ignorance is bliss
from deny everything by deny everything
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Buy the Full Digital Album
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Compact Disc (CD) + Digital Albumnumbered cd printed cd-r in jewel case. jam036. lp009.
Includes unlimited streaming of deny everything via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.ships out within 3 daysedition of 5000Purchasable with gift card$20 CAD or more
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4th record + period 2.1 outtakes collection.
contents:
1) jasonparent.bandcamp.com/album/deny-everything
2) jasonparent.bandcamp.com/album/inrimoved
you get the download for the record you bought it off of.
maybe i'll send you a code for the other one if you ask nicely :)ships out within 3 daysedition of 5000Purchasable with gift card$40 CAD or more
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this is the sequence of official records, which currently includes my first seven records (inri015, inri021, inri033, inri041, inri052, inri063, inri081) and five other semi-official records, for completeness: my unofficial zeroth record (inri002), the unofficial download-only remixes/covers disc (inri032), the period 1.3/2.1 outtakes disc (inri042), and the album-length kosmische piece the wave (inri053).
contents:
0) jasonparent.bandcamp.com/album/inricycled
1) jasonparent.bandcamp.com/album/inri-3
2) jasonparent.bandcamp.com/album/inriched
2.5) jasonparent.bandcamp.com/album/inrimake
3) jasonparent.bandcamp.com/album/inridiculous
4) jasonparent.bandcamp.com/album/deny-everything
4.5) jasonparent.bandcamp.com/album/inrimoved
5) jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj
5.5) jasonparent.bandcamp.com/album/the-wave
6) jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj-2
6.5) jasonparent.bandcamp.com/album/orchestral-works-vol-1
7) jasonparent.bandcamp.com/album/ftaa
the way this works is that you have to download inrimake, because it doesn't have a physical release.
this is meant to be cumulative and will increment as further lps generate themselves. ... moreships out within 7 daysedition of 5000Purchasable with gift card$221 CAD or more
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about
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.
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 vocals. 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.
created in the spring and summer of 2000. reconstructed in 2004 and again in 2014. final construction is dated to jan 13, 2014.
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.
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 vocals. 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.
created in the spring and summer of 2000. reconstructed in 2004 and again in 2014. final construction is dated to jan 13, 2014.
credits
from deny everything,
track released July 11, 2000
j - guitars, effects, bass, synthesizers, sequencing, drum programming, sound design, sampling, digital wave editing, production
the rendered electronic orchestra includes theremin, ukelele & orchestra hit.
j - guitars, effects, bass, synthesizers, sequencing, drum programming, sound design, sampling, digital wave editing, production
the rendered electronic orchestra includes theremin, ukelele & orchestra hit.
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
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Sep 2001 -
Jun 2001 -
May 2001 -
May 2001
contact / help
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