I’ve been following Desolation Plains for several years now and it’s safe to say that with each album release there is an implicit layer of musical growth as well as an expanded improvement with regards to musical composition. On the latest album, ‘Celestial Sorcery’, there is a profound range of audial eloquence that I’ve not heard in a long time. These tracks flow seamlessly as if a spacial void was vastly penetrated by composite modulations destined for distant stars. This album as a whole is like one massive meditative simulation that draws the listener in without hesitation and then proceeds on a spectral trip down a medieval – yet futuristic – passage of infinite dreams and illustrious oblations. Without a single debacle across these eight tracks, Desolation Plain presents thirty two minutes of fascinating canticles that gratifying and completely mesmerizing.
Dreamy album opener, “Altar Of Eltanin (Prelude)” gets things going with an enthralling sequence of lush keys and dark ambient hums. A soft cadence kicks in and layers of sonic synths collaborate in victorious fashion. “Astral Draconic Worship” begins with somber modulations that could easily place the listener in a hypnotic state. Radiant tones and beats follow almost immediately, creating an enchanted space for Medieval doings. Synth leads dominate the track and imply a battle-ready environment and a quest for ascendancy. The excitement continues as “Forgotten Shards of Thuban” spews forth a retrospective groove that could have easily been a part of the Stranger Things musical universe. Synth leads sound heavily reverberated, producing a thick atmosphere of electronic greatness. Next up is the powerful, “Rising Tides Of Eternity”. This track rages with melody and ethereal vibes that create a calming ambience that is a joy to soak in and listen to. Clean synth leads merge seamlessly with the backing sounds generating a smooth montage of tones that is instantly enjoyable. “Neon Druids Of Gamma Draconis” is a whimsical piece that introduces capricious loops, elongated cords, and rhythmic percussion patterns that come together harmoniously! Some of the reverberated tones are stringent and truly represent the emotional context of Medieval times. “Moonstone Dagger Rituals” reminds me of Cosmic Terror-era Varkana and that’s not a bad thing. As a matter of fact, that’s one of my favorite Dungeon Synth albums of all time. The lush key tones, echoing keys and sonic soundscapes complete this amazing track. This is probably my favorite track on the album and sort of summarizes the whole musical concept of the entire outing. “Creatures Of Moonlight” has a very nostalgic tone of late 90’s, early 2000’s synth music. The pensive instrumentation is very refined in style and everything mixes extremely well through the song. The final track is the eerily somber, “Star Magic Ascension”. There is a strong melancholic vibe that creates a pleasant context for this musical journey finale. The backing percussive elements are different but mesh well with the overall atmosphere of the track. This is a fitting way to end this immersive experience full of meandering electronic transmissions and vast soundscapes.
Desolation Plains is one of those projects that gets better and better with each release. With already a strong discography of six releases, the sky is the limit for this incredible act. From the songwriting and instrumentation to the excellent production effort, ‘Celestial Sorcery’ is already a top contender for my “Best of 2026” list. I know there is still a lot of time left in this year but I continually come back to this album on a regular basis. I highly recommend this if you’ve not already checked it out. Definitely check out the rest of the discography as well.
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When it comes to Dark Ambient music, long form tracks (and albums) almost immediately grab my attention. There is something about tracks with epic lengths that pique my interest as they allow for meditative expansion, curiosity arousal, and the ultimate setting for imaginative story telling. One artist that is dependable in that area is BlackWeald from Hungary. Extensive song lengths are a normal endeavor for this project, as well as delivering massive albums. ‘666 Minutes In Hell’ from 2021 clocks in at over 11 hours and ‘The Fermi Exhibit’ is over 5 hours long. If these don’t serve as a audial storyboard platform for your senses, I’m not sure what will. In addition to that, the artist Old Crypt (also from Hungary) has over 20 releases – mostly consisting of single tracks that are around (or over) the 1 hour mark. When the two projects are combined, the result is the massive ‘Ahtola’ album – 3 tracks with over 3 hours of imposing drones that will surely captivate the senses. In Finnish mythology, Ahtola is an underwater sea castle and home of Ahti, the god of the sea. Musically, these tracks serve as a soundtrack for an allegorical voyage of discovery of the unknown and the dreadful encounters along the way. A voyage to expose this apocryphal location for the sake of possible existence. Played at full length, without breaks, will submerge the listener into this passage that will ultimately prove there will never be another contingent expedition of this nature ever again.
At just under one hour and fifteen minutes, lead off track “Ahtola”, is a mammoth of an album opener. Commencing with a vaporous drone that complements hollow sounding synths, as if they were recorded in a distant vessel that is slowly disappearing in the darkness of thick fog, these sounds emit a particular radiance that is certainly fitting for the theme of this album. At about five minutes in, grim effects begin to take shape, promoting a dreadful presence of something supernatural. As the search for Ahtola continues, the minimalistic vibe of this track continues to expand slowly and effectively, like an impenetrable darkness full of looming shadows. Pulsating percussive elements begin to form, like a welcoming committee from an ancient, uncivilized tribe. At just over the sixteen minute mark, a thunderous modulated drone all but drowns out the previous audial dialogue. As we approach the halfway point, the glow of ominous drones and effects completely overpower all mental faculties and continue to immerse the listener into an unexplored world of aquatic dreariness. As we continue on to the final minutes, it’s clear that this track has successfully laid out the scope and mission of the remainder of the album and their is no escaping the overall sinister tone of the subject matter. “Ahtola, Sunken Ruins” is an eighty one minute voyage into the prodigious world of maritime obscurity. Heavily reverberated tones – akin to space ambient tidings – emit a feeling of pure relaxation, but with a sense of harrowing dread lurking close by. The sounds of distant thunder adds a sense of foreboding naturism and space water droplets offset that with an ataractic sensation of mild unrest. Throughout this long player, menacing drones rotate through various octaves to complement the assorted elements that coincide with fantastical tale that radiates through this entire album. Additionally, various beastly noises declare a lurking presence that is downright evil. Even though this track has an enormous time span, the introspective experience that is validated throughout is well worth it. Even though the final track, “Ahtola, Desolate Sanctum” is the shortest song on the album, it still clocks in at a hefty forty six minutes. As if this is the grand finale of the Ahtola expedition, aggressive tones begin almost immediately and elude to an imminent danger that can only be expressed with bleak audial vision. As this song weaves through elements of obscure synth pads and assorted soundscape, the feeling of apprehensive emotions take shape and this dark realm is taken to a whole new level of apocalyptic dread. As we approach the end of this huge, phonic undertaking, a distinct closure is presented during the albums final minutes. Cogent drones are met with flowing accuracy and then are ultimately matched with an unexpected guitar riff, depicting a haunting conclusion to this immense sea-worthy adventure.
The best aspects of BlackWeald and Old Crypt collide on this colossal Dark Ambient offering that will definitely appeal to listeners of minimalistic, epic-sized ambient music. It’s extremely easy to get lost in these three tracks and the value of the listening experience is well worth it. ‘Ahtola’ is a mythical story worth telling and this droning musical format is optimal for its portrayal. Both BlackWeald and Old Crypt are artists worth checking out and the quality of their discographies are excessively satisfying. Be sure to add ‘Ahtola’ to your list of albums to check out and support these projects at the links below.
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There is something about an oceanic theme that resonates with me so much. I think because it evokes an overwhelming sense of emotions that reside on opposite ends of the spectrum. On one side, there is this calming impression of endless bliss that provides peace and serenity and on the other side, there is a dark, bleak existence of unexplored voids filled with unknown chaos and dread. Then there is the mystique of mythical sea creatures hunting (and haunting) mariners, creating a quest for insanity and sheer aberration. These make up quite the subject matter for all genres of music and I’m here for it. In the realm of Dungeon Synth, no one creates this placid, aquatic atmosphere quite like Serpent’s Isle. The latest adventure is called ‘Through Oceans Uncharted’, and it explores various encounters with amphibious cryptids from centuries past. In true Serpent’s Isle fashion, these tracks are beautifully recorded in a retro-styled fidelity with pensive synths manifesting into grim, yet tranquil soundscapes.
Persuasive album opener, “Ocean Leviathan Of Egede – 1734” sets the mood with its smooth flowing synth leads backed by melancholic tones and a retrospective vibe. I can imagine being on a swaying vessel, lost in the vast void of the ocean and being stalked by an undetected sea creature. This would be the calm before the storm, the pleasures of acceptance before the horrors of total carnage begin. This is followed by the alluring sounds of “Aquatic Horror Of L. Von Ferry – 1746”, a prolonged musical piece that continues the dreamy ambiance with authentic synths and haunting melodies that are bound to unearth whatever malevolence is hiding under the waters surface. Up next is “Water Beast Of Maclean – 1808.” Creating a climate of soft, flowing sounds and low fidelity production, this track sounds like a retrospective voyage through open waters with no end in site, culminating with dreadful beings lurking below the waterline. “Boat Snake Of New England – 1817” possess some pulchritudinous flowing synths with enticing moments of introspective resonance that are completely hypnotizing. Flowing seamlessly into the next track, “Sea Serpent Of Sanford – 1820”, the alluring quality doesn’t let up and the tonal aspect of this track is more upbeat and vigorous. With more elongated keys and deep background modulations, the resiliency of the album as a whole remains consistent. “The Ocean Monster Of Royal Saxon – 1839” is the second longest track and is an endeavor in audial persistence. Listening to this creates a vision of a venerable deployment of vessels as they traverse colossal oceans in search of undiscovered entities and exotic enigmas. “The Impossible Beast Of Ince – 1833” is a short offering that start with a Renaissance style cadence before morphing into a fulfilling intonation that doesn’t waste a second of space, as a hefty electronic performance is packed in superbly for just over a minute and a half. The final track on the album is “Underwater Terror Of Nova Scotia – 1844”, another brief track of reflective sounds and melodic modulations. This is the perfect book end to close out another amazing Serpent’s Isle album.
Serpent’s Isle play the type of Dungeon Synth that is right up my alley. It has that old-school sound without being outdated and the quality of the recording has a fidelity that aligns with the subject matter and mystique of complex realism. If my calculations are correct, ‘Through Oceans Uncharted’ is the nineteenth recording by Serpent’s Isle and each release just gets better and better. If you like your Dungeon Synth in the traditional sense and with a classic recording style, then don’t pass on Serpent’s Isle. This project brings the best in maritime electronic music and with a discography of consistent recordings, one can easily listen to any album as a starting point and sink right into a seafaring excursion that is bound for endless, fantastical stories.
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The amount of releases put out by Altrusian Grace Media is incessant. From full audio books covering a myriad of subjects and esoteric music collections to ominous dark ambient recordings from the distinguished project, Psyclopean, the assortment of output is sure to grab anyone and everyone’s attention. In addition to all that, patrons are graced with a number of exclusive releases for those that join the Starry Wisdom Cult. One of the latest audial offerings is, ‘Into A New Dark Age’ by Psyclopean, a dismal single track that spans almost thirty minutes, and presents a nightmarish spectacle of retro synth impressions with Berlin School sequences and foreboding drones.
Opening with a cold, dark drone sound that slowly fades in, presenting an anxious catapult into unknown sounds and mythical panorama. Layers of Berlin School progression and soothing synth chops begin to play with ethereal results, drawing the listener into an extended realm of endless audial possibilities. As if playing on a loop, this section has a hypnotizing effect and then slowly fades out to a tranquilizing drone. At around the six minute mark, an eerie spoken word bit is summoned, followed by a harmonized chant passage. This is soon accompanied by a thumping bass effect and continues on for a few minutes, emitting a grandiose and ritualistic effect. Soon after, a retrospective acoustic guitar melody begins to play a smooth riff and is backed by a synth lead that takes us back to a 70’s progressive rock synth tone. This segment presents a heavily reverberated soundscape that is sonically monumental. At around thirteen minutes in, heavy industrial effects emanate a dystopian theme of chaos and darkness. Hollowed drones and elongated synths take over and allow for an echoed synth lead to pervade through. This slowly crevasses into a more somber piece but with a melodic synth tone of mythical proportions. At just under the nineteen minute mark, space ambient drones become the dominant texture with immense, planetary elements. The last five minutes of the track returns to a retrospective synth sounds, removing the sense of claustrophobic sensations and abrupt panic. Instead, alleviating synth patterns provides an elegant yet caliginous desire. Haunting chants and spoken word bits return to close out the track as if concluding a reverent journey through space, time and harrowing mythos.
‘Into A New Dark Age’ is the 22nd official release from Psyclopean and the audial luster still shines through with nostalgic ambient precision while exuding modern soundscape elements that submits the listener into ravishing sonic realms. Having one epic-length track – especially in the ambient genre – is the perfect environment for the listener to escape reality and embed themselves into the track and experience the music as intended. Just in case the music doesn’t fully satisfy that reality withdrawal, check out the full length video below and experience the visual representation of this magnum opus. Psyclopean remains consistent with delivering immersive electronic music and ‘Into A New Dark Age’ just may be one of the projects best releases yet. Highly recommended for fans of space ambient and ritualistic drones.
Psyclopean – Into A New Dark Age
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One of my favorite exploits of 2025 was the DIY Sessions presented by the UK based Dungeon Synth Label, Sokol Keep. These session afforded various artists to record tracks (or albums) in an authentic, old-school format so that credible material could be delivered with true, Medieval intentions. One project that contributed to these sessions (that immediately grabbed my attention) was Blades Of Folmär. Hailing from Devon, UK, Blades Of Folmär combines vintage recording aesthetics with an elemental Dungeon Synth essence that summons the true nature of the ancient spirit. Assembling a pair of releases that pay homage to the immutable past of bloodstained keeps, grueling battles, daunting castles and enchanted forests, they provide an authentic, audial journey of the dark ages. ‘Eternal Dungeon I & II’ betoken a glorious quest for honor, crimson crusades and an age of dark exploration.
Eternal Dungeon (Feb 2025)
Eternal Dungeon commences with the abbreviated intro, “Quest Of Heroes”. Immediately showcasing a muddled, lo-fi production, with slightly reverberated synths, a particular homage is paid to the ways of old, crafted with Medieval integrity. “The Dungeon Goes Ever On” continues the ancient cadence and adds a spectrum of melody that exudes a tranquil precedence, combined with gloomy synth tones and haunting atmospherics. “Beware, The Servants Of Morcar” clocks in at almost eight and a half minutes and consistently produces a ghostly sound throughout as the darkened synths parallel ambient textures that are both pastoral and somber. Occasional percussive elements are inserted throughout that contribute in a boastful way. The final track on this offering is “Star Of The West”, a lighthearted anthem that is a fitting bookend to the album opener. This is exactly the sound I imagine could be played in an isolated dungeon, deep below the surface of a far away kingdom.
Continuing where the first album left off, “Eternal Dungeon II” produces that classic Dungeon Synth experience across four amazing tracks. Beginning with “The Moonlit Portcullis”, forlorn modulation integrate with a murky production for a pristine, authentic sound. The looming melody that is present throughout creates an alluring atmosphere that is extremely enjoyable to listen to. “To Dine In Carrion Halls” includes a thumping drum beat, regulating a haunting cadence that is reminiscent of a funeral procession, sauntering down muddy trails in the dead of night. “Gurrok Cairn” is a seven and a half minute darkened offering that combines ambient structures with elongated synth tones, evoking a daunting tale of bloodshed, damned battlefields and a triumphant return to a victorious kingdom exclusively seen through a black and white lens. The final track, “Glademist”, is a brief oblation that perfectly closes the album in true Dungeon fashion. Brief and to the point, nostalgic synth chops are a true testament to the authentic sounds of this canticle seemingly purloined from the Middle Ages. The gritty production is a convincing attestation of what Blades Of Folmär set out to achieve, to present true Dungeon Synth songs with a classic embrace.
Blades Of Folmär has taken complete advantage of the Sokol Keep DIY Sessions by releasing two amazing Dungeon Synth albums, ‘Eternal Dungeon’ and ‘Eternal Dungeon II’. Even though each album forges its own path to age-old glory, together they present an audial unification that pays homage to everything we love about the Medieval dynamism. From dirge-like cadences to battle ready synth intonations, these albums are a perfect precedent of old-school dungeon synth. Not only are these two albums amazing but all of the other DIY Sessions offerings are worthy contributions to the Dungeon Synth genre. Don’t pass on these albums and prepare for an ancient battle while hearkening on the prodigious anthems contained within.
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After a lengthy hiatus, I’m finally back in the Dungeon (in Deep Space, of course) and ready to provide my analysis and opinion on the great genres of Dungeon Synth, Dark Ambient and anything in between. For my first post-hiatus offering, I’d like to spotlight the ‘Shrouded’ trilogy by Everyday Dust. Focusing on minimalistic soundscapes and audial designs that are reminiscent of retro adventures and blissful morning decadence, Everyday Dust transcends the typical Dark Ambient outing with a fresh take on sound manipulations, solid use of loops and a combination of musical ideas that extends beyond a single genre. Below, I will summarize my thoughts of each album and hope that you’ll check them out as well.
Shrouded I (2023)
The 2023 release that began this amazing trilogy, set the tone right away with retrospective variations and haunting melodies that cultivate a rich tonal texture of relaxing soundscapes. “Broken Wings” is a pleasant album opener that provides a virtual backdrop of an avant-garde soundtrack for a utopian, yet visionary audial design. Continuing with “Evensong”, Everyday Dust sways to a dissonant realm of exotic rhythms and reverberated loops. This creates a blissful adventure through lethargic dreams and peaceful endeavors. Skipping over to “Distant Lanterns”, we find a more spacial approach with looming drones and cosmic intonations. The final track, “Solus” is a jovial offering that encapsulates the overall vibe of the album. Definitely ending on a high note, ‘Shrouded’ sets the stage for two follow-up albums that do not disappoint.
‘Shrouded II’ begins with the nostalgic, “Who Built The Chimes?”. Audial hisses and looping cracks present a lo-fi setting for the deluge of sounds that are contained within. “Horns Sound As The Haar Surrounds” continues with the grungy production sounds but with more of a minimalist radiance. Various sounds and cryptic noises radiate throughout this crack, producing an eerie offering that easily captivates the listener. “The Jackalope Whisperer” is the darkest track on the album with its bleak atmospherics and demented sound bites. At just under 15 minutes in length, this canticle plays on the psyche with a variety of emotional changes and hypnotizing, yet protracted modulations. The final track, “Thorns”, delivers a nefarious experience with malevolent tones, ominous atmosphere and despondent pitch changes. Although it continues the same sentiments as the first album, it’s delivered with a darker, deeper prospective.
In 2025, Everyday Dust delivered the final installment of the harrowing trilogy with ‘Shrouded III’. Immediately commencing with the dystopian thriller, “Make No Bones”, it explores the outer realms of space ambience with planetary clamor and peaceful drones. “Sentinel” follows with the sounds of tape hisses in the background with heavily reverberated synths, producing a striated track full of turbulent intentions. “Heresy” is another dismal offering with its glooming, apocalyptic resonance that mimics what one may hear during a grueling nightmare. With the time span of just over 12 minutes, this effort creates an uneasy adventure that cannot be avoided. The final track on the album (and of the trilogy), is the maniacal, “Smokescreen”. As with the case with any finale, incandescent modulations pulsate with dreadful intensional, producing an all-encompassing array of looping timber with somber soundscapes that conclude this obscure yet magnificent trilogy of recordings.
Spanning three years, the ‘Shrouded’ trilogy, presents a fantastic audial adventure that is both retrospective and modern. As with the old “create-your-own-adventure” books of decades past, these albums allow the listener to dwell deep into their own minds to construct a voyage that can be both unique and audacious. Everyday Dust have gone above and beyond with these recordings and have produced something very special that will definitely stand the test of time. Each of these albums deserve repeated listens and new elements are sure to be gained every time someone connects with these songs.
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When it comes to Dark Ambient music, the name Onasander should come up when discussing the modern chieftains of the genre. With a consistent amount of captivating releases as a stand-alone producer, as well as a consistent contributor to many other releases, this is an artist that must not go overlooked (or unheard). With a new magnificent album (‘Dawn Metrics’) just released yesterday on the mighty Winter-Light label, Onasander is out to prove that his unique brand of dark, audial visions are as good as they come. I recently had the opportunity to interview the mastermind behind this great project and learn what the driving force behind his reign of terror is. Hope you enjoy this as much as I did putting it all together!
1. Thanks for taking some time out of your schedule for this interview. You’ve been busy this year with some amazing releases. Let’s start with ‘Under Unknown Stars’ released on Dark Odyssey Records. How did that album come about?
The idea for “Under…” came from my passion for Alien movies, not just the original quadrilogy but also the prequels. I thought of creating a space horror story using the sound of Onasander. I’m quite satisfied with the result.
2. With the space theme of this album, were there certain techniques you relied on to create suck a dark, immersive atmosphere?
In my opinion, the use of synths like the ASM Hydrasynth and the Waldorf Iridium, in combination with various software, made all the difference.
3. How do you know when a track has been completed and it’s time to move on to the next one?
Usually, my work sessions are short. If a track works, I stop working on it and let it sit for a few days. Then I come back to listen to it.
4. Congrats on your collaboration release with Alphaxone, ‘Futuristic Dereliction’, out now on Cryo Chamber. How was this experience working with one of the (other) greats of the Dark Ambient genre?
Mehdi is a great musician, perhaps the greatest in space dark ambient currently around. You can learn so much from him, and every time you listen to one of his elaborations, you’re literally blown away.
5. This album has such a broad sound that covers a large realm of the soundscape spectrum. What was the focus of the music on this release?
A dystopian vision of the future that touched on different genres and different sonic contaminations (like cyberpunk, for example); I think it’s very common in more modern dark ambient.
6. Whose idea was it to incorporate the Berlin School sequences on the track, “Time Fracture”?
Honestly, it was Mehdi’s great idea. In that wonderful track, I contributed by giving depth with the drones in the background.
7. Another release from earlier this year was the collaborative powerhouse, ‘Animic Atmospheres’, featuring yourself, Ashtoreth and Gydja. How did this creation come about?
The idea for Animic Atmospheres came entirely from me as a big fan of theosophy and anthroposophy, especially the works of Rudolf Steiner. I then chose some musician friends who were very close to an “esoteric” sound and definitely of a very high level.
8. There are some really dark tones on this album, dare I say ritualistic even. What inspired the bleak, tonal passages throughout this recording?
Definitely the idea of the relationship between man and the cosmos, theorized by the father of anthroposophy. We are nothing but “a thought that is thought” by unknown cosmic entities…
9. Throughout your recording career, what role has sound improvisation play?
It has played a predominant role. And it still does. I don’t consider myself a musician but a lover of sounds that I use to express what I have inside.
10. Do you already have a good plan, or set of ideas ready to go before you begin recording each album?
Sometimes it can be a book you’ve read; other times, a movie. Suggestions can come from literature, philosophy, or cinema. Very rarely do they come from other listening experiences.
11. Are there any specific synths or sound processors that are essential to your sound?
Yes, I use several synths like the ASM Hydrasynth, the Waldorf Iridium, the Moog Subharmonicon, Korg Modwave and several SOMA instruments.
12. How do you balance darkness with musicality in your compositions?
For me it’s pretty simple, since my idea of sound is essentially based on dark atmospheres.
13. How does your background or personal experiences help shape your music?
Very little, I would say. My personal experiences are quite distant from my idea of music.
14. With each recording, is there a specific story you’re trying to tell with your music?
For some records, I would say yes, like for “Under Unknown Stars,” for example. For others, they are just philosophical concepts put to music (“Cosmic Extinction”).
15. Is there a particular artist that influenced your passion for Dark Ambient music?
There are so many artists that I love but if I had to choose just one, I would say without a doubt Collapsar.
16. What are some things you hope to achieve with future projects or albums?
I hope to improve the sound I have in mind more and more; that is, to give a sound to the darkest aspects of the cosmos.
17. How important is performing Dark Ambient music in a live setting? Is this something that is a priority for you?
I don’t find it that important but I would love to play live.
18. What can we expect to hear from Onasander in the years to come?
Currently in my mind there are two orientations: that of “Under Unknown Stars” and that of “Cosmic Extinction”. My future sound starts from these two albums that I adore.
19. I really appreciate you taking the time to answer a few questions for The Dungeon In Deep Space. Are there any final words for those that will be reading this publishing?
I want to thank The Dungeon In Deep Space (this name is beautiful!) for hosting me and all those who have supported and continue to support Onasander and the side projects. Thank you very much!
It’s that time of year again, our favorite holiday is upon us. Of course, I’m talking about Halloween, and The Dungeon In Deep Space is back for the sixth installment of the All Hallows’ Eve Extravaganza. In a continued effort to bring you a few summary reviews of this years’ audial frights, I have selected five new releases that will do Halloween proud. Each of these recordings would make the perfect companion to you Hallows’ Eve scares. I hope you will enjoy these as much as I have and please support these amazing artists, as they continue to bring the best in dark music excellence!
1. Halloween Scene – The Last Trick Or Treater
Halloween Scene, the spooky, seasonal side project of Guild of Lore, is back for a second nightmarish installment of creepy soundscapes. Playing more like a soundtrack to a 80’s horror flick, ‘The Last Trick Or Treater’ comes packed with evil haunts and retrospective modulations. Each track precisely elicits a sense of fear as an anomalous entity stalks trick o’ treaters on All Hallows Eve. Some of the more terrifying tracks include, “Bad Things Between Backyards”, “Something In The Mist On Reaper Road” and “This Long And Frightful Night”. At nearly one hour in length, this is the perfect companion piece to your ghoulish encounters on Halloween. My favorite song on the album has to be “Show’s Over”. With its retro electronica vibe and tasteful usage of Berlin School sequences, it screams 80’s B-movie horror. Halloween Scene certainly knows how to create an audial encounter for the most menacing nights of the year and I’m here for it.
Just in time for Halloween, the ever-so-reliable (and consistent) force of nature known as Erythrite Throne has unleashed ‘Strigoic Myths’, a five track excursion through the darkest points of your imagination. From the seasonally-themed logo to the solid color album backdrop, you know the darkened season is upon us when Erythrite Throne graces us with this combo. As for the music, it’s everything that you’d expect from one of the Godfathers of Dungeon Synth; desolate synths, impending beats and a slab of melancholic darkness that would prepare even the ghoulish of entities for All Hallows’ Eve. The best example of this comes by way of the second track, “Tenebrous Whispers From The Night’s Fog”. Commencing with a looping, mesmerizing beat, Medieval incantations soon follow by way of haunting, modulated synths. As the song intensifies, periods of melodic wonder increases, thwarting this track into the catacombs of great bleakness. We can always count on Erythrite Throne to deliver the goods and this album is a stark example as such.
Mombi Yuleman, the distributor of all things dark electronica is back with a collection of Dark Ambient soundscapes, previously released on various collaboration albums. ‘Tales Of Lost Transmissions’ is the first of a two part series that focuses on the assemblage of early recordings and rarities and it’s just in time for Halloween. Producing a Sonic range of material from Dark Ambient to Psytrance and Synthwave, this material of a culmination of Dark Ambient tracks that emit an eerie resonance while paying homage to 80’s horror soundtracks. So far, my favorite track is “Ominous Hazards” with its completely retro vibe, thunderous synth pad arrangement and electrifying Berlin School sequences. Another favorite is “The Madness Of Alhazred”, as it absorbs classic B-horror movies aesthetics and adds a modern Dark Ambient twist – complete with haunting vocal samples and spooky narrations. This would be a great album to play loudly while handing out candy to the costumed humanoids. When you’re done playing this one, queue up the second album in this series, ‘Tales From A Darkened Corridor’, you won’t regret it.
Hours Of Worship is back with their multi-genre offering, ‘Death & Dying Vol. II’. Aggregating facets of Dungeon Synth, Gothic and Darkwave, Hours of Worship is making a bold audial statement that is equally fascinating as it is addicting. With a dreamy production and retrospective sound mix, the six tracks contained within compels the listener through a surreal journey of darkness and dismal proportions. Most of the tracks are hypnotically lethargic, like a slow emotional decay while offering a few upbeat songs that continue to be melancholic at the same time. Standout tracks include “Derelict And Ruined” and “Opaline Ashes”, while “Shattered In Aspect” is reminiscent of a track that could have been a part of The Silence Of The Lambs soundtrack – which isn’t a bad thing because that’s one of the greatest psychological thrillers of all time. In summary, I can’t recommend this masterpiece enough. If you love the musical aesthetics of the aforementioned genres, then definitely do not pass on this release.
Born From Pain is an unusual entity that resides on the outside of a variety of dark electronic genres. The project also has the dismal vision of rescoring classic film score to a more modern, gloomy output. This Halloween we are presented with a Dark Ambient rendering of the 1932 film, Vampyr. Consisting of four, foreboding modulations that intertwine possessed tape loops and ghastly soundscapes, this is a droning experience that exhibits an angst filled void where there is no escape. The final track on the album, ‘Here, In Seclusion’ is a near fifty three minute long journey through the macabre, where desolate ruins provide the abhorrent landscape for a one-way trip to hell. The lo-fi production also adds a layer of dread, enhancing the repulsive nature of this audial dive to deep, distant voids. Born From Pain never fails to deliver and the projects vision of extreme musical obscurity makes this a promising album.
Over the past few years, Arbadax has become one of my favorite Dungeon Synth artist. With each release bringing an amazing venture down a dark realm filled with fantasy-based themes and intriguing musical intonations, Arbadax excels at releasing consistent music that is bound to connect the listener to a fascinating, Medieval world. I recently had an opportunity to talk to Arbadax about his wonderful discography of Dungeon Synth greatness, where the inspiration came from and the direction for future releases. Please enjoy this interview with the prodigious Arbadax!
1. Thank you very much for taking the time to answer a few questions about the Arbadax Dungeon Synth project. How did you first get introduced to dungeon synth as a genre?
Thank you and the friends at The Dungeon in Deep Space for the interest you’ve shown! For years, I was unaware of the existence of the genre itself, even though I knew about artists more closely tied to the metal scene, like Burzum, Mortiis, Summoning… The real discovery happened during the COVID lockdown, when I was stuck at home due to restrictions, spending time playing music, listening to music, and working on building my small home studio. The memories are already blurred by the passage of time, but the first DS record that struck me straight to the heart was Hole Dweller’s ‘Flies the Coop’. From there, a whole new world opened up for me to explore. At the same time, I also regretted not discovering this genre earlier, because who knows, maybe I would have started making this music much sooner… But perhaps the time wasn’t right yet.
2. Do you see Dungeon Synth as a subgenre of ambient, black metal, or something else?
More or less, we all know how it originated; its roots run deep in black metal, but after so many years, I think we need to give DS the proper dignity it deserves, as far as I’m concerned, it’s a genre in its own right. What I found when I approached this world was a mature and grown-up scene, still confined to the underground and the limbo of amateur musicians, but in my view, it’s absolutely right to define it as its own genre.
3. Who are some of your musical influences, both within and outside of Dungeon Synth?
I was born a metalhead, and I still am one. I’m currently a bassist in a band called Heavenfall, and I used to play in an epic metal band, Holy Martyr, so my main influences are the entire hard ‘n’ heavy world, mostly classic, hard rock, epic metal, thrash metal, and to a lesser extent, other metal genres as well. To complement that, I’d also mention classic rock from the last century. I’ve also always listened to instrumental compositions, especially soundtracks, classical music, and some of the most famous musicians who made electronic music popular, like Jarre, Vangelis, and I’d also like to mention the Italian Franco Battiato, who experimented with synths in the early 70s. Recently, with my interest in DS, I’ve also gotten into other electronic genres, like ambient or synthwave, for example. On my YouTube channel, I’ve published a few synthwave-oriented songs, which I usually do between albums to take a break from the DS atmosphere and reset my mind.
4. When it comes to thematic expression, Arbadax has released some amazing albums in the realm of Medieval fantasy. What role does fantasy, mythology, or history play in your music, if any?
Clearly, my love for fantasy is evident in my storytelling, which focuses on the character of ‘Arbadax.’ More generally, I’ve always been passionate about the fantastic in a broad sense, and also about the mysterious. I’m deeply fascinated by the world of the occult, even though this fascination is in constant conflict with my rational side. This attraction to the fantastic and the mysterious is a very human, primal component, but then there’s the adult me, an engineer no less, with years of scientific studies behind me, who says, ‘Hey, you know all of this is nonsense, right?’ This also ties into my passion for ancient and modern history, its mysteries, its conspiracies, its horrors… the epic and the mythology. It’s all connected. In the end, fantasy is nothing more than the story of humans living in a world truly shaped by their mythology, beliefs, and folklore. I’m fascinated by the bestiaries of various cultures, and sometimes I’m amazed by how imagination can conjure up such incredible creatures with extraordinary powers and strength. It would be fun to live in such a world, and that’s why I enjoy talking about it. When I created the two more medieval-oriented albums, I was undecided about starting a separate project under a different name. But in the end, I continued as Arbadax and incorporated “The Bard’s Tales” and “The First King” into Arbadax’s storytelling, as if they were tales of the mythology and past history of the island of Ankmar.
5. What do you think makes Dungeon Synth so unique compared to other ambient or electronic genres?
What sets it apart is a raw sadness and a gritty darkness that I don’t see in other genres. For example, ambient music is relaxing, and synthwave music is usually cheerful, with positive or ‘comfy’ vibes, as they say nowadays. But when you listen to DS music, you’re catapulted into a sonic dimension that takes you to other levels. Even comfy synth, which might not have that sad and dark note, transports you into a world where the musician wants to guide you (and I could mention Hole Dweller again in this regard). Perhaps this is also a characteristic of the genre: the listener lets the musician guide them into their world. A song title or even a brief bit of storytelling is enough to make it work. This is obviously what I’m trying to do as well.
6. Dungeon Synth often evokes the essence of nostalgia. How do you capture that feeling in your music?
Musically speaking, I like to write pieces that sound sad, and to do this, I usually rely on minor modes, technically speaking. However, it doesn’t mean that if I write melancholic-sounding pieces, I’m feeling that way myself. In fact, sometimes it’s the opposite—the music, as I write it, brings out certain emotions. It’s an equal exchange with what I’m creating.
7. How important was it to capture that on your first album, ‘A Sad Story Of Blood And Love’?
This was the first album; we were in the middle of the COVID era, locked inside for months, and in the album, I conveyed this sense of sadness, abandonment, and melancholy. The compositions were very minimalist and stripped down, and it naturally made me think of something terrible like war and a story of passion ending in blood. Then maybe there’s something personal as well, who knows?
8. Do you prefer your tracks to have more of a lo-fi or raw sound, or do you focus on more polished production?
So, this also seems to be quite a debate among DS fans, right? Probably, if I could afford it, I would go to a studio to work with a sound engineer or producer to get the best out of the tracks. But perhaps, at that point, it wouldn’t be DS anymore; it would become something else, because everything would be wrapped in a nice layer of sound, with bright dynamics and clear, well-balanced tones. I try to do the same on my own, on a smaller scale, often without consulting anyone. What comes out in the end is 100% mine, but I’d definitely be very curious to hear one of my albums professionally produced at a high level.
9. Your third album, ‘The Land Of Ankmar’ shows an incline in musical growth. Do you feel as if your comfort level in the genre was getting better at this point?
Let’s say I really started to enjoy myself. There was a period when I spent almost all of my free time writing music, recording, and jotting down ideas. I still have about a hundred riffs recorded on classical guitar, waiting to be developed. During that time, I also invented an alphabet that would be the alphabet of Ankmar and laid the foundations for its language. I was completely immersed in inspiration from all angles. It was also a period when I started studying piano and became interested in the basics of mastering and mixing techniques, but I eventually stopped due to lack of time. This project also marked a break from my previous work because it doesn’t represent the typical ‘journey’ theme of fantasy stories, but simply a description of my imaginary land, Ankmar, which is partially connected to Sardinia, where I was born. For example, ‘The Ruins of Karahal’ refers to the ancient name of the city of Cagliari, which was called Karalis in Latin. Or the sound of the sea in ‘The Grand Sea’ was recorded on a beach in Sardinia.
10. Your seventh album, ‘Lost’ is one of my favorites by you. The music is as relaxing as it is imposing. How do you balance simplicity and complexity in your music?
It is said that life requires balance, but man is not perfect and is in an eternal struggle to find balance in everything he does, in every emotion, and in every relationship. Sometimes genius is found in a person’s imbalance and madness, but I don’t think that’s the case for me because I’m a fairly rational person. Therefore, in my music, balance is still given by the sensations I feel. Often, I find myself adding instruments and overlapping harmonic lines in a compositional high, but then when I listen back the next day, I start to remove things, bringing the piece back to its simplicity and keeping only the parts that still sound good to me and that don’t alter the essence of the piece.Or it can just as easily happen the opposite, meaning that a piece that started off simple can then develop in an incredible and unexpected way. You know, sometimes when I listen back to my old tracks, I find that I absolutely don’t remember how I came to develop them in that specific way.
11. Do you incorporate live instruments into your recordings, or is it all digital/synth-based?
First of all, you should know that I’m not very good at playing the piano or keyboard. I usually write pieces on guitar or bass, then I take everything into MIDI and from there, I develop the piece by adding and removing until I feel it’s complete. So, it was inevitable that sooner or later, I would reach the point of adding something different, especially because I often feel the need to find new sounds. In ‘The Land of Ankmar,’ for the first time, I used an acoustic guitar, while in ‘Winds of War,’ I recorded bass and electric guitar with my Fender Precision and an Ibanez guitar. At that time, I was in an ‘epic metal’ phase; if I remember correctly, the war in Ukraine had just broken out or was about to break out, and I was angry. Subsequently, in my other works, I sporadically used the acoustic guitar, especially in the two projects with medieval sounds. I always think that sooner or later, I’ll make another album in the style of ‘Winds of War,’ with bass and electric guitar, because I had a lot of fun making it!
12. On your eighth album, ‘The First King’, there is again, another shift in musical focus as the tracks seem more melancholic yet more developed and powerful. How has your sound evolved since you first recording?
I had a lot of fun creating many harmonic lines on this album. There are some long and intricate pieces, with key changes and varying themes. This is definitely something I didn’t do in my earlier works, which may have been more repetitive, but you know, it also depends a lot on the mood and the types of sounds I use. With medieval orchestrations, there’s actually a lot of space in the mix to create many harmonies, while using fat pads like in ‘LOST,’ which occupy a lot of space in the frequencies, there’s much less room to develop harmonies. In any case, I like to frequently change the type of sound and song development, as I did with the latest album.
13. Your latest album, ‘The Necromancer’s Swamp’, is a short collection of fun tunes that are very eclectic. What was your vision with this album?
Originally, the tracks were created with the intention of doing something different from everything I had done before, and I started working on this album convinced that I would integrate it into the storytelling of the island of Ankmar. Then I was contacted by the label HDK to write five pieces to be published on a cassette alongside three other musicians, and so the composition took a different turn to follow the storytelling of the short narrative provided by HDK. I slightly modified the pieces by adding sounds and noises and replacing the percussion with pads that, in my opinion, give that eclectic touch you mentioned. Those tracks seemed perfect to me for telling a story of black magic and necromancy.
14. Do you see Dungeon Synth as a form of escapism for yourself? What do you hope that your listeners get out of your music?
Certainly, yes! I think all forms of art are like that. It starts with passion, and then when you delve into the art, you discover that it can also be a great way to unload your problems or transfer them into it. In a broader sense, there’s also the fulfillment that creating something of your own gives you, like when I made the physical copies of the cassettes, taking care of the artwork, the recording, and the preparation of the cassettes myself.
15. Can we expect any new releases from Arbadax this year? Do you plan to incorporate exciting new directions or experiments?
At the moment, I’m working again for HDK, this time for a full release, although I’m not sure when it will be ready, because in the coming months, I will also need to enter the studio with my band. Recently, I have actually slowed down my production pace, so we’ll see. I have a lot of ideas in my head that I would like to explore sooner or later… I’m always thinking about starting a project exclusively focused on historical themes, as well as the science fiction that I love so much, with sounds that are, how should I say, more ‘spatial’? Finally, I’m also considering making an album completely based on guitar and bass… We’ll see; at the moment, I’m not sure what I’ll do first or if I’ll be able to do everything.
16. I really appreciate you taking the time to answer these questions. Do you have any final thoughts for those that will be reading this?
I hope I haven’t bored you too much! I invite those who don’t know me to check out some of my work on my channels. Arbadax awaits you in the city of Ankmar, in the land of Ankmar, to share a drink together at the Boar’s Inn. But send a messenger first, because I might be too busy studying a new spell, and I would be sad not to meet you! Remember to support music and your favorite artists, stay in peace but fight for your well-being.
Things have been rather slow this year for The Dungeon In Deep Space, as a multitude of life changes have consumed my time. That’s not to say that I’ve not been keeping up with one of my favorite genres of music, as it’s been the constant element that has provided a sense of sanity in my life. As things start to dwindle down (personally), I’m excited to resume my writing activities and “blog” about the releases that have left an impact on my life this year thus far. I’d like to start with the amazing album by Sokol Keep called ‘Underkeep – The Adventure’, a forty three minute excursion through the depths of Medieval gloom and maniacal contumacy. Sokol Keep doesn’t forge alone, as a troupe of Dungeon Synth artists add to the adventure in courageous fashion.
The album commences with the powerful, “Enter The Keep (w/Atlantean Sword)”. As if returning from a gruesome battle, it starts with the sounds of muddied (or bloodied) warriors returning to their kingdom and into the realms of much needed safety. A cold ambient texture plays in the background as a spoken word narrative reiterates victory. Bombastic Dungeon Synth cords play loud and proud as this dainty little anthem is the perfect way to start this album. “The Sokol Keep Crypts (w/Crypt Mage)” starts with a gloomy soundscape, followed by ghoulish ambient textures. A looping, off-rhythm beat adds to the sinister vibe of the song while haunting noises and whispers plague the remainder of the track. “The Guardians (w/Blood Tower)” is a soothing intonation that fusses deep chords with elongated synths. Eldritch sounds create a layer of uneasy mysticism and the quality of the track continues to emulate something from a horror movie film score. “Room By Room, Passage By Passage (w/Hérétique Du Nord)” resembles more of a deep space ambient track, with hollow, reverberated synths, showcasing a vessel crossing a forbidden void. About halfway through the track, synths build in layers, producing a climactic ending for a tumultuous quest. “Fear The Dungeon (Encounter) (w/Balin)” is a unique undertaking as the sound turns to more of a synthwave vibe. The pace of this track is hectic and full of angst as the clashing tones of looping percussion and ghostly soundscapes ultimately collide. “The Door Lies Beyond (Onto Underkeep) (w/Sylfvr)” is a heartwarming tracks with whimsical keys and pounding percussive elements. The synth leads are serene and the near-inaudible narrations add a sense of mystery to the narrative. Flute-like keys, soon takeover in a gloriously led effort to bring tranquility back to the keep. “Into The Underdark of Underkeep (w/Robe Of Eyes)” is one of my favorite tracks on the album, as the bell-like sounds at the the into create a realm of ritualistic expanse. Flowing keys bridge the gap of obscure haunts and melancholic dreams, while lush production efforts creates a dreamy vision of days past. “The Forges Of Sokol Keep (w/Sombre Arcane & Khand)” is another introspective track with icy cold ambient textures and lo-fi percussion loops. However, about halfway through, animated instrumentation creates sort of an interlude before breaking into a grandiose moment that is nearly breathtaking. “No Further | Last Battle (In Underkeep) (w/Warlock Corpse)” is a battle ready track that exudes aggression and confrontation. Galloping percussion, war cries and deep synth tones lead the charge in this effort and the output is a spectacular song that should be used in preparation for battle. “Emergence | See The Light (w/KletTtermax)” is a short, retrospective offering with lush melodies and looping hisses that create almost a superannuated sound. The final track on the album is “Victorious? (w/Atlantean Sword)”. Complete with a short, spoken word intro, gleaming synth chops and grand soundscapes, this track represents the ultimate finale with an abbreviated anthem, followed by the maniacal laugh and weathered field recordings. Such a defiant way to end this conceptual masterpiece.
I’d first like to say, that I’m glad to be back, writing reviews on the music that I love and that firmly creates a sense of inner peace within. That being said, I’m really excited to write about one of my favorite Dungeon Synth offerings of the year so far, ‘Underkeep – The Adventure’ by Sokol Keep. Featuring an impressive group of Dungeon Synth artists, adding their individualistic ideas to every track, there is not a dull moment throughout. From haunting soundscapes, gloomy ambience and top tier Dungeon Synth moments, this is an amazing effort by an artist that has had a minimal output of albums throughout the years. I can’t recommend this one enough so please check out the link below and support this incredible artist and album.
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Dungeon Synth & Dark Ambient Reviews!! 