Track By Tracks: Orbital Soul System - Nightwing (2026)
NK-12: For the dark intro that plunges the listener into the album's atmosphere, it was decided from the very beginning to use one of my analog synthesizers to imitate the sound of the NK-12 aircraft engine — the one mounted on the Tu-95 and An-22 planes. Their signature low-frequency rumble is something that leaves few people indifferent. And overall, I suppose, my love for Bad Sector had its say here as well.
Into the Abyss: This track tells the story of a man standing on the edge of the abyss, hesitating and wondering whether to take the next step. It's a rather dark and unhurried piece with a very intense finale. Initially, while working on the track, I had the desire to create a small section in the style of funeral doom, and that became the starting point for the main theme. The siren-like sounds were created using an e-bow — the idea came to me right after the release of the first album, The Voyager.
Enclosure: While writing the lyrics for this track, the thought kept pulsing in my head that perhaps our planet is some kind of enclosure where humanity was placed long ago for some higher purpose. However, due to their vices and weaknesses, people failed to fulfill their original task and turned into an uncontrollable herd that has forgotten its purpose, trapping itself in a vicious circle from which there is no escape. Musically, this is one of the fastest tracks on the album. The desire to weave in an organ came, of course, thanks to the Interstellar movie.
The Last One: This track narrates the passing of the last human being on Earth into the other world. For some reason, the first thought that came to mind was that the last human should disappear into the sea — after all, that's where everything began. On top of that, I have always felt a special connection with the sea, so the idea of capturing it this way on the album seemed perfect. Since, while by the sea, I constantly observed the Pleiades at night, glowing like a Christmas tree, there was no way I could avoid mentioning them. And I really wanted to fit a David Gilmour-style solo somewhere on the album — this is where it found its place.
Tsiolkovsky: As the title suggests, this track is dedicated to the scientist and philosopher Konstantin Tsiolkovsky. The lyrics contain references to certain facts from his biography: he was a self-taught man who laid the foundation for future research, became a pioneer of theoretical cosmonautics, and influenced many scientists. For example, his ideas on rocketry, his calculations, and his concept of multi-stage rockets became the foundation for the practical developments of Sergei Korolev. Ideas like the rocket trains mentioned in the lyrics did not receive further development, but many of his concepts were truly of great value. There's a section in the song that came about thanks to my desire to create something groovy after attending an Ektomorf concert.
The Wanderer: The lyrics of this track tell a story about how, in nightmares, monsters come to children — monsters who are actually good guys and want to take the children with them to other worlds to show them around. Children are receptive to miracles and find this fascinating but they get scared and perceive these creatures as monsters, as a threat. Time passes, and as adults, people increasingly remember this and, disappointed with their lives, wish the monster would come again and take them away to other worlds. But the monsters are no longer interested, because adults, unlike children, are already corrupted and fundamentally incapable of seeing and perceiving miracles. After death, the human soul departs somewhere, and along the way, it sees a familiar monster hurrying to another child — and this monster actually recognizes its former "client" and winks at them to cheer them up. This was the first track written for this album.
Nightwing: The title track was inspired by what's happening in the world and tells the story of humanity marching toward its end, never ceasing battles and wars for its own gratification, only occasionally giving the illusion of some enlightenment — which, however, turns out to be deceptive. Perhaps one day humanity will indeed cease to exist (I hope it won't come to that), and at least before perishing, everyone will hold hands one last time. This is the fastest and most blackened song on the album. Savage Remembering how successfully an electronic rhythmic track fit on the Aborym album With No Human Intervention, I initially had the desire to make an electronic rhythmic song — albeit with a small touch of rhythm guitars — for Nightwing as well. The title Savage was given to the song at the request of a friend who, after hearing the first album, asked me to write a song he could use for his karate training (Savage is his nickname). This track turned out to be perfectly suited for that purpose and was solemnly named Savage.
42: The "brightest" track on the album — darkness gave way to humor. The song is dedicated to Douglas Adams and his wonderful book The Hitchhiker's Guide to the Galaxy. Specifically: to the Ultimate Question of Life, the Universe, and Everything, and the best answer to that question. This is the riffiest song on the album, where my love for Meshuggah shines through, and there's a guitar solo as well.
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