“True confessions are written with tears only. But my tears would drown the world, as my inner fire would reduce it to ashes.” – Emil Cioran
Lustre is heading to the inexplicable, to a meaning that no longer needs to be understood. It is the disintegration through which the human being finally comprehends and embraces its purpose. Henrik Sunding aka Nachtzeit becomes a thinker in these circumstances, and his music turns into what philosophy calls the will. Lustre is more than an artistic expression; it is an existentialist concept, an abstract form of interpreting the world. And abstract doesn’t necessarily mean incomprehensible, but well-placed, laid out, something you can reach out easily when it’s the right time. It is the meaning at the edge of sense, the abyss that calls you from within the being.
To create as of all the others things no longer exit, yet they enter the world the very first time through this simple act of your will. What I want to say is that you’re exposed to a feeling that penetrates this world through music. Beyond the pressure and regret, what you hear is the sum of all the phrases where nature speaks to you about beauty. There is no pain in this rend whose tears fall on the ground. I know there are worlds beyond, that’s the way it should be. After all, I fell them on my skin from time to time. How else can I explain to myself this feeling of emptiness, and how it greedily seeks to fill itself with each listening, like a cracked earthen jug, through which the cold water drains and you repeatedly try to fill it back. To crave for water means to endure the whip of the perfect drought. And what drought is this that makes you long for what composes you up for the most part? Perhaps it’s the lust for life, for a simplicity of being, a desire of understanding yourself in a world where rain nourishes the fruit. Okay, I don’t want to embalm music through theological-philosophical considerations, but I happen to become one with the wave that carries me.
I was convinced that the return to the past feelings can no longer be done, and time travel is a still undiscovered matter. But Lustre takes you into a sphere of innocence, of pure living. It is an outplacement in time, a reformulation of innocence. ‘The Ashes of Light’ represents the echo of regeneration, and although it comes as a heavy music, as an understanding, as a form, I think it can acquire meanings in the seam of each being.
There is no right and wrong. This is exactly what Nachtzeit‘s musical creation reveals to the world. The scream of a laceration as if you were feeling your soul leaving your body, is the substance that bonds the body of ether, of the immateriality of the sound’s instrumental.
I know I said I’ll leave this interpretive area, but given this music’s character, it gets really difficult for me to do so. Although we are talking about a genre and an approach that has become classic in Lustre’s music, well, on this material, precisely on the song with the same name, it exists a dose of experimentation and innovation. The soldierly rhythm at the end of the drum is an encountered fragment in neo-folk. Then is the ideational construction of the material that introduces you in its meaning right from the first song. There is an attitude in Nachtzeit‘s music it almost feels like a slap on the shoulder. It’s like he would comfortably say that you’ll understand his art’s meaning, if not now, for sure at some point.