Eyre Transmissions XXII: Interview With Hypnagogic Dark Ambient Composer, Ajna

For the past several years, Ajna has been on fire! The Dark Ambient producer has consistently released great albums spanning sub-genres such as isolationism, drone, hauntology, and other experimental aspects of electronic music. Whatever is on the radar for any particular album, you can rest assure that the results are beyond reproach. Recently I was fortunate to have a few email interactions with the mastermind behind Ajna to get a greater viewpoint of the music, influences, the ardor behind the album artwork and everything in between. The results are embedded in this congenial interview with Ajna and on display is an endless passion for music, photography and spiritual wellbeing. Hope you enjoy this interview as much as I did.

1. I really appreciate you taking the time to answer a few questions. Over the past year or so, Ajna has become one of my favorite Dark Ambient artists. Can you tell me how this project came about? Also, Ajna is such a cool name for a project of this magnitude. Does the name have a significant meaning to you?

Thank you for the opportunity, Dave! The pleasure is mine. I appreciate the kind words. Well, at the time, throughout 2007, I was getting heavily back into Dark Ambient and Drone music. I have been listening to Dark Ambient since the late 90’s/early 2000’s, that’s when I was first introduced to the Cold Meat Industry and Malignant labels but it was during 2007 when I was getting very heavily back into it, mainly because I was at a place in my life where I wanted to change my lifestyle. I spent more time in nature and away from the bustling cities, I also started practicing Kundalini Meditation, and I’ve been a practitioner since then (almost 16 years now). Dark Ambient and Drone music really went well with my new spiritual life as I feel that it goes perfectly with nature, solitude, deep thinking, meditation, esoteric books etc and eventually this inspired me to create the Ajna project early 2008. Ajna is considered the 6th chakra, also known as the “Third eye”, it works as the center for intuition, self-realization, imagination, consciousness etc. This is why I felt that Ajna was the perfect name for the project.

2. A lot of your earlier albums were very minimalistic and leaned more toward Drone than Dark Ambient. Some of my favorite early works are ‘An Array Of Black Clouds’ and ‘Anatomy Of A Nightmare’. How do these albums represent your audial experimentation up to that point?

Well, as mentioned before the project started in 2008 but I did not become satisfied with my sound until 2011ish. I created this type of slow, drifting, isolationist drone sound one afternoon and it was like finding the Holy Grail, lol! I had finally found the Ajna sound. So, yes, a lot of my earlier works were much more drone and minimalistic, at the time I was very fascinated with shaping and crafting dronescapes in various ways and as time went on, my works have progressively got more complex, little by little.

https://ajna1.bandcamp.com/album/an-array-of-black-clouds

3. On those earlier albums did you use a variety of recording gear as compared to recent recordings?

I have always used a combination of hardware and software but I used less back then as compared to now. But even nowadays, I am not a big gear collector, I am more of a gatherer of sounds, I like keeping things simple. I like using everything I currently have to the fullest advantage. If there is too much choice of equipment in the studio it becomes too overwhelming for me. Ultimately, I think it’s about ideas and not how many synths you have. That’s how I feel anyway 🙂

4. One thing that is consistent throughout all of your recordings is the amazing artwork/photography used. Are these your original photos?

Thank you for the kind words, Dave! Yes, they are all original photos taken by me (aside from Black Monolith). I guess I can say that Music is my first love and Photography my second. I feel that the atmosphere of my photos goes well with the music I make which is why I have used my own photos for the artwork most of the time.

5. Speaking of photography, do you get inspired to write music after taking a particular photo?

Yes, of course. Photography shoots are always inspiring for me, the particular atmosphere, the mood, the setting, the weather, etc. All of these things inspire me to create music and yes, sometimes I hear drones/sounds in my head with particular photos. I seem to get the same feeling while watching certain films too (the ones with great cinematography), like Lynch, Bergman, Tarkovsky, etc. Ultimately, Ambient music is very visual for me and it goes hand in hand with Photography in my opinion.

6. I noticed that early on you started collaborating with artists such as IOK1, Dronny Darko and Onasander (to name a few). How was it working with a variety of uniquely experienced artists, and did this help shape your own sound moving forward?

I cannot say that it helped shape my own sound but I have definitely learned a lot from my collaborations. Although I am very picky with whom I collaborate with, it’s fascinating to see other artists’ creative process and how they sculpt the sounds compared to how you do it.

7. What’s been your favorite collaboration effort so far?

I do not have a personal favorite but the ones that are most memorable to me are Black Monolith (w/Dronny Darko), Canidia (w/Onasander), and Anamnesis (w/IOK1). Black Monolith was a very special release at Reverse Alignment, it was actually 3 different releases combined into a 2CD album and it seems to be a real favorite amongst fans, everything just clicked with that one. Canidia (released at Winter-Light) was an interesting collaboration especially due to the fact that I used to listen to some of Maurizio’s projects while I was back in High School (Typhoid, H.P.P). I was getting really into Rhythmic Noise in the late 90’s/early 2000’s, and here I am collaborating with Maurizio 20 years later. Pretty wild. Anamnesis, was a 4 track EP released at the Kalpamantra label, and I really loved the sound that David and I created on this one, very haunting, nightmarish and surreal. My isolated dense drones mixed with David’s more Industrial/Ambient sound worked really well. You can find an extended edition of Anamnesis on streaming platforms.

https://ajna1.bandcamp.com/album/black-monolith

8. In my opinion, 2018’s ‘Lucid Intrusion’ really started to develop the modern Ajna sound. Where does this album rank as far as a shift in sound?

Yes, absolutely agree. ‘Lucid Intrusion’ was the real stepping stone for me, it was the big shift to a more active obscure dark ambient sound with much more layers going on as opposed to my more linear sound in the past. This was the real quantum leap as it was my first release on Cyclic Law. When I got back into Dark Ambient in 2007 (as mentioned before), Cyclic Law was my absolute #1 go to label at the time for Dark Ambient music (and pretty much still is today). So, it was always a dream of mine since the day Ajna began to release at Cyclic Law and 10 years after the project began, here I am releasing at my favorite label. It’s a really a great thing to be apart of a label that was so inspiring to me and it’s surreal that some of my favorite Dark Ambient artists such as Raison D’etre, Kammarheit, Svartsinn, New Risen Throne, Desiderii Marginis etc are now my label mates. It’s truly an honor!

9. I can’t compete this interview without mentioning ‘Mors Ultra’. This was one of my favorite Dark Ambient album of 2022 and is THE definitive collection of Ajna tracks. What was the thought process going into the making of this album?

That’s so great to hear and I am really happy you enjoyed the album! Well, the concept just kind of came to me one day. I am a big fan of esoteric, occult, metaphysical (etc) books, I love digging deep into mysteries and spirituality, I really cannot get enough of it but also at the time I was very fascinated with reading about Near Death Experiences. I read many accounts of it, hearing people’s different stories and perceptions about it and then suddenly the idea for the album just came to me.

https://ajna1.bandcamp.com/album/mors-ultra

10. This album is quite long as well – which is right up my alley. Was this done on purpose or were the creative juices endlessly flowing?

Well, yes it’s quite long (hah) but initially ‘Mors Ultra” was two separate albums. Disc 1 was recorded/composed throughout 2019 and Disc 2 was recorded/composed throughout 2020, which was the first year of the pandemic. I had a lot of time on my hands, everything was shut down at the time, I transitioned to remote work, spent a lot of time in nature and meditating so I got really busy in the studio in 2020 especially. So yes, the creative flow was just there all the time, I sent over disc 2 to Cyclic Law late 2020 and then Frederic suggested the double album idea and I was totally into it.

11. You recently released an extended, remastered version of your first album, ‘Nordic Drifts’. What led to the decision to release this milestone effort?

I wanted to do something special with “Nordic Drifts” since it was the first EP that I’ve ever released back in Summer 2012. I suppose you can say that it’s somewhat of a 10th Anniversary release (even though it’s a little over 10 years now). It’s always nice to revisit old tracks once in a while and I will be doing the same for more releases in the past and some unreleased material as well. I find it very interesting because some of my fans/listeners prefer my earlier sound compared to my new sound and vice versa. Everyone has different tastes.

https://ajna1.bandcamp.com/album/nordic-drifts-extended

12. Do you have plans to remaster/revisit any more of your earlier releases?

Yes, definitely. I really enjoy revisiting old work once in a while and I do plan on remastering/revisiting old works and I may even release some EPs/albums that are unreleased or tracks only exclusive to my Soundcloud. I’ve also been getting some requests for a re-release of “Inevitable Mortality” since only 50 copies were made. Hopefully, that can happen sometime in the future as well.

13. Do you have more releases lined up for 2023? If so, will there be any exciting collaborations?

Another solo length was completed this past Autumn and sent to the label but I do not know the time or the date of the release as of yet. No collaborations in the works at this time.

14. You’ve had an extensive career as a Dark Ambient artist. Have you thought about branching out to other genres of music, even if for just a one-off project?

I actually have two side projects. My one project Segment.fault is another Ambient project but has a more musique concrete/hauntology approach. The soundscapes are also loop based and have this lo-fi feel to them. I hope to have a physical release one day, I revived the project in 2020 and have released a couple of albums on bandcamp. My other side project is called Ghost Peripheral (formerly called Intrinsik) and this is the one project that’s actually beat oriented. The genre is a mixture of Glitch and IDM, I released many tracks on my soundcloud back in the day and only have 1 self released EP but I have not worked on the project in about 3-4 years. Maybe I’ll revive it one day.

15. Your Ghost Peripheral project sounds very intriguing. Do you think you’ll release a compilation album of earlier works (that were on SoundCloud) on Bandcamp one day?

You know, I’ve thought about this several times and it’s really not a bad idea at all (thanks for reminding me Dave, hah!). I may do this one day and perhaps sometime I’ll also make new material with that project. Who knows what the future may bring…

16. I want to thank you once again for your time and for gracing us all with a comprehensive catalog of music. Do you have any final thoughts for those that will be reading this interview?

The pleasure is mine, Dave! Thank you very much for choosing me for an interview. This is not a common thing for me but I really enjoyed answering your questions! To the dark ambient/drone artists getting started out there, remember to always be yourself no matter what, don’t follow the trends or hype, if you remain patient, passionate and resilient good things will happen. Thank you for taking the time to read!

Links:

Bandcamp: https://ajna1.bandcamp.com/album/nordic-drifts-extended

Instagram: https://instagram.com/ajna_drone?igshid=NDk5N2NlZjQ=

Soundcloud: https://m.soundcloud.com/intrinsik-1

Dronny Darko & Ugasanie Once Again Collude On An Oceanic Dark Ambient Masterpiece With ‘Dark Source Of The North’

One of my favorite thematic subjects for a Dark Ambient album is the vast, dark ocean and the menacing evils that lurk within its chaotic abyss. It’s even more fitting when two of Dark Ambient’s most accomplished artists collaborate for this type of setting and produce an all-out maritime nightmare. However, this is not the first time Dronny Darko and Ugasanie have joined forces on such an event, as they released the chaotically impressive ‘Arctic Gates’ back in 2019 on the Cryo Chamber label. Now, four years later, they are back with a follow-up album and it’s just as bleak and ominous as their first. ‘Dark Source Of The North’ is an aquatic ordeal that delivers a punishing array of soundscapes through an incessant void. The eight tracks contained within produce an otherworldly soundtrack of futile escapism and amaurotic malevolence.

“In Search Of An Object” wastes no time in submerging the listener in a vast, cold ocean surrounded by emptiness and horrifying seclusion. Deep drones, complimented by reverberated textures creates an overwhelming sensation of solitude. As the sound continues to flow and become more aggressive, this nightmarish scenario becomes inescapable. Opaque winds increase for a moment before subsiding with the end of the song. In the second track, “Anomaly”, frigid ocean currents crash against an unprotected shore, creating a sort of naturalistic dominance. Obscure sound effects commence, producing a repulsive sound, only enhanced by deep, droning textures. As the ocean waves subside, the faint abhorrence of distant thunderstorms display an inevitable conclusion of chaotic force and destruction. As the end of the track nears, industrialized chaos create an audible pandemonium before being overtaken once again by crashing waves on a desolate seashore. “In A Magnetic Field” begins with a sinister effect that modulates as if it’s in heavy rotation and being prepare for a destructive scenario. Space Ambient styled drones begin to increase in broad layers as various, creepy effects paint a vivid picture of apocalyptic proportions. “Presence” immediately thrusts into a collision course with an abysmal void with intense drones and arcane noises that are downright terrifying. At the peak of these sound encounters, they maintain their intensity for a while before collapsing into a single drone. Assorted effects are heard in the distance as if fleeing from an anarchic discord. The main drone also builds into a soothing atmosphere for the final few minutes of the song. “Contact” commences with a single drone that emulates a distant beacon, either providing an early warning or waywardly sounding off due to a malfunction. As it continues to fade, synth pads ascend onto the darkness with hints of obscure orchestrations and howling, digital winds. As panic begins to set in, inaudible vocalizations and elongated modulations paint a gloomy scenario of solitude. As the track nears completion, random jolts of high pitch sounds produce a peculiar sound akin to large drops of acid rain bouncing off of industrial material corroding away in a barren wasteland. “Consequences” is one of the shorter tracks on the album so it rushes in quicker than the other offerings and builds layers of destructive patterns within the first minute. Not to say it’s an all out audial assault, this track is masterfully arranged and sets the album up for a climactic ending with the remaining tracks. “Transition” begins with a deep, slightly distorted drone, as if a large vessel is passing by without warning. As the vessel draws near, the tones increase in volume and adds subtle soundscapes that are eerie but luminous. There is a lot of reverb usage in some of the effects, producing a colossal sound design that is beyond epic. The final track on this distressing album is “On The Other Side Of The Arctic Gates”. Instead of beginning with an ominous drone, bells toll in different ranges, symbolizing the traversing to calmer waters. Although many dark obstacles were observed and navigated along the way, the journey to the other side has turned out to be just as challenging. As the layers of aggressively sounding drones kick in, the sense of adventure continues down a dark path in the form of various soundscapes and dystopian-like effects. Proving that wastelands can also be aquatic, the forceful winds and soothing ocean waves at the end are a fitting finale for this esoteric and mysterious album.

Dronny Darko and Ugasanie have once again proven that their collaboration efforts produce top tier results. ‘Dark Source Of The North’ is a fantastic follow up to their 2019 ‘Arctic Gates’ album and if they choose to produce more albums with this same theme, I’d eagerly welcome it. The Cryo Chamber label always provides a solid platform for the best in cinematic Dark Ambient music and this solid release is right up there with the best of the best. If you’re a fan of sinister Dark Ambient music that ventures beyond time and space, definitely check out this album from the link below.

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Links:

https://cryochamber.bandcamp.com/album/dark-source-of-the-north

The Nebula Breviary – A Voyage Through The Black Hole With Taste Of Beer Records

I have lots of fun writing about my favorite labels in The Nebula Breviary column. Originally I intended for it to be a one-off publishing but due to the growth in the Dark Ambient and Dungeon Synth genres over the past few years, I plan to keep at it in order to showcase some of my favorites of both genres. For this particular publishing, I will feature ten exiting albums from the Taste Of Beer Records label. This up and coming label has produced a lot of exciting albums in both digital and physical formats and they continually deliver music from the tavern that surely appeals to an ever growing fan base. Thanks for reading this and I hope you enjoy these albums as much as I have.

1. Goblin Mage – Charms & Devilry

‘Charms & Devilry’ is an absorbing journey through enchanted forests, where mystical entities become your guide for captivating adventures. Minimalistic and soothing, these eight tracks present a light-hearted effort that elicits tones of mystic landscapes and rhythmic modulations that are part whimsical and part daring. Tracks such as “Strange Magick” and “Goblin Town” stand out as studious anthems that are memorable and truly representative of album as a whole. Recommended for fans of buoyant sounds and jaunty Dungeon Synth dirges.

https://tasteofbeerrecords.bandcamp.com/album/charms-devilry

2. Helmet – Vanitas

The Medieval times were not always filled with gory battles and drama amongst royalty. When I think of the more ostentatious times, this is exactly the music that I envision being played. Relaxing melodies and soothing orchestrations are at the center of these simple, yet uniquely composed songs. With an eloquent tone that is reminiscent of lenitive landscapes and soft, breezy forests, ‘Vanitas’ is an entertaining effort that truly symbolizes the fulfilling life beyond the Keep and beyond the realms of battle. This will be a Dungeon Synth classic in the years to come.

https://tasteofbeerrecords.bandcamp.com/album/vanitas

3. Vouivre – The Father Of Dragons-Glaurung

Talking about a beautiful cinematic effort, ‘The Father of Dragons-Glaurung’ could easily be a soundtrack to a Medieval-inspired action movie. This robust album features four long-players that produce a theatric blend of Dungeon Synth intonations and intoxicating orchestrations. Beautiful produced, one could easily create their own feudal adventure, as these tracks weave through dark landscapes and harrowing Middle Ages creativity. Epic, to say the least, Vouivre has provided the ultimate audial accompaniment that certainly does this genre proud. You definitely don’t want to sleep on this one.

https://tasteofbeerrecords.bandcamp.com/album/the-father-of-dragons-glaurung

4. Mushrooms – Between The Moss And The Sky

‘Between The Moss And The Sky’ is a dainty little offering that resides in the Comfy Synth realm and it provides a playful antidote for the ears. I can imagine a rainforest in recovery, after the harshness of an autumn storm, where the raindrops faintly evaporate and the ground gives way to natural fungal growth. Content with its beautiful surroundings and exotic location off the hidden path, these tracks expand upon natures gift to mankind and the alluring endeavors that continue to evolve. Simple rhythms and dreamy synth leads will leave the listener mesmerized and wanting more.

https://tasteofbeerrecords.bandcamp.com/album/between-the-moss-and-the-sky

5. Assorted Potions & Deep Gnome – Threadmage’s Curious Encounter With The Fae Folk

This is probably one of my favorite Comfy Synth albums of the last few years. Not entirely whimsical, these consoling canticles have a particular enchanting tone that takes a somberly approach on its delivery, instead of being outright quirky. To make it even better, there are a couple of cover songs that are mouthwatering takes on a few Cheryl Crow and Enya classics. If you enjoy the more consoling side of Dungeon Synth, then be sure to check out this amazing project and album.

https://tasteofbeerrecords.bandcamp.com/album/threadmages-curious-encounter-with-the-fae-folk

6. Anadûnê – Durin, Father Of Dwarves

From the Elminster camp, Anadûnê presents a sharper, more focused effort that is dark, menacing and at times gothic in tone. The four long-players that make up ‘Durin, Father Of Dwarves’ are a true calling to the traditional Dungeon Synth sound and comes complete with rhythmic percussive elements and layers of intoxicating instrumentation. This is a journey that demands to be revisited time and time again, and is one for the ages. Listening to tracks like ‘The Hammer Of Aulë” and “I Wander Alone” gets me exited for endless Medieval endeavors and all of the imaginative tales that come with it. I’m a big fan of this project and recommend this to all of the daring souls that wish to embark on mystifying musical adventures.

https://tasteofbeerrecords.bandcamp.com/album/durin-father-of-dwarves

7. Elminster & Meadow Grove – Winds Of Mages

Two of Dungeon Synth’s most prominent artists, Elminster & Meadow Grove have teamed up to present one of the ultimate collaboration projects of the genre. Two uniquely crafted artists, very distinct sounds and impeccable song writing on one mammoth of an album. ‘Winds Of Mages’ soars high and delivers a bold blend of darkness, magic and obscure electronic synths. Coherent modulations exude a capricious path of synth madness and haunting tales that need no narrative for understanding. As each track transparently flows into the next, it’s apparent that this is a high-scale output that needs a follow-up album (hint, hint). Another highly recommended album that is sure to get plenty of playing time in the foreseeable future.

https://tasteofbeerrecords.bandcamp.com/album/winds-of-mages

8. The Toadstool Elf – The Toadstool Elf

‘The Toadstool Elf’ is a quaint, Comfy Synth offering that wondrously flows like a symphonic soundtrack of a mystical domain. With only five tracks and twenty two minute of playing time, there are heaps of entertaining, musical sections contained within to satisfy your whimsical needs. Boasting a dream-like production effort, there is a visible haze to these tracks, as if daydreaming of peaceful times, deep in a hidden forest of elves, mythical creatures and colorful landscapes. This is a serene album with enough harmonious sections to pique your interest.

https://tasteofbeerrecords.bandcamp.com/album/the-toadstool-elf

9. Forlorn Swordsman – Old School Lo-Fi Dungeon Music

When it comes to Dungeon Synth – well music In general – I tend to resonate the most with lo-fi offerings that are raw, organic and in some cases, relatable to my emotional state. That being said, Forlorn Swordsman is right up my alley. Producing an hour long blend of Dungeon Synth and Comfy Synth, ‘Old School Lo-Fi Dungeon Music’ is not only aptly named, but in a sense, a completely dark & eerie experience. These tracks are not flimsily thrown together at all, as they are masterfully orchestrated with bits of melody and chaos – all at the same time. Standout tracks include “Cross The Sorrowfields”, “Dreams Of Old Times” and “Made Free By The Blade”. I hate that I missed out on the cassette version of this, as it would have sounded perfect on my old shoebox cassette player. At any rate, this is an exquisite release and it doesn’t get more lo-fi than this.

https://tasteofbeerrecords.bandcamp.com/album/old-school-lo-fi-dungeon-music

10. Onfang – Audible Mending

‘Audible Mending’ is a unique Comfy Synth offering that features dreamy vocal performances, tranquil synth effects and a song called “The Last Narwhal”. How can you not like an album that feature a song about the rare, Arctic sea creature? Containing six electrifying songs, they each stand out in their own way and envelop all of the traditional Dungeon Synth aesthetics. Haunting and whimsical, this album produces an array of emotions that extends beyond Medieval realms and encapsulating forests while allowing the listen to sink into their own imagination. Another great release from Taste Of Beer Records!

Links:

https://tasteofbeerrecords.bandcamp.com

https://instagram.com/tasteofbeerrecords?igshid=NDk5N2NlZjQ=

Psyclopean Conceives A Psychedelic Soundtrack For Realms Of The Unknown On ‘Nostalgiamancer’

As one of the harbingers of Psychedelic Dungeon Synth music, Psyclopean has developed a passion for producing an ominous blend of nostalgic Dungeon Synth and curious musical obscurities that paints a cinematic landscape of futuristic remembrance. On the projects latest album, ‘Nostalgiamancer’, Psyclopean reaches deep within the psyche of wistful modulations to deliver an album worth being called a soundtrack for pneumatic endeavors. Over an hours worth of retentive musical excursions (including two epic-sized tracks), this album is one meditate to, as well as to exercise one’s own thought patterns for eternal cleansing.

The album opener, “Hypnosynchromystical Transfiguration” is nearly sixteen and a half minutes of transcending electronic music that is exactly what’s needed to commence this hypnotizing journey. Beginning with retrospective synth effects and a short spoken-word narrative, this track quickly sets a tone for magical and enchanting adventures. Hisses, crackles and pops are some familiar production tactics to give this a nostalgic vibe and thoughts of yesteryear primarily consume the listeners thoughts. Soon after, psychedelic sequences take over and thicken the overall sound, inputting a dreamy sense of melody in the process. As one part flows into the next, we are presented with an arrange of instrumentation, such as acoustic guitar and trance-like percussive elements. As the song seamlessly continues, each phase flows perfectly into the next, allowing the listeners to create their own adventures that match the serene harmonies within. From faster cadence sections to whimsical compositions and exerting in between, this track is such a majestic offering. Up next is “The Uncanny Valley”. At just under four minutes in length, this is one of the shorter songs. However, where it falls short in playing time, it’s made up for in the masterful melodies and impressive use of tracking to make the most out of the lead sections. Beginning with a war-like pounding of the drums, this song transparently molds into several influences before closing in a sea of spacey bliss. “A Walk Among The Ruins” is probably one of the most beautiful songs in Psyclopean’s entire discography. A soothing synth melody continuously plays in the background while haunting orchestrations flow higher in the mix. Creating a landscape of melancholic passion, it’s hard not to elicit an emotional response. Toward the end, clean synth leads breathe new life into the song, as if one is in a deep meditative state or whisked away in a territory of astral projection, where distant stars slowly move closer within reach. “Noble Sons Of Celephais” is more of a Dungeon Synth track in the traditional synth, relying on bold Medieval incantations rather than vivid visions of the imagination. The mesmerizing synth leads mesh well with the background ambience and occasional percussive spots, as there are some massive theatric moments during this five minute masterpiece. “Life Is A Weird Fiction (Which We Narrate To Ourselves)” is the ultimate reputation of what this album stands for and is pretty much an adventure within the adventure. With a playing time of nearly twenty six minutes, there is a lot to uncover in this relic of a story. As the tape hisses commence, so do the dreamy synth leads that are reminiscent of classic symthwave effects. Various electronic patterns are synchronized in a way that shouldn’t work, but this song quickly comes together as a unified musical wonder. There are a lot of ambient patterns, as well as Berlin School sequences that are audible throughout, and it’s all arranged so sensationally, that it’s hard to tell when the various sections of this song begin and end. The assorted tones and effects represent an arrangement of colors and shapes that are dominate visuals for this audial escapade. As the shapes and colors bend and shift, the music takes shape in hypnotic fashion, ensuring that nothing else is interfering with this sonic journey. The final song on the album is “Court Of The Somber Queen” and it introduces some actual singing, slightly distorted by wavy effects. Another short piece, this is a very appealing way to close out this psychedelic experience. Complete with soothing synths and acoustic guitar passages, I get the sense that this is the song that awakens the soul and brings a sense of reality back to the listener.

Psyclopean continues to outdo previous efforts with something bolder, more creative and enjoyable than the last. As a big fan of Psyclopean’s back catalog, I can proudly say, this is the strongest effort yet from this project. From epic song lengths to a variety of tones and effects, ‘Nostalgiamancer’ is the ultimate listening experience for those that enjoy a bit of variety in your Dungeon Synth music. Head on over to the link below and down this album and don’t forget to experience the back catalog as well. This year is already starting off with a bang, thanks to enchanted albums like this one.

Please Like/Follow my blog so that you’ll get first hand updates every time I post a review. Thanks for visiting the Dungeon!!

Links:

https://altrusiangrace.bandcamp.com/album/nostalgiamancer

Robert Eggplant Leads Us On A Musical Excursion With Plenty Of Acoustic Guitar And Field Recordings On ‘Dog Island’

Robert Eggplant is one of those artists that certainly has an unmistakable sound. Although the base of his work is ambient, there is a particular abstract design to his albums that result in a Dark Ambient, experimental conglomerate that is gloomy, nostalgic and full of neutral colors. On his stunning fourth album, ‘Dog Island ‘, he takes field recordings, acoustic guitar effects and ominous loops to another level. Fifteen obscure tracks that takes up a better part of eighty minutes, set a minimalistic scenery that’s perfect for a dreary afternoon. So, light a few candles, turn down the lights and prepare to meditate for the course of these gripping tracks.

The album lead off track, “Witanic Path” commences with a humming drone noise that resides far off in the distance. The soothing texture of rain drops present a darkened day and when the strumming guitar loops hit, there is a sense of calming amazement that penetrates the air. Anytime an album showcases the sounds of desolate winds, it has my immediate attention. “Tremorous Dreamer” is a fantastic follow up track as it fires off a barrage of minimalistic field recordings, hissing loops and obscure guitar strums. It’s like having a dream that turns into a nightmare, in which you never awake. There is something really sinister about this sound. “Magpies In The Cherry Tree’ continues the menacing atmosphere with an industrialized hum in the background while the sounds of nature try to elicit a particular purity. More random guitar strokes and beautiful use of field recordings continue this endeavor that is like a journey into the unknown. “Paroxysm” begins with a beautiful & retrospective melody that is joined with slight wind and rain sounds. As nature takes a turn for the worse, the journey must continue and the bleak field recordings lead the way. Again, looping guitar strums become a focal point and may even cause a startling reaction due to being the loudest intonation in the mix. “Leaf Blowers In Paradise” is up next and the title alone is a hit in itself. This song presents another masterful blend of field recordings, many which are audible to the point of knowing what they are, while others provide a grim backplane for the track itself. As random as these pieces may sound, they provide a wonderful sense of balance in not only this track, but throughout the entire album. “The Devil will Always Chase The Hungry” is another marvelous song title and it perfectly matches the minimalistic ambience that ensues. There are more classic synthwave textures on this track and a soothing resonance that is a much welcomed surprise. “The Dynamical Nature Of Time” pieces together chirping birds, environmental elements and looping instrumentation. Overall, this song is bleak, with austere timbres that has an uneasy effect. “Drug Rug Wedding” is an interesting title that combines looping buzzes, howling winds and creepy modulations to produce an extremely horrid outcome. Reverberated guitar tones sound so apocalyptic as it demonstrates an ever growing presence of demise. “Plague Demon” begins with the sounds of doomed terror via haunting synth keys before settling into a more holistic dirge complete with soothing guitar tones and aquatic-styled field recordings. “Device Control” is a suitable follow up track as it showcases the same aesthetics as the previous track but in a more hurried way. Although there isn’t a lot going on in this song, the synths provide the lead instrumentation while the adamant rain drop field recordings showcase a percussive element. The guitar strums sound very distant – almost dreamlike – in the mix, allowing for a wide imaginative space to contemplate these sounds. “Shadow Signifier” begins with a deep, spacey drone that soon fuses with harshly reverberated acoustic guitars and random field recordings to break up the monotony. “Left Hand Pathogen” starts like a cosmic soundscape with high pitched screeches and samples. The desolate sounds of walking down a damp path comes into play while audible rings signify the beginning…or the end. This is one of my favorite tracks on the album. “The Summoner And The Summoned” is one of the most bizarre tracks as the guitar loops are like a deformed echo moving through a modulation chamber while the chirps of bird are caught singing next to this industrialized musical gear. The sounds of stones scraping in the middle of the song is really creepy, while the untimed strums of a detuned guitar continue to impress. “Desert Storm Memorabilia” is a thought-inducing track that could represent a variety of subject matter. More naturalistic soundscapes accompany acoustic guitar strums and other borrowing sounds that present a bold tone of menacing proportions. The final track on this mammoth of an album is, “Vertical Burial (Improvisation)”. For this track we get a clear picture of compositional acoustic riffs combines with tape hisses and the occasional field recording. This is such an intriguing effort and another one of my favorite tracks. I could listen to a whole album of these type of improvised acoustic guitar textures. As the album closer, it brings everything into prospective as if the harsh elements of a monstrous journey has come to a triumphant end.

I’ve been a huge fan of Robert Eggplant ever since ‘Amalgamation’ came out back in 2019. His recordings have a very distinct sound and rely heavily on field recordings rather than traditional Dark Ambient instrumentation. For me, this is a breath of fresh air, as it showcases something distinct and unique to the artist that is undeniable in every way. On ‘Dog Island’, he continues with that same recording technique and delivers another masterpiece of an album. If you’re into something that is less song structured and more sound structured, then I can’t recommend Robert Eggplant enough. Please click on the links below to download this amazing album and check out his previous albums as well. You definitely won’t be disappointed.

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Links:

https://shimmeringmoodsrecords.bandcamp.com/album/dog-island

https://roberteggplant.bandcamp.com

Eyre Transmissions XXI: Interview With Multifaceted Dungeon Synth Producer, Skuggkonungen

The first time I heard Skuggkonungen, it was an instant gratification to these ears. A masterful blend of my favorite musical genres to include Dungeon Synth, Dark Ambient and Berlin School, this kindred fusion of Medieval resolve produces an output of top notch synth music that is really impressive and warming to listen to. I recently had the opportunity to communicate with the entity behind the project and found a humble, yet engaging dude that loves making music. Heres what he had to say:

1. I really appreciate this interview opportunity and Happy New Year to you. How’s 2023 going so far?

Likewise! Thank you! So far it´s going pretty good! Me and my wife spent New years eve in a cabin in the countryside with some friends. How was yours?

2. It was time we’ll spent with family, thanks for asking. I’m always interested in learning about an artists beginnings. How did you learn of Dungeon Synth and what made you want to play this style of music?

I was always kind of aware of it. I heard about Mortiis when i was a young ultra-TRVE teenage metalhead, but i was not at all interested in electronic music at that point, it was far later that i “noticed” DS. I got really interested in it in 2019/2020 when i was dming a lot of fantasy ttrpgs, it was the perfect music to have in the background, or just when writing or just chilling out. I´ve played in punk and metal bands since i was 13 and later “discovered” electronic music, and started making it myself when i was 16-17. I was drawn to the aspect of making music yourself without other people, not needing to compromise which im sure that everyone who has ever been in a band will know all about.
I think what drew me to try and make it myself was just experimentation. That´s how i usually learn how to do things, by trying out a specific genre, or technique like: “Hmm i wonder if i could make a techno track, let´s try”. One of the things that drew me towards it was the sense of DIY, especially the culture of releasing on tapes. I have a unhealthy obsession with cassette tapes haha.

3. Your first album, ‘Det Glömda Landet’ has a lot of Dark Ambient textures. Is that another genre of music that influenced your brand of Dungeon Synth?

I´m a bit ashamed to say that i have ZERO experience with dark ambient haha. I´ve surely enjoyed some dark ambient artists/bands but I could not tell you like a single band/artist name im afraid! Det glömda landet was as you probably know inspired by a ttrpg campaign I ran for my wife and some friends, so I was mostly trying to capture the feeling of that setting (which is so amazing, please check out Forbidden lands) and the vibe of the characters.

https://skuggkonungen.bandcamp.com/album/det-gl-mda-landet

4. Where you going for a particular theme with this collection of songs?

The campaign that we played focused a lot on an ancient demon slowly gaining power in the region that the players were in, so I tried to capture that vibe of impennding doom. Two of the players were Orcs belonging to basically a death cult so that was a theme I tried to incorporate as well. I wanted to make a tribute to the campaign and to my players, something that they could listen to and remember those game sessions.

5. On ‘Västmarken’, I notice a shift in ethereal soundscapes, was this in an attempt to expand your overall sound?

I actually wrote most of Västmarken before Det glömda landet, but I remember trying to make something more ambient and not so melody driven. I have a modular synth that I remember using a lot on those sessions. Im a very lazy musician and I try to be very cautious of just doing the same thing over and over again, so I try and make music in very different ways and I think Västmarken is a perfect example of that, just trying a different approach.

https://skuggkonungen.bandcamp.com/album/v-stmarken

6. I love how dreamy this album sounds and it seems to embody a particular celestial spirit. What is the meaning of this album for you?

I recorded most of Västmarken in the late summer of 2021, and I remember playing a lot of Skyrim and Stardew Valley on my switch at that time and I definetly think that influenced the sound of it! I think it reflects on that period of late summer, autumn is slowly creeping in, in sweden the late summer and early autumn is kind of a very somber, or bittersweet time. It gets very dark and cold, but in the same time it´s very beautiful. I enjoy that time very much and i wanted to capture that feeling i think.

7. My introduction to this project was the amazing release, ‘Månens Vidunderliga Kraft’ and again, it shifts toward a very minimalistic vibe. What was the influence for this recording?

Månens vidunderliga kraft was the first Skuggkonungen music I ever recorded actually! I sent it off to a couple of labels, I was expecting rejection but hopefully someone would give me some constructive feedback so I was kind of amazed when Voices of the Ainur wanted to release it! So I think the minimalism of it was mostly due to me not knowing how to write “Dungeon synth”! The phrase “Månens vidunderliga kraft” was something that came to me when I was working night shifts at my job. It translates roughly to: “The wondrous power of the moon”, I thought there was something powerful about that sentence. It´s like an incantation in a way, or a warning. Beware the wondrous power of the moon. I always like to start with something in that vein when I start a new project, a phrase, word or vibe that will go on throughout all the album.

https://skuggkonungen.bandcamp.com/album/m-nens-vidunderliga-kraft

8. The title track for that album has such enlightening harmonies. What instruments did you use to record that song?

Thank you! I´m pretty sure the main melody is a electric piano patch on my Korg volca FM, I also used an access virus TI Snow for the pad, and the Korg Minilogue for other chords and melodies. The Minilogue in particular is one of those synths that I’ve used on all Skuggkonungen releases.

9. As you may know, ‘Dar Skuggor Aldrig Bleknar’ was included in my Top 10 Dungeon Synth albums of 2022. What does the title mean (In English) and what was your focus for these icy cold songs?

And I’m so thankful for that! I was kind of amazed when I saw it! Där Skuggor aldrig bleknar translates (roughly) to: Where shadows never pales”. The concept was sort of a place where the veil between the living and the dead were very thin, a place where shadows never pales, where no one is ever truly gone or there. The inspiration for that actually came from the Lucio Fulci movie “The Beyond”, I wont spoil it but if you´ve seen it, you´ll know…It also came from negative experiences with my last job. My line of work can be very hard emotionally and I really felt like a lot of the anxiety and dread that I was carrying around went into that album.

https://skuggkonungen.bandcamp.com/album/d-r-skuggor-aldrig-bleknar

10. The title track has a Berlin School influence – which is one of my favorite synth styles. Could you see yourself doing a Berlin School-styled project?

It´s one of my favorite styles as well! I think I’m leaning pretty heavily into Berlin school, sometimes I think to myself that I’m not even a “Dungeon synth artist” anymore haha. But I love that most people in this scene is actually very cool with artists expanding and experimenting with other genres inside the DS “sphere” if you will.

11. Your latest album, ‘Analoga Ritualer’ has a heavy use of Berlin School sequences but the base music form is almost like a return to your earlier albums. How did this album come together?

I think that it´s a combination of me listening to a lot of tangerine dream and trying to experimenting and trying to refine my own sound. It´s hard to define your own voice in a way, and that was something i was definetly aware of when making that album, and that reflects in the name: “Analogue rituals”, I’m trying to conjure up my own music. I usually write my music in “Manic episodes”. No Skuggkonungen album has taken more than two weeks to write and record. I wanted to capture that in that particular album.

https://skuggkonungen.bandcamp.com/album/analoga-ritualer

12. Of all the albums you’ve released, which is your favorite?

Im very fond of Det glömda landet. Mostly because of the memories attached to it. But all of my releases has a sentimental value for me.

13. How has the feedback been from your fans on the output of these albums?

I’m not sure actually haha. I love getting feedback but I suffer from intense shyness and a pretty bad self-confidence so I get kind of embarrassed when people compliment my music. Dont get me wrong: I’m very proud of my music and the success I’ve had but i always kind of feel like one of these days people are going to go: “Wait a minute, his music is shit”. This is a very swedish way of seeing things haha. We have something called “Jantelagen” which is a swedish mentality of: “Dont think you´re better than anyone”. It´s kind of hardwired into almost all swedes. A perfect example of this is this: Everytime I send music to a label I think: “They are probably going to reject me and tell me not to quit my day job”. On the flipside it kind of keeps you humble I guess.

14. What are your recording plans for 2023 and are there any additional surprises in store for us?

I’m becoming a Father in March so I’m not sure how music I will actually be able to make but I got a lot of music done that I’m looking to sign! I got a very special release with a “big” label in the pipeline but im not sure how much I can talk about it, so i´ll leave it at that haha. Im very interested in working with some labels I’ve released with in the past so hopefully that will work out! At the moment I’m gearing up to record a full-on Berlin school EP based upon the concept of Ancient astronauts and Erich Von Dänikens interesting (but full of bullshit takes) book “Chariot of the gods”. I’ve also played around a lot with my old gameboy so I have a lot of “chiptune Dungeon synth” that I don’t know what to do with haha. AND as a last surprise..: I recently started working on a follow-up or sequel if you will to Det glömda landet, based on the new West marches style Forbidden lands campaign I’m running!

15. Again, I appreciate the opportunity for this Interview and most of all, the wonderful music. Do you have any final words for those that may be reading this interview?

Thank you for the opportunity to be interviewed and for supporting my music, I really appreciate it alot! Keep buying tapes and if you want to support my music directly be sure to check out my bandcamp. And thank you to all the nice people who are saying nice things about my music!

Skuggkonungen Links:

BC: https://skuggkonungen.bandcamp.com/music

Instagram: https://instagram.com/skuggkonungen?igshid=NDk5N2NlZjQ=

Ten Of Swords Adjures Medieval Resonance On The Ominous, ‘You Were Once Far But Now You Are Close’

This has been an amazing year for the Dungeon Synth community as we’ve seen (and heard) more releases than ever, been exposed to a plethora of new artists and have witnessed many of the seasoned acts that we know and love release some of their best material to date. Amongst those artists is the newcomer, Ten Of Swords. Although Ten Of Swords has only been around a little over a year, there is already a huge catalog of memorable albums to check out. For my last review of 2022, I’ll be writing about ‘You Were Once Far But Now You Are Close’. Although not the latest album (as there has been at least nine addition releases since this offering from March), it was my introduction to this project so I thought it would be a good idea to write about my first impression.

Album opener, “Night Of The Worm Moon Festival” slowly creeps in with a cavernous effect on the synth leads. As the music comes into focus, a percussive cadence is fused in, creating a battle-like rhythm. There is a tinge of discordance to this track and it’s bound to put the listener into a mood full of Medieval crusades and bloodshed victories. “Raiding The Wizard’s Wine Cellar” is a festive piece with inimical harmonies and consoling textures. There is a twangy effect with the main keys and the off-kilter soundscapes that happen throughout adds a bit of dark color to this otherwise convivial song. “A Spinning Dance Of Ancient And Forbidden Pagan Rhythms” is an upbeat offering that immediately offers a sanguine groove on top of ancient Middle Eastern patterns. Production wise, it sounds very distant and dreamy which adds to its mystique. “Who Would Have Though There Would Be A Dungeon Here?”, is a seventeen and a half minute affair into a dark atmosphere that features reverberated ambience in the beginning and builds into so much more from there. Staticky keys and dark pulses come into play as this brooding track begins to take shape. There are spots of whimsical synths as well as heavily modulated key tones that sounds downright menacing. As the track continues to unfold, it becomes apparent that the various sections are akin to walking down an ominous path in a dark forest and encountering the unexpected along the way. Even with an extended playing time, this spectacular track is over before you know it. “Den Of The Fallen” commences with the tolling of bells, that ring out in angst while a dark, dismal groove builds around it. The effects used on the keys here is extremely thick, as if someone is plucking the lower notes of a piano wire. Toward the end, distorted ambience comes into play, adding layers of grim textures, before simplifying into the opening chops of the tracks. This is a really cool song that is probably my favorite on the album. The final song is, “The Day After The Worm Moon Festival” and although the composition is quite jovial, in delivery it’s rather quixotic and portentous. Again, the production ensures a distant tone, allowing for the audial space to be consumed by droning thoughts and mystifying clarity. Another excellent track to close out this isolated year astonishing album.

Ten Of Swords is a pretty unique project with a one-of-a-kind sound that is firmly rooted in the Dungeon Synth genre. With a quickly growing catalog of anomalous albums, this act is definitely one to watch for in the near future. ‘You Were Once Far But Now You Are Close’ is an entertaining album that offers a variety of tones and styles that are quick to grow on. The longer songs allow for a complete meditative experience, as these tracks are somewhat trance-like in transmission. I highly recommend this album if you’re into the more obscure side of Dungeon Synth.

Please Like/Follow my blog so that you’ll get first hand updates every time I post a review. Thanks for visiting the Dungeon!!

Links:

https://tenofswords.bandcamp.com/album/you-were-once-far-but-now-you-are-close

Top 10 Favorite Dungeon Synth / Synth Releases Of 2022

Dungeon Synth music just gets better and better each and every year. For 2022, it seems like a million Dungeon Synth albums were released and unfortunately, I didn’t get to listen to most of them. However, I did listen to A LOT of albums and some of my favorite artists created their best works to date, while many new artists brought their A game to this ever growing community. I hope you enjoy reading my Top 10 favorite Dungeon Synth / Synth releases of 2022 and hope some of these made your lists as well.

10. Meadow Grove – A Shattered Heritage

https://meadowgrove.bandcamp.com/album/a-shattered-heritage

Meadow Grove has released a handful of impressive albums this year but ‘A Shattered Heritage’ is the one that I keep going back to the most. There is a dynamic quality about these songs that ranges from battle-like hymns to soundtrack-ready anthems. Shifting from cinematic and grandiose to simplistic and alluring, ‘A Shattered Heritage’ has a variety of music that is bound to appeal to a broad range of electronic enthusiasts looking for a further dive into the Dungeon Synth realm.

9. Pukel’E – SaqalE

https://pukele.bandcamp.com/album/saqale

Talking about a surprise, from out of nowhere comes Pukel’E with a short nineteen minute offering of the most impressive synth music I’ve heard in a while. From my favorite Dungeon Synth label – Voices Of The Ainur – ‘SaqalE’ blends Medieval Synth anthems with Winter Synth themes, producing a mesmerizing sound that I’ve not heard since ‘Silence’ by Inoriand (2019). My only complaint is that there should be forty tracks instead of four with about two hours of playing time. Jokes aside, this is an outstanding release and I can’t wait for this project to produce more music of this caliber.

8. Sunken Basilica – Sunken Basilica

https://sunkenbasilicamca.bandcamp.com/album/sunken-basilica

Blasting onto the Dungeon Synth scene with a grizzly debut album, Sunken Basilica is quickly making a name for this bold new project. Composing a collection of Dungeon Synth anthems with a dystopian edge, these songs are raw, gritty and most of all, memorable. The low fidelity production makes these arrangements standout even more as it thematically sets a precedent for Medieval music and the dilapidated quality of times that it represents. I can’t recommend this one enough – especially if you’re into the more obscure aspects of Dungeon Synth.

7. Skuggkonungen – Den Svarta Stjärnans Brödraskap

There is a masterfully-crafted, calming essence that is congruent on all Skuggkonungen releases that continuously draws you in and wanting more. From synthwave to comfy synth and even ambient textures, the tracks on this album epitomize the true characteristics of Dungeon Synth without sounding dry and played out. Songs such as “Stilla” and “Tid Och Rum” have a futurist style but at the same time, are nostalgic in nature. If you’re new to Skuggkonungen, this would be a great place to start your listening endeavors.

6. Jenn Taiga – Siege

https://jenntaiga.bandcamp.com/album/siege

Refusing to be pigeonholed into a single genre, Jenn Taiga bears the sword of impiety for Dungeon Synth and beyond, while slaying those that can’t gauge the synth madness that dwells within. ‘Siege’ contains two tracks of mesmerizing synth Godliness that centers around Berlin School sequences and dark, euphoric tones, ultimately producing an uninterrupted essence of grim energy and cold intensity that is meant to be lost in – within the confines of its quintessential audial enclosure.

5. Elminster x Erythrite Throne – From Tomes Of Stygian Sorcery

https://ithildintapeproduction.bandcamp.com/album/from-tomes-of-stygian-sorcery

So, before this album came out, I had my Top 10 list all figured out, arranged and ALMOST ready to publish. However, two of Dungeon Synth’s most majestic warriors – Erythrite Throne and Elminster – decided to grace the Iron Keep with a stalwart of an album known as ‘From Tomes Of Stygian Sorcery’. Although it’s only been out for a few weeks, there was no way I was publishing a Top 10 list without this recording on it. Three epic tracks from both artists find them at the top of their game and producing the best music of their careers (so far). “Bal-Garond Ascending” from Elminster and “As Depraved Warlocks Gather At My Tomb” by Erythrite Throne are the top tracks on this vivacious and transcending album.

4. Vandalorum – Black Mold

https://vandalorum.bandcamp.com/album/black-mold

Although Vandalorum isn’t quite as active as other Dungeon Synth artists, the music he does produce is made of gold and considered the best of the best – well, at least to these ears. Last years flagship release, ‘Maewyn’, blew me away with its psychedelic incantations about the life and times of Saint Patrick. This year, we have the RPG soundtrack called ‘Black Mold’ and it’s my favorite release by Vandalorum thus far. Psychedelic orchestrations are fused with whimsical melodies and an assortment of chip tune styled synth leads. Most of all, the compositions are stylish and groovy with lots of surprises thrown in. This is totally an addictive album and it’s also the perfect listen for a late night (or early morning) drive.

3. Heldentenor – Blood Moons & Black Lakes: Chapter Two

https://sumatranblack.bandcamp.com/album/blood-moons-and-black-lakes-chapter-two

The artist behind one of my favorite Dark Ambient projects – Sumatran Black – decided to release not one, but two Dungeon Synth albums simultaneously in January and without hesitation (and much ease), I can report that these albums are pretty killer. ‘Blood Moons And Black Lakes (Chapters One & Two)’ depict a new spin on the genre, but the premise and outcome are abrasive, nostalgic and a great interpretation of this wonderful genre. However, it’s Chapter Two that stands out between the pair and each song is a ten out of ten on the awesomeness scale. The standout track is the near twelve minute long, “The End?”, a seemingly endless foray into the melancholic abyss with ominous guitar strums and bleak ambience. Doesn’t get much better than that.

2. Thalmar – Pried From Winter’s Frost Laden Grip

https://ithildintapeproduction.bandcamp.com/album/pried-from-winters-frost-laden-grip

Thalmar is one of the many projects by the conspirator behind the likes of Elminster, The Owl Knight and Moss Keep and although only a single album has been released under this moniker, it’s my absolute favorite. Four tracks of ambient induced dungeon anthems that are dark, erosive and downright terrifying. Layers of coarse madness intertwine to divulge a maniacal blend of organic synth music full of divine impurities and gloomy modulations. I practically listen to this album on a weekly basis and have done so since it’s release back in February. If you prefer your Dungeon Synth on the darker, more ominous side, then definitely give Thalmar a listen.

1. Arcanist – Hyperborea

https://yuggothrecords.bandcamp.com/album/hyperborea

When it comes to variety, this has to be one of the most impressive albums that I’ve heard all year. The Dungeon Synth duo know as Arcanist, has impeccably incorporated Black Metal, Berlin School and doom laden melodies in their arsenal to present the complete package know as ‘Hyperboria’ – my favorite Dungeon Synth album of 2022. With a plethora of sounds and styles at their beckoning call, Arcanist are able to compose these otherworldly tracks in a way that they are memorable, enjoyable and beguiling at the same time. I gladly offer forty three minutes of my time on a regular basis to this audial entity and in return, I’m able to submerge in a conglomerate world of exceptional synth music.

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Top 10 Favorite Dark Ambient Albums Of 2022

This was another amazing year for the Dark Ambient genre and again, I had a very difficult time fine tuning my Top 10 list. If truth be told, I could have probably created a Top 50 list. Many mainstay projects created some of their best music ever, while a lot up up and coming artist created spectacular albums that could easily compete with the best of them. Either way, these 10 albums are my favorite of the year and I’m excited to share them with you. How many of these albums made it to your Top 10 list?

10. Blackweald – From The Dust Of The Old Hungarian Plains, Emerges The Invisible Claw That Drags Us Into Our Rotting Grave

https://blackweald.bandcamp.com/album/from-the-dust-of-the-old-hungarian-plains-emerges-the-invisible-claw-that-drags-us-into-our-rotting-grave

Blackweald always leaves an quite an impression with each release. On his sole release from 2022, we get to experience a bold blend of space ambient, mesmerizing drones, soundscapes, narrative samples and enough field recordings to create a series of audial adventures that are spread across a ninety minute platform. Not as dark as previous efforts but certainly versatile enough to appeal to a wider audience in the electronic/ambient community.

9. God Body Disconnect – Spiral Of Grief

https://cryochamber.bandcamp.com/album/spiral-of-grief

God Body Disconnect never disappoints and I’m always looking forward to a new album by this project with eager anticipation. On ‘Spiral Of Grief’ we get a nice dose of the traditional narrative parts with soothing drones and soundscapes that are hypnotizing from start to finish. Tracks such as “Memories Become Distant Rooms” and “The Fathomless Heart” are downright otherworldly. However, as peaceful as this recording is, there is an underlying darkness – in the form of desolation – that gives these tracks extra meaning.

8. Ajna – Mors Ultra

https://cycliclaw.bandcamp.com/album/mors-ultra

Ajna creates a slowly deteriorating realm of alluring drones and space ambient elegance on the nearly two and a half hour opus, ‘Mors Ultra’. Defining a process that lethargically gnaws at the psyche and combining it with an acumen of tonal clarity, this is a highly addictive album that has garnered a lot of playtime from me, hence earning a spot on my list of favorites Dark Ambient albums for this year. Not having a dull moment on the entire album, each track will have you listening (and understanding) with grave enthusiasm.

7. Eshaton – Arheia

https://eshaton.bandcamp.com/album/arheia?label=2690771343

This is one of my new favorite projects by Scorpio V. The mastermind behind Metatron Omega and Monasterium Imperi, presents another take on the Warhammer 40k sound with a much rawer style and delivery. Looping tape hisses and layers of Gregorian chants pave the way for this thirty four minute long track, as the grainy production and synth delivery is quite unique and enlightening. ‘Arheia’ presents a dark unknown from an ancient civilization that is part ritualistic and part spiritual – in the sense of how the music has such a strong, dynamic effect. It’s hard to count how many times I’ve listened to this album but even rolling into the new year, that counter will continue to climb.

6. Sana Obruent – Aftoktonia

https://sanaobruent.bandcamp.com/album/aftoktonia

I first became familiar with the works of Sana Obruent on the 2021 release, ‘Fatem’ and instantly became a fan. To say that I was extremely excited for another album is a huge understatement. This year saw the the release of ‘Aftoktonia’ and as expected, its a triumphant release. Nearly an hour and forty five minutes of minimalistic, looping drones. ‘Aftoktonia’ is an imposing collection of obscure tones and discordant modulations that are as eerie as they are tranquillizing. Sana Obruent excels at creating a world that’s easy to get lost in and ‘Aftoktonia’ is the ultimate, creative set to keep you there.

5. Caldon Glover – Labyrintia

https://cycliclaw.bandcamp.com/album/labyrintia

Over the past few years, Caldon Glover has left quite the impression by releasing some amazing albums under a few different project names (a few in which I have reviewed on this site). However, his ultimate collection of Dark Ambient anthems just may be his current Cyclic Law release, ‘Labyrintia’. Deep, spacious drones and pronounced soundscapes make up the arsenal of this gigantic creation. With the backing of a major Dark Ambient label and a killer production, this is one of my favorite recordings of the year. It’s obvious that the passion that went in to the making of this album was spot on, as the distressed cadence and tense settings are sure to render a lasting effect.

4. Tineidae – Mothership

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

‘Mothership’ has been one of my most played Dark Ambient albums of the year so far. With a bludgeoning sound that reminds me of one of my all-time favorite movies (Blade Runner 2049), this is the empyrean dystopian-themed release of the year. The synth sound is so huge, portraying a trance-filled atmosphere with chronic tones and soundscapes. If this is what the distant future sounds like, please hurl me there now so that I can partake in post-apocalyptic battle for humanity, while playing this soundtrack for all to here. Such a stunning release that should be heard by all.

3. Colonial Skyway – Evening On Earth

https://colonialskyway.bandcamp.com/album/evening-on-earth

When I’m looking for a specific type of music that provides a meditative soundtrack of wonder and openness, I look no further than Colonial Skyway. My go-to artist for all things drone, Colonial Skyway has a niche for turning monotonous noise into asomatous art that is not only relatable but introspective to say the least. Each track has a disparate style but delivers in complete solidarity when played as a whole. Not only does this album provide a level of entertainment value, but is excels at cleansing the mind of reprehensible thoughts in exchange for a positive focus.

2. Mombi Yuleman – Hours Lost

https://mombiyuleman.bandcamp.com/album/hours-lost

It’s extremely hard to pick a Mombi Yuleman album for a Top 10 list, especially with everything he produces is FIRE! That being said, one thing that draws you in to his music is the conceptual themes that coincide with the audio. For 2022, the album that resonated with me the most was ‘Hours Lost’. Based on the true story of an alien abduction case from 1961, ‘Hours Lost’ has a particularly nostalgic value that takes the listener back to that era for an experience like no other. Deep drones, sinister soundscapes and an alien-like vibe are some of the key factors that ensure this album is the real deal. If you’ve not heard this one yet, you’re missing out on quite the Dark Ambient experience.

1. Metatron Omega – ISIH

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

Metatron Omega is my favorite Dark Ambient artist and the intonations created by this project are something that must be experienced. Heavily themed in the Warhammer 40k universe, Metatron Omega uses Gregorian Chants along with malevolent ambient tones to create the most powerful electronic music around. Call me biased, but this is not only my favorite Metatron Omega album (so far), but my Dark Ambient album of the year. To top that, “Megalosthronos” just may be the best MO track of all-time. With the use of looping percussion, this song has an unusual groove and form that stands out amongst the rest. Don’t sleep on this exemplary album.

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Reality Scruncher Produces Otherworldly Timbres On Minimalistic Debut, ‘Deep Space Impingement’

I’m really excited to finally be publishing this review. Reality Scruncher is a new Drone/Dark Ambient project by jack-of-all-trades blogger, Casey Douglass. In case you’re not familiar, Casey always takes an impressive dive into all things obscure, including music, films and books. Speaking of books, Casey is also an accomplished author with many tales of horror and menacing bewilderment under his belt. Now, he is taking on the audial channels with his first Dark Ambient album, ‘Deep Space Impingement’. Thirty seven terrifying minutes of celestial modulations and deepened voids spread across five impressive tracks. How does this intro album stack up against the rest of the genre? Let’s take a deeper dive and find out.

Sinister lead off track, “Hope Into Terror” gradually comes into full perspective as it adjusts with audial bends in and out of earshot. With each louder intonation, it’s apparent that a horrific scene of deep space terror is abound. About halfway into the track, the wavering radiance declines as a mechanical drone – akin to a vessel drifting about in the far reaches of space – produces a mesmerizing sound with bits of chilling effects throughout. Toward the end, the tone grows louder as a doomed final destination becomes imminent. “Constricted Temporals” epitomizes the droning technique as a deep, hypnotic modulation emits an articulate and muffled sound. This track is nearly twelve minutes of eerie soundscapes that slowly builds with layers of ambient pitches that resemble the darkest areas of space where boundaries cannot be identified and the nearest celestial bodies are nowhere in site. This track represents nothingness and the imposing frequencies that it produces as a total sense of anxiety completely unfolds. “Shimmering Spectral Anomaly” continues the epic droning but with a wobbling effect of ominous proportions. As the timing continues to fluctuate, one begins to question the horrors of a possible cosmic impact that is bound to expire all life form in its path. As the song nears its completion, loud revolts form synth pads come into play, providing a level of audial defiance that could change the impending course of this unfolding terror. “Quantum Monstrosities Frolic” is another gigantic undertaking as the drones are presents with more reverberations and tonal distortion. This creates a malevolent sound and is also the pinnacle of horror for this album as a whole. There are some assorted sound effects throughout but are used sparingly, as this track is a true image of nightmares. The final track on the album is, “Suicidal Infinity”. Complete with hollow drones and industrialized soundscapes, this is the ravenous ending that I was hoping for. Most of the audial extremities occur slightly in the background, allowing for the white noise-styled drone to continue as the lead character for this song. The bits and pieces that do occur in the background sound like distant storms and interferences that could become closer as time continues. Suddenly, a loud, glaring alarm begins to blast away, as it warns of a distressed energy that is inbound, ready to infiltrate all forms of communication. As the warning fades away, we’re left with the icy cold sound of endless drones and the realization that nothing is more terrifying than the deep explorations of space.

‘Deep Space Impingement’ by Reality Scruncher is an absolutely amazing Dark Ambient effort and it truly captures the essence of deep space drones and the emotions that come with it. Minimalistic tones with sparse use of sound effects is the combination that is right up my alley and it works very well for this debut recording. I hope that Casey continues his recording career under this moniker and produces more Dark Ambient albums in the same vein as this one. I highly recommend checking out this album if you’re into cosmic drones with horrifying consequences. Please click on the link below and download this bleak but entertaining musical experience.

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Links:

https://realityscruncher.bandcamp.com/album/deep-space-impingement