long lines beaming lofty into the dark along longer lines leaning hailward into the rose of last nights beginning
long rows of the traum-tone extending beyond what seeing as i can't describe orders back oblivion and goes on to seem so or only so
runs on before me as some kind of road going onward and nowhere resolving the brim of the convexity
rays of running light or the running lights of rays riding on the ruins of aural memory
and again long lines dipping into luminescent trails or rails run off from trains the heaving of lungs bewail
lines shining starless or stars themselves unseen in the self-origin of their setting nimbus tripped into evaporation
glistening in the listening to themselves pining oracles of their over-arching senility they travel younger than time and still
as monotony slivered with scintilatiing splinters of an abiding cacophony remain emotional as in moving and unmoving
texas or new mexico where lingering rickety leans of fences hem the yellow green munch and sun-pickled sanddollars of cattle manure
there is a theory in all this that has nothing to prove outside of its practice where theory itself is the mode of seeing waves and everything just begins again spuffling
to swell over the sucking ears that sleep and vibe their eternal tinnitus jesting the brain with inconsolable mares
shooting fluted runnels or rills of air resembling or reassembling the imaginary of wires weighted with pulsar parameters
boundary nexus of multilinear gravitational pulls permitting the sparagmos of inertia and the scandalous capers of two-bit stars
spittle drip off the stem spout tensile ingnotum clasping the floor of feral algae fed upon by whales moaning lonely songs
over the mountain hump of the last expected galaxy and further without backward glance coming from behind everything nevertheless and merging into infinite slittamenti
these are the smiles of gasping through the stem to stern spiral of the lines of longing that never ends
these are the mangers of the daughter of man already eaten by the kingless queen unrealming the night's hand on day
with my brittle anthology of unhinged syllables and leaky teapot i go sit on the roof to hear you fall a thousand deaths into my small life
and i paint your portrait with wine-stained fingers on the back of my love whom i place between two mirrors
and sleep when we decide we can rise again tomorrow to decipher what it means
salva adesso salve adesso salvete line line line
Our title comes from some very simple physical displacements of political and psycho-geography. All the tracks were recorded in Florence, Italy and in Poznan between late 2012 and early 2013. While visiting Florence, we composed, improvised, recorded, often mixing in Poznan, Poland. Or, the other way around: recorded in Poznan and mixed in Florence. One can hear the meteorological traces in the field recordings. One thunderstorm in Poznan was used as backdrop for a piece of instrumental improvisation (violin and guitar) recorded in Italy. Thunderstorms recorded in Italy were used later in Poznan in similar manner. These mixtures of atmospheres and body-weathers speak of a twilight world where one cannot distinguish easily whether it is arrival or departure, dawn or evening, that is coming or going. Hence the continual feeling of a potential reversal of time we feel music itself allows. Should we steppe thereinto.
The terrain, as we feel it, seems to extend from the first glimmers of the laminal or archaeological, process-oriented work of recent times, within the multi-dimensional texture of late romanticism and impressionism, detail moving into the crackling brittle. The dimension of noise arriving from overlapping dimensions explored throughout with more determined focus in the sequence "Systematic Structural Instability", wherein improvised sections where recorded and then subjected to various time-stretch and loop restrictions derived from contemporary economic statistics and the Benford numbers. In these composition we explore the smooth vs. the ruptured. It's both highly organized on a molecular level and perpetually in disturbance. Classical bowing technique can be slowed down and sped up to be a sequence of morsian bleeps. Literal frogs in the elbow. Flute played by Asia Zielecka, the breath sweet and smooth breaking into sputter and microcosmic indeterminacy...
There is also an "incidental" composer on the album in the presence of Marco Lucchi who proposed via his "5 Keys Piano Project" works be made of only 5 notes. Violinist Karolina Ossowska played 5 times the same 5 notes in various articulations upon the suggestion of Jeff Gburek who recorded and mixed it. Further technical details about these or the other pieces we dare not mention here will be posted on both the Catalogue of Wonders bandcamp page and Jeff Gburek's personal site >
The cover design derives from collages made by Karolina Ossowksa.
v i s i t a t i o n s:
1. visitations i
2. visitations ii
3. 5 x 5 (for marco lucchi)
4. systematic structural instability i
5. systematic structural instability ii
6. systematic structural instability iii (florentine tapestries)
7. on the ashes of bruno a late too light rain
8. twenty-fifth of june
9. disillusioned enchantments
jeff gburek: prepared & traditional guitars, field recordings, bass recorder, electronics and processing.
karolina ossowska: violin, keyboards, penny-whistle, collages.
composed, recorded & produced by jeff gburek in florence, italy & poznan, poland, 2012-2013.
special thanks to asia zielecka (flute, track 4); marco lucchi (compositional "seed" for track 3) & lee foust, omar misa and steven lee rees.
Systematic Structural Instability:
Systematic Structural Instability is a process composition wherein the frequency and distribution of sounds are plotted to either demonstrate the coherence via instability within Benford's Law or to merely have a new reason for organizing sounds based not only haphazardly on chance operations. Since Benford's law refers to complex data systems resolving in a particular pattern of infinitesimal difference toward the end of the set, as opposed the broader range of difference characteristic of the initial phases, comparisons have been made with various power laws (algorithms) observable in nature (such as the Fibonnacci numbers, the Golden Section).
I began contemplating these processes after watching closely the economic debates surrounding the USA's presidential election campaign in 2012, when I realized both candidates were at the mercy of statistical operations that no human being or political ideology has any hope of mastering. And the paradox of politics consists in manufacturing rhetorical performances that blind one the the facts. This led me to contemplate a curious kind of scientific Islam, granted that one takes etymology into consideration. My composition has no religious connotations whatsoever and yet the notion of it being guided by numbers, that I might submit to the numbers (which are in fact, a kind of and other "verbality", words, really, that help us understand complex physical processes), harmonizes with the concept of submission to and peace with the will of forces beyond control. Even to the extent that the philosophical concept of will dissolves in playing itself out. This is a poetics of sound based in numbers that is based upon the irregularity patterns within numerical patterns that seem to be, whether I like it or not, written into the material configurations of the cosmos.
Issues of control predominate in human life. Our species' encounter with nature has led us through the gnosis beginning with religions and magic up to highly efficient micro-technologies and engineering concepts by which we have attempted to stabilize some of the dangerous factors. In the meantime, we have run into resource management issues, global climate fluctuation, rooted in our own industry altering the consistency of the patterns we once considered unchangeable. Systematic Structural Instability (dis) integrates along lines of crack propagation in any and all aesthetic categories known to the composer/compiler of the sound sequences. Randomness/calm/ randomlessness / excitation. I gave myself the freedom to not be freed from the process. I don't get no satisfaction from that other than from that. The devil deserting the details, rather, by force of the Matthew effect.
'Then you should have deposited my money with the bankers, and on my return I would have received my money back with interest! 28 Therefore take the talent from him and give it to the one who has ten. 29 For the one who has will be given more, and he will have more than enough. But the one who does not have, even what he has will be taken from him. 30 And throw that worthless slave into the outer darkness..." (Book of Matthew)
out of the air a voice without face/ proved by statistics that some cause was just/ in tones as dry and level as the place/ no one was cheered and nothing was discussed/ column by column in a cloud of dust/ they wandered away enduring a belief/whose logic brought them somewhere else...