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TűNő IDő TÁRLAT

Thy Catafalque

Experimental/Post Metal


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Thy Catafalque Tűnő Idő Tárlat album cover
4.28 | 50 ratings | 2 reviews | 48% 5 stars

Essential: a masterpiece of
progressive rock music

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Studio Album, released in 2004

Songs / Tracks Listing

1. Csillagkohó (9:14)
2. Neath Waters (Minden Vízbe Mártott Test) (18:43)
3. Bolygó, Bolyongó (9:47)
4. Kék Ég Karaván (5:00)
5. Hája-nász Az Avaron (5:50)
6. Zápor (4:34)
7. Az Ősanya Szól Ivadékaihoz/A Medveős (9:32)
8. Varjak Fekszenek (6:18)

Total Time 68:58

Bonus video on 2004 release:
Video - Paths Untrodden (5:56)

Line-up / Musicians

- Tamás Kátai / vocals, keyboards, bass, guitar, programming
- János Juhász / guitar, bass

With:
- Anita Bíró / violin
- Nikoletta Gerzanits / backing vocals

Releases information

Title translates as "An Exhibition of Vanishing Time"

Artwork: Tamás Kátai

CDr Self-released (2004, Hungary) With a bonus video
CD Epidemie Records ‎- EPR071 (2010, Czech Republic) New cover art

2LP Blood Music ‎- BLOOD-029 (2013, Finland)

Thanks to Plankowner for the addition
and to Quinino for the last updates
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THY CATAFALQUE Tűnő Idő Tárlat ratings distribution


4.28
(50 ratings)
Essential: a masterpiece of progressive rock music(48%)
48%
Excellent addition to any prog rock music collection(24%)
24%
Good, but non-essential (20%)
20%
Collectors/fans only (8%)
8%
Poor. Only for completionists (0%)
0%

THY CATAFALQUE Tűnő Idő Tárlat reviews


Showing all collaborators reviews and last reviews preview | Show all reviews/ratings

Collaborators/Experts Reviews

Review by Warthur
PROG REVIEWER
4 stars Thy Catafalque's Tűnő Idő T'rlat takes the electronic dabbling of the preceding Microcosmos even further, with some sections resembling full-on electronic dance music - but fear not, the Hungarian folk and black metal influences that inform subsequent and previous works by the group are rarely all that far off. The end result is a sort of black metal- via-Nine Inch Nails blend, with the abrasive elements of black metal somehow reconciled with the more catchy end of the industrial music spectrum. Thy Catafalque are juggling an awful lot of different ideas here, and whilst they don't quite bring them all together into a single whole, they come close enough that this is a notable success.
Review by BrufordFreak
COLLABORATOR Honorary Collaborator
5 stars Hungarian creative genius Tamás Kátai progresses along his unique evolution of black metal music with an unforgettable album in the vein of later Experimental/Post Metal bands like Agalloch, Fen, Alcest, and DAAL.

1. "Csillagkohó" (9:14) the first 6:45 of this is just too one-dimensional for my tastes--plus, it's all very straightforward aggression and black metal. Then there is a brief break, which turns out to be only a little respite before the brutal barrage recommences. Vocal samples thrown into breaks over the final two minutes makes me think we're in an urban war zone listening to the vocalizations of soldiers on the offensive.(17.75/20)

2. "Neath Waters (Minden Vízbe Mártott Test)" (18:43) using the same drum program of the previous song (and same two-chord progression) there is a much more trip hoppy, BEN WATT's Lazy Dog period of deejaying. Female drone vocals sounding a bit like Siousxie and Pat Benatar accompany the music for frenetic Pi soundtrack-like first seven minutes. Then the music stops and is replaced by space synth wave washes as electric piano and, later, violin perform some very classical-sounding music. Two minutes later tribal drums are reintroduced with mounting orchestral instrumental panoply (all computer generated, of course) building to quite a crescendo--taking us on quite the cinematic Anthony Phillips/Hans Zimmer Pirates of the Caribbean ride--until, that is, the 12:45 mark when an electronic bomb explosion wipes out the previous sound palette, allowing the presentation and slow-build of an electronic space that sounds like something by electronic geniuses Tomita, Jean-Michel Jarre, or Klaus Schulze. The weave builds on several levels, which is very cool. This masterful section plays out to the end. Too bad so many of the computer-generated sounds are so dated. (But then, perhaps even today, in 2023, the artist composing these would never change a thing.) My first top three song--a true epic adventure. (37/40)

3. "Bolygó, Bolyongó" (9:47) more fast-paced fully-computer-generated rhythm and melody tracks propel this one along the path of a high-speed French TEE. At the end of the fourth minute a couple ticking clocks appear, sometimes varying the speed of their timekeeping, as the music fades away and voices, some pedestrian, one female monastic/operatic, enter, the music then takes a new, hard-driving trajectory--one that Italian band DAAL seems to have replicated well. At 7:45 Tamás' heavily-effected growl voices enter in the background, fitting in quite perfectly. With the clock ticking like that, somebody's in a hurry to either get somewhere or to get something done. A top three song. (18.75/20)

4. "Kék Ég Karaván" (5:00) sounding like part DEAD CAN DANCE, part MINIMUM VITAL, this is an earworm of a groove, becoming quite danceable while including some nice violin and electric guitar playing in the second half. Another top three song. (9.25/10)

5. "Hája-nász Az Avaron" (5:50) a nice, raunchy FEN- or ALCEST-like three-chord is made even more like the two bands mentioned (neither of which had yet appeared on the music scene at the time of the release of Tűnő Idő Tárlat) by the calm, straight-forward growl vocals. The song, however, does little in the way of change or development despite its engaging sound. (8.75/10)

6. "Zápor" (4:34) THE CURE or DEAD CAN DANCE come to mind with the electro-pop music put forth on this one--from the opening notes through the cheesy drum programming and 1990s cheap keyboard sounds. Despite her being listed as only the "backing vocals," the lead vocals are provided by Nikoletta Gerzanits. The song is pleasant enough-- and memorable for its "dated" sound and brief appearances by some quirky instruments in solo capacities. (8.75/10) 7. "Az Ősanya Szól Ivadékaihoz/A Medveős" (9:32) droning hum is eventually joined by muted industrial bass drum, a tribal pattern of tom-tom drums, and other odd percussive, synth, and treated-guitar melodic riffs, all packaged into an ever thickening wall of sound that chugs along at the speed of the Orient Express as Tamás takes turns singing in a monotone and growling in a toneless, ghost-like sound. The music is very dance-oriented--like something from Ibiza or other dj mix-master rave parties. I quite like it! In the sixth minute, there are a couple of stops and changes in direction (or changes in drivers) in the music--especially as the violin introduces a traditional Hungarian folk melody that continues to play along with the chugging rhythm section, even through Tamás' growl vocals. In the eighth minute, there is another stop and shift in instrumental palette as the Hungarian folk (and classical) melodies pour forth from the synths, violin, and heavily-treated guitars--all the while being propelled along by the insistent and very fast tribal drums. (A runaway train?!) (17.875/20)

8. "Varjak Fekszenek" (6:18) eerie horror movie sound palette presents and fills the sonic field until Tamás' treated whisper enters at 1:06. A second voice (also Tamás' in a whisper) joins in, making this a conversation, as gentle electric guitar arpeggio accompanies them. The pitch of the eerie baseline synth chord steps up a couple times unexpectedly but the, when Tamás' auto-conversation stops, treated piano, synth, and electric guitar begin a slow interplay of calming chords, some arpeggiated, some strummed; some intermittent, some repetitive and constant. The voice of a small boy (and later, adults, and other family members) begins speaking as if we are observing them through an apartment window while the music continues to feed the dream-like mood. Excellent! An alternate for a top three song. (9.25/10)

Total Time 68:58

A-/five stars; a minor masterpiece of wonderfully creative Experimental Post Metal.

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