the story behind the song is not very remarkable. the working title for the track was just 'progblues thing'. it was intended to be a structured instrumental guitar track that mixed the flair of hendrix with the minimalist structure of steve reich.
it was also the result of my dad getting himself a drumkit for christmas that year, which my step-mother promptly placed in my bedroom as a disincentive for further use. score, i guess. but it didn't survive the move a few months later. in the mean time, i got some recordings out of it - as well as a few moderately crazy drunken weekend jam sessions.
i'll note that that christmas also produced a grand piano a few feet outside my door, which is heard in acidosis. it's intended recipient was my sister, but she wasn't around much. me? new pc, with a convenient recording interface, and some more functional microphones. despite talk of family jam spaces, one might suspect my father was actually conspiring in my favour. there is probably a great deal of truth in this suspicion. these conditions held for less than a year, but i made the most of them.
so, the idea of the track was initially about experimenting with the new reverb system built into my new soundcard interface, by triggering it with the drumkit that had recently magically appeared out of good fortune. it had been a few years since i'd played the kit much, and, unfortunately, it kind of does show. i had spent a little time practicing along with "nevermind" and "siamese dream" for a few weeks to get back in shape, but i wasn't really "there" yet at the time of this recording. i didn't want to program loops into the song, so i compensated by splicing the track up. of special interest in this wave editing is the backwards cymbals, and especially how they intersect with the soaring guitars.
and of those soaring guitars? a fairly simple blues pattern. sure is lovely, though, isn't it?
the original version of this track has a lengthy mlk sample in it and is available over here:
jasonparent.bandcamp.com/track/let-freedom-ring
the speech became attached to the track when chance managed to have them playing simultaneously for me. i had cnn on in the corner. it was doing some kind of special on mlk, perhaps related to an anniversary that is related to a yearly holiday. placed together, it knocked me flat on my ass.
the idea in my mind from the start was integrationist, if not really consciously so. on the one hand, the guitar part is raw southern blues. on the other hand, the structure is sterile white minimalism. i didn't just realize this juxtaposition, i was trying to exploit it, even if the racial context hadn't occurred to me. when king's speech was played over it, though, the idea really exploded; the context became much deeper. it was an instant exponentiation in profundity.
in hindsight, there are some problems with this. i was a moderately wealthy white kid from canada. there was never much chance of me turning a profit on this, but if i did it would be a type of appropriation. the dr. king samples were removed from this track by the time this demo was initially packaged, which was november of 2000. that's probably for the best.
the second part of the track was recorded in june. it was a short that i had put aside for further development and then decided against further developing, so it ended up here as a sort of addendum to the track. it's really it's own thing, but it's been placed here so long that i don't want to separate it.
recorded over the course of the year 2000.
https://jasonparent.bandcamp.com/track/a-commercial-break
Tuesday, January 14, 2014
curious george (replaced album mix)
musically, the track is a combination of an experiment with an idea. i should note that this suite together is maybe the first original track in the style that dominates my output over the next few years, even if it's incomplete (albeit hereby decreed complete). the idea was about creating "guitar symphonies" (and while i was aware of the work of oldfield and fripp, and of sonic youth and gybe!, branca was a black hole for me at the time) in a minimalist, electronic framework that most readily draws to mind the work of trent reznor. this is the first of many expressions and evolutions of that idea. the experiment was with a program called "leaf drums", which is a fairly basic drum machine except in it's ability to manipulate samples with effects in realtime (remember that this is the spring of 2000). once i had that loop running, i started playing some of the riffs i had put aside for the guitar symphony, mostly just to play around with them. it stuck far better than i expected....and that's really the extent of the track.
the bush sample at the beginning is a constructed loop rather than a direct quote. he was talking about gore - "this guy would say anything to get elected, i'd...". that was flipped around to "i'd say anything to get elected" and looped. well, at this point i don't think anybody is going to stand up for bush' honesty or credibility. regardless, the way i looped it purposefully pans it to make it obvious that it's not a direct quote.
the lost version was built up considerably further than this; this version has three guitar parts, the lost version had closer to ten. i was too focused on getting the samples together to worry about re-recording the guitar parts. i don't remember them at this point and will not make up new ones. to be honest, this is far easier to listen to, and, while i mourn the loss of the completed version, i'm actually happy that i kept a more stripped down one.
recorded in april, 2000. samples added in oct, 2000. album version reverted to original mix in sept, 2006.
https://jasonparent.bandcamp.com/track/curious-george
the bush sample at the beginning is a constructed loop rather than a direct quote. he was talking about gore - "this guy would say anything to get elected, i'd...". that was flipped around to "i'd say anything to get elected" and looped. well, at this point i don't think anybody is going to stand up for bush' honesty or credibility. regardless, the way i looped it purposefully pans it to make it obvious that it's not a direct quote.
the lost version was built up considerably further than this; this version has three guitar parts, the lost version had closer to ten. i was too focused on getting the samples together to worry about re-recording the guitar parts. i don't remember them at this point and will not make up new ones. to be honest, this is far easier to listen to, and, while i mourn the loss of the completed version, i'm actually happy that i kept a more stripped down one.
recorded in april, 2000. samples added in oct, 2000. album version reverted to original mix in sept, 2006.
https://jasonparent.bandcamp.com/track/curious-george
publishing curious george (inri040)
this track was taken from the then lost curious george suite...
http://jasonparent.bandcamp.com/track/chimpanzees-cant-dance
...and loaded up with samples to raise awareness. the impression i was trying to create was that bush wasn't going to be a president who was particularly concerned with civil liberties because he had stated as much rather clearly. this is still pre-9/11, it was right before the election, and i still had no idea what was coming. i was just conscious of the fact that this is a guy that isn't going to stand up for anybody's rights, have much interest in maintaining the rule of law (international or otherwise) or have much respect for the democratic process.
even listening to it today, a lot of it is really surreal. at the time, i was focusing a bit on the irony. for example, his "people who are going to commit crimes shouldn't have guns" quote is cited in reference to himself - by that logic, he should have overseen an american disarmament. "this guy's not elected, he just took over office" quip was also meant to apply to him. i think it's largely forgotten that the news of a possible attempted coup hit before the 2000 election did. there was a buzz on the internet that the people behind bush (military contractors) weren't going to let him lose. the "court battle" in florida wasn't a completely surprising turn of events. it was gore's disinterest in fighting the legal battle (because it would "destabilize" the country) that hit people by surprise.
i've split this into it's own space because it belongs in it's own space. deny everything has been converted into abstract instrumental music; the samples don't belong there. it also seems disingenuous to insert it into the lost suite.
i think i need to be careful in stating that historical hindsight inoculates me in explaining what i hoped was obvious: that this is a thinly veiled call for the assassination of bush before he takes over. a tree fell in a forest here. alas.
recorded in april, 2000. samples added in oct, 2000. samples removed around 2010. as always, please use headphones.
credits:
j - guitars, effects, drum programming, sampling, sound design, digital wave editing
released october 13, 2000
http://jasonparent.bandcamp.com/track/chimpanzees-cant-dance
...and loaded up with samples to raise awareness. the impression i was trying to create was that bush wasn't going to be a president who was particularly concerned with civil liberties because he had stated as much rather clearly. this is still pre-9/11, it was right before the election, and i still had no idea what was coming. i was just conscious of the fact that this is a guy that isn't going to stand up for anybody's rights, have much interest in maintaining the rule of law (international or otherwise) or have much respect for the democratic process.
even listening to it today, a lot of it is really surreal. at the time, i was focusing a bit on the irony. for example, his "people who are going to commit crimes shouldn't have guns" quote is cited in reference to himself - by that logic, he should have overseen an american disarmament. "this guy's not elected, he just took over office" quip was also meant to apply to him. i think it's largely forgotten that the news of a possible attempted coup hit before the 2000 election did. there was a buzz on the internet that the people behind bush (military contractors) weren't going to let him lose. the "court battle" in florida wasn't a completely surprising turn of events. it was gore's disinterest in fighting the legal battle (because it would "destabilize" the country) that hit people by surprise.
i've split this into it's own space because it belongs in it's own space. deny everything has been converted into abstract instrumental music; the samples don't belong there. it also seems disingenuous to insert it into the lost suite.
i think i need to be careful in stating that historical hindsight inoculates me in explaining what i hoped was obvious: that this is a thinly veiled call for the assassination of bush before he takes over. a tree fell in a forest here. alas.
recorded in april, 2000. samples added in oct, 2000. samples removed around 2010. as always, please use headphones.
credits:
j - guitars, effects, drum programming, sampling, sound design, digital wave editing
released october 13, 2000
acidosis (original album mix)
and, this is the continuous, single-track version of acidosis. i have removed the jungle noises sound sample collage from the end for this version.
this was constructed over a little more than a month: from 7/7-8/20, 2000.
https://jasonparent.bandcamp.com/track/acidosis
this was constructed over a little more than a month: from 7/7-8/20, 2000.
https://jasonparent.bandcamp.com/track/acidosis
publishing acidosis (inri039)
this is the core of my first symphony. it's a sort of a pun; it uses the medical condition of acidosis, which is when the ph level of a person's blood dips to a level that causes complications or death, to draw an analogy to the environmental destruction being carried out by industrial civilization. it also forwards my intuitive hypothesis that homo sapiens will ultimately end up as an evolutionary dead-end. more specifically, my view is that intelligence, as a trait, is ultimately an evolutionary disadvantage. well somebody else probably has that view too; i honestly couldn't cite anybody, sorry.
the material is presented here in fragmented format to properly outline the structure of the piece. it exists in one section on deny everything, and will be the dominant component of a larger first symphony file.
that sexy cover art is a couple of bitmaps of neurons played with in paint and superimposed onto each other in coagula. the sound of that sexy bitmap is heard in the song.
i think i'd rather let the piece stand by title alone, other than to point out that the reaction explored in the piece is really more general than any specific narrative justifies. it's a systems break down.
the music is half generated algorithmically and half played. the half random, largely atonal notes i had programmed into the generator created unusual jam circumstances that were fun to play with. as an example, the piano part is live, but it's being spurred on by the random synth bass underneath it. the computer was driving me, creatively; i think it produced interesting results, both out of me and in itself. as a rhythm section, the computer holds it's own here - as random as the notes are.
what centers the track, though, is a classical guitar part that i recorded very late one night. i was weirded out about things and wanted to get some shit out, so i recorded myself playing for close to a half hour. i think a lot of people don't realize just how powerful a guitar can be as an alternate outlet for aggression. psychologically, that's powerful shit.
i listened to the jam when i got my head clear and i was sort of fascinated by it's just raw emotion. it didn't make any musical sense, but it expressed an idea through it's dynamics. i ran it backwards through an effect designed to simulate a record player dying over exaggerated lengths of times and that became the idea to build around. the shape grew slowly, all the way into the analogy, from there.
this was constructed over a little more than a month: from 7/7-8/20, 2000. it seems to have been recombined into one track around 2007 but has otherwise not been modified. as always, please use headphones.
credits:
j - guitars of all types, bass, drum programming, synthesizers, piano, loops, noise generation, organ, ebow, flute, mandolin, treatments, effects, sound design, generative synthesis, digital wave editing, production, coughs, cover art
released august 20, 2000
the material is presented here in fragmented format to properly outline the structure of the piece. it exists in one section on deny everything, and will be the dominant component of a larger first symphony file.
that sexy cover art is a couple of bitmaps of neurons played with in paint and superimposed onto each other in coagula. the sound of that sexy bitmap is heard in the song.
i think i'd rather let the piece stand by title alone, other than to point out that the reaction explored in the piece is really more general than any specific narrative justifies. it's a systems break down.
the music is half generated algorithmically and half played. the half random, largely atonal notes i had programmed into the generator created unusual jam circumstances that were fun to play with. as an example, the piano part is live, but it's being spurred on by the random synth bass underneath it. the computer was driving me, creatively; i think it produced interesting results, both out of me and in itself. as a rhythm section, the computer holds it's own here - as random as the notes are.
what centers the track, though, is a classical guitar part that i recorded very late one night. i was weirded out about things and wanted to get some shit out, so i recorded myself playing for close to a half hour. i think a lot of people don't realize just how powerful a guitar can be as an alternate outlet for aggression. psychologically, that's powerful shit.
i listened to the jam when i got my head clear and i was sort of fascinated by it's just raw emotion. it didn't make any musical sense, but it expressed an idea through it's dynamics. i ran it backwards through an effect designed to simulate a record player dying over exaggerated lengths of times and that became the idea to build around. the shape grew slowly, all the way into the analogy, from there.
this was constructed over a little more than a month: from 7/7-8/20, 2000. it seems to have been recombined into one track around 2007 but has otherwise not been modified. as always, please use headphones.
credits:
j - guitars of all types, bass, drum programming, synthesizers, piano, loops, noise generation, organ, ebow, flute, mandolin, treatments, effects, sound design, generative synthesis, digital wave editing, production, coughs, cover art
released august 20, 2000
Monday, January 13, 2014
ignorance is bliss (final album mix)
this is a brand new (jan, 2014) construction to replace the previous one, making it the third incarnation. and, if we accept dialectical reasoning, we can conclude it's a final outcome - unless it converts itself into another track altogether.
the thesis here was a fully produced version that included vocals. the antithesis was a minimal version that stripped out most of the production along with the lyrics. this synthesis brings the production back in while leaving the vocals out. i've tried to author my additions while keeping in mind the aesthetic ideals i was attached to in the period. that is to say that while this is a new mix, it belongs to the time the track was created - mid 2000. no new recorded sound has been added.
thesis (vocal mix), antithesis (2004 mix) and an early mix (inristart), as well as a completely different construction of the track, are available here, with write-ups:
jasonparent.bandcamp.com/album/ignorance-is-bliss
i'm just going to talk a little about the specific changes in the 2014 mix. first, i've brought the introductory guitar solo back in, but extended it by reflecting it across the y axis. a backwards solo now follows the first solo. the reason i left it out was that it was written to segue into the vocals. that is to say that when the guitar part ended, the vocals began, and the track carried forward momentum through because of that. removing the vocals left the guitar part as a sort of bridge to nowhere. the extension by means of reflection resolves that issue of continuity, and reintegrates what was an interesting moment in the initial track.
the story around the bass part is sort of funny. the vocal mix actually contains what was a replacement bass part. it's a more playful part. yet, when i wanted to remove the vocals, i was forced to revert to the initial part. at the time, i decided that accepting the less interesting bass part was a valid trade-off for removing the bass. well, why not have two bass parts?
the vocal version also had a funk guitar part that was written to play off against the second bass part. this funk guitar part didn't make sense when contrasted against the initial bass part. yet, as i'm bringing in the second bass part, i can also bring in the funk guitar part.
there were two thunder claps in the vocal version that were inserted as sound effects - the thunder claps when the narrator opens an umbrella. while the first is nonsensical without the vocals, the second has been readded for dramatic effect.
lastly, i had a sequenced "ukelele" part running through the track. well, it's a sampler set up to a ukelele fret board. meaning it's triggering samples based on ukelele chord shapes. this is early 2000, way before that shit was trendy. nor has it ever been trendy in the context of being triggered by a computer. i digress...
it ran all the way through the vocal version, and, in hindsight, i don't know why. the minimal version is superior to the vocal version in this respect; the power of the drum machine drilling away underneath the interstellar synth parts is lost when clouded up by a bunch of goofy ukelele trills. instead, i've targeted the ukelele part to two specific sections: right after the first guitar solo, and leading up to the final swell before the fade.
these are the changes i've made in 2014, all of them with the intent to capture the entirety of the track as it was initially written.
as for the track itself, it's almost indescribable except to point out it's really psychedelic and really electronic and really epic.
created in the spring and summer of 2000. reconstructed in 2004 and again in 2014. final construction is dated to jan 13, 2014.
https://jasonparent.bandcamp.com/track/ignorance-is-bliss
the thesis here was a fully produced version that included vocals. the antithesis was a minimal version that stripped out most of the production along with the lyrics. this synthesis brings the production back in while leaving the vocals out. i've tried to author my additions while keeping in mind the aesthetic ideals i was attached to in the period. that is to say that while this is a new mix, it belongs to the time the track was created - mid 2000. no new recorded sound has been added.
thesis (vocal mix), antithesis (2004 mix) and an early mix (inristart), as well as a completely different construction of the track, are available here, with write-ups:
jasonparent.bandcamp.com/album/ignorance-is-bliss
i'm just going to talk a little about the specific changes in the 2014 mix. first, i've brought the introductory guitar solo back in, but extended it by reflecting it across the y axis. a backwards solo now follows the first solo. the reason i left it out was that it was written to segue into the vocals. that is to say that when the guitar part ended, the vocals began, and the track carried forward momentum through because of that. removing the vocals left the guitar part as a sort of bridge to nowhere. the extension by means of reflection resolves that issue of continuity, and reintegrates what was an interesting moment in the initial track.
the story around the bass part is sort of funny. the vocal mix actually contains what was a replacement bass part. it's a more playful part. yet, when i wanted to remove the vocals, i was forced to revert to the initial part. at the time, i decided that accepting the less interesting bass part was a valid trade-off for removing the bass. well, why not have two bass parts?
the vocal version also had a funk guitar part that was written to play off against the second bass part. this funk guitar part didn't make sense when contrasted against the initial bass part. yet, as i'm bringing in the second bass part, i can also bring in the funk guitar part.
there were two thunder claps in the vocal version that were inserted as sound effects - the thunder claps when the narrator opens an umbrella. while the first is nonsensical without the vocals, the second has been readded for dramatic effect.
lastly, i had a sequenced "ukelele" part running through the track. well, it's a sampler set up to a ukelele fret board. meaning it's triggering samples based on ukelele chord shapes. this is early 2000, way before that shit was trendy. nor has it ever been trendy in the context of being triggered by a computer. i digress...
it ran all the way through the vocal version, and, in hindsight, i don't know why. the minimal version is superior to the vocal version in this respect; the power of the drum machine drilling away underneath the interstellar synth parts is lost when clouded up by a bunch of goofy ukelele trills. instead, i've targeted the ukelele part to two specific sections: right after the first guitar solo, and leading up to the final swell before the fade.
these are the changes i've made in 2014, all of them with the intent to capture the entirety of the track as it was initially written.
as for the track itself, it's almost indescribable except to point out it's really psychedelic and really electronic and really epic.
created in the spring and summer of 2000. reconstructed in 2004 and again in 2014. final construction is dated to jan 13, 2014.
https://jasonparent.bandcamp.com/track/ignorance-is-bliss
i think i'm acting out my mps through facebook profiles, which is hilariously pathetic. so laugh. but i pose a question of some seriousness:
is anglo-american civilization the first civilization in history to have an actual materialist religion?
no. there was previously confucianism.
not to say that the like catholic church or something wasn't materialist, but it still derived it's power from magic. and buddhism may have seemed more materialistic, but it's still deriving consequences from moral actions, by some kind of positive magic.
i think confucianism fits, though.
well, maybe the romans, actually. maybe there was actually a time before theological religion was dominant. so, maybe the first...no, i can't salvage the question.
i'm talking about culture, by the way, not power per se. well, social power, i guess, but not necessarily invested in any particular hierarchy. the mindset that dominates thinking regarding social behaviour, but placed on a footing where it's no longer questioned. i just bullshitted a sociological definition of religion, would you look at that.
even in "secular societies" that sort of social code exists, as derived in some abstraction from the religious law. up until recently, we could talk of anglo-american social values as having been abstracted from christian ones, through however many reinterpretations for however many motives, or through organic shifts in public attitude that yearn towards a different structuring. likewise, you could talk of the more liberal arabic states as having social laws that reflect abstractions of islamic values, and etc.
but is the united states empire (and satellites) now beyond that abstraction and into a really materialist idea of social ordering?
i mean, there's been an appropriation of some of the symbols, but that's a fundamental part of any religious shift in any region. odin carries on as santa claus, the greek mysteries within christianity, stories of great floods in judaism. so, we still have jesus, but it's now a materialist jesus that enforces the laws of social darwinism, wrapped up within (sometimes falsely applied) market rhetoric.
whatever abstraction that was once attached to god seems now to be attached to finance. i mean socially, through the attitudes that exist.
i'm a loud supporter of atheism, but that's kind of not what i had in mind.
anyways, the question does appear foolish. but it is hinting at something that defines the character of the culture of the existing global hegemon, and stands out relative to other recent empires.
is anglo-american civilization the first civilization in history to have an actual materialist religion?
no. there was previously confucianism.
not to say that the like catholic church or something wasn't materialist, but it still derived it's power from magic. and buddhism may have seemed more materialistic, but it's still deriving consequences from moral actions, by some kind of positive magic.
i think confucianism fits, though.
well, maybe the romans, actually. maybe there was actually a time before theological religion was dominant. so, maybe the first...no, i can't salvage the question.
i'm talking about culture, by the way, not power per se. well, social power, i guess, but not necessarily invested in any particular hierarchy. the mindset that dominates thinking regarding social behaviour, but placed on a footing where it's no longer questioned. i just bullshitted a sociological definition of religion, would you look at that.
even in "secular societies" that sort of social code exists, as derived in some abstraction from the religious law. up until recently, we could talk of anglo-american social values as having been abstracted from christian ones, through however many reinterpretations for however many motives, or through organic shifts in public attitude that yearn towards a different structuring. likewise, you could talk of the more liberal arabic states as having social laws that reflect abstractions of islamic values, and etc.
but is the united states empire (and satellites) now beyond that abstraction and into a really materialist idea of social ordering?
i mean, there's been an appropriation of some of the symbols, but that's a fundamental part of any religious shift in any region. odin carries on as santa claus, the greek mysteries within christianity, stories of great floods in judaism. so, we still have jesus, but it's now a materialist jesus that enforces the laws of social darwinism, wrapped up within (sometimes falsely applied) market rhetoric.
whatever abstraction that was once attached to god seems now to be attached to finance. i mean socially, through the attitudes that exist.
i'm a loud supporter of atheism, but that's kind of not what i had in mind.
anyways, the question does appear foolish. but it is hinting at something that defines the character of the culture of the existing global hegemon, and stands out relative to other recent empires.
i'm now entering my jesus year. i get the feeling it's going to be eventful, but i may be working myself up around the symbolism of it as it relates to my repressed, inner jesus freak. and the symbolism itself is probably contrived number mysticism. but i guess i'll find out.
converting the bible into punk rock language.
"jesus hated the pharisees because they were poseurs."
"yeah, i used to like judas, until he sold out."
"that mountain of laws is just a lot of pretentious bullshit. the golden rule is about keeping it real."
"pilate's behaviour was entirely contrived."
converting the bible into punk rock language.
"jesus hated the pharisees because they were poseurs."
"yeah, i used to like judas, until he sold out."
"that mountain of laws is just a lot of pretentious bullshit. the golden rule is about keeping it real."
"pilate's behaviour was entirely contrived."
this is a legitimately good idea in an industry that often seems out to lunch. the rush to bring the next-gen battery technology to the market often reduces ecological concerns to a marketing benefit, or, worse, a scam.
there was a cronenberg film that explored the ideas of merging biology with technology to create growing, living plant-based machines. in the end, it's all chemistry. it's electrons transferring; it's energy stored in chemical bonds. there's nothing crazy about returning to carbon from silicon and replacing steel with cellulose. it's the sustainable future.
http://www.eco-business.com/news/green-energy-vegetables-may-help-wind-solar-stem-use-fossil-fuels/
there was a cronenberg film that explored the ideas of merging biology with technology to create growing, living plant-based machines. in the end, it's all chemistry. it's electrons transferring; it's energy stored in chemical bonds. there's nothing crazy about returning to carbon from silicon and replacing steel with cellulose. it's the sustainable future.
http://www.eco-business.com/news/green-energy-vegetables-may-help-wind-solar-stem-use-fossil-fuels/
Sunday, January 12, 2014
nothing like a little mind aids to clarify your thinking. happy birthday to me.
the russians have been prioritizing deepwater ports for centuries. they really, really value having access through the black sea, past the dardanelles and into the mediterranean. so, the transit point in syria (tartus) is of central priority to a continuous russian naval strategy going back centuries. and there has equally been a british, and anglo-american, strategy to contain russian shipping through this region, for nearly as long as the russians have been valuing the access. this is a really basic struggle over control of shipping lanes by two powerful monarchical centres, two empires, that precedes the existence of the modern world.
the time was right for russia to be more aggressive in it's strategy, arguably even devastatingly too late. whether through real naivete or some kind of strategic fake naivete, the russians passively allowed themselves to be outmaneuvered for decades, stemming from an apparent (or contrived?) attempt to legitimately establish peaceful and common interests. with each clumsy russian gesture towards friendship, the americans became more contemptful in their deceit. something seems to have finally clicked after libya, where the russians were rudely discarded as fools. the russians seem to realize, finally, that the americans have no desire to be at peace. this is a very important recent shift in the balance of world power.
so, syria is quickly turning into a militarized russian base to protect those interests. assad is losing control, alright, but not to the rebels - to the kremlin. in the end, that's who picks up the spot on the risk board.
and bloody hell cry the saudis, who started the mess in the first place, by launching an attack from a position of weakness. the russians will happily allow assad to follow his enemies, and one cannot think there is any other option should he remain in power, under kremlin guidance or not. assad cannot simply quietly rebuild, and show up cheerily to the arab league meetings. revenge is inevitable. and why wouldn't the russians nurture that? some ruthless asshole probably pointed out that you'd better kill the fucker while you get the chance, when in such situations.
but in the end it's just the russians and english fighting over shipping lanes. same shit as for the last forever.
the russians have been prioritizing deepwater ports for centuries. they really, really value having access through the black sea, past the dardanelles and into the mediterranean. so, the transit point in syria (tartus) is of central priority to a continuous russian naval strategy going back centuries. and there has equally been a british, and anglo-american, strategy to contain russian shipping through this region, for nearly as long as the russians have been valuing the access. this is a really basic struggle over control of shipping lanes by two powerful monarchical centres, two empires, that precedes the existence of the modern world.
the time was right for russia to be more aggressive in it's strategy, arguably even devastatingly too late. whether through real naivete or some kind of strategic fake naivete, the russians passively allowed themselves to be outmaneuvered for decades, stemming from an apparent (or contrived?) attempt to legitimately establish peaceful and common interests. with each clumsy russian gesture towards friendship, the americans became more contemptful in their deceit. something seems to have finally clicked after libya, where the russians were rudely discarded as fools. the russians seem to realize, finally, that the americans have no desire to be at peace. this is a very important recent shift in the balance of world power.
so, syria is quickly turning into a militarized russian base to protect those interests. assad is losing control, alright, but not to the rebels - to the kremlin. in the end, that's who picks up the spot on the risk board.
and bloody hell cry the saudis, who started the mess in the first place, by launching an attack from a position of weakness. the russians will happily allow assad to follow his enemies, and one cannot think there is any other option should he remain in power, under kremlin guidance or not. assad cannot simply quietly rebuild, and show up cheerily to the arab league meetings. revenge is inevitable. and why wouldn't the russians nurture that? some ruthless asshole probably pointed out that you'd better kill the fucker while you get the chance, when in such situations.
but in the end it's just the russians and english fighting over shipping lanes. same shit as for the last forever.
i know wolff is trying to present workable alternatives, and i give him credit for it, but i think he's missing the point: the apathy about worker co-ops is built in large part by the absence of meaningful working class jobs. organizing a mcdonalds is not just different than organizing a car factory on a question of scale, it's different on a question of value. do we really want worker-run fast food restaurants, grocery stores and call centres? does that really have the potential to improve anybody's life?
the numbers points towards mechanization, rather than offshoring, as the prime contributor. isn't this a step forward in quality of life over actually running the factories with manual labour? if we could seize these forces of production for everybody....
i'm on record for my disdain of zizek, but something he's pointed to repeatedly is the idea that we've already passed through the socialist stage. marx wasn't a clairvoyant. historical materialism is more magic than science. maybe it's time to look around us and realize that actual communism is within our reach.
this is what the kids can see, and why they're convinced this co-op shit belongs in the 20th century.
http://truth-out.org/opinion/item/20991-worker-coops-and-left-strategy
the numbers points towards mechanization, rather than offshoring, as the prime contributor. isn't this a step forward in quality of life over actually running the factories with manual labour? if we could seize these forces of production for everybody....
i'm on record for my disdain of zizek, but something he's pointed to repeatedly is the idea that we've already passed through the socialist stage. marx wasn't a clairvoyant. historical materialism is more magic than science. maybe it's time to look around us and realize that actual communism is within our reach.
this is what the kids can see, and why they're convinced this co-op shit belongs in the 20th century.
http://truth-out.org/opinion/item/20991-worker-coops-and-left-strategy
what the numbers actually say is that roughly 60% of voters don't care about platforms, they just vote based on branding. when you factor in leaning, meaning the people that think before they vote, it's 47-41. that leaves around 10%, the traditional independent faction.
however, it's long been understood that independents that refuse to admit a political leaning actually lean republican. that puts the split where it's been for years.
gotcha politics from the soft-left press.
the only way an independent candidate is going to break through the mess is by appealing to a populist issue that transcends the traditional right/left divide. somebody like ron paul could have done it by building on opposition to the drug war and standing up for civil liberties, if he wasn't a racist, misogynist corporate stooge. somebody with glenn greenwald's politics and ross perot's money. of course, s/he'd be dead in a flash...
http://www.truth-out.org/buzzflash/commentary/item/18408-republican-voter-identification-falls-to-new-low-point-as-independent-voters-surge
however, it's long been understood that independents that refuse to admit a political leaning actually lean republican. that puts the split where it's been for years.
gotcha politics from the soft-left press.
the only way an independent candidate is going to break through the mess is by appealing to a populist issue that transcends the traditional right/left divide. somebody like ron paul could have done it by building on opposition to the drug war and standing up for civil liberties, if he wasn't a racist, misogynist corporate stooge. somebody with glenn greenwald's politics and ross perot's money. of course, s/he'd be dead in a flash...
http://www.truth-out.org/buzzflash/commentary/item/18408-republican-voter-identification-falls-to-new-low-point-as-independent-voters-surge
publishing ignorance is bliss (inri038)
the third of what will be four eps of material cycling around the deny everything lp, this is definitely a pretty heavy listen. as i tend to do, i've mixed some weird styles together here. electro-goth-grunge? noise-hop? industrial blues? ambient post-punk? i dunno. it's not easily describable, and i aim for that. as a piece of electronic music, it's pretty neat. let's leave it at that. three times in a row with subtle variations is going to require an interest in the topic. but, i demand some grit from my listeners; i expect that, in turn, from the musicians i admire.
so, have some fun tripping out into this. or don't. whatever.
--
this is a collection of versions of a track that was important to me around the turn of the century: three electronic versions and an electric folk version that i often played as a sort of a drunken party trick. the three electronic versions are arranged in decreasing complexity, and the electric folk version is at the end.
it's sort of about me, and sort of about my dad, and sort of about caricatures. we never had a dog drown, and i simply have no knowledge of the dynamics of my parents' sexual relationship. that's just an old country song. yet, there were a lot of stressful problems in both his work and family life, and that was being pointed to as a cause of his heart problems.
in hindsight, i'd tend to lean more towards genetics than stress. of course, that's something i have an interest in understanding further as i age. at the time, though, the focus was all about reducing the amount of stress he was dealing with.
i really just sort of didn't get it. i still don't *really* get it. stressed? well, chill out then. spark one up. put on a tune. it's maybe not as easy as snapping a finger, but it has to be about a general philosophy of life. see, i guess i place a lot less faith in the idea of free will than most people do - and my father, being a rush fan, and don't get me started on that travesty, put far more faith in it. when one is absolutely convinced that their entire life is determined by the choices they make, including the ones they don't make, it produces a lot of pressure to make or not make the right choices. meaning? he did it to himself - his atlas never shrugged.
ultimately, universe gonna hate. your so-called free will is doomed to be crushed in a wave of stochastics. the universe is a random, chaotic place defined by poorly understood probabilities. so, why bother concerning yourself so deeply with the consequences of your actions in this pointless existence, to the point that it might cut that existence short? it was the idea of him driving himself to cardiac arrest that pissed me off. you could be hit by an asteroid in your sleep. you could spontaneously combust. you could even wake up one day to find that aliens have landed and are taking over the world using robot gunships. once you get *that*, trying to fight for control seems pointless. embrace the random, and spiral out....
or, so, the debate went. i wasn't really comfortable writing a song *about* my old man, so i took a fictional first-person perspective and went to town with it a bit.
the vocals have come in and out of the track, but in the end they became attached solely to the electric folk version, leaving the electronic version solely as a piece of music.
the cover art bitmap is one of the files i put through coagula to produce sound out of light. inristart was a working title for the piece.
written and recorded, 1999-2001. track 2 was reconstructed out of existing sound in june, 2004. sequenced as is in jan, 2014. as always, please use headphones.
credits:
j - guitars, effects, bass, synthesizers, sequencing, drum programming, vocals, vocoders, sound design, sampling, digital wave editing, production
released july 11, 2000
https://jasonparent.bandcamp.com/album/ignorance-is-bliss
1) this was the meta mix: recorded from may to july, 2000 and included on the original deny everything demo. it's also the most produced mix, in the sense that it utilizes a number of electronic and guitar based sound effects that were dropped from the final mix. note also that the bass part is different and arguably better, if slightly out of sync.
i should point out, in the context of streaming it from this site, that it starts about 15 seconds in. this was a conscious thing that was designed to startle the listener. you're supposed to listen to the first fifteen seconds, adjust your volume, scratch your head, etc - and then jump a foot in the air when it actually comes on and scares the fuck out of you. even if you know it's coming, the suddenness is still jarring.
2) i've held to this version since june, 2004 but i'm going to update it for inclusion in deny everything, yet again. the fun part of being an unknown composer is that you can modify your works at a whim. well, known composers have done that, too. fuck the rock era. fuck rock stars.
it contains more of the track than the "original" inristart may, 2000 version but less of the track than the abandoned vocal mix (july, 2000).
the sections that were abandoned for this mix were largely overflows of the vocal version. for example, a short guitar solo was ignored because it seemed pointlessly indulgent and empty without it being an introduction to the vocals. there's also a sequenced "ukulele" part that ran through the vocal version that was discarded; it was a vocal accompaniment (in a way that may bring to mind lady in satin, or perhaps vespertine) that seemed to just appear out of nowhere. a thunder crack only made sense relative to the lyrics. a noise-funk guitar part was meant to work with the bass part and no longer did.
i was also in a more minimalist frame of mind back in '04 when i put it together. today, though, i want to bring in more of the vocal version. this version just feels half done.
this differs from the inristart version only in the addition of a lead guitar part that bridges the first and middle sections and a subtle feedback swell around twelve minutes in. these, however, are substantial differences that i feel are worth maintaining in their own mix.
the 2004 date seems anachronistic, but all the parts were recorded in the spring and early summer of 2000.
3) this is the oldest version i have and formed the basis of the final version.
4) this was never meant to be recorded like this, only played live, usually drunk, but a friend of mine talked me into recording it for inclusion in a radio rock project we were hatching up. well, he was hatching up. i didn't really have much of an artistic investment in it, i just agreed to play bass, because my friend needed a bassist more than any other reason. he wanted this to be a "hidden song". i obliged.
however, he was a little taken aback by the result. he wanted it to be twangy and country, which indicated a misunderstanding of the content. it's comical on a surreal level, but it's not a cheap comedy skit. his ideas would have devalued it and that sort of pissed me off; my refusal to redo it pissed him off. this was part of the reason that the project never went anywhere, except to spark rabit is wolf:
jasonparent.bandcamp.com/album/rabit-iz-wolf
this recording did not happen until mid 2001, but i was playing it at parties months before that. it's only very slightly anachronistic to attach it to here; the conceptual unity overpowers.
so, have some fun tripping out into this. or don't. whatever.
--
this is a collection of versions of a track that was important to me around the turn of the century: three electronic versions and an electric folk version that i often played as a sort of a drunken party trick. the three electronic versions are arranged in decreasing complexity, and the electric folk version is at the end.
it's sort of about me, and sort of about my dad, and sort of about caricatures. we never had a dog drown, and i simply have no knowledge of the dynamics of my parents' sexual relationship. that's just an old country song. yet, there were a lot of stressful problems in both his work and family life, and that was being pointed to as a cause of his heart problems.
in hindsight, i'd tend to lean more towards genetics than stress. of course, that's something i have an interest in understanding further as i age. at the time, though, the focus was all about reducing the amount of stress he was dealing with.
i really just sort of didn't get it. i still don't *really* get it. stressed? well, chill out then. spark one up. put on a tune. it's maybe not as easy as snapping a finger, but it has to be about a general philosophy of life. see, i guess i place a lot less faith in the idea of free will than most people do - and my father, being a rush fan, and don't get me started on that travesty, put far more faith in it. when one is absolutely convinced that their entire life is determined by the choices they make, including the ones they don't make, it produces a lot of pressure to make or not make the right choices. meaning? he did it to himself - his atlas never shrugged.
ultimately, universe gonna hate. your so-called free will is doomed to be crushed in a wave of stochastics. the universe is a random, chaotic place defined by poorly understood probabilities. so, why bother concerning yourself so deeply with the consequences of your actions in this pointless existence, to the point that it might cut that existence short? it was the idea of him driving himself to cardiac arrest that pissed me off. you could be hit by an asteroid in your sleep. you could spontaneously combust. you could even wake up one day to find that aliens have landed and are taking over the world using robot gunships. once you get *that*, trying to fight for control seems pointless. embrace the random, and spiral out....
or, so, the debate went. i wasn't really comfortable writing a song *about* my old man, so i took a fictional first-person perspective and went to town with it a bit.
the vocals have come in and out of the track, but in the end they became attached solely to the electric folk version, leaving the electronic version solely as a piece of music.
the cover art bitmap is one of the files i put through coagula to produce sound out of light. inristart was a working title for the piece.
written and recorded, 1999-2001. track 2 was reconstructed out of existing sound in june, 2004. sequenced as is in jan, 2014. as always, please use headphones.
credits:
j - guitars, effects, bass, synthesizers, sequencing, drum programming, vocals, vocoders, sound design, sampling, digital wave editing, production
released july 11, 2000
https://jasonparent.bandcamp.com/album/ignorance-is-bliss
1) this was the meta mix: recorded from may to july, 2000 and included on the original deny everything demo. it's also the most produced mix, in the sense that it utilizes a number of electronic and guitar based sound effects that were dropped from the final mix. note also that the bass part is different and arguably better, if slightly out of sync.
i should point out, in the context of streaming it from this site, that it starts about 15 seconds in. this was a conscious thing that was designed to startle the listener. you're supposed to listen to the first fifteen seconds, adjust your volume, scratch your head, etc - and then jump a foot in the air when it actually comes on and scares the fuck out of you. even if you know it's coming, the suddenness is still jarring.
2) i've held to this version since june, 2004 but i'm going to update it for inclusion in deny everything, yet again. the fun part of being an unknown composer is that you can modify your works at a whim. well, known composers have done that, too. fuck the rock era. fuck rock stars.
it contains more of the track than the "original" inristart may, 2000 version but less of the track than the abandoned vocal mix (july, 2000).
the sections that were abandoned for this mix were largely overflows of the vocal version. for example, a short guitar solo was ignored because it seemed pointlessly indulgent and empty without it being an introduction to the vocals. there's also a sequenced "ukulele" part that ran through the vocal version that was discarded; it was a vocal accompaniment (in a way that may bring to mind lady in satin, or perhaps vespertine) that seemed to just appear out of nowhere. a thunder crack only made sense relative to the lyrics. a noise-funk guitar part was meant to work with the bass part and no longer did.
i was also in a more minimalist frame of mind back in '04 when i put it together. today, though, i want to bring in more of the vocal version. this version just feels half done.
this differs from the inristart version only in the addition of a lead guitar part that bridges the first and middle sections and a subtle feedback swell around twelve minutes in. these, however, are substantial differences that i feel are worth maintaining in their own mix.
the 2004 date seems anachronistic, but all the parts were recorded in the spring and early summer of 2000.
3) this is the oldest version i have and formed the basis of the final version.
4) this was never meant to be recorded like this, only played live, usually drunk, but a friend of mine talked me into recording it for inclusion in a radio rock project we were hatching up. well, he was hatching up. i didn't really have much of an artistic investment in it, i just agreed to play bass, because my friend needed a bassist more than any other reason. he wanted this to be a "hidden song". i obliged.
however, he was a little taken aback by the result. he wanted it to be twangy and country, which indicated a misunderstanding of the content. it's comical on a surreal level, but it's not a cheap comedy skit. his ideas would have devalued it and that sort of pissed me off; my refusal to redo it pissed him off. this was part of the reason that the project never went anywhere, except to spark rabit is wolf:
jasonparent.bandcamp.com/album/rabit-iz-wolf
this recording did not happen until mid 2001, but i was playing it at parties months before that. it's only very slightly anachronistic to attach it to here; the conceptual unity overpowers.
Jessica Amber Murray
ok, i responded
mom
K...I'm off the phone with her now. How are you?
Jessica Amber Murray
i'm ok. was fighting with my hard drive, but it seems to have resolved itself for now at least. i don't know what happened, really. it's not doing the things that hard drives do when they die, leading me to believe it's not really dead, just had a hiccup.
mom
Mine is working good for awhile and then makes very loud noises as well....I took it into apple and they said it was an old dinosaur and they could not service it...told me to just back my stuff up and continue to use it...They tested my fan activity and said my fans were running right....Not sure what it is all about...I am just using it and hoping for the best.
Jessica Amber Murray
yeah, i still think it sounds like your drive. i think i may have actually accidentally zapped mine with a jolt of static electricity, because the plates aren't misbehaving. which means it could be fine or could be waiting to implode. but the guy is right - back your data up. it's a shame they won't just put a new drive in it. that's kind of jerky.
mom
Well, there is another place...The Mac Group, where I bought it from in the first place that I could bring it into and I think they would actually service it. I only have pics on it...I did put them onto a couple of usb sticks.
Jessica Amber Murray
well, if your drive is dying, you're either going to need a new drive or a new laptop. the electronics industry is so wasteful. people just buy new computers when a part breaks, it's craziness, really.
mom
It seems such a waste...I have so much space on mine...I have hardly used any at all...Do you think it just needs a good cleaning?
I did pull out some dust and crap with some extra long tweezers that I have and it did seem to work better after that.
The stuff that I could see.
Jessica Amber Murray
well, did the guys at the store say it was the drive? if it's the drive, you can't clean it. drives whir like that because they're off balance. your hard drive is sort of like a record player. it spins around and around. now, imagine a record player that wobbles. that's the clicking sound. ....if it's your drive. ultimately, it's a mechanical device, and it will break, eventually. like i said before: i've never actually seen a fan break like that. i can see how it's theoretically possible, but if that's what's going on it's the first time i've ever actually heard of it. more likely is that if your fan is misbehaving then it's getting jolted by a misbehaving power supply (power surges, basically).
mom
The guy just didn't know...He said the fans had the right whatever they are(I forget what they are?)...Could there be dust and dirt collected on them at all?
I pulled out a whole wad of crap...dusty piles of fibers or something from some of my fuzzy blankets or something...there was even some dried old tobacco that was attached as well.
Jessica Amber Murray
well, sure, they could collect crap, but i couldn't see it creating that kind of clicking. but, i mean, it seems possible in the abstract. 98% of the time, though, when a laptop clicks and whirs, it's the drive.
mom
Well... I guess eventually I will be looking at buying a new one then...Unless, I bring it into the mac group and see what they may do.
ok, i responded
mom
K...I'm off the phone with her now. How are you?
Jessica Amber Murray
i'm ok. was fighting with my hard drive, but it seems to have resolved itself for now at least. i don't know what happened, really. it's not doing the things that hard drives do when they die, leading me to believe it's not really dead, just had a hiccup.
mom
Mine is working good for awhile and then makes very loud noises as well....I took it into apple and they said it was an old dinosaur and they could not service it...told me to just back my stuff up and continue to use it...They tested my fan activity and said my fans were running right....Not sure what it is all about...I am just using it and hoping for the best.
Jessica Amber Murray
yeah, i still think it sounds like your drive. i think i may have actually accidentally zapped mine with a jolt of static electricity, because the plates aren't misbehaving. which means it could be fine or could be waiting to implode. but the guy is right - back your data up. it's a shame they won't just put a new drive in it. that's kind of jerky.
mom
Well, there is another place...The Mac Group, where I bought it from in the first place that I could bring it into and I think they would actually service it. I only have pics on it...I did put them onto a couple of usb sticks.
Jessica Amber Murray
well, if your drive is dying, you're either going to need a new drive or a new laptop. the electronics industry is so wasteful. people just buy new computers when a part breaks, it's craziness, really.
mom
It seems such a waste...I have so much space on mine...I have hardly used any at all...Do you think it just needs a good cleaning?
I did pull out some dust and crap with some extra long tweezers that I have and it did seem to work better after that.
The stuff that I could see.
Jessica Amber Murray
well, did the guys at the store say it was the drive? if it's the drive, you can't clean it. drives whir like that because they're off balance. your hard drive is sort of like a record player. it spins around and around. now, imagine a record player that wobbles. that's the clicking sound. ....if it's your drive. ultimately, it's a mechanical device, and it will break, eventually. like i said before: i've never actually seen a fan break like that. i can see how it's theoretically possible, but if that's what's going on it's the first time i've ever actually heard of it. more likely is that if your fan is misbehaving then it's getting jolted by a misbehaving power supply (power surges, basically).
mom
The guy just didn't know...He said the fans had the right whatever they are(I forget what they are?)...Could there be dust and dirt collected on them at all?
I pulled out a whole wad of crap...dusty piles of fibers or something from some of my fuzzy blankets or something...there was even some dried old tobacco that was attached as well.
Jessica Amber Murray
well, sure, they could collect crap, but i couldn't see it creating that kind of clicking. but, i mean, it seems possible in the abstract. 98% of the time, though, when a laptop clicks and whirs, it's the drive.
mom
Well... I guess eventually I will be looking at buying a new one then...Unless, I bring it into the mac group and see what they may do.
Saturday, January 11, 2014
re:
from: Jessica Murray <death.to.koalas@gmail.com>
To: grandmother's email address
yeah, it's not bad here, really. well, compared to what i'm used to. those minus thirty lows last week were record setting, here. that was really only a few days, though, and it's back to being pleasant. but, the locals aren't used to even -10 weather. so, for me it's actually a fairly mild winter....highs are around -5 on average...and the big snow storm we got a few days ago will likely be gone in a few days.
there's no plows on the streets, though. four days after the storm, cars were still getting stuck on the main roads. that's how not used to winter this place is.
i'm definitely working on the music. what i'm doing right now is slowly working through my old material, going back to the late 90s. it's taking a little longer than i wanted, but it's something i've been wanting to do for a while. and i'm just about through it. it's up over here if you want to take a listen to some of it:
http://jasonparent.bandcamp.com
i shouldn't have a problem cashing a check. i'm allowed to claim a certain amount as gifts. that's probably constructed mostly to allow christmas and birthday presents. it would be rather cruel to deny odsp people (many of whom are far more disabled than i, and far more attached to gift-giving than i) of the ability to receive gifts. i don't even think harper would be that cruel. it's income that they track.
...but don't feel obligated. i don't often celebrate holidays. i'd certainly appreciate anything you'd send, but don't feel like you need to.
besides that, things are actually fairly comfortable here. i'm actually pretty content. life is about reading and composing, like i feel it should be.
glad to hear leo's ok. and i hope willy is doing well, too.
j
To: grandmother's email address
yeah, it's not bad here, really. well, compared to what i'm used to. those minus thirty lows last week were record setting, here. that was really only a few days, though, and it's back to being pleasant. but, the locals aren't used to even -10 weather. so, for me it's actually a fairly mild winter....highs are around -5 on average...and the big snow storm we got a few days ago will likely be gone in a few days.
there's no plows on the streets, though. four days after the storm, cars were still getting stuck on the main roads. that's how not used to winter this place is.
i'm definitely working on the music. what i'm doing right now is slowly working through my old material, going back to the late 90s. it's taking a little longer than i wanted, but it's something i've been wanting to do for a while. and i'm just about through it. it's up over here if you want to take a listen to some of it:
http://jasonparent.bandcamp.com
i shouldn't have a problem cashing a check. i'm allowed to claim a certain amount as gifts. that's probably constructed mostly to allow christmas and birthday presents. it would be rather cruel to deny odsp people (many of whom are far more disabled than i, and far more attached to gift-giving than i) of the ability to receive gifts. i don't even think harper would be that cruel. it's income that they track.
...but don't feel obligated. i don't often celebrate holidays. i'd certainly appreciate anything you'd send, but don't feel like you need to.
besides that, things are actually fairly comfortable here. i'm actually pretty content. life is about reading and composing, like i feel it should be.
glad to hear leo's ok. and i hope willy is doing well, too.
j
mom
Hi J...Did you receive an email from Nanny? She wants to know if you got it around 7pm tonight? She is fretting about computer issues again....lol.
Jessica Amber Murray
i haven't checked my email in a few days. i don't know how i can help her from here. i'll check, though...
ok, no, it's not a computer help email. i got it though, responding...
mom
OK...Good...That's all she wanted to know. I am on the phone with her right now...
Jessica Amber Murray
she put the entire email in the subject line. i'm laughing my ass off.
mom
LOL....
LOL....I am explaining to her what she did...lol....Not sure she understands though...lol...She was wondering why it seemed to disappear....lol....She is laughing now too...she wants you to answer her back right now.
Jessica Amber Murray
yeah, well, it's going to take a few minutes to type it.
mom
K
Hi J...Did you receive an email from Nanny? She wants to know if you got it around 7pm tonight? She is fretting about computer issues again....lol.
Jessica Amber Murray
i haven't checked my email in a few days. i don't know how i can help her from here. i'll check, though...
ok, no, it's not a computer help email. i got it though, responding...
mom
OK...Good...That's all she wanted to know. I am on the phone with her right now...
Jessica Amber Murray
she put the entire email in the subject line. i'm laughing my ass off.
mom
LOL....
LOL....I am explaining to her what she did...lol....Not sure she understands though...lol...She was wondering why it seemed to disappear....lol....She is laughing now too...she wants you to answer her back right now.
Jessica Amber Murray
yeah, well, it's going to take a few minutes to type it.
mom
K
the oldest aunt's wife
just to let you have know your aunt had a heart attack thursday or early friday they put 3 stents in today all went well she is resting comfortable in ottawa heart inst.
Jessica Amber Murray
i'm sorry to hear that. i have to ask, though: i've been under the impression for quite some time that her heart's health is tenuous. i think she has multiple pacemakers? are the doctors letting on anything about her more general condition after this recent heart attack?
the oldest aunt's wife
the multiple pacemaker was not for that problem all 3 stents are in seen artery have not seen dr he came in just for her or she would have had to wait untill monday
pressure and heart rate was high and worried about more damage
Jessica Amber Murray
ok. well, i wish her luck and send her best wishes! let me know if you hear more info, please.
the oldest aunt's wife
sure well
just to let you have know your aunt had a heart attack thursday or early friday they put 3 stents in today all went well she is resting comfortable in ottawa heart inst.
Jessica Amber Murray
i'm sorry to hear that. i have to ask, though: i've been under the impression for quite some time that her heart's health is tenuous. i think she has multiple pacemakers? are the doctors letting on anything about her more general condition after this recent heart attack?
the oldest aunt's wife
the multiple pacemaker was not for that problem all 3 stents are in seen artery have not seen dr he came in just for her or she would have had to wait untill monday
pressure and heart rate was high and worried about more damage
Jessica Amber Murray
ok. well, i wish her luck and send her best wishes! let me know if you hear more info, please.
the oldest aunt's wife
sure well
hi j; I haven't heard from you for ages! how are you doing?We are having the worst weather I can remember, I guess you are too.All is well here Leo is back to normal working 12 hour days again,but that is what he likes to do.Are you doing your music as you had hoped when you moved there?I think of you often & miss you even though we had our differences sometimes.Will you have trouble cashing a cheque as I would like to send you one for your birthday on the 13th, take care & let me know.luv nanny. .ahve
From: grandmother's email address
To: jessica murray <death.to.koalas@gmail.com>
To: jessica murray <death.to.koalas@gmail.com>
yeah. back on the modern laptop....
i may be on borrowed time. the bios hard drive test is still faulting. but the windows tools disagree. i dunno. i'm hesitant to take the bios tests completely seriously. i mean, here i am. i want to believe it was just the mbr that got corrupted and i fucked up the recovery through impatience. so, the bios is finding a few bad sectors. meh. i'm surprised it's not redirecting me to the company's website, because that's what it's probably about.
regardless, what i really wanted was to get some data off and it's on the way off. now, whatever happens happens.
...but why is windows so stupid? i should have just downloaded imgburn. instead, i'm stuck waiting for it to copy 200,000 files to a temporary directory or something. why does it need to copy to a temporary directory to burn a fucking dvd?
...and, while i'm at it, why won't it let me copy jpgs to my mp3 player? because it's an mp3 player? fucking derp. it's not even an ipod, it's a sansa. i was trying specifically to avoid stupid fucking apple bullshit.
xp forever, baby. if i ever actually buy another laptop, it's coming with xp on it. this windows-trying-to-be-osx shit is revolting to me. alas, the bios on this thing will not allow xp on it. *sigh*.
i didn't lose anything important in this process. i lost my hundreds of open tabs. reading i'd put aside. bands to check out. that's an annoyance and not a catastrophe. i don't like it, but i'll survive.
i have a lot of catching up to do, though. just an excuse to listen to some music...
it's just still not whirring or clicking or anything. it just doesn't add up.
i may be on borrowed time. the bios hard drive test is still faulting. but the windows tools disagree. i dunno. i'm hesitant to take the bios tests completely seriously. i mean, here i am. i want to believe it was just the mbr that got corrupted and i fucked up the recovery through impatience. so, the bios is finding a few bad sectors. meh. i'm surprised it's not redirecting me to the company's website, because that's what it's probably about.
regardless, what i really wanted was to get some data off and it's on the way off. now, whatever happens happens.
...but why is windows so stupid? i should have just downloaded imgburn. instead, i'm stuck waiting for it to copy 200,000 files to a temporary directory or something. why does it need to copy to a temporary directory to burn a fucking dvd?
...and, while i'm at it, why won't it let me copy jpgs to my mp3 player? because it's an mp3 player? fucking derp. it's not even an ipod, it's a sansa. i was trying specifically to avoid stupid fucking apple bullshit.
xp forever, baby. if i ever actually buy another laptop, it's coming with xp on it. this windows-trying-to-be-osx shit is revolting to me. alas, the bios on this thing will not allow xp on it. *sigh*.
i didn't lose anything important in this process. i lost my hundreds of open tabs. reading i'd put aside. bands to check out. that's an annoyance and not a catastrophe. i don't like it, but i'll survive.
i have a lot of catching up to do, though. just an excuse to listen to some music...
it's just still not whirring or clicking or anything. it just doesn't add up.
yeah. no, it's cooked. i guess it got wiped with the file table. grargh. oh well..
it's back up, though. installing drivers, should be back online soon. oddly, though, i'm going to need to keep using this old laptop to upload files to bandcamp until i can get another usb key....which shouldn't be too long...early february....
it's back up, though. installing drivers, should be back online soon. oddly, though, i'm going to need to keep using this old laptop to upload files to bandcamp until i can get another usb key....which shouldn't be too long...early february....
well, the data drive is now mounting after a
chkdsk. thankfully. the data is there and completely safe. i'm going to
need to back a few things up more carefully. i should have done that
some time ago, really. but windows 7 doesn't like my external hds
(there's no reason for this, btw, it seems like a corporate side deal -
the drive works perfectly fine in xp and even vista). so i'll have to
wait until it gets back up.
the os drive got wiped in the attempted reinstall. i should have known that was going to happen. i did vista support. they taught us that. but note that xp wouldn't have wiped the drive like that, and i'm still in an xp world. i still have xp running on all my pcs and would honestly install it on the laptops if the bios would allow it (that's some fucking proprietary bullshit, but you take what you get with free laptops). there are reasons they switched to an image-based install, and some of them make good sense, but they should have retained the functionality of a straight-over reinstall. this is why windows users fucking hate macs. give me back my user control! let me install what i want! how i want! and, ultimately, the start-up utility failed, guys. you'll point to that as a reason to move to image-based installs without losing the benefit of a copy over reinstall, but it didn't work. i would have been nice to not lose the entire partition.
but i'll blame myself. i was being impatient, and impulsive. i should have known that was going to happen...
regardless, it wiped the partition table, so i had no option but to reformat it. and the chkdsk is running quickly through the "empty" drive. meaning my initial intuition of a fucked file system (rather than a fucked drive) seems to have been correct.
if i'm lucky, i might be able to salvage the open tabs by running restoration programs. formats don't delete data. it might still be accessible. and that's actually all i've lost. it's substantial, though: hundreds of tabs. articles. records. more than that, just flat out ordered tasks. everything else is on the data drive. now, how to get a fresh install of firefox to load that information is another question, and is going to be an experiment. i don't know the answer to this. i know the information is stored somewhere on the drive rather than solely in ram, but how to salvage it i don't know. let's hope i can get it at all to start off with....
overall, though, it's more of an annoyance than a catastrophe. lucky. i still don't know how it happened. i'm starting to suspect a power surge, though. i didn't think anything of it at the time, but i had just popped an sd card into the machine when it fizzed out on me. could the static have shorted it?
the os drive got wiped in the attempted reinstall. i should have known that was going to happen. i did vista support. they taught us that. but note that xp wouldn't have wiped the drive like that, and i'm still in an xp world. i still have xp running on all my pcs and would honestly install it on the laptops if the bios would allow it (that's some fucking proprietary bullshit, but you take what you get with free laptops). there are reasons they switched to an image-based install, and some of them make good sense, but they should have retained the functionality of a straight-over reinstall. this is why windows users fucking hate macs. give me back my user control! let me install what i want! how i want! and, ultimately, the start-up utility failed, guys. you'll point to that as a reason to move to image-based installs without losing the benefit of a copy over reinstall, but it didn't work. i would have been nice to not lose the entire partition.
but i'll blame myself. i was being impatient, and impulsive. i should have known that was going to happen...
regardless, it wiped the partition table, so i had no option but to reformat it. and the chkdsk is running quickly through the "empty" drive. meaning my initial intuition of a fucked file system (rather than a fucked drive) seems to have been correct.
if i'm lucky, i might be able to salvage the open tabs by running restoration programs. formats don't delete data. it might still be accessible. and that's actually all i've lost. it's substantial, though: hundreds of tabs. articles. records. more than that, just flat out ordered tasks. everything else is on the data drive. now, how to get a fresh install of firefox to load that information is another question, and is going to be an experiment. i don't know the answer to this. i know the information is stored somewhere on the drive rather than solely in ram, but how to salvage it i don't know. let's hope i can get it at all to start off with....
overall, though, it's more of an annoyance than a catastrophe. lucky. i still don't know how it happened. i'm starting to suspect a power surge, though. i didn't think anything of it at the time, but i had just popped an sd card into the machine when it fizzed out on me. could the static have shorted it?
i
was starting to suspect funny wiring in this room and may be right -
when i switched outlets, the chkdsk completed very quickly on my data
drive and it seems like it's actually ok. why it won't mount is another
question, but i'm starting to think it might be a windows "security"
thing. have to see if i can load it with a linux live disc....
this is the only outlet in the apartment that's not on a surge protector. i'm not giving up yet, though...
i'm getting the impression i may be able to do a sort of blind copy. i mean, i can't read the partition, but i can read that there's data on the partition. if i can read that there's data, there has to be a way to read the data.
this is the only outlet in the apartment that's not on a surge protector. i'm not giving up yet, though...
i'm getting the impression i may be able to do a sort of blind copy. i mean, i can't read the partition, but i can read that there's data on the partition. if i can read that there's data, there has to be a way to read the data.
Friday, January 10, 2014
i didn't feel that arctic air mass come in, but it's leaving the area like a gastric vortex.
if i haven't posted about this here, i have a weird stomach condition that seems to be driven by shifts in atmospheric pressure. it gets really bad when the weather shifts with seasons, i'll point out when the season really starts by noting that i'm writhing in pain, but also during big thunderstorms and other things related to shifts in pressure.
i've talked to a few doctors, and the general consensus is that i'm a raving lunatic. i didn't really need the diagnosis - it's intuitively clear. but so is this daunting correlation....
if i haven't posted about this here, i have a weird stomach condition that seems to be driven by shifts in atmospheric pressure. it gets really bad when the weather shifts with seasons, i'll point out when the season really starts by noting that i'm writhing in pain, but also during big thunderstorms and other things related to shifts in pressure.
i've talked to a few doctors, and the general consensus is that i'm a raving lunatic. i didn't really need the diagnosis - it's intuitively clear. but so is this daunting correlation....
publishing the curious george suite (inri037)
i've never released this in it's entirety. i was cycling it around bush' election campaign, hoping to get it done right before the election. unfortunately, i lost most of the source files in a hard drive crash that summer. must have been nsa. i thought i had lost the song altogether until i found a cd-r with this 90% done version on it after i moved in the fall. the only things missing were the vocals and a bass part that i never recorded.
as i'm being comprehensive, i'm going to throw it up as an ep.
musically, it's actually an arena rock song sandwiched between two lengthy sections of experimental electronic music.
--
so, i was absolutely mortified of george w. bush considerably before it was cool.
clinton had some problems, and gore was, at the time, a cartoon character; if you want to blame it on something other than the rain (and the moon and the stars), you should blame it on low turnout - something that was largely probably spurred on by the assumption that bush couldn't possibly actually win. well, maybe it was a fitting way to end the 90s. here's your apathy, kids. served cold. ice cold. cold as the blood of a shape-shifting lizard person...and cold as the blood on it's hands.
of course, standing in the spring of 2000, i had no way of knowing what was about to be unleashed. i was mostly still just pissed at clinton for bombing medicine factories in the sudan. i mean, the level of assholery underlying it was just.....the threat of "terrorism" could hardly justify that kind of indiscriminate bombing....fucking medicine factories...
the way i interpreted it was something more along the lines of this half-evolved hominid of undisclosed type slowly riding into town on horseback (with cronies in tow, including one with a yellow hat). it felt like you could see him coming days in the distance. it was unclear what was going to happen when he got to town, but it felt ominous. there was nothing to do but just wait, maybe prepare a little and ultimately hope for the best, even while bracing for the worst.
so, i did what i do - i wrote a conceptual piece about it with the intent of raising awareness. even just amongst friends would help, if they'd talk. etc.
...or, well, i sort of did, anyways. see, i lost a hard drive around this period, and most of the song along with it. what is posted here is a 90% done version that i thought i had lost completely but stumbled upon a few months after the election, after i had moved. given the circumstances, i'm lucky that i found this at all. however, it's remained unreleased as a cohesive piece all of these years.
well, the election was over. it was no longer worthwhile to finish it. i suppose that if i was operating on a profit motive, or a desire for control, i would have finished it. instead, i just felt like i failed to warn people, and it actually put me into a pretty deep depression for a while. it was too late, i blew it, we're fucking doomed....finishing it wouldn't matter....nothing mattered anymore...
listening to it now, it could maybe use a bass part. all this was really missing, though, were the vocals - which were also lost on the hard drive. i have no recollection of them at all at this point and don't see the value in making new ones up.
i did have the first and second section put aside somewhere, on a cd-r. i was able to fill that up with samples and get it out just before the election, and it also ended up sequenced into deny everything. so, it wasn't a total loss.
as for this suite, though? i present it as i've recovered it, with no further comment than that it accurately represents the deep, foreboding fear of the future that was in the air around the period that bush was elected.
this is a song cycle.
i'm almost entirely certain that at least a few of the members of gybe! were aware of my curious george project a considerable amount of time before they released their own sound art sample project, but i don't hold it against them (it was released as an outtake, and one may note that they're a large influence on my recordings in this period. mutual influence is fully permitted.).
recorded in spring, 2000. released, unmodified, in jan, 2014. as always, please use headphones.
credits:
j - guitar, effects, bass, synth, drums, drum programming, sequencing, sound design, loops, digital wave editing, production
released may 10, 2000
1) i can date this well, and report that this was the initial idea of the track. if you read the books (and i'd advise against reading these to your kids), there's actually a fairly graphic section at the beginning where george is captured from the jungle by the man with the yellow hat.
the man with the yellow hat really comes off as a dick.
anyways, that's what's going on here with this.
the cd-r i found has an early version of acidosis followed by this suite. over time, i began to interpret the jungle sounds as being more connected to acidosis than to this suite and this did end up there, in modified form, as 'life goes on'. that being said, the version attached to acidosis was reconstructed from the initial samples because i lost this collage when my hard drive crashed...
the source files (along with the files for part 2) are dated to the end of april, which seems roughly right.
what i did was get a bunch of jungle sounds together and let sound raider mess with them. i then created a file in audiomulch that produced some exotic drum effects and adds in some unusual noises.
it's an atmospheric track in either context.
2) this section was augmented with samples:
jasonparent.bandcamp.com/album/curious-george-2
it was also released on deny everything:
jasonparent.bandcamp.com/album/deny-everything
(https://jasonparent.bandcamp.com/track/curious-george)
musically, the track is a combination of an experiment with an idea. i should note that this suite together is maybe the first original track in the style that dominates my output over the next few years, even if it's incomplete (albeit hereby decreed complete). the idea was about creating "guitar symphonies" (and while i was aware of the work of oldfield and fripp, and of sonic youth and gybe!, branca was a black hole for me at the time) in a minimalist, electronic framework that most readily draws to mind the work of trent reznor. this is the first of many expressions and evolutions of that idea. the experiment was with a program called "leaf drums", which is a fairly basic drum machine except in it's ability to manipulate samples with effects in realtime (remember that this is the spring of 2000). once i had that loop running, i started playing some of the riffs i had put aside for the guitar symphony, mostly just to play around with them. it stuck far better than i expected....and that's really the extent of the track.
the bush sample at the beginning is a constructed loop rather than a direct quote. he was talking about gore - "this guy would say anything to get elected, i'd...". that was flipped around to "i'd say anything to get elected" and looped. well, at this point i don't think anybody is going to stand up for bush' honesty or credibility. regardless, the way i looped it purposefully pans it to make it obvious that it's not a direct quote.
the lost version was built up considerably further than this; this version has three guitar parts, the lost version had closer to ten. i was too focused on getting the samples together to worry about re-recording the guitar parts. i don't remember them at this point and will not make up new ones. to be honest, this is far easier to listen to, and, while i mourn the loss of the completed version, i'm actually happy that i kept a more stripped down one.
3) if i could find a source for the "people who are going to commit crimes shouldn't have guns" quote, i could maybe date this better. unfortunately, i suspect google has done some scrubbing for the bush family, which is a scary thought. i think it was early may, but it may be a little later.
i can't remember if i finished most of this, put it aside for later, recorded acidosis and then lost the hard drive OR if i finished the very beginning of this, recorded acidosis, then recorded the second half of this and then lost the drive. meaning, this is either early may or it's mid-september.
there's a number of reasons to lean towards may, though. the drums, firstly. there are not live drum parts in any of the material recorded from mid-may forwards. that indicates that they weren't available to play. second, i remember the early summer sun hitting me when recording the fourth part - and specifically in the hilliard basement, rather than the lexington basement i'd move to over the fall. there's a kind of nausea attached to the mid-season sun that only occurs in april/may and sept/oct.
musically, this extends out of the previous experiment, but it's easy to hear that that is an introduction to this, that this was meant to be the song that that leads into. as the big, ridiculous arena-rock tune it is? it holds up well. note that the aim was to push a message, and the arena rock theme wasn't an accident. this was supposed to be the take-away, the radio play, the thing that got stuck in your head.
i never added a bass track and don't see a point in doing so now. however, what is actually lost is really solely a heavily vocoded vocal track. i won't re-do it. i'll explain it a little. the theme underlying the curious george analogy was one of seeing bush as a corporate puppet. wherever george went, the man in the yellow hat would follow - to oversee, influence and ultimately dominate. i wasn't taking the analogy very far, i was simply drawing it with the aim of hoping that people would educate themselves about the dangers that he posed.
4) this was meant to be instrumental, and wouldn't have been modified in any way except maybe to embiggen the end part. i didn't expect to ever release this, so i raided the track for inclusion in ftaa:
jasonparent.bandcamp.com/track/through-the-looking-glass
as i'm being comprehensive, i'm going to throw it up as an ep.
musically, it's actually an arena rock song sandwiched between two lengthy sections of experimental electronic music.
--
so, i was absolutely mortified of george w. bush considerably before it was cool.
clinton had some problems, and gore was, at the time, a cartoon character; if you want to blame it on something other than the rain (and the moon and the stars), you should blame it on low turnout - something that was largely probably spurred on by the assumption that bush couldn't possibly actually win. well, maybe it was a fitting way to end the 90s. here's your apathy, kids. served cold. ice cold. cold as the blood of a shape-shifting lizard person...and cold as the blood on it's hands.
of course, standing in the spring of 2000, i had no way of knowing what was about to be unleashed. i was mostly still just pissed at clinton for bombing medicine factories in the sudan. i mean, the level of assholery underlying it was just.....the threat of "terrorism" could hardly justify that kind of indiscriminate bombing....fucking medicine factories...
the way i interpreted it was something more along the lines of this half-evolved hominid of undisclosed type slowly riding into town on horseback (with cronies in tow, including one with a yellow hat). it felt like you could see him coming days in the distance. it was unclear what was going to happen when he got to town, but it felt ominous. there was nothing to do but just wait, maybe prepare a little and ultimately hope for the best, even while bracing for the worst.
so, i did what i do - i wrote a conceptual piece about it with the intent of raising awareness. even just amongst friends would help, if they'd talk. etc.
...or, well, i sort of did, anyways. see, i lost a hard drive around this period, and most of the song along with it. what is posted here is a 90% done version that i thought i had lost completely but stumbled upon a few months after the election, after i had moved. given the circumstances, i'm lucky that i found this at all. however, it's remained unreleased as a cohesive piece all of these years.
well, the election was over. it was no longer worthwhile to finish it. i suppose that if i was operating on a profit motive, or a desire for control, i would have finished it. instead, i just felt like i failed to warn people, and it actually put me into a pretty deep depression for a while. it was too late, i blew it, we're fucking doomed....finishing it wouldn't matter....nothing mattered anymore...
listening to it now, it could maybe use a bass part. all this was really missing, though, were the vocals - which were also lost on the hard drive. i have no recollection of them at all at this point and don't see the value in making new ones up.
i did have the first and second section put aside somewhere, on a cd-r. i was able to fill that up with samples and get it out just before the election, and it also ended up sequenced into deny everything. so, it wasn't a total loss.
as for this suite, though? i present it as i've recovered it, with no further comment than that it accurately represents the deep, foreboding fear of the future that was in the air around the period that bush was elected.
this is a song cycle.
i'm almost entirely certain that at least a few of the members of gybe! were aware of my curious george project a considerable amount of time before they released their own sound art sample project, but i don't hold it against them (it was released as an outtake, and one may note that they're a large influence on my recordings in this period. mutual influence is fully permitted.).
recorded in spring, 2000. released, unmodified, in jan, 2014. as always, please use headphones.
credits:
j - guitar, effects, bass, synth, drums, drum programming, sequencing, sound design, loops, digital wave editing, production
released may 10, 2000
1) i can date this well, and report that this was the initial idea of the track. if you read the books (and i'd advise against reading these to your kids), there's actually a fairly graphic section at the beginning where george is captured from the jungle by the man with the yellow hat.
the man with the yellow hat really comes off as a dick.
anyways, that's what's going on here with this.
the cd-r i found has an early version of acidosis followed by this suite. over time, i began to interpret the jungle sounds as being more connected to acidosis than to this suite and this did end up there, in modified form, as 'life goes on'. that being said, the version attached to acidosis was reconstructed from the initial samples because i lost this collage when my hard drive crashed...
the source files (along with the files for part 2) are dated to the end of april, which seems roughly right.
what i did was get a bunch of jungle sounds together and let sound raider mess with them. i then created a file in audiomulch that produced some exotic drum effects and adds in some unusual noises.
it's an atmospheric track in either context.
2) this section was augmented with samples:
jasonparent.bandcamp.com/album/curious-george-2
it was also released on deny everything:
jasonparent.bandcamp.com/album/deny-everything
(https://jasonparent.bandcamp.com/track/curious-george)
musically, the track is a combination of an experiment with an idea. i should note that this suite together is maybe the first original track in the style that dominates my output over the next few years, even if it's incomplete (albeit hereby decreed complete). the idea was about creating "guitar symphonies" (and while i was aware of the work of oldfield and fripp, and of sonic youth and gybe!, branca was a black hole for me at the time) in a minimalist, electronic framework that most readily draws to mind the work of trent reznor. this is the first of many expressions and evolutions of that idea. the experiment was with a program called "leaf drums", which is a fairly basic drum machine except in it's ability to manipulate samples with effects in realtime (remember that this is the spring of 2000). once i had that loop running, i started playing some of the riffs i had put aside for the guitar symphony, mostly just to play around with them. it stuck far better than i expected....and that's really the extent of the track.
the bush sample at the beginning is a constructed loop rather than a direct quote. he was talking about gore - "this guy would say anything to get elected, i'd...". that was flipped around to "i'd say anything to get elected" and looped. well, at this point i don't think anybody is going to stand up for bush' honesty or credibility. regardless, the way i looped it purposefully pans it to make it obvious that it's not a direct quote.
the lost version was built up considerably further than this; this version has three guitar parts, the lost version had closer to ten. i was too focused on getting the samples together to worry about re-recording the guitar parts. i don't remember them at this point and will not make up new ones. to be honest, this is far easier to listen to, and, while i mourn the loss of the completed version, i'm actually happy that i kept a more stripped down one.
3) if i could find a source for the "people who are going to commit crimes shouldn't have guns" quote, i could maybe date this better. unfortunately, i suspect google has done some scrubbing for the bush family, which is a scary thought. i think it was early may, but it may be a little later.
i can't remember if i finished most of this, put it aside for later, recorded acidosis and then lost the hard drive OR if i finished the very beginning of this, recorded acidosis, then recorded the second half of this and then lost the drive. meaning, this is either early may or it's mid-september.
there's a number of reasons to lean towards may, though. the drums, firstly. there are not live drum parts in any of the material recorded from mid-may forwards. that indicates that they weren't available to play. second, i remember the early summer sun hitting me when recording the fourth part - and specifically in the hilliard basement, rather than the lexington basement i'd move to over the fall. there's a kind of nausea attached to the mid-season sun that only occurs in april/may and sept/oct.
musically, this extends out of the previous experiment, but it's easy to hear that that is an introduction to this, that this was meant to be the song that that leads into. as the big, ridiculous arena-rock tune it is? it holds up well. note that the aim was to push a message, and the arena rock theme wasn't an accident. this was supposed to be the take-away, the radio play, the thing that got stuck in your head.
i never added a bass track and don't see a point in doing so now. however, what is actually lost is really solely a heavily vocoded vocal track. i won't re-do it. i'll explain it a little. the theme underlying the curious george analogy was one of seeing bush as a corporate puppet. wherever george went, the man in the yellow hat would follow - to oversee, influence and ultimately dominate. i wasn't taking the analogy very far, i was simply drawing it with the aim of hoping that people would educate themselves about the dangers that he posed.
4) this was meant to be instrumental, and wouldn't have been modified in any way except maybe to embiggen the end part. i didn't expect to ever release this, so i raided the track for inclusion in ftaa:
jasonparent.bandcamp.com/track/through-the-looking-glass
Thursday, January 9, 2014
entropy (replaced album mix)
this is an augmented experiment with a program called "sounder" that takes advantage of some obscure midi qualities to transport the act of triggering a note into the physical world. imagine a midi tennis ball that triggers at different intensities based on how hard the ball is thrown at a wall. now, imagine a frictionless space where that ball can bounce around indefinitely. sounder virtualizes this reality.
the experiment was augmented with synthesizer and guitar parts, and a sample of garry trudeau posing as a political candidate and being interviewed by larry king. i first interacted with that sample early in the morning in a deeply altered state and came to attach certain feelings to it that are difficult to describe. while it's clearly parody, it hit me as being frighteningly representative of reality. i suppose that all effective parody has this quality. perhaps my reaction speaks more of where i was at this point than anything else. i wasn't reacting well to the return of republicanism; i was very much dreading the future that i had no control in preventing. the absurd truth, here, cut me right down.
i was fucking baked.
eventually, i decided that the sample is just not worth listening to repeatedly and removed it from the track. the initial version, with doonesbury sample, is available here:
jasonparent.bandcamp.com/track/entropy-original-mix
initially recorded in late 1999. reconstructed to remove the sample on sept 17, 2006.
https://jasonparent.bandcamp.com/track/entropy
the experiment was augmented with synthesizer and guitar parts, and a sample of garry trudeau posing as a political candidate and being interviewed by larry king. i first interacted with that sample early in the morning in a deeply altered state and came to attach certain feelings to it that are difficult to describe. while it's clearly parody, it hit me as being frighteningly representative of reality. i suppose that all effective parody has this quality. perhaps my reaction speaks more of where i was at this point than anything else. i wasn't reacting well to the return of republicanism; i was very much dreading the future that i had no control in preventing. the absurd truth, here, cut me right down.
i was fucking baked.
eventually, i decided that the sample is just not worth listening to repeatedly and removed it from the track. the initial version, with doonesbury sample, is available here:
jasonparent.bandcamp.com/track/entropy-original-mix
initially recorded in late 1999. reconstructed to remove the sample on sept 17, 2006.
https://jasonparent.bandcamp.com/track/entropy
gravity’s rainbow (original album mix)
reading pynchon, smoking pot, listening to floyd, watching star trek re-runs: must be the mid 70s. naw. early 00s....
"the real war is always there. the dying tapers off now and then, but the war is still killing lots of people. only right now it is killing them in more subtle ways, often in ways that are too subtle, even for us, at this level, to trace."
i have very clear memories of tripping out pretty hard into audiomulch programs as the sun appeared through some frosty february mornings. these were fun sounds to program through the bright winter dawn.
the concept came to me while reading the opening sections of the novel of the same title. "gravity's rainbow", itself, is a technical term that refers to the period of time that occurred between a rocket strike and the sound of it coming in. as they were able to move faster than sound, this happened in a way that was non-intuitive: the explosion would happen *first*, and the sound would come after. the inability to hear the rockets come in made life just a wee bit stressful in london during the war.
specifically, the opening scene narrates a movement of people into the london subway system, which was used as a system of bunkers during attacks. we're so far removed from this that it's hard to imagine: sirens going off, perhaps in the middle of the night, followed by waves of working class english scrambling for cover by the trains...
there was a point where it came to me fairly lucidly. i just needed to orchestrate it. it's a famously difficult text, but one can get the idea of the song by merely reading the first chapter.
the star trek sample came later. there were re-runs on around 4:00 in the morning; there probably still are, but i turned the tv off permanently shortly after this song was constructed. we all know what else happens around twenty minutes past 4:00 AM. it was a ritual over that winter. the episode precedes the novel, so it couldn't have been influenced by it, but it is strangely topical in the way that it relates the organians to the pynchonian "counterforce". yet, as mentioned, i was smoking a lot of pot at the time....
musically, the track is dual-layered. i've had it described as "an indescribable mixture of conventional and unconventional music" (paraphrase), which is an exaggeration that i'll take as a compliment. the song itself has a sort of an acoustic prog feel that some may compare to porcupine tree or radiohead but was in truth heavily influenced by john lennon and pink floyd (i like early radiohead, but i think porcupine tree is pretentious garbage). the effects underneath the track were constructed using a number of 16-bit sound design programs and unusual approaches to synthesis.
as mentioned, the memories are with the sun coming up. maybe you can get a bit of a sense of that.
recorded in spring, 2000.
https://jasonparent.bandcamp.com/track/gravitys-rainbow
"the real war is always there. the dying tapers off now and then, but the war is still killing lots of people. only right now it is killing them in more subtle ways, often in ways that are too subtle, even for us, at this level, to trace."
i have very clear memories of tripping out pretty hard into audiomulch programs as the sun appeared through some frosty february mornings. these were fun sounds to program through the bright winter dawn.
the concept came to me while reading the opening sections of the novel of the same title. "gravity's rainbow", itself, is a technical term that refers to the period of time that occurred between a rocket strike and the sound of it coming in. as they were able to move faster than sound, this happened in a way that was non-intuitive: the explosion would happen *first*, and the sound would come after. the inability to hear the rockets come in made life just a wee bit stressful in london during the war.
specifically, the opening scene narrates a movement of people into the london subway system, which was used as a system of bunkers during attacks. we're so far removed from this that it's hard to imagine: sirens going off, perhaps in the middle of the night, followed by waves of working class english scrambling for cover by the trains...
there was a point where it came to me fairly lucidly. i just needed to orchestrate it. it's a famously difficult text, but one can get the idea of the song by merely reading the first chapter.
the star trek sample came later. there were re-runs on around 4:00 in the morning; there probably still are, but i turned the tv off permanently shortly after this song was constructed. we all know what else happens around twenty minutes past 4:00 AM. it was a ritual over that winter. the episode precedes the novel, so it couldn't have been influenced by it, but it is strangely topical in the way that it relates the organians to the pynchonian "counterforce". yet, as mentioned, i was smoking a lot of pot at the time....
musically, the track is dual-layered. i've had it described as "an indescribable mixture of conventional and unconventional music" (paraphrase), which is an exaggeration that i'll take as a compliment. the song itself has a sort of an acoustic prog feel that some may compare to porcupine tree or radiohead but was in truth heavily influenced by john lennon and pink floyd (i like early radiohead, but i think porcupine tree is pretentious garbage). the effects underneath the track were constructed using a number of 16-bit sound design programs and unusual approaches to synthesis.
as mentioned, the memories are with the sun coming up. maybe you can get a bit of a sense of that.
recorded in spring, 2000.
https://jasonparent.bandcamp.com/track/gravitys-rainbow
actually, i completely disagree. well, let me clarify what i disagree about.
this article has been written a thousand times over the last ten years. it's not that the ideas haven't been tried, it's that they haven't worked. i like naomi klein on an idealistic level, but she's hopelessly wrong on this point. well, except that if you read between the lines you see quickly that she's being sarcastic, ironic and more or less just putting workers on. what naomi klein is really saying is that the union movement is a horrendous failure, in a way that allows the listener/reader to construct it themselves.
we need to realize that malatesta was right: unions are and forever will be horrifically co-opted by capital. the climate crisis isn't just an indictment of capitalism, it ought to also be the last nail in the coffin for centralized labour.
i agree that the nature of production needs to change. this is obvious. i don't agree that there's any hope at all that workers will stimulate that change, and think the left should stop wasting it's time with fantasies that they will.
meaning, naomi klein is right - once you cut through her haze of sardonic cheekiness and get to what she's actually saying.
https://www.jacobinmag.com/2014/01/toward-cyborg-socialism/
dave
Lol, everytime I follow one of those Jacobin links, it leaves me shaking my head. Fortunately, I would never be alive to live under their ideas.
dgkfgkdjdgkhyffa
generally, i find them sort of refreshing, especially regarding their perception of work (and i do agree with the general crux of the article that ecology + technology is where to place effort for the future of urban civilization) but they share a general problem on the left of being far too attached to theory. it's a fairly quick process to realize that marx actually doesn't make any sense, except under conditions where capitalism is basically reduced to feudalism. you can apply marx reasonably to current conditions in bangladesh or china, for example - it's not "like" slavery, it *is* slavery and there's consequently a breaking point of revolt. but as soon as you get the slightest veneer of comfort, the whole thing falls apart. to think that the luxury of advanced capitalism will lead to increasing levels of revolt is just incoherent. and all the anarchists, from bakunin on, all realized how blatantly obvious that is, to the point of realizing that not realizing it is just really sort of stupid. why there are so many marxists, today, 150 years later, i don't understand.
when bakunin was like "ok, but it's going to be the starving unemployed that are going to organize, not the well-fed employed" that was a correction that should have been made central to all further socialist thought. and to the early socialists' credit, they did try. but then this cult of personality developed, and his writings became canonized and blah blah.....
on some level, it's easy to understand. if you realize the obvious truth that workers must behave in the interests of capital, rather than work against it, it makes sense to think that they'd collaborate with their bosses in order to keep wages high for themselves. and fuck everybody else.
but i don't understand why the academics, with no motives to not be objective, haven't understood this. i know there's a tradition towards turning every canonical text into a new bible, but that's a weak explanation to me. it just leaves me scratching my head.
this article has been written a thousand times over the last ten years. it's not that the ideas haven't been tried, it's that they haven't worked. i like naomi klein on an idealistic level, but she's hopelessly wrong on this point. well, except that if you read between the lines you see quickly that she's being sarcastic, ironic and more or less just putting workers on. what naomi klein is really saying is that the union movement is a horrendous failure, in a way that allows the listener/reader to construct it themselves.
we need to realize that malatesta was right: unions are and forever will be horrifically co-opted by capital. the climate crisis isn't just an indictment of capitalism, it ought to also be the last nail in the coffin for centralized labour.
i agree that the nature of production needs to change. this is obvious. i don't agree that there's any hope at all that workers will stimulate that change, and think the left should stop wasting it's time with fantasies that they will.
meaning, naomi klein is right - once you cut through her haze of sardonic cheekiness and get to what she's actually saying.
https://www.jacobinmag.com/2014/01/toward-cyborg-socialism/
dave
Lol, everytime I follow one of those Jacobin links, it leaves me shaking my head. Fortunately, I would never be alive to live under their ideas.
dgkfgkdjdgkhyffa
generally, i find them sort of refreshing, especially regarding their perception of work (and i do agree with the general crux of the article that ecology + technology is where to place effort for the future of urban civilization) but they share a general problem on the left of being far too attached to theory. it's a fairly quick process to realize that marx actually doesn't make any sense, except under conditions where capitalism is basically reduced to feudalism. you can apply marx reasonably to current conditions in bangladesh or china, for example - it's not "like" slavery, it *is* slavery and there's consequently a breaking point of revolt. but as soon as you get the slightest veneer of comfort, the whole thing falls apart. to think that the luxury of advanced capitalism will lead to increasing levels of revolt is just incoherent. and all the anarchists, from bakunin on, all realized how blatantly obvious that is, to the point of realizing that not realizing it is just really sort of stupid. why there are so many marxists, today, 150 years later, i don't understand.
when bakunin was like "ok, but it's going to be the starving unemployed that are going to organize, not the well-fed employed" that was a correction that should have been made central to all further socialist thought. and to the early socialists' credit, they did try. but then this cult of personality developed, and his writings became canonized and blah blah.....
on some level, it's easy to understand. if you realize the obvious truth that workers must behave in the interests of capital, rather than work against it, it makes sense to think that they'd collaborate with their bosses in order to keep wages high for themselves. and fuck everybody else.
but i don't understand why the academics, with no motives to not be objective, haven't understood this. i know there's a tradition towards turning every canonical text into a new bible, but that's a weak explanation to me. it just leaves me scratching my head.
classic essay. if you never read it, you should.
as an aside, it's really disturbing how bad salon has gotten. this used to be one of the better sites on the internet. now, it's basically cosmopolitan for iphones.
http://www.salon.com/2000/06/14/love_7/
as an aside, it's really disturbing how bad salon has gotten. this used to be one of the better sites on the internet. now, it's basically cosmopolitan for iphones.
http://www.salon.com/2000/06/14/love_7/
Wednesday, January 8, 2014
publishing let freedom ring (inri036)
this is a collection of three tracks that were recorded in late '99 and early '00 with the intent of being included on record number three ('trinri') but were either discarded or stripped of samples on the way there.
more detailed stories for each track are found on the track pages.
trinri eventually became deny everything (inri041):
jasonparent.bandcamp.com/album/deny-everything
recorded in late 1999 and early 2000. sequenced in jan, 2014. as always, please use headphones.
credits:
more detailed stories for each track are found on the track pages.
trinri eventually became deny everything (inri041):
jasonparent.bandcamp.com/album/deny-everything
recorded in late 1999 and early 2000. sequenced in jan, 2014. as always, please use headphones.
credits:
j - guitar, effects, synth, drumkit, drum programming, sequencing, sampling, digital wave manipulation, treatments, production
released january 25, 2000
released january 25, 2000
Tuesday, January 7, 2014
publishing inricycled b
i initially wanted to sequence this at the end of the inri period,
but i've changed my mind. the inricycled concept is about reclaiming
interesting sections of songs that my immaturity ruined. however, this
idea simply doesn't need to be extended over the full range of the inri
period. inri material after the inriched demo (which was just after my
18th birthday) is strong enough to hold up on it's own. this would
include the inrimake and inridiculous demoes, as well as associated
singles...
the inricycled concept only needs to be applied to the inri/inriched demoes, and i can even really hone in to about a five month period at the beginning of 1998 where some less than great decisions were applied to material i was rerecording (and in some cases had written as young as 13). despite that period being short, it's consequences extended right up until early '99.
that defines the boundaries of this inricycled period: jan '98 to feb '99.
i've tried to make the tracks short to fulfill the medley concept, but that sort of breaks about halfway through. i simply wasn't writing songs in late '98. i was experimenting with sound effects and doing weird remixes. the last song in this collection was the first proper "song" i'd recorded in months, and it really represents a dramatic change in sound. so, it's more reasonable to end the period there for that reason, too.
==
i've released a dozen different things with the title "inricycled", making it more of a concept than a release. it's not just the material i'm recycling, now, it's the idea of recycling material.
i hope this is the final iteration. the difference, here, is that i'm trying to isolate segments of songs that people interested in my more recent compositions would find interesting. these fragments aren't entirely void of lyrics, but they're very minimal. they're also quite short; for the B volume, i've enforced a very strict two minute time limit on the fragments (which is not applicable to a few full tracks). i've also retitled most of the tracks to get a feel of what the music sounds like and/or what i was thinking as i was writing it. well...some of it is just silly.
the material here stems from recordings that were completed in 1998 and very early 1999. it is constructed in a way that maintains the recording chronology, which means it captures a level of increasing complexity. it does not, however, include the material on inrisampled because it's from 1997 and comprehensively dealt with there. nor does it include the material on warning or inrimake because i feel these are sufficient ways to recombine that material. finally, material after march, 1999 has been deemed sufficiently fit to stand on it's own; this only glosses over the inri/inriched period, and related eps.
generally, the goal here is to reclaim instrumental versions of vocal tracks. i've mentioned repeatedly that my lyrics and vocals in this period were not impressive, but there are instrumental sections that stand well on their own. hence, this medley.
one can accurately read deeply into the few lyrics i've salvaged.
looking back at the period between may '98 and feb '99 produces a large deficit of songwriting. i was working through experiments, doing remixes and other fun things, but the only thing approaching a song produced during that period is 'idiotic'. tracks 14-16, here, were finalized over late '98 but mostly recorded in very early '98. when i finally broke the slump with "too cold", i had something entirely different in front of me. it represents the beginning of something entirely new.....
sequenced and mildly modified in jan, 2014. as always, please use headphones.
credits:
j - guitar, effects, bass, synth, drum programming, sequencing, sampling, digital wave editing, production.
released mar 1, 1999
https://jasonparent.bandcamp.com/album/inricycled-b-deleted-mix-tape
1) fragments mega-mix.
2) 2013 remaster. the dialogue is from the x-files.
3) 2013 remaster.
4) 2014 remaster & re-edit, from the inricycled b compilation.
the inricycled concept only needs to be applied to the inri/inriched demoes, and i can even really hone in to about a five month period at the beginning of 1998 where some less than great decisions were applied to material i was rerecording (and in some cases had written as young as 13). despite that period being short, it's consequences extended right up until early '99.
that defines the boundaries of this inricycled period: jan '98 to feb '99.
i've tried to make the tracks short to fulfill the medley concept, but that sort of breaks about halfway through. i simply wasn't writing songs in late '98. i was experimenting with sound effects and doing weird remixes. the last song in this collection was the first proper "song" i'd recorded in months, and it really represents a dramatic change in sound. so, it's more reasonable to end the period there for that reason, too.
==
i've released a dozen different things with the title "inricycled", making it more of a concept than a release. it's not just the material i'm recycling, now, it's the idea of recycling material.
i hope this is the final iteration. the difference, here, is that i'm trying to isolate segments of songs that people interested in my more recent compositions would find interesting. these fragments aren't entirely void of lyrics, but they're very minimal. they're also quite short; for the B volume, i've enforced a very strict two minute time limit on the fragments (which is not applicable to a few full tracks). i've also retitled most of the tracks to get a feel of what the music sounds like and/or what i was thinking as i was writing it. well...some of it is just silly.
the material here stems from recordings that were completed in 1998 and very early 1999. it is constructed in a way that maintains the recording chronology, which means it captures a level of increasing complexity. it does not, however, include the material on inrisampled because it's from 1997 and comprehensively dealt with there. nor does it include the material on warning or inrimake because i feel these are sufficient ways to recombine that material. finally, material after march, 1999 has been deemed sufficiently fit to stand on it's own; this only glosses over the inri/inriched period, and related eps.
generally, the goal here is to reclaim instrumental versions of vocal tracks. i've mentioned repeatedly that my lyrics and vocals in this period were not impressive, but there are instrumental sections that stand well on their own. hence, this medley.
one can accurately read deeply into the few lyrics i've salvaged.
looking back at the period between may '98 and feb '99 produces a large deficit of songwriting. i was working through experiments, doing remixes and other fun things, but the only thing approaching a song produced during that period is 'idiotic'. tracks 14-16, here, were finalized over late '98 but mostly recorded in very early '98. when i finally broke the slump with "too cold", i had something entirely different in front of me. it represents the beginning of something entirely new.....
sequenced and mildly modified in jan, 2014. as always, please use headphones.
credits:
j - guitar, effects, bass, synth, drum programming, sequencing, sampling, digital wave editing, production.
released mar 1, 1999
https://jasonparent.bandcamp.com/album/inricycled-b-deleted-mix-tape
1) fragments mega-mix.
2) 2013 remaster. the dialogue is from the x-files.
3) 2013 remaster.
4) 2014 remaster & re-edit, from the inricycled b compilation.
you know....
....just because it's become clear that you can't exploit me further in the future (i'm sorry about that, but i sort of see responsibility as slavery, so your bourgeois shit just ain't gonna fly with me, sister) doesn't mean there's no longer any reason to communicate with me.
unless you're evil, basically.
which i'm trying to hold out hope against. it's just that, by continually being evil, you're not helping your case.
i know: the world is evil. you're basically screwed unless you conform to it. see, that's why it's so important to avoid evil people, though. there's basically two options: conform to the evil society around us, or avoid evil by becoming a hermit. i instantly fail at the first choice, so i'm left with the second.
see, its not that i'm blaming people, though. not exactly. i don't have the time, energy or interest to blame people. i just can't risk dealing with the consequences of their behaviour any further. evil people can go be evil far away from me...
so, yeah. ignoring me because you can't gain anything from me is positively evil. no, it is. it's pretty normal, maybe. fine. it's still evil. and you're supposed to be better than that.
j
unless you're evil, basically.
which i'm trying to hold out hope against. it's just that, by continually being evil, you're not helping your case.
i know: the world is evil. you're basically screwed unless you conform to it. see, that's why it's so important to avoid evil people, though. there's basically two options: conform to the evil society around us, or avoid evil by becoming a hermit. i instantly fail at the first choice, so i'm left with the second.
see, its not that i'm blaming people, though. not exactly. i don't have the time, energy or interest to blame people. i just can't risk dealing with the consequences of their behaviour any further. evil people can go be evil far away from me...
so, yeah. ignoring me because you can't gain anything from me is positively evil. no, it is. it's pretty normal, maybe. fine. it's still evil. and you're supposed to be better than that.
j
flashback.
"you know, if you're really not interested then you could always drop out."
"no, actually, i can't."
"parents?"
"sort of. not really. it's either school or work, and i can't find a job so i'm stuck at university until...."
"....well, if your interest level doesn't pick up..."
"...actually, i'm hoping i'll finally get a call back from one of the local coffee shops, soon."
*pause*
"who is paying for this?"
"the state, mostly."
"do you think that's..."
"i told you what my options are. right now, it reduces to school or homelessness. i'd rather be in a government training program for something working class than solving algebraic equations because it's about the only thing i can find in this place that i don't think is absolute bullshit. take it up with the government. it's their policies that put a massive focus on education."
"yeah. i see what you mean. i've just never seen anything like this, or at least anybody so honest about it."
"it's right out of a kafka novel. but if things don't change, i think it might become normal. university is quickly becoming the place that apathetic young people are forced to go to when they're not able to find a job, rather than a place people go to to advance their goals and ambitions. it's on the brink of becoming a form of social welfare. that kind of dystopia serves nobody."
"you won't reconsider?"
"i have no future here."
"ok"
*end phone call from academic adviser*
i'm sort of a space cadet. that just got thrown back at me while splicing some wave files.
"you know, if you're really not interested then you could always drop out."
"no, actually, i can't."
"parents?"
"sort of. not really. it's either school or work, and i can't find a job so i'm stuck at university until...."
"....well, if your interest level doesn't pick up..."
"...actually, i'm hoping i'll finally get a call back from one of the local coffee shops, soon."
*pause*
"who is paying for this?"
"the state, mostly."
"do you think that's..."
"i told you what my options are. right now, it reduces to school or homelessness. i'd rather be in a government training program for something working class than solving algebraic equations because it's about the only thing i can find in this place that i don't think is absolute bullshit. take it up with the government. it's their policies that put a massive focus on education."
"yeah. i see what you mean. i've just never seen anything like this, or at least anybody so honest about it."
"it's right out of a kafka novel. but if things don't change, i think it might become normal. university is quickly becoming the place that apathetic young people are forced to go to when they're not able to find a job, rather than a place people go to to advance their goals and ambitions. it's on the brink of becoming a form of social welfare. that kind of dystopia serves nobody."
"you won't reconsider?"
"i have no future here."
"ok"
*end phone call from academic adviser*
i'm sort of a space cadet. that just got thrown back at me while splicing some wave files.
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