Llimitowany BOX

Wycinana (duplikacja) płyty winylowej 12".



KOLEKCJONERZE 
Dwa niepublikowane wcześniej utwory, ukażą się tylko na tym nośniku.

Tracklist

1. The Names
2. Sound Of Sands
3. Poeme IV
4. Separation
5. The Work
6. Hearing The Light
7. Le Chanson Du Soir
8. The First Breath After Death

Performers

• Maciej Ożóg

Production

• Recorded between 1997. 
  Composed, mixed & recorded by Spear
• Re: Mastered by M.Florczak / J. Sokołowski Hagal Studio 2025
• Design and pre–press (2025) by Łukasz Pawlak 

Spear’s music emanates that primal, threatening beauty Rilke wrote about: “beauty is nothing but the beginning of terror.” On In Search Of Sparks, however, the terror has already begun – the moment music, in the concentrated tone of ritual, spreads as an endless wave of longing – otherworldly, subtle, woven from echoes, calls, hypersensitive intuitions, and esoteric instincts. The story of this world begins, seen from a perspective that also embraces the superreal. Concrete sounds processed and sculpted by Spear become simultaneously sensual and spiritual – veiled in mist yet intimately close, transcending the grasp of imagination, while carrying a nostalgic, nonverbal message compelling enough to identify with. Experiencing Spear’s music demands full engagement – it can be unsettling for those who prefer to avoid life’s most important questions. Yet for those willing to seek, the apparent melancholy of “searching for sparks” proves maximally creative and inspiring. (Rafał Księżyk)

Excerpts from Rafał Księżyk’s conversation with the band:

B.: You mentioned that these are symbolic lyrics – the choice of symbol largely defines this kind of work. You draw from a certain, fairly strictly defined and traditional group of symbols – stars, the sun, the moon, dreams…

S.: One must distinguish between the symbolic and the sign. A sign has a fixed meaning – a symbol conveys ineffable content, and that transmission contains a strong element of ambiguity. These works probe archetypal layers. Archetypes are model structures characteristic of all humanity. It’s no wonder people have been gazing at the stars for millennia. It’s a behavioral model that must be enacted by every experiencing human… Symbolic works don’t have a single interpretation. They invite each person to interpret them in their own way. For me, these lyrics refer to a lost capacity for communication. At the dawn of the 21st century, it turns out that people – despite having an enormous amount of media – are essentially deprived of real communication. It happens at the shallow level of signs, not deeper content.

B.: There’s often a recurring motif in these texts – sleep and awakening, night and dawn…

S.: Yes. We are fascinated by the state that could be called “in-between” – neither one thing nor the other. Not being entirely defined allows access to more interesting spaces. For us, the journey matters more than the goal…

B.: The atmosphere, the almost dreamlike vocal articulation in the songs, gives them a nostalgic, sorrowful character…

S.: (…) As for sadness – it belongs to taboo territories many would rather ignore. This is the influence of the American model of life: everything sad is bad because it threatens our happiness. Yet sadness is inseparable from existence and always permeated by hope. This is not a depressive album. It is globally sad, but radically oriented toward overcoming that sadness individually. Watching hordes of rushing zombies, it’s hard to feel enthusiasm for human reality. But at the same time, one can realize that each of them can awaken – they just need strong enough will and the courage to try…