(« Morel in eastern West Virginia » by Gzirk)

once, there was a guy named Gus. and although Gus was without a passion, Gus's head liked to think that Gus was a passionate guy. Gus's head also liked to think that it was bright. in fact, Gus's head just liked to think.

through apparently fortuitous circumstances, Gus was lonely most of the time. often, during that time, mostly because it just liked to think, Gus's head would think. and often, sadly, during that time, Gus's head would think that Gus was lonely most of the time. and often, sadly, mostly because it liked to think that Gus was a passionate guy, Gus's head would think that Gus was lonely most of the time, and do so with a passion. and, at those times, Gus's heart, which was infinitely wiser than Gus's head, and knew that Gus was never really alone, would thus prompt Gus to feel sad, and often, do so with a passion, so as to discourage Gus's head to keep on thinking those thoughts. but Gus's head, which all things considered was indeed bright, though not that bright, just kept on thinking those thoughts, mostly because it just liked to think. Gus's head also kept on thinking that it was bright.

Gus lived in a town where other people lived too. and the other people living in Gus's town liked to talk about Gus. in fact, the other people living in Gus's town just liked to talk. sometimes, some of them would even talk about the fact that, most of the time, most of them were passionate about talking.

through apparently fortuitous circumstances, when he was not around, which meant most of the time, sadly, and mostly because they just liked to talk, when the people would talk about Gus, they would refer to Gus as sad Gus. and often, during that time, sadly, the people would talk about how sad Gus was sad and lonely. sometimes, some of them would even talk about how, most of the time, sad Gus was sad and was without a passion. and as a consequence, sadly, most of the time, most of the other people living in Gus's town were not inclined to spend time with sad Gus.

once, through apparently fortuitous circumstances involving accidental food poisoning, Gus's head, mostly because it just liked to think, thought it would be a good idea to think more about mushrooms. and, mostly because it liked to think that Gus was a passionate guy, Gus's head thought it would be a good idea to think more about mushrooms, and do so with a passion. and, at that time, Gus's heart, which was infinitely wiser than Gus's head, and knew that what Gus really needed was to have some fun, some of the time, seized the moment and prompted Gus to feel passionate about the prospect of cultivating his own morels. Gus's head, which all things considered was indeed bright, though not that bright, just thought it just had had another good idea, mostly because it just liked to think. and, mostly because it liked to think that Gus was a passionate guy, Gus's head thought it would be a good idea for Gus to cultivate his own morels, and do so with a passion.

thus, Gus started cultivating his own morels. Gus's head quickly realized that Gus had great fun cultivating morels, and that Gus could do so with a passion. Gus's head also realized that by cultivating his own morels, Gus cultivated his own morale. and thus, often, happily, during that time, mostly because it just liked to think, Gus's head would think that it was a good idea for Gus to keep on cultivating his own morels. and thus, often, happily, mostly because it liked to think that Gus was a passionate guy, Gus's head thought it would be a good idea for Gus to keep on cultivating his own morels, and do so with a passion. and, at those times, Gus's heart, which was infinitely wiser than Gus's head, and knew that what Gus really needed was to have some fun, some of the time, would thus prompt Gus to feel happy, so as to encourage Gus's head to keep on thinking those thoughts. and thus Gus's head, which all things considered was indeed bright, though not that bright, just kept on thinking those thoughts, mostly because it just liked to think. Gus's head also kept on thinking that it was bright.

thus, through apparently fortuitous circumstances, happily, and mostly because they just liked to talk, when the other people living in Gus's town would talk about Gus, they would talk about his morels, and his morale, and refer to Gus as fun Gus. and often, during that time, happily, the people would talk about how fun Gus was fun and fun to be with. sometimes, some of them would even talk about how, most of the time, fun Gus was happy and was passionate about his morels. and as a consequence, happily, most of the time, most of the people living in Gus's town were inclined to spend time with fun Gus.

and thus, through apparently fortuitous circumstances, happily, most of the time, out of sad Gus's passionate feeling for growing fungus grows fun Gus with a passion.

and thus it is said that absence makes the heart grow fungus.

(well, it is mostly the other people living in Gus's town who like to say so. they also like to say that Gus's head thinks so too. sometimes, some of them even say that it possibly does so because it just likes to think, and do so with a passion. but you know them, they just like to talk. in fact, if that saying actually holds true, it must only do so in Gus's heart, as only hearts can hold truth.)

(« Yamagata University Craft-Pal 2006 » by simo100)

« The Miracle Is Worth The Wait » was the 2nd song written for the « 30 Songs for the Sunny Season » project, and was completed on January 8, 2013.

The inspiration for this opus came from conversations held with David, a somewhat peculiar fellow with whom I was sharing living spaces earlier this year. To the best of my memory, the first words he ever spoke to me were « I can guarantee world peace. » Obviously, the statement got my attention and I just had to know more about him. I eventually learned that he was on a mission to build an ultralight, and that, assuming I correctly understood his long-winded stories, world peace would be achieved upon completion of the aircraft. That particular causality remains to be seen, but one thing for sure, there was something strangely beautiful about how he just kept going against overwhelming odds.

It sometimes seems as if many of us have to build an ultralight of some sort, which will somehow transport us to our ideal. David definitely could trust that it was his fate to fly above the hill. Can you believe it is yours ?

The version embedded above was released earlier this year on the « The Abode Of The Blessed » EP.

verse 1
aviator you're working still
to build your ultralight
when it will fly above the hill
the bird will destroy the night

there's a new world to establish
a new order to crystallize
a skyward ladder to finish
an uprising to organize

you're pushing hard, we've seen you go
you will get there in the long run
dismiss your doubts you have to know
that you'll have your time in the sun

verse 2
jerusalem opens its gates
to let you see the golden tree
that patiently for you awaits
you will claim it when you are free

today tomorrow is unclear
yet it's no reason to worry
to get to the dream that's so dear
surrender to uncertainty

never give up you shining star
don't give in to the daily gloom
joy of this life heals every scar
and ripens each fruit to full bloom

verse 3
aviator you're working still
to build your ultralight
when it will fly above the hill
the bird will destroy the night

chorus
hone your feathers and keep your smile
you have a date with destiny
steady go for the extra mile
and you will soar to liberty
can you trust that it's your fate
the miracle is worth the wait

bridge
onward to complete harmony
at heaven's door often you've knocked
all of the time never knowing
that the entrance was never locked

last chorus
hone your feathers and keep your smile
you have a date with destiny
steady go for the extra mile
and you will soar to liberty
can you trust that it's your fate
though the road might not be straight
can it ever be too late
the miracle is worth the wait

The « 30 Songs for the Sunny Season » series presents songs written in the aim of building a repertoire of originals that require only guitar and vocals, without additional arrangements, and thus can be performed in a busking context.

(« Natural Abalone with conical pearl » by Worldexplorer82)

« Mother Of Pearl» was the last song written in the location where the music for the « The Abode Of The Blessed » EP was composed. Yet, arguably, considering the clear stylistic and thematic distinctions between this opus and the pieces that preceded it, they probably shouldn't belong on the same album. Assuming that I eventually get the chance to properly record the 8 songs and 8 instrumentals put together during that particular period, « Mother Of Pearl» will likely serve as closing track, announcing what's to come.

In the context of the « 30 Songs for the Sunny Season » series, « Mother Of Pearl» was the 8th song that I wrote. The music and most of the lyrics were completed by January 21, 2013, but I had no satisfactory words for the bridge until the beginning of May.

The inspiration for the piece stems from how pearls come into being. When a microscopic intruder or parasite enters an oyster, it irritates the mollusk which secretes nacre, also called mother-of-pearl, to cover the undesirable and soothe itself. As the process is repeated and layers are added, a pearl is produced.

However such occurrences can also be interpreted alternatively as follows : when the intelligence that unites and animates all beings needs a pearl, it finds a way to introduce an irritant into an oyster, which will then transform the source of pain into the sought beautiful object.

When I look back on my life there is no doubt that the main incentive that has impelled me to create works of art throughout the years is a psychological trauma that I experienced as a teenager. In a manner similar to that of the oyster which soothes itself by adding layers of nacre onto the irritant, I healed my injured mind through repeated creative processes. Thus, conceivably, this might be one of the ways using which the intelligence underlying all things develops works of art, by creating the conditions that compel beings into action. And considering how ill-equipped I was to face the distressing event when it occurred, it seems plausible that this is also how artists are goaded towards maturity, carrying within themselves the motivation that urges them to give expression to what's in them.

verse 1
told love was forbidden
i used to play the fool
hopeless and angst-ridden
yet in me you saw the jewel

you cared to make me wise
led me to the river
made sure i saw the prize
across the great water

verse 2
with a dream to fulfil
and a heart to restore
i rowed like a windmill
to reach the other shore

you oversaw the tide
i sought stability
through this purposeful ride
i grew in adversity

verse 3
looking back i'm aware
each moment every day
you have always been there
with me on the journey

years of battle upstream
out of the days of yore
you are the constant theme
the ever open door

pre-chorus
you shape me
make me all
i can be
show me the
better me
whoa-oh-oh

chorus
you know how to make me pure
see me through the whirl
orchestrate the cure
o mother of pearl

my all-embracing oyster
take me in your swirl
add another layer
o mother of pearl

bridge
feed me your potion mother of pearl
relieve my tensions mother of pearl
rouse my devotion mother of pearl
show me the ocean

The « 30 Songs for the Sunny Season » series presents songs written in the aim of building a repertoire of originals that require only guitar and vocals, without additional arrangements, and thus can be performed in a busking context.

(« Spirit of the Night » by John Atkinson Grimshaw)

« Perfect Magic » is the 9th opus penned for the « 30 Songs for the Sunny Season » project. It was completed on February 6, 2013, and is the first new piece to follow the compositional rush that led to the « The Abode Of The Blessed » EP.

The lyrics were written in an « everything happens for a reason » frame of mind and aim to hint at how each and every life, even the apparently disadvantaged, is blessed with the loving support of the underlying intelligence that unites and animates all beings.

Although they are presented as separated in written form, the pre-chorus really evolves into the chorus, both lyrically and musically, and so the boundary between the two is not that clear-cut when I perform it. The current structure is basically verse -> pre-chorus -> chorus which means that the pre-chorus -> chorus sequence is heard four times overall. I'm sometimes under the impression that this might be one time too many, so the song will probably be edited before it is properly recorded.

« Perfect Magic » has the distinction of often serving as icebreaker whenever I go play in public places. Not that it is the easiest song of my repertoire, but it surely is one I am most comfortable playing.

verse 1
in this infinite world there's a man named Joe
really he's a boy with a thirst to know
when it was time for school he had no chance to go
it's so tough when you're coy to get out of skid row

verse 2
in this infinite world there's a woman named Lynn
really she's a girl whose broken heart has caved in
the onions and the garlic she overeats everyday
are no treats for her health but it keeps most people away

verse 3
in this infinite world there's a prime minister
people will tell you that he's an impostor
they haven't realized that indeed he is there
only to spur them to rise against all that's unfair

verse 4
in this infinite world all is in its good place
and everything unfolds at the proper pace
miracles occur as we intertwine
apparently apart but part of yours is part of mine

pre-chorus
yet it's hard to outgrow
what you're unaware of
when you're blind as life shows
the true meaning of love

chorus
that there's a cause for all things
and it's understanding
that it's part of the plan
try to trust 'til you can

life will never forsake
whichever road you pick
at the best time you will awake
to this perfect magic

The « 30 Songs for the Sunny Season » series presents songs written in the aim of building a repertoire of originals that require only guitar and vocals, without additional arrangements, and thus can be performed in a busking context.

(« Wave » by Mark)

The 23rd song written for the « 30 Songs for the Sunny Season » project is entitled « A Tide Of Positive Change » and was completed on March 24th, 2013.

The aim here was to come up with an inspiring and energetic song that can uplift the listener into an optimistic frame of mind. Considering the comments offered so far when I played it in public spaces, I'd venture to say that this particular objective has been achieved.

No audio nor video clips are available at this point as my game plan for this summer is to make the most of the sunny days and go out busking as often as practicable. In my crystal ball I can foresee myself switching into demo-producing mode sometime around mid-September. That being said, if you've been following my activities of the last few years or so, you know how reliable my crystal ball can be. But there's always hope, right ?

verse 1
there's a river running over
the consequences of your errors
putting out all the fires
that burn the fruits of your labours

you gotta wish it up muse it up
build it up to live it up
you gotta wish it up work it up
build it up

pre-chorus 1
trust in the dream that flows in you
parts of it stream inside me too
when it's ready let it be true
it'll sweep you off outta the blue

verse 2
this turning point you're pining for
is closer than ever before
never lose sight of the plot
and strike the iron when it's hot

you gotta keep going believing
the ending will be amazing
you gotta keep going believing
keep going

pre-chorus 2
trust the feeling inside of you
the water is flooding me too
out with the old in with the new
this current will bring me to you

verse 3
you've done your best you've passed the test
enjoy the rest you're being blessed
you've wished it up, you've built it up
now live it up

pre-chorus 3
trust the feeling inside of you
the water is flooding me too
out with the old in with the new
this current will bring me to you

chorus
no way to stop
this tide of positive change
the surf is up
let the wave rearrange
cream of the crop
time to reap your reward
expect the top
you have worked so hard

The « 30 Songs for the Sunny Season » series presents songs written in the aim of building a repertoire of originals that require only guitar and vocals, without additional arrangements, and thus can be performed in a busking context.

(« Painting created in Year 12 Painting at Albany Senior High School » by Mosborne01)

« To Kill Your Demons » was completed on March 10, 2013, and is the 20th song written for the henceforth entitled « 30 Songs for the Sunny Season » project.

Basically, the main point of the song is that most-if-not-all experiences, apparent catastrophes included, can be interpreted positively as opportunities for growth.

Again, I plan to repost the following lyrics with an audio or video clip when time allows for the recording and production of proper demos.

verse 1
you were waiting for the right word
for the phrasing no one has heard
no escaping the calendar
no book signing for the dreamer

pre-chorus 1
you've learned your lessons
paid for your crimes
to kill your demons
life took its time

verse 2
you were hoping to be a bird
you had two wings but wanted a third
scared of jumping you went downward
no high flying for the coward

pre-chorus 2
you've bitten lemons
you've bitten limes
to kill your demons
life took its time

verse 3
you were waiting for an answer
an opening on the future
you couldn't stick to the letter
no advancing for the sinner

pre-chorus 3
you've heard the sermons
you wrote the rhymes
to kill your demons
life took its time

verse 4
you were hoping to get a chance
to find a friend to share a dance
no one could get past your first glance
for the heartless there's no romance

pre-chorus 4
you've seen the omens
magic sublime
to kill your demons
life took its time

chorus
how many doors must pass
'til you go in at last
don't let your moment pass
just seize it fast

The « 30 Songs for the Sunny Season » series presents songs written in the aim of building a repertoire of originals that require only guitar and vocals, without additional arrangements, and thus can be performed in a busking context.

(« Family » by Jo Christian Oterhals)

At some point during this past winter, I thought it would be interesting to see if I could come up with a bunch of songs that I could play on my own, without the need of a backing band. I had always wanted to try my luck at busking, but because of the demands of Poligraf, I never really had the chance to build a repertoire of original songs that require only guitar and vocals, without additional arrangements. Eventually I imagined that 30 songs would be enough, so I set out to write as much in time for the sunny season, and actually reached that goal on June 27th, when I completed the words to « 67th Heaven. »

« Pacify » is the fifth song that I wrote for this project. I chose to share this one first because I especially like how it turned out, not only in terms of contents, but also in how the poetry is structured and how the verses are linked together. The lyrics follow below. Possibly, I will republish them later with an audio or video clip if I can find some time to record demos, but for now I hope you enjoy the words as much as I do.

verse 1
no aces up your sleeve
you didn't have your way
no luck you're stuck
peace is kept at bay

unwilling to receive
the lesson of the day
fate daunts life wants
a price too high to pay

you're inclined to leave
however if you stay
maybe you'll see
further shades of grey

you'll find no reprieve
dwelling on what is wrong
hold on be strong

verse 2
a future misconceived
has brought you to dismay
aligned you'll find
distress goes away

the mirror will relieve
as you meet it halfway
express no less
than you're afraid to say

and if you don't deceive
it will never betray
progress confess
in all naiveté

of faults it will bereave
and false views it will sway
make do be you

verse 3
you don't have to grieve
if you don't go astray
stick to true blue
and remember to play

there will be greener leaves
in the month of may
all you went through
sunshine will allay

and if you can't believe
it doesn't hurt to pray
maybe you'll see
it's a better way

life its tapestry weaves
its wisdom to convey
endure be pure

chorus
ongoing and hardly fully told
the making of our hearts of gold
amazing how you play your part
echoing pacify my heart

amazing how you pacify my heart
echoing how you pacify my heart
amazing how you pacify my heart

Believe it or not (and if you do, please help me believe it too), but I just published an album. It's a 4-song EP entitled « The Abode Of The Blessed » that I recorded in an overnight session last weekend and produced this past week.

But first things first. Before I go into more details about the music, here's the abridged version of what happened since my last post.

After publishing «  Takers Economy  » at the end of August, I spent most of the following two months distributing and promoting it on the internet. The task was daunting and the progress was slow at first, but the process eventually yielded positive results.

Then I took a little time off, and I do mean off. I escaped to the countryside for about two weeks, where I mostly rested and dreamt about the next phase of my life. There was a lot of music making in those reveries. Far away from the city, I especially enjoyed the silence and the night skies. It had been a long while since I had last seen that many stars.

The return to civilization did not unfold quite as I had expected, and I finally had a chance to compose more music, and was even offered the opportunity to record some of it, which I gratefully accepted. The last few years had been dedicated to writing novels and essays, and so it felt very good to come back to music again. Indeed, I experienced it as a kind of rebirth, and so it was only apt that the classical guitar I had access to during this unexpected passage was a Renaissance model.

Over the course of my residency thus far, I wrote sixteen new compositions, eight songs and eight instrumentals, that I hope to release as a full-length album in the near future. I would have liked to produce them all here, but the tight recording window forced me to choose only a few.

The original plan was to record at least five of the compositions, and keep the four best tracks for the present EP. However, time constraints and technology determined which songs ultimately made it on the album.

The music is miles away from what I usually write. The pieces are basically folk songs that I believe most will categorize in the « singer-songwriter » genre. There are no intricate arrangements, it's just my voice and the nylon-string guitar. One thing for sure, it's a definite change of pace from the prog rock extravaganzas that I typically come up with.

Life being what it is, it looks like that will have to be it for now. I must run, really.

The album is available in various e-formats via Bandcamp. The description follows below. Thanks in advance for your support. I hope you enjoy the songs !

Does heaven really exist ?

Some insist that it does, yet others seem to think that there cannot be such a place.

I have been searching for paradise for most of my life, and on several occasions I actually thought I had discovered it, but in hindsight I'm not sure I can claim to have been very successful. Or in any case, that's what I used to reckon until I tried to resign myself to the unacceptable conclusion that it was merely a fanciful invention, and considered that I would never find it. That's about when I happened to stumble upon its hall.

I definitely wasn't looking for anything of the sort when I was offered to stay in this surprising location. Nor was I quite certain of where I was at first. However, after various eye-opening occurrences, it finally struck me that I very possibly have reached the vestibule to heaven. Apparently, the blessed come and go to this uncanny domain, some to rest for a while, and others to perform their angelic duties.

I haven't been officially admitted to paradise yet, so I'm only speculating, but it would appear that some of the guests here are waiting to be granted access. Or more precisely, we have a challenge to overcome before we are allowed to move onward.

« The Abode Of The Blessed  » documents my unexpected sojourn in this enchanting mansion, this antechamber of the promised land, were I received much support, was taught important lessons, and experienced many validations of prior understandings.

The songs depict the task that I must discharge, some of the dwellers, and their own trials and tribulations. The music aims to provide inspiration and encouragement to those who have to go through a similar process.

All in all, having seen this place that feels like a gateway to paradise, it looks very likely that there's a heaven. So here I am, advancing into the unknown, all the while attempting to leave footprints behind so you can find your way too.

Onward, beautiful dreamer !

(« Athletics tracks finish line by Petey21)

The eighth and final movement of « Octoccata » is entitled « Multilethalead » and starts on a ostinato-based progression that slowly morphs into a relentless string of offbeat melodies harmonized by an increasing number of voices, building up to a climactic reprise of the « Lethal Lead » theme introduced in the fourth movement.

The « Multi » part of the section's title comes from the markers identifying some of its passages, namely « Trilead, » « Quadlead, » and « Pentapercular, » that latter tag signaling the moment when the percussions forego their timekeeping role in order to join the other instruments in the joyous fun of underpinning the melody.

That being said, let me relinquish the pulpit to give our heroic hawker one last opportunity to reach you through his unmatched delivery, and to hopefully close a few lucrative distribution deals...

And with that last octameter rhyming with eight ends this hopefully enjoyable series of posts dedicated to « Octoccata. » Please stay tuned for more unique poligrafic goodness coming soon to a blog near you !

(« "8" on the start of a film reel for the projection » by Ryan Baxter)

« Marimbariation » takes its name from the brief passage featuring the marimba that leads this seventh movement of the « Symphony of Eights. »

Once the percussive instrument concludes its opening statement, the music returns to more traditional orchestrations as it explores a succession of quirky melodies supported by syncopated rhythms.

The section culminates on a repeated phrase wherein the main riff is a restatement of a previous figure which is now being played in reverse time, producing a most suspenseful effect.

After having been exposed to much verbal virtuosity, chances are that by now you are totally convinced that it is indeed necessary to keep at least a few bottles of O·c·t·a·T·o·n·i·c handy, just in case some random ailment should hit without warning. But as you accept this much to be true, your always watchful critical sense remains on its guard and wonders how it might be possible for something to be this good. Surely, it mumbles to itself, there must be negative aspects to it. Well, guess what ? Not only aren't there any, but our commendable communicator knew that this line of objections was coming, and as always he is one step ahead of everybody...

No bad odor does it emit
You'll like what you ingurgitate
Neither will it make you vomit
Even if you exaggerate
And the doctor guarantees it
No side effects on body weight
No sicknesses does it omit
It brings you to your normal state

(« Nixie eight » by L. Marie)

How on Earth can a musical movement be named « Progigoriation » you ask ? Well, obviously, because it's the prog rock variation of another similar movement entitled « Igorchestral » I emphatically reply. And so it is that the music of this sixth movement of « Octoccata » is closely related to that of the aforementioned second movement, with the noticeable difference that it is orchestrated for a 5-piece rock band comprising of drums, bass, guitar, organ, and synth.

If you still entertain doubts about the virtues of O·c·t·a·T·o·n·i·c at this point, this next series of astonishing abilities should turn you into a believer, or so hopes our ever-persistent salesman who keeps on hammering out his slick speech even when the purported powers it presents border on the puzzling...

When friendship turns to enmity
Burnt bridges it does reinstate
When you miss part of the story
Plot it does recapitulate
When you betray your own country
Stranger it does incriminate
When you are scared of what might be
Future it does anticipate

(« behind the eight ball » by eschipul)

The fifth segment of « Octoccata » is entitled « Reoctoverture. » Basically, this section is a reprise of the introduction, hence the name, as it restates the theme presented therein, albeit through new and generally heavier variations.

The beginning of this fifth movement is intended as a tribute to Gentle Giant as it mirrors the way in which various fragmentary parts progressively recreate the main theme after the middle section of « Proclamation » (from « The Power and the Glory »).

As you have probably guessed by now, our adamant seller is still praising the merits of O·c·t·a·T·o·n·i·c, that most wonderous of drinks, as the troubles it addresses he continues to enumerate...

When you injure your one good knee
Your gait it does recalibrate
When you're seduced by apathy
Your spark it does reanimate
When you can't find your memory
Your mind it does resuscitate
When no one knows the therapy
Drink down the whole bottle and wait

(« House number 8 place de la Concorde » by Tangopaso)

The fourth movement from « Octoccata » is entitled « Biorhythalead. » Its title came about from the markers I used to identify each of the sub-sections of the composition.

After a transition reminiscent of « Nothing To Lose » from UK's « Danger Money, » the music moves into a passage featuring contrasting lines that ascend and descend in alternation, thus making the partition (particularly the « Piano Roll » view in SONAR, the MIDI sequencing software I use) look like a biorhythm chart.

At about two-thirds into the movement, the thumping theme of « Lethal Lead » takes over and treads mercilessly until its climax which is followed by a brief interlude of suspended animation that bridges the gap to « Reoctoverture. »

Oblivious to this talk about music matters and the origin of names, our dear friend the pitchman is still hard at work, hoping to impress his audience with his presentation of O·c·t·a·T·o·n·i·c, the Miraculous Mixture of Doctor Paul E. Graf...

When your headache will not remit
Your discomfort it does abate
When you self-inflict one bad slit
The blood it does coagulate
When your arrhythmia won't quit
It stabilizes your heart rate
When you're inclined to throw a fit
It pacifies your mental state

(« Octoccata Freeway » based on Interstate Shield)

« Vibrastinato, » the third movement from « Octoccata, » gets its name from the combination of vibraphone and ostinato, and features an abundance of polyrhythms.

The section begins in « Modern Poligrafic Ensemble » mode featuring Christian taking the lead role on the vibraphone. When writing the piece I imagined that, in a live setting, he would be using a MIDI controller instead of a real vibraphone in order to enable him to quickly return to the drum kit once the vibes part is done with. At this point we haven't verified if it's practicable or not, but I'm sure we'll figure out something.

The remainder of the movement is based on an exercise I used to repeat on the keyboards as a way of getting accustomed to shifting from one cross-rhythm to another.

And that being said, let's not forget the good Doctor Graf's hawker who is still attempting to convince the crowd of the innumerable powers of O·c·t·a·T·o·n·i·c, the sure-fire cure for anything and everything...

The good doctor recommends it
To all who do not feel so great
And even to those who are fit
To strengthen and invigorate
To its virtues there's no limit
All diseases it will negate
Try it and you too will admit
Mine is no overestimate

(« eight » by timlewisnm)

« Igorchestral, » the second movement of « Octoccata, » has been thus named because of the inspiration for the music, and the selected arrangement.

Igor Stravinsky is indubitably one of the composers I admire the most. The music he composed for the ballet « The Firebird » stands at the top of my list of favorites. One day while dabbling on the keyboards back in April 1999, I came across a figure somewhat reminiscent of the beginning of « The Augurs of Spring: Dances of the Young Girls, » the second scene of the Russian composer's « The Rite of Spring. » I sequenced it on the spot, and although I listened to it on several occasions, I never touched it again until many years later when time came to attack the writing of the present suite. That original sequence eventually spawned the music that is featured today.

The movement stands out as another orchestral piece specifically arranged for what I dub the « Modern Poligrafic Ensemble, » referring to the band when « exotic » instruments such as clarinet, brass, and orchestral percussions are called in to play.

Meanwhile, the sales representative of the good Doctor Graf continues to deliver his pitch in the hopes of liquidating countless crates of bottles of O·c·t·a·T·o·n·i·c, that most talked-about of formulae :

Lend me your ears a few moments
While its qualities I will state
This most powerful of agents
Leaves nothing to the hands of fate
This healthiest of all treatments
One simply cannot overrate
Easements, respites and wonderments
Handed to you on silver plate

(« Label from a bottle of O·c·t·a·T·o·n·i·c » based on a picture of William Henry Fox Talbot by Antoine Claudet)

« Octoccata » is an instrumental suite clocking in at a little over 16 minutes. Its title comes from the combination of octatonic and toccata, and is inspired by Emerson, Lake & Palmer‘s adaptation of the fourth movement of Alberto Ginastera‘s first piano concerto, which they published on their « Brain Salad Surgery » album under the title « Toccata. »

The intent here is simply to « make some noise. » In other words, the music is meant to be spectacular and bombastic, and hopefully the intensive use of octatonic scales will warrant some originality to the whole and contribute to convey an overall feeling of amazement to the listener. However, contrary to most pieces of Poligraf's repertoire, the music has not been assembled around a specific narrative.

From the title came the idea of loosely turning the piece into a « symphony of eights, » so the suite has been divided in eight movements, named as follows :

1. Octoverture
2. Igorchestral
3. Vibrastinato
4. Biorhythalead
5. Reoctoverture
6. Progigoriation
7. Marimbastinato
8. Multilethalead

The composition opens with « Octoverture » which is basically a series of variations built around a recurring motif and over which the instrumentalists take the lead role in various combinations. The meter of whole section is not 8 but 7, not to provide the exception that breaks the rule, but simply because that's how the motif came out, and it sounded good as such.

While the music wasn't built around it, a narrative finally came into existence when I considered how to best present the piece. From the word « octatonic » stood out the word « tonic, » and that became the seed from which stemmed the idea of O·c·t·a·T·o·n·i·c. Praised as the miracle remedy to all ailments, the drink is infused with a touch of octatonine, and carefully brewed by a certain doctor Paul E. Graf, no doubt a good person enjoying an enviable reputation among his scientist peers, or maybe not...

Come gather 'round all good people
I have come here to illustrate
Doctor Graf's brand new formula
It is his most potent to date
For the relief to your ailments
No longer will you have to wait
Introducing O·c·t·a·T·o·n·i·c
Offered to you at discount rate

As you surely have noticed, at the top of the present post is proudly standing the digital reproduction of a mint condition label coming from an authentic bottle of O·c·t·a·T·o·n·i·c that our indefatigable team of assistants has dug up from the archives. Know that the good people working for the Poligrafic Industries will spare no expense in the aim of upholding our commitment to provide you with the most thorough experience possible.

(« Emblem 45 » from Atalanta Fugiens by Michael Maier)

The fifth and as of yet unwritten chapter is entitled « Lepufology Master Class : The Turnaround, » and is an account of the consequences of the success of the outworlders in their mission.

After the exploitation of petroleum and the use of its by-products have 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 » is not intended as a soundtrack but rather as a rallying song, an anthem for progressives, activists, and everyone who is hoping to make this world a better place.

The lyrics have not been completed at this time. Here's what's publishable :

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 !

(Detail from « The hares and frogs » by Wenzel Hollar)

The fourth chapter of the series is entitled « Lepufology 401 : Responding To An Invasion. » Having accepted to collaborate with the outworlders, Jack flies back to Flatbush where he will have to guide a gigantic horde of alien rabbits to the tar sands fields of Athabasca.

Here's the storyline :

Jack is taken back to the shaft. He is surprised to see that the spacecraft is missing, and just as he turns to ask the interpreter she tells him that when he found the base in Flatbush, the team was almost ready to go ahead with the operation, and that the two outworlders who brought him over have returned to complete the preparations. While another spacecraft is conveyed onto the platform, she explains that they must act fast because they have enemies of their own who are trying to thwart their plans and who have recently tried to attack their farm in Flatbush with an airborne weapon which was countered at the last moment and redirected to crash near the border of the province. She gives him night-vision goggles, and a small communication device so that they can stay in contact should he have questions or run into unexpected situations.

Jack boards the vehicle and is told that its operation is mostly automated and that it will follow a preprogrammed route to Flatbush. He receives permission to lift off, pushes some controls, and the spacecraft slowly rises to the ground level and up over the field. As he flies away, he looks back and sees the platform closing the shaft and then taking the appearance of the surrounding land until it becomes undistinguishable. The vehicle picks up speed and Jack starts to reflect on the recent events as he gazes in awe at the sweeping landscape.

When he arrives in Flatbush, the spacecraft heads to the location of the remains of the crop circle, and hovers there. A few instants later, just as the interpreter had told him before leaving, Jack hears an alert-type sound and sees some lights flashing on his dashboard. Part of the ground lowers underneath him and a spiral-shaped ramp lifts up from the bottom of the shaft to the ground level. Moments later, rabbits start emerging from the ramp and advancing in the field.

Jack his astonished by the number of rabbits gathering below him. Yet the rabbits are just getting out of the shaft, and not moving out of the field. Jack doesn't quite know what to do and just as he grabs the communication device he hears the interpreter telling him that the rabbits are simply waiting for the vehicle to move, and that they will go wherever it goes. She adds that a route which the rabbits can follow has been preprogrammed, and that Jack is only there to make sure that everything works as planned.

At her instruction, Jack pushes some controls and the spacecraft rotates towards the nearest road. It starts flying at a slow speed and the rabbits begin to move in its direction. Once it arrives over the road, the speed increases, and the rabbits start to race behind it. Jack is amazed at the speed at which the animals can run. He smiles and sits back as the spacecraft leads the rabbits to the Athabasca tar sands.

As they move over the fields, the rabbits spread around and some of them start digging holes. Their number is astonishing and Jack has trouble believing what he sees. He his relieved as he witnesses the last rabbits arrive on location and disappear under the ground. He tells so to the interpreter who confirms that the Flatbush farm is now empty and that the two other hordes respectively targeting Peace River and Cold Lake have also reached their objective. She thanks him and concludes the communication by saying that he will be taken back to Flatbush where the spacecraft will land, and that his car has been fixed and is parked on the road next to the field.

Epilogue :

A few weeks later, news bulletins start emerging from many of the largest oil plants on the planet which are reporting production problems and as unexpected as inexplicable decreasing yields from proved reserves. Jack tries to find some news about the production in Alberta and learns that there are indeed reports of lowering production and never before observed decreases in the quality of the oil sands.

Soon after, the Organization of Petroleum Exporting Countries announces production shutdowns and shortages, and are quickly followed by most of the other oil-producing countries. 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.

(« Aerospaceplane » by Unknown Artist)

The third chapter of the series is entitled « Lepufology 301 : Racing Spacecrafts. » This time, things get a little more complicated for Jack Babbitt as he gets abducted and taken into the alien headquarters in the Wiltshire, UK, where he discovers the purpose of the presence of intelligence from outer space on Earth.

Here's the storyline :

Jack is still driving, trying to escape from the rabbit farm in Flatbush. He looks in the rearview mirror and sees a small vehicle hovering in the distance behind him. Still terrified, he accelerates in the hopes of eluding it, but the spacecraft is gaining ground.

The airborne vehicle catches up with the car and manoeuvers so as to force Jack to leave the road and wreck his car in an empty field. He tries to get out of the car to run away, but two men get out of the spacecraft and grab him before he can get anywhere.

He is taken inside the spacecraft which quickly lifts up and starts to fly at great speed. The abductors remain silent to Jack's oppositions and questions, but he can see outside and reckon that they're heading east as the sun is setting behind them. He recognizes one of the men as one of the pair he bumped into earlier. As they fly over the Canadian territory, Jack begins to think that he's probably being taken to his kidnappers headquarters, and he gets his confirmation soon after as the vehicle first reaches the Atlantic ocean and then the coast of Ireland. A few minutes later, Jack recognizes the somewhat familiar landscape of England in the night-time.

Just as he had guessed, the spacecraft finally slows down as they approach the Wiltshire. It stops over Milk Hill, a place Jack knows particularly well for having investigated there a few years back. Much to his surprise, the vehicle lands at the exact location of one of the crop circles he had reported on.

He hears a deep rumbling sound and the spacecraft starts to go down. He imagines that they have landed on a platform of some sort that's being lowered into the ground. And indeed, a few seconds later they hit the bottom of a deep shaft and stop moving.

Jack is taken out of the vehicle and led to a meeting room where he is greeted by a woman who addresses him in English and introduces herself as an interpreter before presenting her colleagues.

One of them starts to speak, and Jack turns to the woman as she starts translating. She first tells him that they don't have much time on their hands so they will have to go straight to the point. Jack then learns that they are a team of beings of extra-terrestrial origin who have come to Earth to correct a situation threatening the equilibrium of the planet, and thus also endangering the balance of the solar system which in turn could have unfortunate consequences on their own planetary system. The woman explains that the exploitation of petroleum and the use of its by-products has proven consistently dangerous throughout the galaxy, and can have disastrous effects on a planet, as is now the case on Earth. She tells Jack of the harm it causes to the ecology, animals, birds, humans beings, the atmosphere, that the situation is critical and that something must be done soon or life on Earth as humans know it could disappear. The interpreter concludes by saying that their plan is to eliminate the major reserves of oil on the planet so as to slow down and eventually stop the damages, and oblige mankind to look for safer sources of energy.

Another woman speaks, and the outworlders start to leave the meeting room. The translator invites Jack to follow them. Just across the corridor, they enter a room which looks like a laboratory. Jack learns that the team has been sent here to bioengineer and breed vast quantities of super-rabbits with features that allow them to run extremely fast over many hundreds of kilometers, dig deep underground, see in the dark, devour hydrocarbons, digest them into unexploitable substances, and reproduce as needed until the reserves of petroleum on the planet are depleted. Once their task is completed, the underground rabbit colonies will disappear out of hunger. Jack is relieved by what he is being told and smiles as he makes sense of his recent findings.

A man turns toward Jack and addresses him. The interpreter asks Jack if the team can count on his collaboration, and he accepts wholeheartedly. He is then told that he badly injured one of the observers when he ran out of the rabbit farm in Alberta, and that he must take his place. The woman explains that the targets of the operation in Flatbush are the tar sands, and that his duty will be to see that the rabbits are released and led to the deposits of Athabasca.

(« Conejo » by Ecelan)

In the second episode, entitled « Lepufology 201 : Investigating Burrows, » we follow our good friend Jack in Flatbush, Alberta, to investigate reports of strange occurrences. Here's the storyline :

A few days later, Jack is at home, and as usual he's working in his office, completing his report on the British rabbit case. He receives a call from a photographer located in Alberta, Canada, telling him that there have been reports of strange looking rabbits with long legs and weird eyes near Flatbush, not far from a recently discovered crop formation.

Jack is again very excited and packs his stuff, getting ready for a 20-hour drive north of the border. He gets into his car and starts driving.

He arrives in Edmonton where he is greeted by the photographer who gives him more detailed accounts of the observations, and tells him about a fireball flying over Edmonton and falling near Lloydminster close to the border of Saskatchewan just the night before Jack's arrival. She shows him the location on a map in case he wants to stop there, and also gives him the name and phone number of a farmer and amateur pilot living in the Flatbush region who will gladly take Jack on his small plane should he want to see the location of the crop circle from above.

Jack gets in his car and drives to the pilot's home, where he is taken for a short flight over the remains of the crop formation. While in the air and taking photos, Jack notices patterns of strange cavities in the ground near the emplacement. After landing and thanking his helper, Jack returns to the field in his car to investigate the location.

He munches a quick evening meal while looking at the remains of the crop circle, and then starts locating the cavities, which he finds almost immediately. Taking a closer look at them he sees that they appear to lead down to an underground cave. He tries to enter one of the less narrow openings hoping to climb down to the cave underneath, but misses his footing, slips down, and falls to the bottom.

Jack is shaken but not injured, and finds himself much lower than he first thought in what looks like an underground network of tunnel and caves. As there is some light entering by the cavities above him, he can see and walk around. He is surprised by the size of the subterranean formation. His surprise is replaced by amazement when he sees that some of the tunnels have been furnished with lighting !

He keeps walking in what looks like the main tunnel, until he reaches an immense room which appear to be a huge rabbit farming operation operated by robots, machines, and computers. He is filled with terror, but his curiosity is stronger and he walks to the nearest rabbit to examine it from up close. Jack is not surprised to see that the animal looks just like the one that was found in Christchurch. He carefully opens its mouth to check its teeth, and, just as he thought, finds that the rabbit has two extra incisors.

He resumes his exploration and finds a cave that looks like it's being used as a meeting room. He sees documents on a table, and lists, photos, and charts on the walls. He recognizes some crop circle patterns on one of the charts. He sees a map of Alberta marked with symbols in various location including Flatbush, notices that three regions near Athabasca, Peace River, and Cold Lake have been outlined, and that there's a mark near the border of Saskatchewan matching the spot where the fireball has crashed down. He also finds a map of United Kingdom loaded with marks, including two near Christchurch, and many in the Wiltshire area amongst which is the biggest symbol on the whole map. He recalls his recent investigations and the links between them start to form in his mind. He remembers being told about the two crop circles near Christchurch, and that a great number of such formations have been observed in the Wiltshire in the recent years, some of them he has investigated himself. He figures that the big symbol must indicate the location of something really important, probably the headquarters of the whole operation, and that he must return back there to investigate further.

His reflections are interrupted by what sounds like an alert signal coming from outside the room. He looks out and sees two men wearing uniforms walking in his direction. They see Jack and call him in a language that he can't recognize. He's filled with fear, and starts running towards them as they stand between him and the entrance of the underground complex. He bumps into them and keeps running until he reaches the spot where he came in from. He climbs back up and out of the cavity without ever looking behind him, and then rushes to his car, jumps in and drives away as fast as he can.