The King Of Gregorian Mantra’s, Metatron Omega, Is Back With Another Superior Performance With ‘ISIH’

Scorpio V, the driving force behind Prometheus Studio, is back with a new album from his flagship project, Metatron Omega. One of the few acts that produces Dark Ambient music that centers around Gregorian Chants, this Warhammer 40k-themed entity magnificently fuses soothing dark choir vocalizations with minimalistic, bleak ambience, resulting in an enthralling musical experience. In what may be his most sophisticated outing yet, ‘ISIH’ is the full experience of moody, ritualistic anthems that provide a grim landscape for ancient monasteries.

Right off the bat, title track “ISIH” secures a somber atmosphere with soothing Gregorian chants and effervescent ambient tones that flow like a transparent wave of breathless energy through high mountain ranges and cold, desolate valleys. The mood turn dark, as the ambience descends into the depths of bleakness with distant chants that are more sporadic than often. However, perfectly reverberated, it emits a trance-like feeling and subdues the listener with boundless bliss. “Megalosthronos” just may be my favorite Metatron Omega track ever. Commencing with a consoling drone, a tribal-like percussive element is soon embedded, tracing back to the likes of Paleowolf – where ancient civilizations meet theatrical ambience. Once the haunting chants are fused in, it creates a level of intensity and spirit that are completely unmatched. I certainly enjoy this direction that Metatron Omega has included in its repertoire of musical genius. “Imperium Novum” bleeds minimalistic ambience and the electronic-induced vocalizations are at times terrifying and more often mind-numbing. There are sci-fi elements in the narrative inclusions, as if an alien invasion has intercepted a communication transmission from an ancient culture. The weaving chants are mesmerizing and will leave the listener wanting more. “Arhontes” begins with an enthralling wind-like nuisance with the sounds of distant howls and screams. As the droning effort intensified, so does the angst of anticipation for where this track is headed. Chants of desperation are heard in sporadic patterns and when the depth of emotion finally fades, we are left with a calming path of destruction lead by deep, guttural chants and ritualistic ambience with a repressed ferocity and celestial intent. “Vyachnost” is another spectacular track that offers a rhythmic, drum track and the solar sounds continuously build throughout. Industrialized soundscapes and peculiar effects reflect a futuristic energy that is humbly met with ancient chants and warm synth patterns. There is a break toward the end where it morphs into a deep space ambient piece before returning to true Metatron Omega fashion. Vocalizations echo the synth modulations and are barely audible. However, it creates a type of discordance that is completely tranquillizing. “Blagoslovenie” is a return to form that can be heard on the likes of ‘Illuminatio’. The Gregorian chants are prevalent throughout and provide an immense ride into dark, enchanted territories. The deep drones are alarming at times and the moments of near silence – in particular – can be frightening. However, about halfway through, drums begin to fill the air with substantial cadence and synthwave elements are also introduced, as this song begins to take shape like the soundtrack for a Medieval battle. The final track on this monstrous album is “L.U.X.”. Commencing with looping chants and reverberated effects, this track isn’t as desolate as those that preceded it. The ringing of the church bells signifies the coming to an end of a ceremonial event, while the rest of the track continues to press forward with heroic expression. As the end nears, an incessant drone continues the pace as the all-to-familiar chants become softer and more distant.

Positioned in my Top 5 favorite Dark Ambient artist list, Metatron Omega continues to produce impressive albums that remain in line with its own ritualistic thematic expression, while supremely adding new elements and surprises that expand the boundaries of listening intent. ‘ISIH’ is no exception, as it’s probably Metatron Omega’s most expressive album to date. Including dark and light ambient elements and fusing percussion is a welcomed experience and I hope more of this type will be released in the future. If you can’t get enough Metatron Omega, make sure to also check out some of the other side projects in this same vein. Monasterium Imperi has everything you know and love about Metatron Omega but is less cinematic, while offering a deeper dive into the Warhammer 40k sound. Then there is Eshaton, which is an extremely raw and abrasive version that is gritty and relentless and at times has a Dungeon Synth vibe. At any rate, it’s easy to get lost in the realm of Metatron Omega and ‘ISIH’ is a magnificent album that truly represents this artist and craft. Click on the link below to download this album and enjoy the journey that it holds.

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Links:

https://cryochamber.bandcamp.com/album/isih

https://prometheusstudio.bandcamp.com

Arbadax Consumes An Eccentric Headspace On The Enthralling, ‘Yithian’ Release

Although only having a short endeavor in the realm of Dungeon Synth, Arbadax has already produced five captivating albums that dive into the mythos of ancient ventures and Medieval lore. On the latest outing ‘Yithian’, Arbadax submerges into a Lovecraftian world of horror and intrigue over ten astonishing tracks that become the outlet for fantasy and chicanery.

The album boldly commences with “Vortex Of Time”, a synth dirge that intricately weaves peculiar harmonies and momentous ambient tones. Complemented with a tribal-like beat, the overall obscure melody loops infinitely while soundscapes develop random clusters of sonic sound structures. This is just the arcane lead off track that this album needs to push through this collection of arsenic hymns. Following that amazing introduction is “Disembodied Consciousness”, a merger of enigmatic synth chops and sinister acoustic guitar riff that spreads its proverbial angst for the duration of this haunting track. “Projection” begins with a soothing radiance that is more inline with traditional Dungeon Synth, and contains a melodic ambience that resonates deep within the soul. Thumping percussion bits adds a mournful characteristic of impenetrable battles. Esoteric sound effects complete the odyssey of this track, creating a bleak adventure like no other. “A Strange Existence” starts with thick and obtrusive keyboard effects before a cleaner synth emerges, adding a cryptic layer of effulgence to the overall sound. Moments of synthwave excellence can be heard throughout, as this track continues a sonic build until it’s conclusion. “Disturbed Visions” initiates a dreamy synth sound that suffocates the listener with a thick, brooding lead that emulates a tone that can be heard from underwater or a far off distance. Various synth leads compete for auditory space as they weave amongst themselves with assorted flare and cadence. “Upon The Horror” is an edgy piece that contains whimsical keys and tense buildup, as this faster-than-normal paced journey develops into a haunting forest synth monument. “Aeon-Dead Black Gulf” is like a nighmarish scene as random pulses of energy create a series of cosmic pulses that rage out of control before suddenly shifting into a classic synthwave anthem. Sounding more like a track from an 80’s horror movie soundtrack, this is probably my favorite track on the album. “Down From The Stars” showcases an industrial ambient beginning before settling into a malevolent drone, and then ultimately fusing into a consoling synth piece that is more in line with Forest synth (with a touch of comfy synth as well). “Scattered Echoes” is a light-hearted song with modulated sound effects and a light drone in the background. Delicate guitar melodies add a sense of ease, as this is one of the lighter (and warmer) tracks in this collection. The final track is also the longest one on the album. “Abyss Of Sleep” is nearly eight and a half minutes long and borders on the edge of strangeness and synth wizardry. Mostly consisting of minimalistic keyboard chops, there is a looping bass sound that is quite amusing and works well in conjunction with the various synth manipulations that take place throughout. This is definitely an interesting piece of music and fits right in as the closing element of this bizarrely astonishing album.

With five albums released in just a year and a half of time, Arbadax is quite the busy artist and has done an excellent job of producing material that is memorable and that successfully translates awesome stories into masterful Dungeon Synth songs. On latest effort, ‘Yithian’, Arbadax summons the spirit of Lovecraft and renders a fascinating tale into a spectacular audial escapade that eclipses the Dungeon Synth genre and ventures into other musical territories. This is a wonderful album that I recommend to fans of both Dungeon Synth and the Lovecraftian universe. Please check it out at the link below and show your support for this enigmatic artist.

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Links:

https://arbadax.bandcamp.com/album/yithian

https://linktr.ee/Arbadax

Eyre Transmissions XIX: Multi-Instrumentalist Baerdcyn, Invites Us To His Dungeon

These days, there are all forms and styles of Dungeon Synth. There is certainly a variance that aims to please not only the seasoned Dungeon Synth fan, but also for those that are curious if this genre is the right fit for them. One artists that has taken a different approach to curating a unique brand of Dungeon Synth is Baerdcyn. A fantastic multi-instrumentalist, Baerdcyn intertwines a plethora of soulful sounds and consoling ambience to create Acoustic Dungeon Synth. With a handful of beautifully textured albums, Baerdcyn invites us into his world to discuss his particular brand of music, his instruments and well, all things Baerdcyn.

1. I really appreciate you taking the time for this interview. How has 2022 been for you so far?

Not too bad! Busy with work and life, but that’s never a bad thing.

2. When did you get the idea for the Baerdcyn project and what were some of the objectives you sought to achieve musically?

Baerdcyn started in late fall of 2020 when my friends pushed me to play Dark Souls for the 1st time. I have always had the idea of making “Acoustic Dungeon Synth” before having owned a lute and some recorders at the time from my love of historical renaissance classical music. I never brought the idea to fruition however until I heard the menu theme and the “Firelink Shrine” theme from the 1st Dark Souls. When I 1st heard these tracks, they brought to me a feeling of orchestral Dungeon Synth. I promptly made a cover of the “Firelink Shrine” theme (Which has yet to see the main light of day) and from that recording process is what led to the ideas behind my debut.

3. What’s the meaning behind the name Baerdcyn?

So the name’s meaning itself was a complete accident. And for the record for all you reading, the pronunciation is (Bard-Koon) the “ae” is supposed to be an “æ” but alas I didn’t know how to get it to work on my phone at the time. The “y” in Old English is pronounced kind of like a cross between “ew” (in “ew that’s gross”) and “oo” (in “Racoon”). Back to the meaning of the name, I originally just made it because it sounded cool, but in the long run, you could take the modern english “Bard” and the Old English “Cyn” , meaning kin or offspring, to make a meaning of “The Bard’s Kin” or a little more interpretively, “The Son of a Bard”

4. You play a variety of instruments on your albums and you seem to excel at them all. Are you self-taught or do you have any formal training?

I am self taught on all my bardic instruments. I play a few more non-bardic instruments, but the only I play that I was professionally taught was saxophone.

5. Can you give us a run down on some of the instruments that you play?

In terms of the Bardic stuff, I can play the Lute, Lyre, Classical Guitar (along with steel string and 12 string steel string guitars), Celtic Harp, Mandolin, Bowed Psaltery, Hammered Dulcimer, Hurdy Gurdy (which I don’t believe is on a recorded release…yet), Irish Penny Whistle, Bass Recorder, Soprano Recorder, Kalimba, and Tongue Drum. As for the non-bardic instruments, I play Soprano, Alto, Tenor, and Baritone Saxophones, Banjo (ragtime jazz), fretless banjo (old time folk), Bass Guitar, -very minimal- Electric Guitar and classical organ.

6. Does being professionally trained in the saxophone make it easier for understanding and playing other instruments?

I find that it makes the wind instruments I play a lot easier as it boils down to being a saxophone with less keys on it, in a simple sense.

7. What’s the backstory on your love for the saxophone? Can you read sheet music as well? If so, do you make tabs of your own music?

When I was in 5th grade, so about 11 years ago, I ended up signing up for school band and playing saxophone. As for the sheet music, I do read sheet music, but I do not make sheet music for Baerdcyn. My recording process is very improvisational, so transcribing the pieces to sheet music would make an extra step that I don’t really feel like doing.

8. Thematically and musically, you fit right in with the Dungeon Synth community. However, would you classify it as anything else

I have always believed I have sat in the realm of Dungeon Synth. Since day one, I have called myself “Acoustic Dungeon Synth” or “Dungeon Synth Unplugged”

9. Take us back to ‘The Cave Of Time’. What was the concept behind this album and was this your first recording experience or were you involved with anything prior?

So this was my 1st official recording experience. I did however have a very short lived run of a dungeon synth -with acoustic instruments too- audio drama called “The Tale of Bjorngar” which exists in it’s unfinished state on my bandcamp. The theme came from when I recorded the cover of “Firelink Shrine”. I had realized that the reverb patch I had made, when picking up myself wetting my lips, sounded like drops of water in a cave. Thus the cave theme was born.

https://baerdcyn.bandcamp.com/album/the-cave-of-time

10. In the Bandcamp notes for ‘Heritage Of The Bay’, you dedicated the album to your Grandfather. Was he a big supporter of your musical endeavors or did he have a major influence in your life?

He has and still does in both. My Grandfather is one of the leading causes of my love for nature. Living in the coastal salt swamps of southern New Jersey, we often would, and still do, go to the bay or the meadows. As a child we would spend hours just cleaning up trash and tidying up and then followed it up with a walk through the area looking for “treasures” anything from clamshells to oyster shells, long decomposed crab shells to cool rocks, driftwood to barnacle encrusted goods. You name it, I loved it. He is a major influence on my life, and keeps me going to this day. He also always gets an artist copy of my tapes when I have one to spare. You’ll most likely read this Pop, so thanks. Thanks for everything and all that you do.

https://baerdcyn.bandcamp.com/album/heritage-of-the-bay

11. ‘Fantasy February’ was a unique album, in that it contained short snippets of music. We’re these ideas that were never transformed into longer tracks or were these short pieces intentional.

So Fantasy February originally started as a drawing prompt challenge. I then added the idea of making a song for each picture I drew and thus the idea was made. The minute-per-song run time was due to the fact that my main platform of interaction being instagram didn’t allow videos longer than a minute at the time.

https://baerdcyn.bandcamp.com/album/fantasy-february

12. Speaking of snippets, you post a lot of videos on Instagram that showcases your amazing talent. Are these videos improvised?

All of the little snippets on my Instagram are improvised, yes. Being trained in Saxophone I took a deep interest in funk and jazz improv with that, and it has carried over into my newest field of music.

13. I really loved the concept of ‘Meditations Of Forests Old’. Have you considered creating a video for the main track?

I have! The release was originally to be recorded field recording style in my local trail, and then a video of a walk through was to be made to accompany it. It never came to be, but I still have the hopes of going back and doing such a thing.

https://baerdcyn.bandcamp.com/album/meditations-of-forests-old

14. On one of your latest releases, ‘The White Oak’, I sense some extreme somberness with these tracks. We’re these written to embellish a particular mood or experience?

Nope. I just have a knack for that somber feel, so I roll with it.

https://baerdcyn.bandcamp.com/album/the-white-oak

15. Your album covers are a mix of photos and drawings/sketches. Do you do all of the artwork yourself? If so, is there a story behind the development of the various characters?

I do all the art and photography myself. The Characters on the cover of my debut was just a wizard I drew, but I -might- have plans to embellish on him in the future, and the character on the inside of the J-Card from my split with Elminster is one of my friends DnD characters. Besides that not much thought goes behind the characters.

16. Speaking of your split will Elminster, that recording was amazing! Do you have any plans for future collaborations?

Not that I know of, no.

17. Do you have a goal in mind for the amount of releases you produce each year or do you release albums once you’ve completed a concept or theme and then move on to the next?

I release as I finish. Most of my themed releases start coming to mind about halfway through the previous release, but I like to release things as soon as it’s done. I absolutely hate sitting on things longer than I have to.

18. I really appreciate this interview opportunity and I’m truly a fan of your art! Any closing comments for those that may be reading this?

Thanks for having me here and thank you all that support. It means the world to me that I can bond with so many people so far away over our love for nerd music. It truly baffles me how wonderful of a community we have, and I love you all. Thank you all for everything you’ve done. Keep trekking through that dungeon, we are all gonna make it. One day or another.

Links:

BC: https://baerdcyn.bandcamp.com

YouTube: https://youtube.com/channel/UCnrgbbkxDrBfsukpzw2XJBg

Instagram: https://www.instagram.com/baerdcyn/