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COTD #101 : The Turnaround 10.04.2009

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Emblem 45 from Atalanta Fugiens by Michael Maier

Emblem 45 from Atalanta Fugiens by Michael Maier

The fifth and as of yet unwritten chapter of “The Lepufology Project” is an account of the consequences of the success of the outworlders in their mission.

The exploitation of petroleum and the use of its by-products having been forced to an unexpected end, at first the governments of many of the world high income economies openly admit that they don’t quite know how to react as the oil prices skyrocket, business activities slow down, and industrial production plummets. After much reflecting and debating, it becomes clear that the way forward involves rethinking and reorganizing the management of energy toward sustainability and renewability on a global scale, and restructuring the world economies in alignment with these values.

Unlike the other pieces composed for this project, “The Turnaround” was not intended as a soundtrack but rather as a rallying song, an anthem for progressives, activists, and anyone who is hoping to make this world a better place :

We are asking to live in a juster world
We are asking to live in a freer world
We are asking to live in a greener world
We are asking to live in a better world

We all deserve to live in a juster world
We all deserve to live in a freer world
We all deserve to live in a greener world
We all deserve to live in a better world

We are bound by the time
Earth isn’t turning round
Inaction is a crime
One answer to be found
It’s easy as the rhyme
We must turn things around
Do sing with us this time
I will turn things around !
Here comes the turnaround !

COTD #100 : The Evolution of Countless Questions, part 3 09.04.2009

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The Radio Tower by Karel Tršický

The Radio Tower by Karel Tršický

As I hinted to in the preceding instalment of “The Evolution of Countless Questions” series, the lyrics to that particular chapter have been reworked and rewritten on numerous occasions.

What first started as a vehicle to express my frustrations in relation to the decaying quality of the content available on TV and radio gradually became a study of the relationship between an individual and their reality, a subject and their objective world.

In the second half of the composition, I push the exploration further and raise the question of the nature of the distinction between subject and objective world, and the synchronistic dance that connects them :

Countless questions behind those eyes
Burning while I analyse
The design of the line between the world and I
An existence to justify

Too many references enfolded in my head
Who’s to blame for silences? Who’s to blame for what is said?
Redirect me into truth, I’ll strive with all my might
The path is clear yet undefined and there’s no end in sight

Radio why are you here, why do you play for me?
Is there something I should see?
Provider it isn’t clear, what do you want from me?
Show the place for me to be

Flow through my eyes, the dreams of another
Flood in my mind, the views of another
Flow through my eyes, the needs of another
Throughout my life, our lives altogether

COTD #99 : In Our Space, Ending 08.04.2009

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Fugue by Wassily Kandinsky

Fugue by Wassily Kandinsky

The second part of “In Our Space” is entitled “A Space Where We Can Be” and is composed of two movements. The first movement is an energetic passage that is intended to convey a joyful and uplifting feeling, the enthusiasm that comes from having found, or perhaps created, that desired space.

The music then morphs into the second movement, a 6-voice fugue during which Christian will leave the drum stool to play the vibraphone while the bassist will have to handle both bass and bass pedals. The intent behind this section is to depicts one settling into their space after the initial discovery, and then moving into an expansion phase :

COTD #98 : Creeper, Instrumental Break 07.04.2009

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Climbing plant by Popperipopp

Climbing plant by Popperipopp

The instrumental break of “Creeper” illustrates the growth of the climbing plant, the insidious suggestion that wasn’t severed when it first sprouted.

After a return to the music of the introduction to signify the end of the exposition section, the creeping vine theme is presented and developed in various contexts in a crescendo fashion to suggests continuous growth towards vegetal hegemony. But the host has yet to speak his last word, and the motif then moves to the piano as the stage is being set for his response.

Here’s how it all sounded like as released on our “CONGA 2008″ Demo :

COTD #97 : Ignorant, Ending 06.04.2009

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Ignorant” ends on a call to integrity, hinting at the idea that happiness does not need to come at the end of a relentless pursuit, but rather that it is always available along the way to one whose thoughts and deeds are in alignment with their values, hopes, and dreams, and who remains true to their heart :

Say, how often do you wonder
If everything you’re working for
Is worth all that wait ?
Say, how often do you ponder
Pretending that all is fine
When you can’t bear your fate
Say, do you truly love
Or are you waiting for the day
When it’ll be too late ?

Today’s clip presents the last verse, last chorus, and chamber music ending :