstruction of western theory from beethoven through to schoenberg and this, combined with my experiences as a guitarist, was enough to prevent me from taking it seriously. the perception i had was of modern composers viewing music theory sort of like how biologists viewed creationism. i use that analogy fairly frequently. it just didn't strike me as relevant.
now, i've softened a bit over time to a view that music theory is best understood in terms of the underlying physics. this renders the theory useless, but upholds the basic relationships between tones as physical, mathematical realities. the thing is the next step of abstraction is understanding that these mathematical objects can be arranged and analyzed in any arbitrary way, and the conventional theory really *is* a fallacy akin to creationism. so, i still hold to the general thesis. this is actually the first serious example of me putting that disdain for the idea that music should have a theory into real action. i remain adamantly of the view that art is not a realm where theories should exist or be viewed with anything other than scorn. theories are rigid, formal things; art is informal, chaotic.
so, it's 1998. i have a scorewriter and a very basic soundcard and i want to bullshit a symphony out of it. i did this by composing a single brief melody by randomly mashing notes into a scorewriter. i then took that melody and pasted it over top of itself at differing speeds (64th, 32nd, 16th, 8th, quarter, half, whole notes). i then took that, cut it off near the end of the half notes and pasted it over itself, backwards.
that might sound like it's going to sound awful, but it actually sounds quite lovely. one could analyze it quite easily, but it's creation is beyond the realm of any rules of construction.
which is where art belongs.
...excepting the algorithm i used, of course. i suppose it's more reich than schoenberg, but kind of more xenakis than either.
the initial version ended up subsumed underneath a messy noise collage that i created independently and have lost the source material for. that messy noise collage was eliminated from the track for the 1999 version, which was reconstructed by reproducing the algorithm. these are tracks 19 and 20 on this systematic exploration of the theme.
in 2001, i ran the midi file through my soundblaster live!, which as primitive as it is, has a much nicer wavetable in it than the primitive soundcard i used in 1998 and 1999 (i don't remember what it was). this is track 21. i also slowed it down by about 20 bpm and allowed the full file to "intersect", which let it breathe more; this is track 22. i've previously not done anything with this mix other than append it to some mix cds. the guitars on the soundblaster are notoriously bad, so there wasn't a lot to do with it....
why? well, i was writing a lot with scorewriters at the time and was just experimenting with the old file, really. but i was also finishing up what would be the only year i would spend in the math-physics department, and thought it sounded like i would imagine intersecting particles *should* sound like. i was generally interested in finding ways to combine science with music then - an interest that is present in older tracks as well and that has stuck with me. i may explore these themes further in time. one of the ideas i really wanted to accomplish was a physical modelling of the universe, to actually simulate the music of the spheres, as pythagoras imagined it. i think i underestimated the complexity of such a task....
of course, i never expected the music of the spheres to be tonal. and i wouldn't expect the sound of particles intersecting to be musical, either. but, we can take some artistic license. if intersecting particles are to make a sound, it OUGHT to be something like this!
now, the place to work out the actual intersection is rather arbitrary. i had initially cut off the entire section of pure whole notes, back in '98. what i wanted to do in '01 was create a sequence where it's cut off incrementally, creating shorter and shorter pieces. i didn't actually do that then, but i did do it in july of 2014.
as for the piece, i haven't changed it much or the 2014 reconstruction. i've doubled the guitar with a pizzicato string section, and put it through a better guitar synthesizer (and amp simulator, and effects). the sound fonts are otherwise identical, just updated mildly to a better synthesizer.
a string orchestra mix was added at the end of may, 2015. a new album mix for my first record was created at the beginning of jan, 2016, but not added until october of 2017, along with the failed 2013 remaster and solitary forwards and backwards versions built on the 2016 mix. the release was also split into two discs at this point.
i've included the midi files of the original composition, if you'd like to mess with it on your own.
written one day in june, 1998. re-created on another day in june, 1999. reimagined on yet another day in june, 2001. a failed remaster occurred at the end of 2013. slightly rearranged and re-rendered at the end of july, 2014. rearranged again at the end of may, 2015 and one last time at the beginning of jan, 2016. expanded and finalized over oct 15-16, 2017. as always, please use headphones.
the 2014 version appears on my fifth record:
jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj
the 2016 version appears on the final remaster of my first record:
jasonparent.bandcamp.com/album/inri-3
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 (1998, 1999, 2001, 2014, 2015, 2016, 2017).
credits
released June 18, 2001
j - programming, digital effects & treatments, digital wave editing, composition.
the rendered electronic orchestras variously include piano, electric guitar, orchestra hit, synth pads, pizzicato strings, violin, viola, cello, contrabass and pc card.
j - programming, digital effects & treatments, digital wave editing, composition.
the rendered electronic orchestras variously include piano, electric guitar, orchestra hit, synth pads, pizzicato strings, violin, viola, cello, contrabass and pc card.
jagmeet singh must cut his beard.
at
01:21
Sunday, October 15, 2017
finalizing inri046
the core
of this was written in my parent's basement in the spring of 2001.
planning on going to a rave that weekend, i had previously purchased a
large amount of drugs; i was, however, forced to stay in due to having a
calculus test that sunday (the rave was out of town). well, my parents
were gone for the weekend, most of my friends were out of town and i had
a massive stash of drugs...
it is quite literally a symphony of psilocybin induced madness and was written directly into an ancient, hacked score-writing program. while it has been labelled as a symphony of drunken confusion in certain contexts to get around certain social stigmas, this is inaccurate.
around 2006 or so, i took a course in electronic music design that had a recorded component and pulled the score off of my hard drive with the intent of finally recording it properly. the dx7 i had available to me greatly improved the synth patches, enough that i'm willing to let the track rest that way.
i've included midi files of the original composition, if you'd like to mess with it on your own.
i now consider this my fifth symphony.
written in the spring of 2001. lent out for a different project in jan, 2004. reconstructed in the first quarter of 2006, especially over march. the vst mix was added on jan 10, 2015 and the two guitar mixes were added on may 29, 2015. finalized as symph005 on oct 15, 2017. as always, please use headphones.
the album version of this track appears on my fifth record:
jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj
the divine amoebas version also appears on my seventh record:
jasonparent.bandcamp.com/album/ftaa
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 (2001, 2004, 2006, 2014, 2015, 2017).
it is quite literally a symphony of psilocybin induced madness and was written directly into an ancient, hacked score-writing program. while it has been labelled as a symphony of drunken confusion in certain contexts to get around certain social stigmas, this is inaccurate.
around 2006 or so, i took a course in electronic music design that had a recorded component and pulled the score off of my hard drive with the intent of finally recording it properly. the dx7 i had available to me greatly improved the synth patches, enough that i'm willing to let the track rest that way.
i've included midi files of the original composition, if you'd like to mess with it on your own.
i now consider this my fifth symphony.
written in the spring of 2001. lent out for a different project in jan, 2004. reconstructed in the first quarter of 2006, especially over march. the vst mix was added on jan 10, 2015 and the two guitar mixes were added on may 29, 2015. finalized as symph005 on oct 15, 2017. as always, please use headphones.
the album version of this track appears on my fifth record:
jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj
the divine amoebas version also appears on my seventh record:
jasonparent.bandcamp.com/album/ftaa
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 (2001, 2004, 2006, 2014, 2015, 2017).
credits
released May 15, 2001
j - electric guitars, programming, digital effects & treatments, sampling, composition, production.
the rendered electronic orchestras variously include synthesizers, clavinet, kalimba, nylon guitar, acoustic guitar, electric guitar, bass guitar, piano, banjo, electronic drums, pc card, violin, cello, bamboo flute, flute, viola, soprano saxophone, tuba, trumpet, organ and music box.
j - electric guitars, programming, digital effects & treatments, sampling, composition, production.
the rendered electronic orchestras variously include synthesizers, clavinet, kalimba, nylon guitar, acoustic guitar, electric guitar, bass guitar, piano, banjo, electronic drums, pc card, violin, cello, bamboo flute, flute, viola, soprano saxophone, tuba, trumpet, organ and music box.
jagmeet singh must cut his beard
at
09:37
republishing inri044
(this was initially published on the morning of the 14th and fast
forwarded to early on the 15th, to account for fixing a corrupted file.)
regarding this piece, my memory is blurry; yet, i have a vivid recollection of playing parts of it for my guitar teacher on a sunny day, where there was still snow on the ground. it's funny how we remember seemingly irrelevant details, but i guess the atmosphere of the performance is important because the performance is. that would date it to roughly march, 2001.
i switched the piece from classical guitar to piano halfway through writing it, and vaguely remember thinking that an impossible interval had something to do with it (a specific c# cannot be hit on a standard classical). yet, that doesn't change the fact that it's guitar music. the counterpoint is very guitar.
to further complicate things, i've long wanted to turn the piece into a jazzy idm romp. it has a kind of a jingly feel to it that belongs in the warp records sphere.
so, what is this? a classical guitar piece? a jazzy piano piece? a techno tune? all of the above! as with other pieces from this period, this is presented here in multiple formats: several rendered midi tracks, live guitar versions, a vst version and a "full band" version - as well as multiple remixes.
i have included the original midi file (and sheet music in pdf) as a bonus item in the download, if you want to play with it on your own.
conceptually, the time machine aspect referred simply to the slowed down guitar chords at the beginning of the song. if you play it a certain way, it sounds like time is collapsing in on itself. or, so i thought, anyways. the various versions i have created here have made an attempt to take that idea to it's logical conclusion. it's a mix of the vision i had at the time and a bit of hindsight.
six further mixes were added at the end of may, 2015. two of these are "techno" mixes of the song, three are interpretations of the piece on a solo instrument and one is a rearrangement for a full string orchestra. i've decided to present the material in a way that is really two eps combined together, with the first being arrangements for multiple instruments and the second being arrangements for solo instruments. note that there is a placeholder for the track as it was initially written for a 21-fret classical guitar.
four more mixes were added in mid oct, 2017: two orchestral mixes and two more interpretations for solo instrument.
written early 2001. drastically rearranged in june, 2014. rendered, arranged and performed over june and july, 2014. remixed and re-rendered several times over late may, 2015 and again over mid oct, 2017. this release cannot formally finalize at this time, but has been put into it's existing state as of oct 14, 2017. as always, please use headphones.
the album version of this track (the time machine + reprise) appears on my fifth record:
jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj
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 (2001, 2014, 2015, 2017).
* download only
regarding this piece, my memory is blurry; yet, i have a vivid recollection of playing parts of it for my guitar teacher on a sunny day, where there was still snow on the ground. it's funny how we remember seemingly irrelevant details, but i guess the atmosphere of the performance is important because the performance is. that would date it to roughly march, 2001.
i switched the piece from classical guitar to piano halfway through writing it, and vaguely remember thinking that an impossible interval had something to do with it (a specific c# cannot be hit on a standard classical). yet, that doesn't change the fact that it's guitar music. the counterpoint is very guitar.
to further complicate things, i've long wanted to turn the piece into a jazzy idm romp. it has a kind of a jingly feel to it that belongs in the warp records sphere.
so, what is this? a classical guitar piece? a jazzy piano piece? a techno tune? all of the above! as with other pieces from this period, this is presented here in multiple formats: several rendered midi tracks, live guitar versions, a vst version and a "full band" version - as well as multiple remixes.
i have included the original midi file (and sheet music in pdf) as a bonus item in the download, if you want to play with it on your own.
conceptually, the time machine aspect referred simply to the slowed down guitar chords at the beginning of the song. if you play it a certain way, it sounds like time is collapsing in on itself. or, so i thought, anyways. the various versions i have created here have made an attempt to take that idea to it's logical conclusion. it's a mix of the vision i had at the time and a bit of hindsight.
six further mixes were added at the end of may, 2015. two of these are "techno" mixes of the song, three are interpretations of the piece on a solo instrument and one is a rearrangement for a full string orchestra. i've decided to present the material in a way that is really two eps combined together, with the first being arrangements for multiple instruments and the second being arrangements for solo instruments. note that there is a placeholder for the track as it was initially written for a 21-fret classical guitar.
four more mixes were added in mid oct, 2017: two orchestral mixes and two more interpretations for solo instrument.
written early 2001. drastically rearranged in june, 2014. rendered, arranged and performed over june and july, 2014. remixed and re-rendered several times over late may, 2015 and again over mid oct, 2017. this release cannot formally finalize at this time, but has been put into it's existing state as of oct 14, 2017. as always, please use headphones.
the album version of this track (the time machine + reprise) appears on my fifth record:
jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj
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 (2001, 2014, 2015, 2017).
* download only
credits
released March 21, 2001
j - electric guitar, programming, digital effects & treatments, digital wave editing, loops, production, composition
the various rendered electronic orchestras include acoustic bass, synth bass, electric bass, upright bass, brass section, orchestra hit, drum machine, electronic drum kit, nylon guitar, electric guitar, violin, viola, cello, contrabass, french horn, trumpet, tuba, trombone, synthesizers, synthesizer effects, harp, music box, detuned piano, piano, bells, flute, hammered percussion, vibraphone, marimba and mellotron. it also includes choir.
j - electric guitar, programming, digital effects & treatments, digital wave editing, loops, production, composition
the various rendered electronic orchestras include acoustic bass, synth bass, electric bass, upright bass, brass section, orchestra hit, drum machine, electronic drum kit, nylon guitar, electric guitar, violin, viola, cello, contrabass, french horn, trumpet, tuba, trombone, synthesizers, synthesizer effects, harp, music box, detuned piano, piano, bells, flute, hammered percussion, vibraphone, marimba and mellotron. it also includes choir.
jagmeet singh must cut his beard.
at
00:47
Saturday, October 14, 2017
when i remixed this last night, i just ran the guitars that i
recorded in 2014 through a transform to slow them down from 180 bpm to
70 bpm - which is a good ways. midi is instructions, and that's not much
to deal with. but, slowing down actual audio that much is going to
create artifacts.
in fact, that was a part of the design of the thing - this was intentional. i want some blurriness in the guitar. it's trippy, and the thing is trippy - it's a good match, and it fits the aesthetic. i was also expecting it to come in a bit out of phase, as the part is doubled.
see, i really did play it in at 220 bpm, which is very fast. when you're playing that fast, you can be wrong by fractions of a note and not have anybody notice. but when you then slow the tape down, the distance between the notes becomes more audible - it's still the same fraction of a bar on paper, but it's been expanded to the point where you can hear it. that 32nd note botch that i didn't even notice at 220 becomes a huge problem at 70.
it's an easy enough fix; while these were live guitars at one point, now they're just samples and can be manipulated like any other.
i have a replacement for the slow mix coming that fixes some of the phasing issues, while keeping others for effect.
jagmeet singh must cut his beard.
in fact, that was a part of the design of the thing - this was intentional. i want some blurriness in the guitar. it's trippy, and the thing is trippy - it's a good match, and it fits the aesthetic. i was also expecting it to come in a bit out of phase, as the part is doubled.
see, i really did play it in at 220 bpm, which is very fast. when you're playing that fast, you can be wrong by fractions of a note and not have anybody notice. but when you then slow the tape down, the distance between the notes becomes more audible - it's still the same fraction of a bar on paper, but it's been expanded to the point where you can hear it. that 32nd note botch that i didn't even notice at 220 becomes a huge problem at 70.
it's an easy enough fix; while these were live guitars at one point, now they're just samples and can be manipulated like any other.
i have a replacement for the slow mix coming that fixes some of the phasing issues, while keeping others for effect.
jagmeet singh must cut his beard.
at
23:25
my first guitar teacher - in a music academy - used to dangle this in front of me as the piece i'd learn one day.
https://www.youtube.com/watch?v=b0aMCpRZPZE
i didn't get there. but, i enjoyed the style. and i'm a life long fan.
i was never able to get into anything in the metal spectrum though. it wasn't just the superfluous expressions of empty masculinity, it was the accompanying rigidity in playing - because men can't express emotions, maybe? i'm a feel player. i can enjoy the technicality, but truly intellectual technicality understands that the instrument is about expression, and that's what the best jazz players understood and almost every metal player never has.
the metalheads don't just lose that touch, they seem to take pride in not having it, and look down on anybody that does.
jagmeet singh must cut his beard.
https://www.youtube.com/watch?v=b0aMCpRZPZE
i didn't get there. but, i enjoyed the style. and i'm a life long fan.
i was never able to get into anything in the metal spectrum though. it wasn't just the superfluous expressions of empty masculinity, it was the accompanying rigidity in playing - because men can't express emotions, maybe? i'm a feel player. i can enjoy the technicality, but truly intellectual technicality understands that the instrument is about expression, and that's what the best jazz players understood and almost every metal player never has.
the metalheads don't just lose that touch, they seem to take pride in not having it, and look down on anybody that does.
jagmeet singh must cut his beard.
at
21:13
fwiw, if you're curious, the reason i didn't take instruction in metal guitar is that i didn't enjoy listening to it, partly because i didn't like the culture attached to it. i liked fusion, jazz, prog - stuff that was more intellectual and less macho. metal was something i interpreted as "music for idiots" from a very young age.
and, i started playing at too young an age to benefit from any kind of instruction in punk or grunge - by the time i started listening to it, i could already teach myself that stuff.
my instructional phase was in blues, mostly. hendrix. zeppelin. that pushed into jazz. i was actually playing zappa & crimson with ease by the time i was 15.
then i stopped, because i was having more fun teaching myself soundgarden songs out of guitar world and i wanted to write my own music.
jagmeet singh must cut his beard.
and, i started playing at too young an age to benefit from any kind of instruction in punk or grunge - by the time i started listening to it, i could already teach myself that stuff.
my instructional phase was in blues, mostly. hendrix. zeppelin. that pushed into jazz. i was actually playing zappa & crimson with ease by the time i was 15.
then i stopped, because i was having more fun teaching myself soundgarden songs out of guitar world and i wanted to write my own music.
jagmeet singh must cut his beard.
at
20:57
so, after
some months of denial, i've come to the sober realization that most of
my classical guitar monstrosities are now forever lost in the
consequences of a snow-flooded backyard shed. i would shed a tear, if it
weren't for the reality that they've been lost to my mind and my
fingers for far too many years to recover them, anyways.
i would have laughed at you if you would have told me i'd be sitting here, thirteen years later, lamenting the fact that i never recorded these pieces. yet, here i am.
there's not really a good reason why i never recorded these. i just didn't. it's true that i was distracted by other projects, and that i wanted to make sure they were perfectly imperfect before i let them out. that doesn't explain why i never bothered demoing them, or even just recording them half-assed for historical purposes. alas...now they are gone...
i took classical guitar lessons for about a year from spring '00 to spring '01. by that time, i'd been playing guitar for almost ten years and had been through many years of blues and jazz training, albeit not for several years before then. i didn't want to go back to rock-era instruction, but i felt i could benefit from approaching the guitar with a different perspective. i also wanted to learn a little about counterpoint. so, we went with renaissance pieces to start off with (and which comprise this short offering) and more avant pieces by the likes of leo brouwer near the end.
a punk with a classical guitar is still a punk, just a punk with a classical guitar. throughout the experience, my cobain instincts and hendrix flairs overpowered any demands to play nicely. the truth is the guy i was paying absolutely despised me, but he also had a muted level of respect for somebody with the panache to actually think about even trying to pull this shit off. i caught him open-jawed a few times, as impressed as he was shocked.
there were almost twenty of these things written out. he'd present me with a score and i'd just go to town with it, scrawling notes all over it, changing chords, making up notation symbols, just whatever i thought sounded better. the results were a legitimate fusion of noise rock and classical guitar music in a way that stressed technical playing over atmospheres. what is present here is the very tip of this iceberg.
yet, i didn't want to just record them. i wanted to recreate them. the version of little suite that is here is a good example of where i wanted to take these things. the problem i ran into was that i didn't know how to. which isn't to say that i didn't how to do what i wanted but that i couldn't conceive of what i wanted to do. so, i kept putting it off until that stroke of inspiration would finally come...
it never came, and is now lost.
there will be a second version of this; how far in the future that will be, i cannot say. i think a part of me wants to wait until i'm older and is happy i now have the excuse to do that. for now, though, i'm closing down this project, restricting it to this short ep and an album of unrealized dreams.
recorded in the first part of 2001. sequenced as is in january, 2014. as always, please use headphones.
the second & third tracks appear on my fifth record:
jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj
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 (2001, 2014).
i would have laughed at you if you would have told me i'd be sitting here, thirteen years later, lamenting the fact that i never recorded these pieces. yet, here i am.
there's not really a good reason why i never recorded these. i just didn't. it's true that i was distracted by other projects, and that i wanted to make sure they were perfectly imperfect before i let them out. that doesn't explain why i never bothered demoing them, or even just recording them half-assed for historical purposes. alas...now they are gone...
i took classical guitar lessons for about a year from spring '00 to spring '01. by that time, i'd been playing guitar for almost ten years and had been through many years of blues and jazz training, albeit not for several years before then. i didn't want to go back to rock-era instruction, but i felt i could benefit from approaching the guitar with a different perspective. i also wanted to learn a little about counterpoint. so, we went with renaissance pieces to start off with (and which comprise this short offering) and more avant pieces by the likes of leo brouwer near the end.
a punk with a classical guitar is still a punk, just a punk with a classical guitar. throughout the experience, my cobain instincts and hendrix flairs overpowered any demands to play nicely. the truth is the guy i was paying absolutely despised me, but he also had a muted level of respect for somebody with the panache to actually think about even trying to pull this shit off. i caught him open-jawed a few times, as impressed as he was shocked.
there were almost twenty of these things written out. he'd present me with a score and i'd just go to town with it, scrawling notes all over it, changing chords, making up notation symbols, just whatever i thought sounded better. the results were a legitimate fusion of noise rock and classical guitar music in a way that stressed technical playing over atmospheres. what is present here is the very tip of this iceberg.
yet, i didn't want to just record them. i wanted to recreate them. the version of little suite that is here is a good example of where i wanted to take these things. the problem i ran into was that i didn't know how to. which isn't to say that i didn't how to do what i wanted but that i couldn't conceive of what i wanted to do. so, i kept putting it off until that stroke of inspiration would finally come...
it never came, and is now lost.
there will be a second version of this; how far in the future that will be, i cannot say. i think a part of me wants to wait until i'm older and is happy i now have the excuse to do that. for now, though, i'm closing down this project, restricting it to this short ep and an album of unrealized dreams.
recorded in the first part of 2001. sequenced as is in january, 2014. as always, please use headphones.
the second & third tracks appear on my fifth record:
jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj
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 (2001, 2014).
credits
released May 10, 2001
j - classical and electric guitars, ebow, effects, organ, synthesizers, sound design, sampling, sequencing, drum programming, vocals, digital wave editing
original authors forgotten. please contact if you recognize these pieces.
j - classical and electric guitars, ebow, effects, organ, synthesizers, sound design, sampling, sequencing, drum programming, vocals, digital wave editing
original authors forgotten. please contact if you recognize these pieces.
jagmeet singh must cut his beard.
at
18:58
update post.
this will build further as i go:
this disc is now full:
these are dated to the 13th:
and these are dated to the 14th:
write-up pending.
jagmeet singh must cut his beard.
this will build further as i go:
this disc is now full:
these are dated to the 13th:
and these are dated to the 14th:
write-up pending.
jagmeet singh must cut his beard.
at
05:37
also, if you haven't got the joke, yet.
https://en.wikipedia.org/wiki/Carthago_delenda_est
jagmeet singh must cut his beard.
https://en.wikipedia.org/wiki/Carthago_delenda_est
jagmeet singh must cut his beard.
at
01:29
when i resequenced this "single" (it's now at 19 tracks...the last
one closed at 17...) in may of 2015, i set it up to alternate between
slow and fast versions - then put the solo sections at the very end,
after a pause. the initial orchestral mix that i set up last night is
done, but it means i have one too many fast versions.
i'm just going to slow the full orchestra mix down to the same length as the string orchestra mix. it shouldn't take long.
i don't have a lot of days left to waste, but i guess i lost a day due to migraine and this taking longer than expected. what can you do...
jagmeet singh must cut his beard.
i'm just going to slow the full orchestra mix down to the same length as the string orchestra mix. it shouldn't take long.
i don't have a lot of days left to waste, but i guess i lost a day due to migraine and this taking longer than expected. what can you do...
jagmeet singh must cut his beard.
at
01:28
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