-
Buy the Full Digital Album
-
third official record + covers disc released at about the same time, in late 1999.
contents:
1) jasonparent.bandcamp.com/album/inrimake
2) jasonparent.bandcamp.com/album/inridiculous
the way this works is that you have to download inrimake, as it is not available for physical purchase.ships out within 3 daysedition of 5000Purchasable with gift card$21 CAD or more
-
-
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
-
about
alt.music.nin is a thing that existed, and you can imagine that the release of the fragile was a pretty big deal there. it was the first nin record released in the internet age - the first chance to discuss something new.
in fact, it hit the place like an explosion from friendly fire. giant arguments erupted, quickly giving way to a strange kind of silence. people that had been posting regularly for years couldn't even be bothered to post an opinion. i realized later that it was the first of what were several generational shifts in trent reznor's following. it actually seems to happen after every record. my shift out was "with teeth".
personally, i have a complex relationship with the disc, but this isn't a review of the fragile. it's an explanation of my remix of the track's first single, the day the world went away.
the single was released a few months before the record. people were posting remixes almost as soon as it was released. i actually didn't want to, but i had a few requests so i approached it on that level.
i wasn't entirely sure what to expect from the record, which it seemed like i had been waiting for my whole life. trent had been obfuscating and coy. it was hip-hop. it was orchestral music. it was prog. it was pop. i was just waiting with an open mind. the single didn't help form expectations: two versions of a mopey ambient thing, and a frighteningly awful tongue-in-cheek stadium rock dig at marilyn manson (who i gave zero fucks about, except in the context of him reducing reznor's songwriting quality). how does one approach this?
no. i didn't want to. "c'mon, i wanna hear your interpretation". fuck. fuck. no.
i listened a few more dozen times. i had aged five years, but the lyricist hadn't. i wasn't really connecting to it. but, the musician had aged fifty years and i was connecting to this. the production was.....actually really thin.
strangely.
musically, he had a good idea, but the execution struck me as completely botched. or, maybe, just minimized by record executives? either way, i decided i could make this thing bigger, more epic and more powerful.
that's the central idea in my reconstruction. i just wanted to take the idea in the original track and make it more dramatic.
i got a better response from this than i've ever gotten from anything else. randoms accused me of leaking a track, or even secretly being trent reznor (ok, those accusations were mostly not serious). many people admitted they liked my version better than the single version. i had such a huge spike at my mp3.com page (remember mp3.com?) that some of the tracks hit the top ranking in their categories. inri: mp3.com industrial rock superstar.
my plan was working! finally!
i can't tell what kind of feedback i got on the site. i had forgotten my password, and the site didn't have a mechanism to recover it. they got bought by some huge company soon after (i think it was vivendi) and all the indie artists got kicked to the curb.
drats. foiled....
created in august & september of 1999.
in fact, it hit the place like an explosion from friendly fire. giant arguments erupted, quickly giving way to a strange kind of silence. people that had been posting regularly for years couldn't even be bothered to post an opinion. i realized later that it was the first of what were several generational shifts in trent reznor's following. it actually seems to happen after every record. my shift out was "with teeth".
personally, i have a complex relationship with the disc, but this isn't a review of the fragile. it's an explanation of my remix of the track's first single, the day the world went away.
the single was released a few months before the record. people were posting remixes almost as soon as it was released. i actually didn't want to, but i had a few requests so i approached it on that level.
i wasn't entirely sure what to expect from the record, which it seemed like i had been waiting for my whole life. trent had been obfuscating and coy. it was hip-hop. it was orchestral music. it was prog. it was pop. i was just waiting with an open mind. the single didn't help form expectations: two versions of a mopey ambient thing, and a frighteningly awful tongue-in-cheek stadium rock dig at marilyn manson (who i gave zero fucks about, except in the context of him reducing reznor's songwriting quality). how does one approach this?
no. i didn't want to. "c'mon, i wanna hear your interpretation". fuck. fuck. no.
i listened a few more dozen times. i had aged five years, but the lyricist hadn't. i wasn't really connecting to it. but, the musician had aged fifty years and i was connecting to this. the production was.....actually really thin.
strangely.
musically, he had a good idea, but the execution struck me as completely botched. or, maybe, just minimized by record executives? either way, i decided i could make this thing bigger, more epic and more powerful.
that's the central idea in my reconstruction. i just wanted to take the idea in the original track and make it more dramatic.
i got a better response from this than i've ever gotten from anything else. randoms accused me of leaking a track, or even secretly being trent reznor (ok, those accusations were mostly not serious). many people admitted they liked my version better than the single version. i had such a huge spike at my mp3.com page (remember mp3.com?) that some of the tracks hit the top ranking in their categories. inri: mp3.com industrial rock superstar.
my plan was working! finally!
i can't tell what kind of feedback i got on the site. i had forgotten my password, and the site didn't have a mechanism to recover it. they got bought by some huge company soon after (i think it was vivendi) and all the indie artists got kicked to the curb.
drats. foiled....
created in august & september of 1999.
credits
from inrimake,
track released September 6, 1999
j - guitars, effects, bass, synths, sampling, digital wave editing
song initially written by trent reznor. reinterpreted and reconstructed by inri. contains samples of the initial recording.
j - guitars, effects, bass, synths, sampling, digital wave editing
song initially written by trent reznor. reinterpreted and reconstructed by inri. contains samples of the initial recording.
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
If you like jessica murray, you may also like:
-
Se Ci Fosse La Luce Sarebbe Bellissimo
by Blak SaaganSamuele Gottardello—aka Blak Saagan—delivers a worldbuilding album, suffused with shadow, a horror soundtrack to an unmade film.
go to album -
Ambient del Cono Norte
by WILDER GONZALES AGREDARippling, prismatic electronic music designed not so much to soothe as it is to mystify and fascinate.
go to album -
The pulsing industrial sounds on the wonderfully brutal new LP from Tokyo group Rinsaga will be catnip for the black-glove-and-mesh set.
go to album -
Gnarly punk rock from the Philadelphia duo is unhinged in the best way, an in-the-red sonic assault a la Motorhead/Stooges.
go to album -
The North Carolina singer and multi-instrumentalist translates the "story of lightness" into nine experimental ambient spirituals.
go to album -
French poet Messyl offers work in the tradition of the Beat Generation over atmospheric experimental rock from Wolf City.
go to album -
Rhythmic, low-end-heavy meditations influenced by funk, jazz, psych, French soundtracks, and—contrary to the LP's name—dub electronics.
go to album
