I started the album with a sound that is hard to tell if it is electronic or organic in origin, a distorted string-like somewhat electronic sound. The same sound that is the loudest sound building up in the second part within my album closer “Deaths Gentle Embrace”. It is the beginning and the end at the same time and is perfectly suited in its role as the starting and ending point of such a hybrid sound project that fuses electronic and acoustic elements into an inseparable symbiosis.

After that, a first orchestral climax of various strings, winds and orchestral percussion builds up as a symbol of the emergence and growth of a new life from a cell, in which all characteristics are already pre-programmed, up to the birth of a human being. This climax makes way with its end for the main motif of the track played on piano and flute, which is reinforced in the second run by a music box – like ticking sound that sounds as if you are standing inside a huge ticking clock and hear all the elements of the clockwork rhythmically interlocking, a first hint at the transience theme. I first became aware of such sounds in music when I listened to Sigur Rós’ album “Takk…”, in “Glósóli” such sounds also appear, in my opinion they can evoke a strong feeling of nostalgia. This sound also serves as the main motif in the first drop, but it becomes more uncontrollable, starts to glitch playfully and merge with other percussive elements. The first drop has an unusual rhythm and may surprise the listener should they expect a typical house rhythm. However, since I wanted to thematize the effects of time in relation to our own biological and mental growth and the change to adolescence in this track and the first half is dedicated to childhood, in which the need for conformity manifests itself gradually and does not yet play a major role at the beginning, I have also used other rhythmic structures here.

The playful, childlike basic sound of the first drop is joined by rhythmically fitting initially atmospheric vocal texture – like sounds, which increasingly develop into wild, nasty and beastly sounding neurobassy sounds, cutting and jangling rhythmically into the track structure. The sub bass is pleasantly warm and as massive as it can be without pushing other elements out of the track. In the second part of the first drop, the clap starts to slap massively and gradually the strings from the intro come back in to lead the first drop to an emotional climax, a first pulsating synthesis of electronic and organic sounds. With this first drop, I wanted to symbolize the conflicting emotional life of a child getting older and approaching adolescence. The warm and playful basic character is reminiscent of childhood, while the increasingly cutting, rather perceived as unpleasant, louder vocal to neuro-like sounds, are meant to symbolize the pressure from the outside on the part of society or the social circle or the family, which limits the freedom of childhood and gradually forces children into the conformity modeled for them.

In the intermediate section after that, the music box sound is slowly tuned down and the flat, gloomy vocal textures build rhythmically and engulf everything else during the build up. The second drop then begins, this time the main element is found to be a modified version of the music box sound from the first drop , but layered with a processed acoustic guitar and playing a different melody. This time the house rhythm drops striking and slaps very hard. The cutting vocal textures are extremely present and take up a lot of the mix. In a figurative sense, this is supposed to express my feeling that the pressure to conform is immensely high at the beginning of adolescence and that one partially aligns one’s entire existence only to comply with the social constraints (well-paid job, home, family, etc.) or to lay the foundation for having something like that. This leads to enormous pressure, which threatens to completely destroy the ease of childhood, which should actually be preserved and continue to be inherent.

Afterwards everything builds up again with the already heard orchestral elements to a last melancholic climax, in the course of which, however, this time the melody descends in contrast to the intro and thus is actually anticlimactic. I wanted to bring this in as an indication that you resign yourself to the given situation because you don’t feel like you can change anything about it and bow to the pressure and go the way of life that is more or less forced on you from the outside. The following outro repeats the theme on piano and flute, which now becomes slower and slower in symbiosis with the clockwork-like sounds, while all kinds of sounds in the background gradually dissolve and the whole track stops at the slowest point, a first hint at the relativity of perceived time and my first play with tempo automations, which are unusual in dance music.