All The Time


All The Time


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About All The Time


1   All Directions (Brainshaped Universe)

2   Spheres (Part 2)

3   Everything is Happening at the Same Time, All the Time

4   Only Matter

5   VY Canis Majoris

6   Long Far Distant

7   Cosmic Ocean

8   Merging of Substances

9   Outside this World

10   Transexistential Perspectives

In an endless universe, the boundaries of time and space do not exist. Infinitely small and immeasurably vast are one in the same; and everything is happening at the same time, all the time. These are the thoughts that constantly run through the mind of Transylvania-based soundscape artist Oliver Dombi, whose cyber-space ambient music project, Csillagköd, expresses these concepts through a combination of music and soundcurrents that are steeped in wonder and curiosity on his second project for the Spotted Peccary label, ALL THE TIME.

Deep and mysterious, the soundscapes of ALL THE TIME are built upon solitary and sweeping expanses. Dombi’s skill with synthesizers and programming provides a fresh and otherworldly palette for the discerning electronic music listener. In true ambient form, it flows and spirals deep into minimal melodic textures and electronic ambiences, guiding the listener on a tour of cavernous spaces, from the imperceptibly small, to the long far distant beyond.

Oftentimes still and reflective, and occasionally propelled by a pulse or simple beat, ALL THE TIME is deep ambient listening; a soundtrack to outer-world voyages for inner-mind travelers.


Being Hungarian for “Nebula,” Csillagköd is a fitting choice of moniker for the kind of interstellar soundscaping Olivér Dombi calls forth from his Transylvania home base. An ambient sound designer of the first order, Dombi brings a bent for cosmological contemplation to his music-making, which began in 2001 at the ripe old age of twenty-one. Consistent with the album title, his philosophical view is that when viewed from the vantage point of eternity, concepts such as space and time become meaningless and thus “everything is happening at the same time, all the time.”

On this second full-length effort for Spotted Peccary (Silent World the first), the Transylvanian cybernaut uses synthesizers and programming to fashion a sixty-five-minute exploration of the galaxial spheres that veritably oozes wonder and awe. In ten electronic music settings awash in epic expanses, All The Time ranges between serenading sequences of peaceful quietude and occasional moments of turbulence, and the listener is made to feel as if he/she is witnessing breathtaking vistas of immense magnitude as the voyage continues. In one sequence, rumblings emanate ominously and ethereal tones echo; during another, bright synthesizer melodies strike querulous poses alongside shimmering washes and rhythmic pulsations. The mystery and majesty of deep space are evoked by the haunting stillness of “Long Far Distant” and muted gleam of “Cosmic Ocean,” and as we go deeper into the recording, its material seems to grow quieter, more ethereal.
Still, as accomplished on compositional and production grounds as it clearly is, All The Time doesn't add anything radically new to the space ambient equation that hasn't been done or heard before. That being said, what it lacks in innovation, it makes up for in craft. For those with an insatiable lust for the genre, Dombi's outing is as solid a collection of deep space ambient as one might hope to find.

- Ron Schepper, Textura

When you are firmly in the flow of Csillagköd’s All the Time, things are going to slow down for you. Time, breathing, reality. It all just sort of goes away. Olivér Dombi lays down a lot of massive, warm pads and galactic-vista constructs on these tracks, and also slips in some downtempo beats to inject a little extra cool into the ride. The steady, underplayed pulse that runs through “Everything is Happening” is a good example of how Dombi infuses his softer constructs with rhythm. It’s less a beat than a thrum, a straightforward bass line with a slight electronic tap beneath it. While it runs, sparkly arpeggios pulled straight from the spacemusic playbook spin up and down over long pads. “Cosmic Ocean” is more overt with its percussion, offering a straight-up loungey shuffle, heavy on the bass thump, supporting appropriately liquid washes. “Outside This World” is one of the most song-like pieces on the album. Its slow-moving melody spins out amid more of Dombi’s rich galactic vistas. It has a gentle energy that accents its easy beauty. On the other side of the starscape, the very deep, spacey pieces on All the Time are simply fantastic. A wandering path like “Only Matter” becomes an immersive ride in a fully surrounding sonic environment. Lulling and soft, it’s the kind of track I would choose to loop on its own. “Long Far Distant” is pure floating spacemusic, with harmonious pads slowly shifting one over the next. High tones glimmer like stars, and the feel overall is like an untethered drift through quiet space. Even that piece feels complex compared to the minimal wash of “Merging of Substances.” This one will reach over and switch off all conscious thought for its duration. It’s useless to try to codify in words the way it uses a breathy drone and one repeating texture to achieve such a state of quiet. But that can be the mark of a very good ambient artist—being able to do that much with that little.

All the Time is a very deep ride, varied enough to keep it interesting, and quiet enough to send you on your way as you listen. With an up-front spacemusic vibe matched with complex constructs that give your brain plenty to check out before it pulls you fully in and under, it loops beautifully and stands up to repeat plays. A superb release from Csillagköd.

- John Shanahan, Hypnagogue

This is the follow-up to Csillagköd’s 2014 Spotted Peccary debut release Silent World, and finds him continuing his exploration of space. The core of his sound finds an introspective but radiant soundscape full of floating textures and sweeping melodic ambience, sometimes bright and colorful, occasionally shaded, dark, and muted, and often with some subtle percussive underpinning. The album’s ten tracks offer discrete ideas presented in succinct form, inspired by his interest in time, space, and the universe. While this is a purely instrumental endeavor brought to life using synthesizers and programs, the parade of track titles like “Cosmic Ocean,” “All Directions (Brainshaped Universe),” “Long for Distant,” and “Outside This World” provide each piece with a conceptual thread that offers a glimpse inside the mind of the composer and his influences. This is a deep dive into a hypnotic and ambient stillness that drives outward in cyclical waves and currents, subtly contemplating the atmospheric wonders of sound. These are short form pieces, most from around three to eight minutes, where a listener can find an opening into a different universe without getting completely lost within it. An outstanding second effort that builds upon the strengths of his previous works.

- Peter Thelen, Exposé

"All the Time" sees a further extension and refinement of the nicely shaped cosmic and amorphous worlds explored on the Csillagköd-debut "Silent World".

To my ears, the spacious ambient soundscapes and drone tapestries making up each of the ten tracks (some were taken from EP’s released on netlabels previously) seem to have deepen along a more sophisticated layering of evocative textures.

The introduction of a light, static rhythm on the 10-minute "Cosmic Ocean" feels rather unnecessary. Composer Olivér Dombi though is at his best on the longer pieces ("Spheres, Part Two","Only Matter", "Long Far Distant", "Merging of Substances"). It’s here the freeform, serene and soft glowing cosmic renditions are really given the opportunity to spread their wings to the fullest while floating onward effortlessly. This all is strengthened by the fine mastering techniques of Howard Givens.

Nicely accomplished, Mr Dombi!

- Bert Strolenberg, Sonic Immersion

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