like divine amoebas
by fuel true anarchy in the americas
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Streaming + DownloadIncludes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
inri080.Purchasable with gift card$7 CAD or more
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Compact Disc (CD) + Digital Albumnumbered cd printed cd-r in jewel case. jam074.
Includes unlimited streaming of like divine amoebas via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.ships out within 3 daysedition of 5000Purchasable with gift card$14 CAD or more
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Full Digital Discography
Get all 93 jessica murray releases available on Bandcamp.
Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of purchase of complete physical discography, 01/2014: music journal, 12/2013: music journal, 11/2013: music journal, 10/2013: music journal, 09/2013: music journal, 08/2013: music journal, 07/2013: music journal (2/2), and 85 more.
Purchasable with gift card$848 CAD or more
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about
previous release (inri079):
jasonparent.bandcamp.com/album/art-show-demo
we'll do this later.
track 1 is on the ftaa record:
jasonparent.bandcamp.com/album/ftaa
========
i initially needed a way to release an updated, corrected version of this song, as i intended to remove the vocals from the 7th lp, which is set to release imminently. the version on the art show demo is normalized, but i'm leaving it like that. so, this filled a gap that opened up. in the end, i've decided to put the vocal mix on the lp after all, but i'm going to keep this anyways because it's comprehensive and includes some alt mixes.
the first part of the track (quantum psychosis) was written on heather's acoustic guitar in sarah's bedroom one night when i was there by myself and recorded directly to four-track tascam at the same time. several electric guitar overdubs were added either right away or very shortly. i digitized this in 2004 and do not know where the tape went; it is presumed lost, in 2021.
the second part of the track was constructed more or less all at once in january, 2004 for the purposes of creating an art show demo. i had just finished reading a couple of books on afghan history, and had imagined this idea already, so i just implemented it all in one go. i haven't altered the recording substantively, since.
the demo doesn't appear to have found an audience in it's initial presentation.
the track itself is fairly esoteric. if you're not following the lyrics, it's a narrative of the history of afghanistan, starting from the achaemenid period and ending in the nato occupation of afghanistan. afghanistan used to be a very wealthy and very buddhist place, but it was utterly destroyed by the mongols in the 13th century and never fully recovered from the devastation. the track then climaxes in an epic 14-minute romp that sonically depicts the transmigration of the soul. afghanistan has historically usually been a buddhist region; it is unfortunately currently being occupied by foreigners that are non-buddhists, but their ancestors would no doubt forgive them for it.
this is a comprehensive collection of the different versions, as of mid-2021 and i don't expect to expand it further.
written and recorded from 2001-2004. all versions here constructed over early 2004 from sound written in 2001 (the piano part) and/or recorded in late 2003 (the vocal section) or early 2004 (the transmigration section). compiled and uploaded on june 19, 2021. re-released on physical media on dec 6, 2023. as always, please use headphones.
note: i'm currently struggling with an unwanted editor that is systematically altering all of my writing to remove or otherwise distort the component of it that is critical of islam. i'm an atheist that aligns ideologically with a hitchens or dawkins type philosophy; i consider religion to be the single biggest threat to humanity on the planet, and that islam is particularly threatening because it has not moderated to the extent that other religions have and still considers violence to be an acceptable way to advance itself, whereas other religions have mostly left that behind. that is not an endorsement of other religions, it is an explanation of why islam is considered the *most* dangerous religion by many secularists. this piece is not intended to be in solidarity with islam (nor was my earlier 2003 piece "algebra" intended to be in solidarity with islam, so much as it was intended to be in solidarity with secularist and socialist iraqis, who were the ones that were most affected by the saudi-backed invasion, which intended to replace the vicious but nonetheless secular iraqi regime with a government that was acceptable to the religiously-minded saudis, and ultimately didn't work as intended. if i showed up in iran or saudi arabia and started playing a song like algebra to get people dancing in the street, i'd very likely be killed on the spot for it. i can and do stand with the socialists and apostates of the region, but religious conservatives everywhere are my avowed enemies and i have nothing but scorn for them.), but rather very pointedly predicts that a bombing campaign in afghanistan would create another round of blowback. the track was written in the context of the 9/11 attack being a consequence of cia funding for islamic extremists in afghanistan; the core messaging is that bombing afghanistan will not eliminate terrorism but will actually create more terrorists and should be opposed for that reason, specifically. i have tried to correct some of the language here that was clearly altered, but i can only check back later to see if it has been altered again or not [and the pattern is that i should expect it will be].
be very careful when you read my writing, because i know i'm being targeted and i know it's being altered. i don't know exactly who is responsible, but i've been heavily critical about a historical process called the arabic translation event, which occurred mostly in baghdad during what islamic historians label as their golden age (i prefer to refer to it as a babylonian renaissance, which arose out of a legitimate pax arabica that set in around the 9th century after centuries and centuries of war between persians and greco-romans), and which destroyed the core of greek knowledge to that time by translating it into arabic, while simultaneously altering and deleting the parts that the islamic authorities didn't like, and then burning the original greek texts. they were able to do that because they happened to be in control of all the libraries, which at the time needed to be in certain climates to prevent the "paper" (which hadn't yet been invented. paper comes from china a little later.) from decomposing. this, more than the germanic invasions, is what actually caused the dark ages in europe; there was an inability to access the libraries in places like alexandria and antioch because they were in hostile territory, and then an inability to access anything in greek at all because the books were systematically destroyed after they were carried off to baghdad and translated, frequently in an altered or corrupted form. the authorities in byzantium didn't help, as they horded the knowledge for the benefit of the aristocracy, but the basic problem in the west was less that people forgot how to read and more that they no longer had access to anything to read. when the foundational texts of western culture eventually returned to the west, much of it needed to be translated from arabic, and we frequently actually don't even know how much of it was lost or how much of it got changed because the purpose of the translation event was to destroy the evidence. islamic historians try to obscure this, but what i've just said is not a controversial analysis; the causes of the dark age and the onset of the subsequent renaissance are complicated things with multiple interpretations, but the historical reality of the translation event as a basic fact is accepted mainstream history. the reason i bring this up is that somebody seems to think it's ironic to change my writing in this creepy orwellian fashion, and it is consistently writing related to islam that gets targeted, as though i'm being victimized in a new translation event. i'm reacting by no longer using the internet as a primary means of information storage, but i have a gigantic amount of writing i need to fix as i compile it and my bandcamp site has not been spared from attack. i will rewrite the above entry, eventually; the current version is a stub. this rant will eventually disappear. for now, note that i cannot maintain the stability of anything written into a computer, anywhere.
next release (inri081):
jasonparent.bandcamp.com/album/ftaa
jasonparent.bandcamp.com/album/art-show-demo
we'll do this later.
track 1 is on the ftaa record:
jasonparent.bandcamp.com/album/ftaa
========
i initially needed a way to release an updated, corrected version of this song, as i intended to remove the vocals from the 7th lp, which is set to release imminently. the version on the art show demo is normalized, but i'm leaving it like that. so, this filled a gap that opened up. in the end, i've decided to put the vocal mix on the lp after all, but i'm going to keep this anyways because it's comprehensive and includes some alt mixes.
the first part of the track (quantum psychosis) was written on heather's acoustic guitar in sarah's bedroom one night when i was there by myself and recorded directly to four-track tascam at the same time. several electric guitar overdubs were added either right away or very shortly. i digitized this in 2004 and do not know where the tape went; it is presumed lost, in 2021.
the second part of the track was constructed more or less all at once in january, 2004 for the purposes of creating an art show demo. i had just finished reading a couple of books on afghan history, and had imagined this idea already, so i just implemented it all in one go. i haven't altered the recording substantively, since.
the demo doesn't appear to have found an audience in it's initial presentation.
the track itself is fairly esoteric. if you're not following the lyrics, it's a narrative of the history of afghanistan, starting from the achaemenid period and ending in the nato occupation of afghanistan. afghanistan used to be a very wealthy and very buddhist place, but it was utterly destroyed by the mongols in the 13th century and never fully recovered from the devastation. the track then climaxes in an epic 14-minute romp that sonically depicts the transmigration of the soul. afghanistan has historically usually been a buddhist region; it is unfortunately currently being occupied by foreigners that are non-buddhists, but their ancestors would no doubt forgive them for it.
this is a comprehensive collection of the different versions, as of mid-2021 and i don't expect to expand it further.
written and recorded from 2001-2004. all versions here constructed over early 2004 from sound written in 2001 (the piano part) and/or recorded in late 2003 (the vocal section) or early 2004 (the transmigration section). compiled and uploaded on june 19, 2021. re-released on physical media on dec 6, 2023. as always, please use headphones.
note: i'm currently struggling with an unwanted editor that is systematically altering all of my writing to remove or otherwise distort the component of it that is critical of islam. i'm an atheist that aligns ideologically with a hitchens or dawkins type philosophy; i consider religion to be the single biggest threat to humanity on the planet, and that islam is particularly threatening because it has not moderated to the extent that other religions have and still considers violence to be an acceptable way to advance itself, whereas other religions have mostly left that behind. that is not an endorsement of other religions, it is an explanation of why islam is considered the *most* dangerous religion by many secularists. this piece is not intended to be in solidarity with islam (nor was my earlier 2003 piece "algebra" intended to be in solidarity with islam, so much as it was intended to be in solidarity with secularist and socialist iraqis, who were the ones that were most affected by the saudi-backed invasion, which intended to replace the vicious but nonetheless secular iraqi regime with a government that was acceptable to the religiously-minded saudis, and ultimately didn't work as intended. if i showed up in iran or saudi arabia and started playing a song like algebra to get people dancing in the street, i'd very likely be killed on the spot for it. i can and do stand with the socialists and apostates of the region, but religious conservatives everywhere are my avowed enemies and i have nothing but scorn for them.), but rather very pointedly predicts that a bombing campaign in afghanistan would create another round of blowback. the track was written in the context of the 9/11 attack being a consequence of cia funding for islamic extremists in afghanistan; the core messaging is that bombing afghanistan will not eliminate terrorism but will actually create more terrorists and should be opposed for that reason, specifically. i have tried to correct some of the language here that was clearly altered, but i can only check back later to see if it has been altered again or not [and the pattern is that i should expect it will be].
be very careful when you read my writing, because i know i'm being targeted and i know it's being altered. i don't know exactly who is responsible, but i've been heavily critical about a historical process called the arabic translation event, which occurred mostly in baghdad during what islamic historians label as their golden age (i prefer to refer to it as a babylonian renaissance, which arose out of a legitimate pax arabica that set in around the 9th century after centuries and centuries of war between persians and greco-romans), and which destroyed the core of greek knowledge to that time by translating it into arabic, while simultaneously altering and deleting the parts that the islamic authorities didn't like, and then burning the original greek texts. they were able to do that because they happened to be in control of all the libraries, which at the time needed to be in certain climates to prevent the "paper" (which hadn't yet been invented. paper comes from china a little later.) from decomposing. this, more than the germanic invasions, is what actually caused the dark ages in europe; there was an inability to access the libraries in places like alexandria and antioch because they were in hostile territory, and then an inability to access anything in greek at all because the books were systematically destroyed after they were carried off to baghdad and translated, frequently in an altered or corrupted form. the authorities in byzantium didn't help, as they horded the knowledge for the benefit of the aristocracy, but the basic problem in the west was less that people forgot how to read and more that they no longer had access to anything to read. when the foundational texts of western culture eventually returned to the west, much of it needed to be translated from arabic, and we frequently actually don't even know how much of it was lost or how much of it got changed because the purpose of the translation event was to destroy the evidence. islamic historians try to obscure this, but what i've just said is not a controversial analysis; the causes of the dark age and the onset of the subsequent renaissance are complicated things with multiple interpretations, but the historical reality of the translation event as a basic fact is accepted mainstream history. the reason i bring this up is that somebody seems to think it's ironic to change my writing in this creepy orwellian fashion, and it is consistently writing related to islam that gets targeted, as though i'm being victimized in a new translation event. i'm reacting by no longer using the internet as a primary means of information storage, but i have a gigantic amount of writing i need to fix as i compile it and my bandcamp site has not been spared from attack. i will rewrite the above entry, eventually; the current version is a stub. this rant will eventually disappear. for now, note that i cannot maintain the stability of anything written into a computer, anywhere.
next release (inri081):
jasonparent.bandcamp.com/album/ftaa
credits
released February 1, 2004
j - electric & acoustic guitars, effects, drum programming, vocals, noise generators, piano programming, digital wave editing, sampling, composition, production
the acoustic guitar played on this recording belonged to heather.
j - electric & acoustic guitars, effects, drum programming, vocals, noise generators, piano programming, digital wave editing, sampling, composition, production
the acoustic guitar played on this recording belonged to heather.
license
all rights reserved
tags
about
jessica murray Windsor, Ontario
this is the archive for the artist formerly known as jason parent and now known as jessica
murray.
the music here has shifted dramatically over many years, from roots in punk/grunge through to experimental synth pop and into a type of kitchen sink post-rock with heavy electronics. the only consistency throughout is a lack of consistency, guitars and an impressionist aesthetic. "blender rock".
... more
discography
-
Sep 2001 -
Jun 2001 -
May 2001 -
May 2001
contact / help
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