Shadows of Time – a sequel to the Pendulum album

I was always fascinated by the Time. From where it comes? Where it goes? Can we really measure it with those complicated mechanisms?
Maybe only our memories make us to “feel” the passing of time faster and faster…. May be there is no time at all … only eternity. This is the reason why I did not mention the timing of the tracks on the cover of this album. However, Bandcamp mentioned it automatically.
Shadows of time
This album is a sequel to my other album titled Pendulum.
I explored using music those elements which were not or could not be included in my before mentioned Pendulum album.

Music composed, performed and recorded by Sztakics István Attila.
Guitar parts on Infinity were performed by Kertész Huba.

released September 20, 2017 on https://nordmusic.bandcamp.com/album/shadows-of-time-2017

About this album on Synth&Sequences Blogspot:

Obsessed by time, from where it comes and where it goes. Can it be really measure? With so many questions and thoughts about time, Nord revives his reflections undertaken in 2016 with the excellent album Pendulum. And like a great majority of sequels, the first episode always remains the most delicious. Nord! So much music in so little time, although 2017 seems to be his least productive. And after albums so solid as Rings of Fire and The Hidden Garden of Semiramis, Sztakics István Attila seems to be short of breath with this “Shadows of Time” which proposes some great titles and others which get stuck in the mud with openings which seek to get out of their dead ends.
A big black breath explodes at the opening of “Introduction to Eternity”. Reverberating waves float there, adding a touch of mystery which is amplified by mute knockings and a vibe almost sibylline with these synth layers which moo and move with the floating of specters. These strident mooing become the harmonies of the ambiences from an opening endowed of an abstruse dimension which wakes up at about the 3rd minute with a race of the sequencer and the percussive effects of hands slamming. Lively and steady for more than 90 seconds, this rhythmic skeleton crosses the back- stage of “Introduction to Eternity” which prefers its lamentations of a synth in spectral mode than its jostling of the rhythm, as shown here when it gets back towards its ambiences of origin. Too bad! The rhythmic section was great but too short versus its long moment of ambiences. “Infinity” is simply magnificent. Its introduction proposes a light upward movement of the sequencer where are also charming some percussive effects. The synth spills laments of the same tone as in “Introduction to Eternity”, except that they are softer, dreamier with a cachet filled of melancholy. I like the more solo shape of these harmonies. The rhythm oscillates slowly, freeing an aura of intensity which is also noticeable by the contribution of electronic effects and bluish mist. The orchestrations are soft and the effects flirt with the universe of Electronic Universe from Software. Percussions delicately lead the charge after 5 minutes, restructuring this good cosmic slow dance into a light rock approach which gets wrapped by orchestrations in mode staccato and by splendid synth solos. Present in The Hidden Garden of Semiramis, Kertész Huba loosens his furious guitar with great riffs which are coupled to the orchestrations and big solos which make duel with those of Sztakics István Attila on his synth. A great moment of electronic music! A tick-tock opens the first explorations of the ambiences of “Clockworks IV and V”. The 3 first parts of this title being on the Pendulum album, it’s a bit of the same essences that we find here. Layers of organ tones, movements of motionless sequences which flickers like a helicopter in mode attack, effects of wooshh and waash, dramatic decoration and a crowd of small noises, percussive as of ambiences, decorate the ambient paths of the first 10 minutes while the finale explodes in a good and very Jarre electronic rock. It’s as good as in Pendulum. The title-track is simply magnetizing with its shy arpeggios which sculpture an evasive melody in the chants of a so harmonious synth and very creative with its soft and subtle fluty harmony. In fact, the introduction becomes a mishmash with arpeggios, flutes, cosmic layers and effects which coexist in a heavy and fascinating symbiosis while in the background takes shape a clearly more intense approach. And it’s the eagerness of the sequenced arpeggios that puts our ears in appetite. From then on, these fabulous percussive effects of rattling and other effects of arrhythmic pulsations go towards sober percussions, giving more intensity to this cosmic rock also catchy and lively as this small portion of rhythm very Jarre that we find in “Introduction to Eternity”. “The Dance of the Gears” ends this last sonic novel from Nord with a noisy opening where is escaping a zigzagging approach of the sequencer and very nice piercing harmonies blown by a synth in mode Mellotron. A panoply of effects, as sonic as percussive, decorate an introduction which stagnates in its spheroidal approach but all the same rich in effects and in intensity. Slightly too long, this introduction migrates with jingles to another roaring of the void before a rhythm, as cosmic as melodic, reverses the psychotronique trend of “The Dance of the Gears” which allows too much time to propose a so beautiful but a too short moment. Like in “Introduction to Eternity “! But 17 minutes which are so/so versus a total of 49, it ain’t that bad…
Sylvain Lupari (October 30th, 2107)

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