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a commercial break

from deny everything by deny everything

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about

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 on let freedom ring (inri036):
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.

written and recorded in the winter of 1999/2000 and in the summer of 2000. tracks merged in the fall of 2000.

credits

from deny everything, track released October 25, 2000
j - guitars, effects, synths, drum kit, sampling, drum programming, digital wave editing

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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

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