the intersection of two identical particles moving in completely opposite directions
from jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj by jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj
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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. jam047. lp011.
Includes unlimited streaming of jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj 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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5th & 6th records.
contents:
1) jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj
2) jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj-2
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 :)
Includes unlimited streaming of jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.ships out within 3 daysedition of 50000 5000 remainingPurchasable 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
ok...
so, to understand this piece, it's necessary to go back to 1998.
i was working out primitive sequencer parts for the first inri demo and it just sort of crossed my mind that there was really nothing stopping me from composing symphonies except for a lot of music theory. well, if i could write electronic music without training, why couldn't i write symphonies without training? i mean, the score writing program exists in front of me. it was just a question of experimenting with it. i could do it myself...
...but i actually already had a pretty hefty disdain for music theory by the age of 17. i'd managed to come across a music history textbook that traced the deconstruction of western theory from beethoven through to schoenberg and this, combined with my experiences as a guitarist, was enough to prevent me from taking it seriously. the perception i had was of modern composers viewing music theory sort of like how biologists viewed creationism. i use that analogy fairly frequently. it just didn't strike me as relevant.
now, i've softened a bit over time to a view that music theory is best understood in terms of the underlying physics. this renders the theory useless, but upholds the basic relationships between tones as physical, mathematical realities. the thing is the next step of abstraction is understanding that these mathematical objects can be arranged and analyzed in any arbitrary way, and the conventional theory really *is* a fallacy akin to creationism. so, i still hold to the general thesis. this is actually the first serious example of me putting that disdain for the idea that music should have a theory into real action. i remain adamantly of the view that art is not a realm where theories should exist or be viewed with anything other than scorn. theories are rigid, formal things; art is informal, chaotic.
so, it's 1998. i have a scorewriter and a very basic soundcard and i want to bullshit a symphony out of it. i did this by composing a single brief melody by randomly mashing notes into a scorewriter. i then took that melody and pasted it over top of itself at differing speeds (64th, 32nd, 16th, 8th, quarter, half, whole notes). i then took that, cut it off near the end of the half notes and pasted it over itself, backwards.
that might sound like it's going to sound awful, but it actually sounds quite lovely. one could analyze it quite easily, but it's creation is beyond the realm of any rules of construction.
which is where art belongs.
...excepting the algorithm i used, of course. i suppose it's more reich than schoenberg, but kind of more xenakis than either.
in 2001, i ran the midi file through my soundblaster live!, which as primitive as it is, has a much nicer wavetable in it than the primitive soundcard i used in 1998 and 1999 (i don't remember what it was). i also slowed it down by about 20 bpm and allowed the full file to "intersect", which let it breathe more. why? well, i was writing a lot with scorewriters at the time and was just experimenting with the old file, really. but i was also finishing up what would be the only year i would spend in the math-physics department, and thought it sounded like i would imagine intersecting particles *should* sound like. i was generally interested in finding ways to combine science with music then - an interest that is present in older tracks as well and that has stuck with me. i may explore these themes further in time. one of the ideas i really wanted to accomplish was a physical modelling of the universe, to actually simulate the music of the spheres, as pythagoras imagined it. i think i underestimated the complexity of such a task....
of course, i never expected the music of the spheres to be tonal. and i wouldn't expect the sound of particles intersecting to be musical, either. but, we can take some artistic license. if intersecting particles are to make a sound, it OUGHT to be something like this!
as for the piece, i haven't changed it much for the 2014 reconstruction. i've doubled the guitar with a pizzicato string section, and put it through a better guitar synthesizer (and amp simulator, and effects). the sound fonts are otherwise identical, just updated mildly to a better synthesizer.
written one day in june, 1998. re-created on another day in june, 1999. reimagined on yet another day in june, 2001. a failed remaster occurred at the end of 2013. slightly rearranged and re-rendered at the end of july, 2014.
so, to understand this piece, it's necessary to go back to 1998.
i was working out primitive sequencer parts for the first inri demo and it just sort of crossed my mind that there was really nothing stopping me from composing symphonies except for a lot of music theory. well, if i could write electronic music without training, why couldn't i write symphonies without training? i mean, the score writing program exists in front of me. it was just a question of experimenting with it. i could do it myself...
...but i actually already had a pretty hefty disdain for music theory by the age of 17. i'd managed to come across a music history textbook that traced the deconstruction of western theory from beethoven through to schoenberg and this, combined with my experiences as a guitarist, was enough to prevent me from taking it seriously. the perception i had was of modern composers viewing music theory sort of like how biologists viewed creationism. i use that analogy fairly frequently. it just didn't strike me as relevant.
now, i've softened a bit over time to a view that music theory is best understood in terms of the underlying physics. this renders the theory useless, but upholds the basic relationships between tones as physical, mathematical realities. the thing is the next step of abstraction is understanding that these mathematical objects can be arranged and analyzed in any arbitrary way, and the conventional theory really *is* a fallacy akin to creationism. so, i still hold to the general thesis. this is actually the first serious example of me putting that disdain for the idea that music should have a theory into real action. i remain adamantly of the view that art is not a realm where theories should exist or be viewed with anything other than scorn. theories are rigid, formal things; art is informal, chaotic.
so, it's 1998. i have a scorewriter and a very basic soundcard and i want to bullshit a symphony out of it. i did this by composing a single brief melody by randomly mashing notes into a scorewriter. i then took that melody and pasted it over top of itself at differing speeds (64th, 32nd, 16th, 8th, quarter, half, whole notes). i then took that, cut it off near the end of the half notes and pasted it over itself, backwards.
that might sound like it's going to sound awful, but it actually sounds quite lovely. one could analyze it quite easily, but it's creation is beyond the realm of any rules of construction.
which is where art belongs.
...excepting the algorithm i used, of course. i suppose it's more reich than schoenberg, but kind of more xenakis than either.
in 2001, i ran the midi file through my soundblaster live!, which as primitive as it is, has a much nicer wavetable in it than the primitive soundcard i used in 1998 and 1999 (i don't remember what it was). i also slowed it down by about 20 bpm and allowed the full file to "intersect", which let it breathe more. why? well, i was writing a lot with scorewriters at the time and was just experimenting with the old file, really. but i was also finishing up what would be the only year i would spend in the math-physics department, and thought it sounded like i would imagine intersecting particles *should* sound like. i was generally interested in finding ways to combine science with music then - an interest that is present in older tracks as well and that has stuck with me. i may explore these themes further in time. one of the ideas i really wanted to accomplish was a physical modelling of the universe, to actually simulate the music of the spheres, as pythagoras imagined it. i think i underestimated the complexity of such a task....
of course, i never expected the music of the spheres to be tonal. and i wouldn't expect the sound of particles intersecting to be musical, either. but, we can take some artistic license. if intersecting particles are to make a sound, it OUGHT to be something like this!
as for the piece, i haven't changed it much for the 2014 reconstruction. i've doubled the guitar with a pizzicato string section, and put it through a better guitar synthesizer (and amp simulator, and effects). the sound fonts are otherwise identical, just updated mildly to a better synthesizer.
written one day in june, 1998. re-created on another day in june, 1999. reimagined on yet another day in june, 2001. a failed remaster occurred at the end of 2013. slightly rearranged and re-rendered at the end of july, 2014.
credits
from jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj,
track released July 24, 2014
j - orchestral & other sequencing, digital effects & treatments, digital wave editing, composition.
the rendered electronic orchestra includes piano, electric guitar, pizzicato strings, orchestra hit and synth pads.
j - orchestral & other sequencing, digital effects & treatments, digital wave editing, composition.
the rendered electronic orchestra includes piano, electric guitar, pizzicato strings, orchestra hit and synth pads.
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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