Music truly is a celebrated art form. When any type of craft can submerge your into another world by way of imaginative interpretations, I’d say there is a degree of success into what one has achieved. Specifically with music, it’s easy to drift into another world where uncommon realms of fascination take center stage. One such artist has has completed that feat, and then some. ‘Journeys In The New North’ by The Wanderer, checks all the blocks as a fantastical, Medieval endeavor, as it showcases a wonderful tale of adventure through a multitude of kingdom happenings. Wander with me beyond the keep as we break down each song on this meticulously crafted album.
“Dawn In The Forest” wastes no time in setting an insouciant mood, as dreamy melodies and crisp acoustic instrumentals merge with confidence and carefree essence. Birds chirping in the background, along with a few narrations gets the imagination flowing as this placid endeavor begins. “Mushroom Grove” layers whimsical refrain with soothing synth parts that open the path of adventure through a mystical forest for boundless quests. “March Of The Esserman” begins with a slow tempo before gradually expanding to a celebrated tune of gleeful energy. Fast-tempo percussive elements reinforce the amazing string effects that play in a capricious pattern of jovial proportions. “A Hillside Confrontation” brings a darker image to the album as war chants and pounding drums take center stage. Bolstering synths and haunting rhythms successfully create a battle-like anthem as the daring adventures continue. “An Unwelcome Valley Journey” commences with field recordings of horses and wagons as entrance into a new territory causes apprehension for the travelers. Alluring synths and symphonic arrangements fuse together in harmony and creates a theatrical anthem that is catchy and exciting. “The Grand City Of Dralden” showcases another dark arrangement filled with bellowing horns and powerful percussion parts. As anxiety fills the air, various sections in the track match the imaginative scenario with captivating leads and courageous horn effects. “The Loss Of Hope” begins with a bleak ambience and tribal-like percussive beats. When the instrumentation kicks in, it becomes apparent that this somber dirge is meant to represent some sort of loss. The flute sounds take center stage in this track with austere impulses of dread. By the end of the track, the music slowly fades into a hollow drone. “Alone And Forlorn” is a subdued offering that features a gloomy piano ballad that is soft, yet full of funereal characteristics. This is a masterful composition and one of my favorite songs on the album with a melody that won’t soon be forgotten. “The Escape” is a short track that wonderfully combines several stringed instruments that play a mesmerizing tune of various tempos and emotional stances. As the title suggests, it represents a break from captivity and a quick flee to the next daring quest. “Dance Of The Aldra” is another standout track as all of the instruments play in unison to a daring drum beat. Flute leads create a bold statement of victory and long-overdue celebration as the travelers dance to their freedom. “Moonlight Majesty” presents another mid-tempo dirge with frigid synth leads and layers of harmonious instrumentation that produces a hypnotic effect with its wall of sound production efforts and beguiling compositional strength. The final track on this audacious album is “Unknown Realms”. At just over seven minutes, it’s the longest song on the album. Combining the strengths of previous tracks it’s the perfect way to end this album. Full of melody, ambience, soundscapes and eccentric synths, you’ll not want this one to end, as it also completes the journey into the new north, where travelers hope to settle and create a easygoing life for those that venture beyond its keep.
The Wanderer has done an amazing job at creating the perfect soundtrack for an untold, transcendent adventure. Each track is different, yet flows transparently to the next with amazing tranquility. This album could truly be a soundtrack for a future fantasy film set back in the Medieval days. It’s so easy to imagine what all could happen inside of this forty six minute offering. ‘Journeys In The New North’ is a one of a kind album and I can’t recommend this enough for those that appreciate daring Dungeon Synth exploits. Please click the link below to download this incredible album!
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If I had to summarize my thoughts of the latest Regen Graves album, ‘Climax’, in a single word, it would be unsettling. There is something very disconcerting with this release and if I were to offer my opinion as to what the overarching theme is, it would be “abandonment through chaos.” Each of the six tracks on this recording shakes the foundation of dark ambient music and expands upon bereft energy to reclaim an insurmountable space of bleak, ominous refrain while challenging the listener to identify the boundaries of unpleasantries and infirmity. Even with that being said, there is an amiable amount of sustainability with these tracks, specifically with regards to arrangements and how compelling it really is.
Lead off track, “Immutable Reality” begins with a slightly distorted drone and morose soundscapes, setting a scene of obscurity and gloom right off the bat. Off-kilter organ chimes present an anatomical sound that depicts a particular calmness amongst an apprehensive environment. As the droning menace grows thicker and more evil, ambiguous samples produce an ominous theme of pre-apocalyptic visions. “The Last Stage Of Decline” commences with grim, celestial modulations that ride the spectrum of audial terror. Soothing but austere narrations add a bleak atmospheric while Berlin School styled sequences build in layers. A deluge of sound samples and effects complete this unconventional track but will leave the listener wanting more. “The Window” begins with a rhythmic pattern that is easy to follow along with, while haunting synth leads and elongated drones fuse in total solidarity. A progression of sound is ever so present here, as a multitude of arrangements complete the cycle of chaotic ambiguity. “Digetic Distortion” is aptly titled, as a barrage of stringed mutilation and amplified buzz emits a grueling appeal. While awaiting full-scale havoc, bits of sonic sounds adds a level of intensity that demands to be heard. As the murmur continues, it becomes more earth-shattering by the second. “Nothing Will Be Better” starts with a traditional Dark Ambient vibe and a hint of horror-generated sounds can be heard off in the distance. As it slowly crescendos, in unison with the bellowing drone, sinister back masking narrations create a sense of fear and apprehension. This continue for a few minutes before dying out into a single instance of deep, dismal droning. The final track on the album is the bonus track, “Heat”. Taking the listener on a completely different journey, this trance-like EDM track provides a foundation of mesmerizing beats, rhythmic synths and assorted samples to create a futuristic style of music that blends obscurity with pop fascination. I wouldn’t mind if Regen Graves created a whole albums worth of this type of music. A very interesting, yet powerful way to complete this chilling album.
This is my second time reviewing a Regen Graves album on this site and they definitely do not disappoint. Their brand of Dark Ambient may be off the beaten path (in relation to traditional Dark Ambient music), but it’s certainly an unheralded journey into a darkened world of celestial atmospherics and haunting malevolence. ‘Climax’ is a fantastic album that is sure to get multiple listens in order to intake everything that is happening across these six magnificent tracks. Please show your support for this amazing artist and download this album from the link below.
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If you’ve been a fan of Dungeon Synth for longer than two minutes, then you should be familiar with the name Erang and all of the glory that has been brought to the genre by way of an extended catalog of influential albums. With a successful foray into the many folds of synth music, there is no doubt that Erang is a progenitor of a unique style of Medieval summonings. Voyaging beyond the confines of Dungeon Synth, Erang is heralded for creating many exclusive endeavors that bridge the gap between Dungeon Synth, Synthwave and Black Metal – just to name a few. Celebrating the 10th anniversary of the release of ‘Tome I’, the artist behind this crowning craft has allowed me to borrow some of his time to discuss his music, achievements and emotional declarations behind all things Erang.
1. Thank you very much for taking the time for this interview and congratulations on 10 majestic years of Dungeon Synth ventures. Take us back to 2012 and tell us at what point Dungeon Synth became a creative focus.
Thanks for your words, glad to be there. Well, to tell you when DS became a creative focus we need to go back a bit further, in 2011, when I stumbled upon the Dungeon Synth blog. Prior to that I discovered some Ambient tracks from Black Metal project in the documentary « Until the Light Takes Us ». I fell immediatly in love with that sound. It was like if I found what I was looking for and I immediately stopped it to check online if I found similar stuffs. That’s how I ended up on the DS blog and the work of Lord Lovidicus… and it all clicked together: there was no turning back after that. Dungeon Synth til I die.
2. The Dungeon Synth genre didn’t flourish back then as it does today, so what were some of the processes for which you promoted your craft?
“Didn’t flourish” is a light word, as it was pretty desert in 2011 and 2012. I’m not sure the word “promote” fit well because of that. There was no facebook group, no board, no youtube channel, so I just posted in some Ambient or Metal group, or in the forum of Encyclopedia Metallum. There might still be some old posts from me from 2012… it was mostly on forums : RPG forums or Fantasy forums.
3. Erang truly transcends the Dungeon Synth genre by composing in other realms of synth music. Has this always been a vision for this project?
The only vision behind Erang is to stay true to my Imagination and inner feelings, no matter the musical genre. Of course Dungeon Synth is at the core of it because of the involvement I had in the revival of the genre back then. But I’ll never be afraid to mix it with many other influences or thematic if I feel it in my guts. Like with my prior album PRISONNIER DU RÊVE : I knew the theme was too french and too obscure for a broader audience but, at that time, I needed to do it because it had a really personal resonnance toward my past and childhood.
4. Who are some of your greatest influences for creating this kind of music.
That is absolutely impossible to say because it changes on each album and even on each track… It is always a very large mix of so many things. And lots of them are not musical but come from movies, books, cartoons… that and, of course, my own personal history and things from my past…
5. Did you have a musical career prior to forming Erang back in 2011/2012?
I don’t (and never will) consider what I’m doing as a “career”. I make music because I have to, I need to, it’s like the air I breathe. Without it I would be dead and empty, I have no choice.
I’ve been making music since I was 14, I guess, but just for myself. My first real musical connection with the outside world was with my first Erang album, Tome I, in 2012.
6. Let’s talk about ‘Tome I’ (2012). Was there an overall concept for this album? To me the music flows just like a storyline or script for a movie.
The concept was simple : I told myself to stop trying to make art or something modern or innovative or I don’t know what… I told myself : make music like you used to draw when you were a little child. Without thinking about the outside world, just alone in your bedroom, lying on the ground with papers and markers. Without thinking about technics or what is right or wrong… Just make something straight from you heart. I thought about movies or books that were important for me as a Kid and named the songs after that… And after that first album, I understood who I was for the first time and things have never been the same since then.
7. That album has truly stood the test of time, as those songs still sound really fresh. What made the songs on that album so resilient in a genre that has sprouted in a vast way in the past few years.
Thanks ! Well, that’s hard for me to say… I guess the most well placed to say it (if it’s true) are the people who enjoy it.
8. ‘Tome II’ as also released in 2012 but there is a noticeable growth in song compositions. What influenced this growth spurt in such a short amount of time?
From my point of view, the first 4 albums are really linked together and from the same vein, hence the « Tomes » names. So I wouldnt say there are a real difference in compositions or sounds from my point of view. It was really me toying with the Dungeon Synth basics… They really are a whole together. Things started to change with the album just after these : « Another World, Another Time ». That’s why I named it like the first track of « Tome I ». Because it was a rebirth for me. If you noticed, that’s why the 4 albums just after the fourth first Tomes, are all named after a track from the respective previous Tomes.
9. One of my favorite albums by Erang is ‘Within The Land Of My Imagination I Am The Only God’ (2014). This album was so full of Medieval substance that in my opinion, it’s a true structure of the Dungeon Synth genre. In your opinion, what makes this album so audibly different?
I guess this one is an important one in my discography. I think that, mainly, it was different in scope : 17 tracks was a big thing to put out for me back then. And the title of the album is also an important and strong statement for me. When I knew it was named like this, I remember thinking that I really had to put out something worth this title. I hope I didn’t failed. Because that sentence ‘Within The Land Of My Imagination I Am The Only God’ is really something at the ground of my personality and the world of Erang.
10. On 2016’s ‘Anti Future’, you ventured into the synthwave/darkwave and the results were a highly addictive album. What was the mindset behind its creative concept? Do you plan to produce anymore albums of this nature?
Well I already produce SONGS of SCARS which was the direct inheritor of ANTI FUTURE. I really wanted to make something in that vein for a long time. Being a child from the late 80’s, the synth sounds from that era were really a cradle for me. In advertising, in TV shows, etc. it was full of synth everywhere because back then that sound sounded « new » and was also way cheaper to produce rather than a full orchestra (mainly for TV or B movies). I was also a huge fan of John Carpenter and, if you listen closely to this album, it is not synthwave like the ones you find the most (which is more « outrun » in the vein of the movie « Drive » you know) my two albums are really more in the vein of horror b movies or science fiction movies from back then, Stephen King’s TV adaptations.
So as I said, I was really into that sound for a long time and what achieved to give me the impulse of doing it was the first album of new material from John Carpenter : Lost Tales. I loved this album and decided to give it a shot myself.
11. Now let’s fast forward to 2020’s ‘Imagination Never Fails’. Again, this was a multi-genre masterpiece that flows like a soundtrack or a large-scale production. What was it like to create this magnum opus? How do you pull off these tracks in a live setting?
Thanks again for such compliment, I’m humbled. Concerning live, I’ll never play live. Or maybe if I do it one day it would be under very specific circumstances which I still can’t figure now. Because it could kill a part of the mystery that is, to me, the most important thing. I once read a reply from Summoning in that same vein… so, no live setting. And concerning the creation of this album it was a pure bliss. More than one time you struggle while creating an album. You’re full of doubt, hesitation, etc. but not this time. Mainly because it was my ‘comeback’ after pretty much 2 years of silence. So I was really inspired and, when I announced it I had such an incredible and overwhelming feedback from the community that it get my heart pumping to deliver it.
12. Recently you release 5 amazing EP’s. All have different sounds and a variety of focuses. How did this endeavor come about and how did you come up with the entity known as The Land of 5 Seasons?
The creation of the Land of the Five Seasons was an organic process if I could say so… it slowly came together albums after albums and when I drew the map of it. For this specific set of 5 EP’s I really wanted to make something different because of the 10 years anniversary. But on the other hand, as it was a marking point anniversary, I also wanted to make something as an ode to the genre you know? That’s how I ended up with that concept of mixing my own Land of the Five Seasons with 5 different (and even more) flavors of Dungeon Synth : from old school to ambient, from cinematic to new age, with also the black metal influences, etc.
13. What are some of your favorite Erang albums and why?
That’s truly impossible for me to say. Each album is a snapshot from a moment of my life and means something really strong and personal to me.
14. What is your opinion on the current state of Dungeon Synth and the sub-genres that have spawned from it over the past few years.
I find it very alive, diverse and full of creativity. So many great things to discover and navigate through. Very inspiring !
15. Who are some of the modern Dungeon Synth artists that you admire on a creative level?
There are too many to names… I will start with some french acts if you don’t mind : Silu de Mordomoire, Elixir, Arathgoth, Arsule, Weress or Descort… Also some already famous names but there are well known for a reason : Fogweaver, Hole Dweller, all the works by Adam Matlock… Recently I’ve been amazed by ‘A Lantern Swathed’ by Erreth-Akbe : a great piece of art. Also I really enjoyed ‘Arda’s Herbarium Vol. 1’ by Ithildin, very diverse and charming… Really, people just have to browse through bandcamp to discover hidden treasures.
16. What are your musical plans for the remainder of 2022?
Many things and surprises will come in 2022. Some great physical releases with awesome labels but also few unexpected things here and there… you’ll see !
17. I really appreciate you taking the time to answer a few questions. Do you have any final words for those that may be reading this interview?
Thanks to you for the interview! I just want to say that without Erang, I wouldn’t be there… life wouldn’t have the same meaning to me… and if the Kingdom of Erang is there, it is also because of all the people who follow and support this fragile weird and obscure music since ten years now… Thanks to all of them for what they are doing, it means more than they imagine.
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