This album has been in my review queue for a long time and I’m so excited to finally be able to share my thoughts on this unique and triumphant effort. Many times when Dungeon Synth fuses with aspects of other genres, the traditional essence of the music takes a back seat to a more modern approach of genre melding. However, that’s not quite the case with Skuggkonungen’s mystical offering, ‘Det Glömda Landet’. Eight esoteric offerings of synthwave influenced Dungeon Synth produce a propitious atmosphere that will haunt the various era’s of influential realms
Album opener, “Äventyrarnas Brunn” dabbles in the territory of Dark Ambient before a quaint Dungeon Synth melody bursts through the bleak foundations and extends a harmonic dimension of lush keyboard melodies. Synthwave effects seamlessly enter the fold and takes this track to levels beyond musical imagination. The buildup of synth leads are undeniably refreshing and this is just the beginning of a hauntingly beautiful album. “Adralei” commences with ominous effects and begrudging background hisses while devilish pads seem to infiltrate at will. Somber Medieval leads are introduced and have a retrospective feel to it. This track boasts a strong refrain of good versus evil as dismal tones are crafted to blend transparently with light-hearted harmonies. “Lärkdal” quickly blasts an eloquent synth lead that is airy and peaceful. Comfy Synth styled intonations create a dream-like state and the layers of abating refrain is charming. Next up is the hypnotic, “Gråskägg”. Elongated synth effects are used to produce an environment of retro gaming influences and nostalgic characterizations. As the leads come in massing a grandiose sound, it slowly begins to fade, preparing you for the next suspenseful song. “Riddare Av Hella” begins with a slightly reverberated synth chop that continually loops in a light cadence. Menacing effects establish an eerie setting and vocalized sounds add a touch of cinematic elegance. “Thursagash Grymkäft” contains percussive elements atop a blissful synth lead that is reminiscent of an early morning dawn amplified by fog and drizzling mist. This is definitely a track to get lost into – if it were only a bit longer to enjoy it’s mesmerizing affect. Next up is the ghostly incantation, “Dödsdrömmarens Sista Vila”. The way that the main keyboard loop interacts with the melodic effects is completely enthralling. Psychedelic styled synthwave sounds establish an alluring dirge that is sure to garner repeated listens. The final track on the album is the grimly arousing title track, “Det Glömda Landet”. This spooky offering seems like a mix of random effects and digitized modulations, but is more like a bleak anthem of terror to the point of no return. It’s almost like an unforeseen evil lurks around every corner but predicting when that will be, will create a serious dose of anxiety.
This is another fantastic album for the Dungeon Synth community, especially for those that like an expanded sound with a no holds barred aspect – with regards to styles and influences from other genres. Skuggkonungen has laid a foundation of synthwave influenced Dungeon Synth and ‘Det Glömda Landet’ is the fascinating results. I’m really impressed with this release and I’m most certain that you will be too. Please click on the link below and support this amazing project.
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If I asked you to provide one word to describe how you feel about music (in general), I’m sure their would be no wrong answers. No mater what adjectives are used to characterize your perception of music, there is no doubt that it’s a powerful entity. Music is inspirational, emotional, provides comfort, describes other subject matters in a relatable way, and is a reliable source of affection and warmth. Many of these identifiers can be associated with the massive audial offering by Monstruwacan, ‘Mourn At The Grindstone’. Six tracks of haunting modulations that provide a ritualistic listening experience through grim guitar tones and decaying vocalizations. These songs are an amenity for coping with grief and well, life in general as the turmoils we are all faced with on a regular basis seem to never end.
Blistering album opener, “Which Side Are You On (w/The Windborne Singers)” just may be my new favorite song! Featuring a sorrow song-style vocalization about old Union worker banters, this jubilant piece supremely incorporates droning soundscapes to give it a cinematic sound that are reminiscent of the musical endeavors of early Zeal & Ardor. The vocals specifically standout, as the quartet harmonizes beautiful with crystal clear annunciation, thwarting the listener back to the days of coal mining and black lung disease along with the perils of that era. “Mourn At The Grindstone” quickly builds into an eerie, minimalist drone that captures the essence of dread. Faint wails of a guitar can be heard in various spots, adding to the mystique of the song. As this tonal creature grows in volume, the sense of misery become obvious while the shrills of ominous soundscapes continue to fluctuate. Suddenly, harsh narrations divulge information of sincere pain. You can hear the agony as the vocals elicit painful cries and every strum of the guitar is like opening an emotional tomb of anger and resentment. I can imagine this is what it would sound like if Sunn O))) and Blood Of The Black Owl we’re to collaborate. Next up is the somber, “Pupils Like The Hole In Space Where It Sings”. Commencing with a melancholic guitar part, things quickly spiral down into a harsh guitar tone with full-on distortion and resonance. This doom laden masterpiece also features deafening screams and harrowing, bleak ambience, as the mood is quickly set for a slow decent to annihilation. The torment continues with “Feast In The Dark”. A perpetual drone is accompanied by low, back end soundscapes that are audible enough to peak your curiosity. Just as this mild endeavor begins to settle in, heavily modulated guitar chords bear down like a speeding freight train while strident vocals evoke a story of bitterness. “Song For The Dead” begins as a spooky Dark Ambient piece that casually infuses bits of guitar effects. The elongated drone provides a demonic backdrop and when the harsh narrations come in, this becomes a complete ritualistic experience. The middle section of this eight minute opus softens to a simple drone that fades to the point of obscurity and then blazing guitar chops ignite a doom laden offering that showcases the climactic ending of angst and fear. The final track, “What Keeps Us In This Wretched Place” begins with a dose of sonic soundscapes that reside more in the background instead of the forefront, as if we can soon expect vociferous leads to play out. A ton of reverb is used in the beginning section, kindling a stark setting of bleak space ambience. As the droning grows louder in volume, it’s apparent that we will soon see the end of this amazing journey. Layers of drones and effects dredge forth until the song faintly comes to an end.
Every once in a while, an album comes along and completely blows me away. ‘Mourn At The Grindstone’ is that album and then some. These songs are well thought out and put together with meticulous detail so that is flows with utter transparency. Caldon Glover, the mastermind behind this project, knew exactly what he was aiming for with this album and the results are in – Monstruwacan are already becoming a heavy hitter in the Drone Metal/Dark Ambient sub-genre. Although this album has been out since May of 2021, it deserves to be heard by a much larger audience than what it already has. Do yourself a favor and listen to this one right away and support this artist by downloading this masterpiece at the link below.
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Two of Dungeon Synth’s upcoming artists – Caliginous Empire & Natura Carcerem – have joined forces for the monumental offering, ‘Shadows Reflected’. However, this is no simple collaboration; this is two compelling creators showcasing the best side of their craft and extending a long overdue exposure to up and coming artist as they show solidarity in one of the best musical genres around. Caliginous Empire exhibits a soothing blend of symphony tones and melancholic soundscapes, while Natura Carcerem ventures more into aspects of Dark Ambient and ominous atmospherics. However, on this joint venture, they both step out of their comfort zones and expand on their musical creativity resulting in an ethereal experience that flows with haunting transparency.
“Before I Depart” is the somber album opener that starts with melodic keys and piano chops that slowly builds into a grand intonation. A short narration constructs an ancient storyline before percussive beats and layers of melody complete this soothing musical affair. The excitement really begins on “Hidden Penumbra”. Commencing with the soft crashes of ocean waves on a desolate, ancient shore, dense keys and pads create a fantastical soundscape of cinematic proportions. Soon, the tonal keys descend into an emotionally-charged passage of atmospheric modulations and alluring patterns. Out of nowhere, the track blasts into a melodic Black Metal section, complete with harmonic guitar chords, blast beats and ominous vokills. It then dwindles down to a quiet symphony of swaying keys that close out the track. The next track is “Reflected Shadows” and it showcases the talents of both musicians as they merge their unique sounds to present this stunning effort. A gentle piano ballad starts this epic adventure then an array of sounds and effects slowly builds a wall of discordance that is hypnotizing to say the least. Toward the end, tasty guitar leads mirror the main melody and establish a theatrical dose of affinity and atmospheric creativity. Natura Carcerem presents the next two tracks, the first being “On The Precipice Of Despair”. This is a beautiful flowing song that is held together by rigorous drum beats and celestial keys. Filled with eerie arrangements and haunting soundscapes, there is also an effervescent crypt hop beat that will have your head bobbing for the last portion of the song. The final track is the ghostly, “These Shadows Know My Name”. The cawing of crows and frightening modulated tones produces ghoulish atmosphere of haunted mansions, graveyards and nocturnal creatures that are bound to scare all those in their path. A soft Berlin School sequence adds a nice touch, as it increases the nostalgic vibe. More narrations and Black Metal vokills close out the track as this exceptional album draws to an end.
It’s never too late to recognize a fantastic album. ‘Shadows Reflected’ was released almost a year ago and it – so far – has stood the test of time, as these songs are unique, impressive and memorable. Caliginous Empire and Natura Carcerem have successfully blended their talents for supreme song writing and arrangements on this album and I can only hope that they will team up again in the near future to present us with another endeavor of this magnitude. If you like your Dungeon Synth meshed with other style of music, do not look past ‘Shadows Reflected’ as this is a one stop shop for your extreme Dungeon Synth needs.
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If the thought of legendary creatures don’t get the creative juices flowing, I don’t know what does. The chimerical energy that is produced by such entities is not only astounding, but it creates a boundless spectacle for imaginative tales of nefarious beings and settings. Missouri-based electronic musician, Fugue In Sea, uses these obscure entities to an advantage by creating an unconventional soundtrack for their existence. ‘Py-A-Saw’ is a five track excursion that demonstrates the agility of music and how it can translate to a vicarious world of ingenious resolve. From Dark Ambient tones to hypnotic and industrialized sequences, this is twenty eight minutes of unprecedented and ritualistic storytelling.
“The Bird That Devours Men (Theme)” is the insanely crafted lead off track that commences with obscure sound bits and eclectic drones that drift slowly like frozen air flow over a daunting mountain peak. The bizarre sound effects carry on in a chaotic commotion as if frantically trying to communicate with other entities in an unfamiliar tone. Suddenly, the clamor resends into a particular calmness before fading into oblivion. “Attack Along The Mississippi” begins with a tribal-like cadence, as layers of peculiar effects rapidly ascend with stunning creativity. More communicative reverberations begin their sequence as an industrial screech comes bellowing in with menacing fortitude. Heavily distorted guitar shrills create a trance-like instance as this ritualistic track comes full circle. “Cave Of Bones” begins with a mix of ethereal soundscapes as somber drones quietly come into play. Constant, pulsating beats create an agonizing experience of bleakness while aggressive key’s emphasize an ambiguous setting for unknowingness. “The Return; Ouatoga’s Ambush; Aftermath” introduces and dark, industrial-type aggression with loud frequency screeches, heavy modulations and the sensation of an icy cold wasteland. A durable beat instills a harmonic essence of mechanized allurement for most of the track, but fades into a space ambient offering that is completely meditative. The final track on the album is “The Bird That Devours Men (reprise)”. This frigid offering continues with the space ambient theme by creating a droning void of eclectic sounds and effects that throttle the listener to a desolate demise. This ends the album on a very eerie note (literally) and you’ll immediately want to listen to this mythical experience all over again.
‘Py-A-Saw’ is a well put together, well thought out ambient adventure. Although just an EP, there is a ton of adventure and sonic madness that is typically experienced on a much longer dark ambient album. Fugues In Sea has the dexterity to incorporate many aspects of electronic music to create a symphony of auditory compositions that are unique and captivating. ‘Py-A-Saw’ is just another notch in the belt for hopefully a long career in Dark Ambient creativity for Fugue In Sea. Please check this album out at the link below and support this exceptional artist.
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I was first introduced to the wonderful world of Mora-Tau by way of his 2020 album, ‘The Light Of the Winter’. Something about it was very nostalgic…very haunting. Upon further probe into his Bandcamp page, I discovered an alluring and eclectic cosmos of improvisational recordings that are addictive and more importantly conceptualized based on a specific theme – particularly around horror, nightmares, worlds end and retrospective subject matter. Needless to say, Mora-Tau has become one of my favorite Dark Ambient producers and I couldn’t wait to have a conversation with him to find out what makes this project so unique and special. Hope you enjoy this interview.
1. Thank you very much for this interview opportunity. Mora-Tau has a rather short recording history but has left quite an impression on my. How did this project start for you?
As you pointed out, I only started publishing my work around 2009. I was born in 1959 and I will be 63 this year, so it’s not a long career.
For about 10 years, from the age of 15, I listened exclusively to progressive rock. I now listen to a wide range of music genres, including jazz, avant-garde music and club music, but most of it came through progressive rock. Even punk rock.
The most influential artists at that time were Pink Floyd, Yes, Genesis, Jethro Tull, Mike Oldfield, Steve Hillage, Gong, Popol Vuh and of course King Crimson. Well, this is a very conventional list.
I started working under the name ‘mora-tau’ around 2008. I had been creating music before that. But I was satisfied with just playing them for my friends. I didn’t do any live performances. I had no formal musical education, so I’m not very good at playing an instrument. So I couldn’t even imagine the day when I would be playing in front of other people.
In 2008 or 2009, I discovered the music publishing website jamendo.com. By registering on that site, I was finally ready to release my music to the outside world. It was then that I named myself ‘mora-tau’. The name comes from my favourite 1950s horror film The Zombies of Mora-Tau (with my favourite actress Allison Hayes playing the bad girl, who turns into a zombie at the end).
Around the same time, an acquaintance invited me to perform at his shop (which was a bookshop) for almost the first time in my life. That was a lot of fun! And that was the start of my live career.
I consider myself ambient music, drone music and experimental music at the moment. I feel that these three genres are often balanced and mixed in one piece.
It was only after 2000 that I started to listen to this music seriously, in other words systematically and consciously. Before that, I was looking for my own music, imitating what I had heard. So it wasn’t until I started performing live that I got the style of music I was aiming for.
The first music that made a big impact on me was Eliane Radigue, a pioneer of electronic music who manipulated an ARP2500. I found the drone music she produced to be very simple, but with immense depth.
Another hero of mine is Morton Feldman. When I met Feldman, who produced very long, very slow music (sometimes over five hours of music), that music melded with Tangerine Dream, Harmonia and Eliane Radigue in my mind and became a big part of my own style It has given me suggestions.
This is ‘the origin of mora-tau’.
Wow, it’s a very long answer! I’m sorry.
2. I’ve noticed that on the liner notes of many of your recordings on Bandcamp your work mainly consists of improvisations. Do you typically have a plan of what you are going to play before recording or is it completely improvised?
I record almost all of my compositions as completely improvised performances. On very rare occasions I may write a musical score, but it is a sketch for memory.
However, in the last few years, I have often decided on a scale only at the beginning of a performance. Especially for live performances, I always decide on just the scale. Sometimes I move on to another scale during the performance, and sometimes I just finish it. The reason why I decide on it is simple. I don’t want to make a mistake in front of the audience :-).
Recorded performances are edited using DAW software. Sometimes it is just the same thing as played, with a few tweaks. In most cases, however, editing is essential. Balancing between tracks, noise reduction, sound quality adjustment, etc. are always done. The song is then cut into several parts. Sometimes I’ll delete parts, sometimes I’ll change the order, and sometimes I’ll layer completely different tracks that were previously unreleased. Sometimes I create a piece by layering several tracks that were recorded at completely different times and have different tempos, tunes and tonalities.
Once I have finished recording, I change my mind and think: ‘This is all just material’. And in the editing process, I emphasise an improvisational sensibility. I rarely work in advance. My style is as improvisational in the editing as it is in the performance itself.
3. You have quite a few live recordings from Bar Lynch (in Utsunomiya, Japan). How do you prepare for those sessions and how is the audience response to your work?
Lynch is a very small bar in a narrow alleyway; it overflows when 20 people arrive. The sound system for live shows uses the shop’s audio system. Otherwise, artists bring their own amplifiers.
I always have about three synthesisers available, with the necessary effectors connected to them, and record them on a mixer/recorder, a ZOOM R-16. The output from that is then input into Lynch audio.
So the sound quality is by no means top-notch. But because my recordings do not go through the shop audio, I can guarantee the same quality as studio work. Many of my customers listen to me while they chat. No, they are not listening? But some of them listen intently, clap seriously and ask questions after the performance. Yes, about one person every six months.
My turnout is very low, only a few people at most gigs. Sometimes there is only the master. On those occasions, I play around with phrases and developments that I think the master will enjoy. Of course, I never play to the extent that the whole structure collapses, though.
4. I lived in Japan for almost 24 years and really loved the music scene however, my only electronic concert experience was seeing Merzbow live in Tokyo a few times. How is the Electronic/Ambient scene in Japan these days?
Sorry, I actually don’t know anything about the music scene in Japan. I live in Utsunomiya-City, which is 100 km north of Tokyo. The famous Shinkansen bullet train will take you to Tokyo station in an hour, but I rarely go outside my area. I’m like Rapunzel living in a tower.
I keep up to date with new music through streaming services such as Spotify, YouTube and CD shopping, but so far I haven’t found the Japanese scene to be very interesting.
5. You’ve made several recordings for International labels such as Church Of Noisy Goat (Brazil) and Kalamine Records (France). How did those endeavors come about?
Both labels approached me through them. I never approached them myself. I think they liked something about the music I was making and invited me.
6. Do you plan to release anymore albums with those labels, and possibly others?
Neither of the two labels has a specific release schedule. I send my work to them about four times a year. Then I ask them, “If you like it, will you release it?” I have never had anyone say “No”.
I will continue to regular releases, where possible. However, there is no fixed schedule. If invited by another label, I’ll see what they’re up to and think about it. Of course, my basic attitude is “anyone, anytime, is OK”.
7. As for your music style and influence, how much of it is influenced by Japanese culture, folklore and spiritual meaning?
The deepest part of the psyche must be inseparably influenced by it. For example, many of the phrases I play unconsciously have a Japanese melody.
But it’s rarely conscious. Before making track, I watch a film or read books, looking for something to inspire me. If I’m inspired by something Japanese then I’m strongly influenced by it. I’ve never been aware of any other influences beyond that.
Of course, consciously or not, ‘Japan’ is firmly rooted in me. When I improvise, I am very conscious of this. Such as when I play the ‘Japanese phrases’ I mentioned earlier. Perhaps I am imprinting ‘Japan’ more deeply in my mind through improvisation.
8. One of my favorite albums by you is called ‘Swirl’. It has a very retrospective and minimalistic vibe to it. What was it like to record this album and what is the meaning behind this amazing music?
Thank you very much. I like that album very much too.
At that time, I was thinking of putting my impressions of the B-Movies of the 50’s to music. The theme is “guidelines for music production” for me. The light of the lighthouse. A guide to the completion of the work.
This is the case with most of my work. I say to myself ‘Let’s start to make music inspired by “The Thing”! ‘. But when done, it can be The Thing, but it can also be “Quatermass Xperiment”, or “Frankenstein”, or “Twenty Thousand Leagues Under the Seas”. You must have been disgusted at how lazy it was.
Shortly before making ‘Swirl’ I bought an analogue synthesizer with a sequencer. And I wanted to use it to make endless music. That’s how I started with my technical interests.
It’s all about how to combine different approaches: adjusting parameters to make small changes, changing effects in real time, using delays to layer sounds from other equipment. “Swirl” is the result of this research into how different approaches can be combined to create long ambient pieces of music. It’s the honest answer. I’m sorry if I’ve disappointed you.
9. There is another album called ‘Still Here’. In my opinion, this is one of your darkest recordings. What was the main focus behind this album?
This one, contrary to ‘Swirl’, was made with technology I already had at my disposal.
First, there was ‘Story’, which I wrote in the liner notes. How can I live in a world where the world has disappeared and no one can hear me? This was expanded upon in Still Here.
At the same time, I was obsessed at the time with the image of a ‘world on the brink of destruction’ as depicted by J.G. Ballard. I felt that I was living in a terrible world, in a time when I was trapped. To express this, I partly used contemporary musical techniques such as atonal and whole-tone scales. I think these techniques also promote darkness.
10. One of your latest albums is called ‘Brave New World’. However, in the liner notes, you state, “There is No New World Anywhere”. How does that tie in to the music on the album and what is the meaning behind this recording.
Mmm… When write it like that, it seems to express a deep philosophy. But there’s a bit of deception there.
It started from my own feeling that “there’s nothing new in this album. Every part of it is a repetition of what I’ve done before”.
Of course, I don’t always try new things in all my work. I think it’s fine to use only familiar techniques of expression, if the resulting work is emotional. That’s why I can write “There is no ‘new world’ anywhere.” It’s a self-deprecating joke!
The music for the album was done, I thought “This album is GOOD!”. But I couldn’t think of a title. At first I thought of “fragment of memories”, but then I thought it sounded like the title my past albums. After a few days of deliberation, I decided on the current title as a kind of compromise.
11. I’m really interested to learn about the equipment you use for recording? Can you please share your setup to the fans?
The main equipment is listed below. This is where we choose and combine the equipment for our gigs.
Analog Synth: Moog Sub Phatty Arturia minibrute Behringer Crave Pico System Erica Synth
Effector: Delay BOSS DD-20 GIGA DELAY tc electronic Flashback2 JOYO D-SEED II
Reverb BOSS Digital Reverb RV-5 Behringer RV600 Reverb Machine
Looper BOSS Loop Station RC-3 tc electronic DITTO X4 Looper
Multi Effector ZOOM G2
12. Other than Bar Lynch, do you play live gigs at other venues?
Yes. Since last year I have been playing at ‘Igno…. . book plus’ (an antiquarian bookshop) every three months or so. There are also a few live music venues where can play. All of them are in Utsunomiya city.
13. Do you plan to release any physical media of any of your albums or will you stick with digital releases?
I actually released a CD a few years ago under the title “the old village”. 300 copies were made and over 200 are still unsold. I don’t think releasing any more CDs. It’s too costly. I would like to release a cassette tape.
14. I’m always looking forward to hearing new music from you. What do you have planned for releases in 2022?
Thank you very much. In 2022 I’m aiming to release an album every month, hopefully one that You will like.
15. Thanks again for your time and for sharing your musical journey. Do you have any final thought for those that will read this interview?
I was born in 1959, so I don’t think I’ll have another ten years to be an active musician. Nevertheless, I don’t want to stop playing music and I hope to go deeper into it. If you don’t mind, I would be very happy if you could stay with me for a while longer.
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