Eyre Transmissions XVIII: Interview With Reticent Dark Ambient Producer, Infinexhuma

Infinexhuma is one of Dark Ambients most spectral artists. Producing a variant that captures the true essence of Dark Ambient music, while always coming up with ideas that catapult his brand of bleak atmospherics beyond comprehensible realms. Each release presents a diverse blend of haunting drones and soundscapes while fusing in intricate nuances that entertain the listeners pallet for extended moments in time. I recently had the pleasure of interviewing the audial administrator of noise terror that IS Infinexhuma. He give us the low down on the projects beginnings, influences, and what all’s to come. Hope you enjoy this as much as I did putting it together.

1. Thanks for taking the time for this interview! One thing that I’ve been wanting to know is, what does the name Infinexhuma mean and how did you come up with it for your project?

Infinexhuma refers to Infinite Exhumation, a process widely experienced by many inhabitants of this earth, a process that breeds monotony and lack of will. Around the time of the initial host death, a doorway in limbo was opened via this concept, more so a realization that this process must be broken, emphasized by the trapping within a limbo state being the most accurate example of the horrors of unbroken monotony, the journey is, was, will be the beaking. The sounds are only evidence and passive teachings channeled through this host, It is and is not music, it is and is not metaphorical, it is and is not real.

2. How did you get into Dark Ambient music and what was the influence that made you decide to start your own project?

I recall approximately 10 years ago, at the time operating a different and now defunct music project, short naps were taken during studio work. During these naps I would listen to some more subdued black metal or perhaps just throw on a horror film for the score. Later I discovered a website called darkambient.de I believe it was called, that became the go-to for the naps after that. Later of course there were multiple stages to the evolution from lightly experimenting to heavy listening to diving into field recording to eventually releasing a first album to discovering scenes etc. Learning the composition structure of such music was a long process as well, as it was new to me, not in terms of listening, but in terms of production. The energy for Infinexhuma grew while the old project died, some influences include (yes some are by the same person); Inade, Lustmord, Ark Tau Eos, S.P.K., Archon Satani, Atrium Carceri, Sjellos, Noctilucant, NERATERRÆ, Tangerine Dream, TG, Altus, Gustaf Hildebrand, John Carpenter, Deathpile, ProtoU, Sabled Sun, film scores, Yen Pox, Terra Sancta, Apocryphos, tomandandy, Enmarta, Council of Nine, A Murder of Angels, Halgrath, Alphaxone, Svartsinn, Kolhoosi 13, Dark Matter, Crawl Unit, Subklinik, Kammarheit, Keosz, Blood Box, Trepaneringsritualen, Apoptose, Beyond Sensory Experience, Raison D’être, Visions, Vestigial, Phonothek, Monocube, Phragments, Therradaemon, Nordvargr, Brighter Death Now, MZ 412, The Human Voice, Paleowolf, Ramleh, Opeth, Ulver, Enmarta, ALLSEITS, Northaunt, Hilyard, Sephiroth, Desiderii Marginis, Phurpa, Northumbria, Psychomanteum, Gnawed, and likely more. Many obscure projects have been discovered over the years, ones that would evade the objective (and often disliked by elders) classification of dark ambient. The tiers and styles and authenticity within this obscure genre could be elaborated on as my perspective and knowledge on it continues to grow and be enhanced, however this would lengthen the interview to perhaps an unhealthy limit. I later began to hit the starting point of a full circle and felt comfortable drawing influences from unrelated genres I knew more pre Infinexhuma, mostly energetically and not so much in terms of the speed and rhythms.

3. The debut album from Infinexhuma, ‘Crossing’ is a well crafted experience that easily rivals albums from more seasoned artists. How much effort and production experience went into delivering this album?

Well, in fact the real first work was Chaotic Depth, the low volume 2016 unmastered version that is, which itself took approximately three to four years of work, not much of an impact, but I believe the process of “peaking” can be reversed for some artists, some achieve the proper transmission of their message with a first production, others take several to weed out what is not to be said, Brian Williams actually said this in an interview, quite refreshing. Anyways, Crossing, the crossing state, a collection of earth captures from what we call the Pacific Northwest. Crossing took several years as well, however a period of sharp acceleration was implemented towards the end. Much of this work was guided by intricate harmonics within the field recs, which gave a solid and consistent base for workflow, and that avoided any creative blockages. This was the true state of transition between this and that world, the energy was aided by a concept I often discuss, is your visual and physical perception of music based on environment, for example Snowy Court, was an actual Snowy Court, a Japanese garden in a strong snowing winter season, aside from the of course the sounds of subtle snowfall, the energy that was there during the recording process, remains (to me) on that recording and follows all the way to the studio, providing an energy base for the track, and I believe this cannot be recreated, despite the sounds being identical, it will lack the energy. This work was mastered by the great Robert Rich.

https://infinexhuma.bandcamp.com/album/crossing

4. “Broken River” is my favorite track on that album, as it uniquely combines field recordings, drone, haunting textures and a sense of melody. What was the story behind that particular track?

As The Snowy Court, it was in fact a broken river, the first portion of rocks shuffling was traveling to the water, traveling within the break of the river, guided by subtle harmonics, messages beyond the mind. The whole album could have been better in terms of technical production as now I am vastly more advanced in this regard, but for the sake of giving credit where it is due, the “speaking” was natural, clear and very simple.

5. Do you document your own field recordings or sample from other sources?

I use 99.99% original field recordings, samples are seldom used, and if they are, their obscurity would prevent anyone from ever acquiring knowledge of the original source.

6. In 2019, you teamed up with Neraterræ for a remastering of ‘Chaotic Depth’? I can definitely hear his influence on the album but how did this exquisite teaming come about?

In fact, it was more of a gift from fellow creator NERATERRAE, I believe I had given some unused pieces of music and in exchange for this he presented to me a mastered version of this album, alongside I believe a track for a dark ambient compilation. He was featured on his personal favorite of the album, overall it was quite a pleasure to listen to and motivated me to execute a full digital release. Again, none of it thus far is what needs to be said, I could destroy all Infinxhuma material tomorrow and it would not matter, I am attached to nothing, especially material of the past that is now deemed inferior, and in my personal opinion not so good anyway.

https://infinexhuma.bandcamp.com/album/chaotic-depth-neraterr-remaster

7. On 2020’s ‘Arcade’ release, it seems like you went for a more minimalistic, retrospective sound. The results were simply amazing, in my opinion, but what were your expectations with this release?

Very true to the Infinexhuma path, yet in a realm above many of the human compulsions and matters, hence its more neutral and overseeing vibe. This release was expected to sound good, the sound was a heavy focus of this work, the depth and intricacies within the drones were (and are) one of the most fascinating things within music to me. Many planes were explored on this, a perhaps more space oriented cousin to Crossing.

https://infinexhuma.bandcamp.com/album/arcade

8. There are a variety of instruments used/heard throughout this release. What all do you play on this album – and other albums for that matter?

Arcade had some synth layers as I had not yet adopted the principle of operating on samples only, however likely some guitar, for sure some throat singing on a specific track, but as well likely many many field recordings and their most prominent harmonics brought to the frontlines.

9. Speaking of gear, can you walk us through your studio setup?

Which one? Ha, well

1) DAW/post production, I have an ASUS laptop with decent power, a large casio used as a midi controller and practice at times, Yamaha Hs8 monitors, a few focusrite interfaces, A tape dubber/player, a novation (mini) pad with midi pots, a large bass amp, a condenser mic with multiple filters, a digital reverb unit, two guitars, a V-Drum kit, some brass and wood instruments

2) Practice/Live Prep, of course many of the mentioned and those I will mention can and are often moved in between rooms, but fundamentally I have a Eurorack box, forgetting how many hp total, three Yamaha mg102 mixers (the old school ones without usb and digital effects and crap), many effects and generator pedals, passive ¼ mixer, a few dynamic microphones, a marantz 201, a Roland SP-404 SX multiple (actual) drum pieces, a large collection of carefully selected windchimes, more wood instruments, bells, singing bowls, a Behringer Neutron synth and one more mackie mix8 (not the sturdy VLZ construction). Of course a soldering station for minor repairs and eurorack builds, contact microphones.

3) Mobile, I often use the mackie mixer when recording in tunnels or bunkers (if accessible enough to bring power as well. In my car I have constantly my Sony PCM D-100 for intricate and high quality (safe terrain as I’ve killed a few) field recs, a Zoom H-1 for more rugged and rough locations, quick on the fly recs, and as well to be used in conjunction with the Roland CS-10EM (recommended to me by Gnawed) binaural earphones/microphones for unorthodox binaural recs as I use them in reverse, thus far at least. Next, I carry a Zoom H3-VR for not the most accurate or heavy duty ambisonic work, but interesting nonetheless after decoding, A gopro with a special discontinued Sennheiser MKE-2 underwater microphone and another deeper diving somewhat shabby hydrophone for some cool underwater stuff. A tablet for on the fly Hexen Modular patches, to be used with a smaller JBL cylindrical sound bar, as well a larger JBL ONE portable rechargeable “PA” speaker.

10. Back to the music, on last year’s amazing release, ‘Frontier’, you have a variety of guest musicians that provide some captivating input for several tracks. Did you have a particular sound or theme in mind when working with these talents?

Perhaps only for the Blood Box collaboration, I have always had a very special appreciation for Blood Box and much admiration for their smooth execution of the dark and light mixture throughout their work. This was what I was seeking on our collaboration. Minimalism was sought out for the CEKE collab, and energy for the NERATERRAE one, all I believe were excellent works.

https://infinexhuma.bandcamp.com/album/frontier

11. I have to ask you about “In The End”. It’s so different from everything else that you’ve released, yet sounds as if it fits right in with the theme of the album. Is this a direction you may be interested in going in with this project or perhaps under another name?

I have huge respect for those that are dedicated and naturally immobile on a specific stylistic path, however as the journey continues, I become more aware of how this is difficult, and not needed for me. They are all artifacts, just sent through a host, a messenger that will one day go back to dust, some artifacts will be slow and brooding, some will be destructive, some will be energetic and within rhythmic structure. There will be more.

12. On your YouTube channel, you have a lot of live performance videos uploaded. This is something that’s not quite common in the Dark Ambient community (yet). How is it pulling off a Dark Ambient show while keeping it creative?

Many live works tend to stray from typical dark ambient, but at times have been very true to the exact style. Live is a heavy opener of creative doors, a heavy generator of energy, a powerful opportunity to give further insight into the Infinexhuma path, however there are often limitations, obstacles and at times failures that are not present in a studio setting. Embracing the failures and the death of expectations allows energy to be recycled and properly reutilized for exploration.

13. How often do you play live and do you have any plans to venture out on a larger scale for performing live?

Live services are conducted perhaps ten times or so a year, there have been some large scale events however there will be more, international service is within the scope as well.

14. We’re mid-way through 2022 and haven’t experienced new Infinexhuma material yet. Do you have something planned and what would be the direction of the material?

It has been some years now, and much work has been discarded, and much more will be created and burned, until the exact energy beam is captured. Artifacts are being prepared, yet completion is far and the time of unveiling is undetermined at this point.

15. As far as large scale collaborations, do you see any releases of this kind in the future? If so, who are some artists that you’d be interested in collaborating with?

There will be more co-operations along the journey and path, yet at this time I cannot elaborate on any who will contribute to the exploration. I will state that there are considerations, and some that may leap to genre crossing branches on the great tree of music

16. I really appreciate your time and letting us know about all things Infinexhuma. Any final thoughts for those that will read this interview?

Thank you for your effort and everything you do for the community of creatives, this will one day be read by artists hundreds of years beyond our existence as historical art exploration.

Links:

https://infinexhuma.bandcamp.com

https://www.instagram.com/infinexhuma/?hl=en

https://youtube.com/channel/UCWLRzVnGUKF78rEX0KiXysg

Xerxes The Dark Employs Metal Aesthetics To Intensify The Industrial Ambient Experince On ‘The Rise Of AI’

Xerxes The Dark is one of the most consistent artists of the Dark Ambient genre. Not necessarily when it comes to the Dark Ambient sound in the traditional sense, but with the unheralded impression of incorporating new ideas and tactics that indicates an endless realm of musical opportunity. With a string of highly influential albums that thrusts the Dark Ambient maestro into elegiac territories such as industrial, noise, fusion and metal, ‘The Rise Of AI’ just may be his most enigmatic release yet. With a futuristic story and theme that is not so far off from reality, this album thins the comfort zone of ambient music with a thrust into chaotic bleakness. Think about the hostile take over of bio-engineered humanoids in ‘Blade Runner’ with the invasion of indestructible alien robotics of ‘Terminator’ and then mix it with the technological destruction of ‘Black Mirror’ and you’ll have a sense of what the flow of ‘The Rise Of AI’ is all about. Let’s take a dive into this amazing recording.

Bold album opener, “The Rise Of AI” makes a critical statement for the flow and direction of the album. Slowly building into an industrial nightmare, this track more resembles Godflesh than dark ambience. From the steady cadence of drum machines and solid bass lines to a variety of voice samples and guttural transmissions, this track properly prepares the listener for the destruction that will soon follow. The nightmare continues with “Nuclear Winter”. Starting with eerie drones and haunting whispers, it quickly turns into an emergent, industrial anthem with muddy and distorted vocals. Guitar tones hint on melody but that quickly fades into a realm of bleak discomfort. “Take (No) Shelters” emits more dark ambience than previous tracks and is accommodated by stark samples and mechanized soundscapes. More vocal narration are heavily modulated and are right inline with the horrowing story that continues to unravel. “Synthetic Consciousness” is a full on Dark Ambient endeavor with a Space Ambient vibe, complete with celestial soundscapes and dark timbre that rapidly expands beyond the outer reaches of the universe. Malevolent machine nuances continue the harsh undertones of robotic supremacy. “Cyborg Soldiers” embodies an industrial sound with looping noises and drum beats, while a gritty vocal line chants in disdain. “Signaling The Alien Machine” marks a return to the Dark Ambient domain with a plethora of discordant noises and background echoes. As the drones increase in volume, muffled communications depict a scenery of imminent hostility. This calm before the storm approach creates a sense of anxiety and wonder, while complete AI take over is close at hand. “Simulating The New World” is a cinematic adventure that combines a barrage of industrial beats, melodic arrangements and and glitchy rhythms that flow together seamlessly. Portions of this track stimulate a warm sensation, as if there are light moments amongst the chaos that appear to be fathomable. “Interpret X11-01-10” is a short track that depicts communicative transmissions between AI and distant worlds. Soothing drones in the background allow this effort to be audible but untranslatable, as the evil machines prepare their next move for impending takeover. “Domination Of Humanoids” begins like a sneak attack with small, subtle noises as if being surrounded by unidentified beings. With a slow crescendo, industrial drum beats and bilious vocals elicit a constructive output that wages the war between AI and mankind. Like a battle cry of the ages, this track becomes a statement of dominance and leads the mission of AI acquisition. “Accessing Cosmic Memory” is a desolate ambient track that contains wavering drones, empty soundscapes and a looping pattern that signifies a positive communication efforts between the AI and their end goal. This expressive intonation creates a cessation of offensive strikes while vast information is being absorbed for future use. “Meeting Space Tribes” once again delivers a stark vocal arrangement with looping, industrial passages, while layers of drones produce a grandiose sound. The vocals spew a ton of pain and anger throughout and combined with the music, present a chilling, glacial landscape. “Intergalactic Empire” showcases a new side of the story as well as a new sound for XTD. With a melodic approach to Sy-Fi soundscapes, this track is industrial, yet light-hearted and probably one of the most accessible songs on the album. Complete with drum beats, bass lines and samples, this style is a welcome addition to the album as a whole and actually fits in quite well. Next up is “Holographic Wormhole Drive”. Not only is this the coolest song title ever, it’s also the closest this album comes to the traditional XTD sound. This is Dark Ambient in its truest form, with deep drones, creepy soundscapes and an overall menacing essence. There are several pitch shifts in this track that enhance the listening entertainment value, as well as present multiple sides to this gloomy effort. The final track of this epic album is the summarizing, “Gateway To The Unknown”. This is another scorching Dark Ambient masterpiece that includes some insane trip-hop beats and intense soundscape and noises. This ends the album in dominating fashion, just as the AI has systematically overtaken human kind, in this bewildering conceptual masterpiece.

I continue to be amazed by the many faces and directions of XTD. It’s safe to say that I never have any idea of the direction of each album, but pursue in amazement at how impressive each outting is. Whether it’s the established arrangement of Dark Ambient mainstays, drudging Noise Ambient, Industrial Ambient, or a conglomeration of the aforementioned, rest assured that the entertaining value (and listening experience) will be extremely high. ‘The Rise Of AI’ is right up there with the best that XTD has to offer and I highly recommend this for those that love an eclectic blend of electronic music styles. Please click the link below to download this incredible album and also check out the XTD back catalog while you’re there.

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Links:

https://xerxesthedark.bandcamp.com/album/the-rise-of-a-i

Celestial Ephemerides: A Collection Of Dark Ambient Summary Reviews, Part VI

From the distant reaches of the macrocosm, I bring you another planetary offering of Dark Ambient summary reviews. This batch of Celestial Ephemerides offers a copious selection of mystical performances that surges deep in the spheres of dimly lit voids. From noise and ritualistic to supernatural soundscapes and haunting field recordings, this is the most impressive gathering of Dark Ambient albums I’ve had the pleasure of reviewing in a while. Hope you enjoy!

1. Pillars Of Golden Misery – ‘Riders Of Misfortune’

‘Riders Of Misfortune’ is a majestic blend of discordant algorithms and resounding clamor in this abrasive but enjoyable offering. Served on a tumultuous platter of indignant ambience, this recording is not for the faint of heart or those with sensitive hearing. Piercing effects and elongated droning produce a disquieting pulse of audial horror that is as punishing as it is enthralling. Highly recommended for fans of harsh noise, glitch and transfixing avant-garde.

https://culturevomit.bandcamp.com/album/riders-of-misfortune-cult-vom-002

2. VSSP – ‘Modular Performances’

‘Modular Performances’ is such a fitting title for this massive collection of ambient tunes from VSSP. Innovative, tranquil, dreamy and calming are other adjectives that also accurately describe this seventy three minute offering that traverses the drone, space ambient and dark ambient genres. One thing that is predominant on this recording is the real sense of melody in each track. The emotional feeling is almost heartbreaking and sorrowful but extremely compelling to listen to. Highly recommended for background music on a cold, rainy day or while relaxing with the intent to cleanse the mind of negative thoughts.

https://kalaminerecords.bandcamp.com/album/modular-performances

3. Sana Obruent – ‘Aftoktonia’

To these ears, this is one of the most complete Drone Ambient recordings I’ve heard in a long time. Aside from a few other artists, Sana Obruent is quickly becoming my go-to artist for epic drone excursions due to the prominent foray into meditative resonance. Minimalistic & simple, yet effective and powerful, ‘Aftoktonia’ is over one hundred minutes of reflective musings that brings together powerful drones and circadian effects that is as relaxing as it is strident. This is one of my favorite Ambient albums of 2022 and probably will remain that way for many years to follow.

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

4. Underwater Sleep Orchestra – ‘The Night And Other Sunken Dreams’

Underwater Sleep Orchestra, the new, brooding collaboration between Cities Last Broadcast and God Body Disconnect is a seventy eight minute magnum opus of polarizing dark ambient music. From hypnotizing drones to warm soundscapes, this is a project that I cannot wait to hear more from. These songs are lethargic and melodic and are a bit different from the typical dark ambient setting. You can definitely hear the input of each artist as they bring their signature sound to this musical alliance. Can’t recommend this one enough, especially if you’re looking for something to listen to while drifting off to never never land.

https://cryochamber.bandcamp.com/album/the-night-and-other-sunken-dreams

5. Leila Abdul-Rauf – ‘Phantasiai’

It’s not often we get a fascinating album with trumpet and glockenspiel performances, but here we are. ‘Phantasiai’ is a spellbinding album of bleak expression with chilling vocals and dreamy production. Cyclic Law continues to recruit the finest artist that are ready to deliver the best of their craft. Thankfully we have Leila Abdul-Rauf to continue the flow and this album fits in with a long list of stellar releases.

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

6. O Saala Sakraal – ‘Heven’

The concept of improvisation by O Saala Sakraal is a must listen and ‘Heven’ is one of those albums that will draw the listener in based on the sheer amazement of the unknown. Although only 21 minutes long, this collection of spontaneous incantations is both ritualistic and engaging. Soothing vocal parts with sinister narrations coalesce with haunting atmospherics to provide a post-apocalyptic feel without sounding dilapidated. I can’t wait to hear more from this artist and thanks again to Cyclic Law for continuing to release amazing albums like this.

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

7. Muhd – ‘Dilogia’

‘Dilogia’ is another prime example of hypnotic ambience that builds in layers to achieve a fusion of synthwave and dark ambient excellence. Warm, harmonizing drones go through an assembly of thickening tones and modulated soundscapes to produce emotion canticles that represent an exceptional blend of retro and futuristic synth virtue. Also from the Cyclic Law label, it’s no wonder why this album made it into the lineup as it sounds fresh, inviting and completely divergent.

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

8. Yuko Nakai – ‘Me, And The Waters’

There is nothing more soothing than the blissful sounds of crystal bowls, harmonizing with natural soundscapes. Yuko Nakai excels in this area with a splendid three-track EP, ‘Me, And The Waters’. Fusing the sound of crashing ocean waves with extended hums of crystal bowls, beautifully arranged songs of scenic allure expel a magnitude of harrowing sequences that lure the listener in with unimaginable power. My only wish is that this album was about an hour long in order to fully appreciate its hypnotizing effect. Highly recommended for a deep, meditative experience.

https://kalaminerecords.bandcamp.com/album/me-and-the-waters

9. Gdanian – ‘Submersion’

Gdanian is a new edition to the Cryo Chamber label lineup and upon initial listen, I can confirm that it’s the perfect label to release an album as alluring as this one. An oceanic-themed outing, ‘Submersion’ pulls no punches with including aquatic soundscapes and sub-surface atmospherics. Beautifully produced, each track immerses the listener into a vast world of unexplored adventure. With the feeling of unimaginable depth, there is no choice but to sit back and soak in (no pun intended) the bleak soundscapes and minimalistic drones. An amazing recording that should not be overlooked.

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

10. Lētum – ‘The Face Of Life And Death’

Lētum presents a cinematic nightmare of an album with ‘Tue Face Of Live And Death’. A conglomerate of disturbing samples and soundscapes backed by malevolent drones and pads. Horrifying vocal sequences are enough to to disrupt your sleeping pattern and send you down a vortex of enraged evil and madness. Coupled with theatric production values, this is a highly professional offering from one of Dark Ambient’s independent achievers. Recommended for Dark Ambient fans that don’t mind being on edge during a whole albums worth of menacing intonations.

https://letum.bandcamp.com/album/the-face-of-life-and-death

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Celestial Ephemerides: A Collection Of Dungeon Synth Summary Reviews, Part VI

Hope all is well and please enjoy this latest round of Dungeon Synth summary reviews. I know that many of these absolutely deserve a full review. However, being a one-man shop, periodically doing these Celestial Ephemerides articles is the best way for me to keep up with the high review demand. These ten albums are all very intriguing and different in their own right, but are still firmly planted in the mysterious genre that we all know and love.

1. Countryside Views – ‘Mountain Country Memories’

This comfy synth projects takes us to far away hills and farmland settings in this tranquil synth outing. Featuring field recordings of the peaceful endeavors of country living, this album will make almost anyone feel right at home in the serene setting of all things nature. Elongated droning keyboards and crisp, enjoyable synths complete this reposeful recording and provides the feeling of refreshment and undisturbed emotions. ‘Mountain Country Memories’ is perfect for creating a placid start to your day or just having a moment of calmness.

https://countrysideviews.bandcamp.com/album/mountain-country-memories

2. Ferrydor Archive – ‘Tale Of The Foolish Dreamer’

Another multi faceted outing that moves Dungeon Synth music beyond the blurred lines of tradition and incorporates a slew of other styles and techniques. From ambience, whimsical interludes to modulations composed of chip tune technique, ‘Tale Of The Foolish Dreamer’ is an impressive album that could very well be a soundtrack for a fantasy-based story. Sometimes cheerful and sometimes somber, it is unequivocally a meticulous synth recording that has superlative elements of classical compositions.

https://ferrydorarchive.bandcamp.com/album/tale-of-the-foolish-dreamer

3. Arcanist – ‘Poseidonis’

The purveyor of multi-genre greatness, Archanist, surpass all expectations on the darkly fantastic offering, ‘Poseidonis’. From lush, textured synths to Berlin school sequences, this album runs the gamut of soulful and emotional sounds that exclude melody and magnified feelings. Each track produces a unique vibe while maintaining a constant, bleak posture. A wonderful, modern take on Dungeon Synth aesthetics while brilliantly weaving in retro synthwave, this album is an instant classic and is sure to be a fan favorite for all.

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

4. Landstrykar – ‘A Walk Amidst The Cairns’

Over an hours worth of well crafted, beautifully orchestrated music, ‘A Walk Amidst The Cairns’ is an epic release that transcends any genre. Even though it’s rooted in Dungeon Synth, these soothing tracks emit an energy of classical instrumentation and exuberant scenes of endless landscapes and peaceful times. This is the perfect album to have for filling the void of background ambience, or slipping away into a meditative bliss. This is top quality synth music and is highly recommended.

https://landstrykar.bandcamp.com/album/a-walk-amidst-the-cairns

5. Lunar Cult – ‘Death Cannot Contain You’

‘Death Cannot Contain You’ is a hefty collection of quirky canticles with ominous undertones and endless exploration of synth madness. Watch what’s lurking around every corner, as these tunes provide the soundtrack for lurking evil and heinous ambition. Nearly forty five minutes of non-stop keyboard and percussive repose, these tracks offer an impressive melding of various instruments sounds and effects to bring forth a sense of gritty contentment. Don’t pass on this album as if offers an audial satisfaction like no other.

https://lunarcult.bandcamp.com/album/death-cannot-contain-you

6. The Sage Of Seers – ‘Watching From Within’

The Sage Of Seers hit the jackpot with this release as it’s one of the most momentous collection of tracks I’ve heard in a while. Heavy use of reverb give it a huge wall-of-sound feel and the instrumentation is performed in a flawless, mesmerizing way. Songs such as “As I Slept Upon The Ancient Barrow” and “The Path Leads To The Light” pay homage to quaint, Medieval settings, while “Under The Frozen Lake” contains Dark Ambient passages and idiosyncratic effects. Very impressive release that covers an array of genres without sounding fatigued or over played.

https://thesageofseers.bandcamp.com/album/watching-from-within

7. Thalmar – ‘Pried From Winter’s Frost Laden Grip’

Strident, lo-fi project from the Ithildin Tape Production camp, Thalmar epitomizes the despotic side of Dungeon Synth with epic, grinding tracks of looping discord. Creating an uneasy approach to layering with a consternation of bleak arrangements, ‘Pried From Winter’s Frost Laden Grip’ is a disturbing audial ride through chaos and the horrors of Medieval battles. Edgy production that borders on tense distortion and restive modulated impulses, this is the ultimate album for your dark inquisitions.

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

8. Fantoma Sânge – ‘The Siren Of Black Lake’

Fantoma Sânge takes the listener on a colossal adventure that is part whimsical and part theatrical. From big sounds to quirky arrangements, this is a twenty four minute excursion that you don’t want to miss. Jubilant drums and massive synth tones pave a path toward eccentric oblivion while the lo-fi production maintains a tradition of Medieval spirit. Don’t pass up this dainty little offering and enjoy all the turns and twists along the way.

https://fantomasange.bandcamp.com/album/the-siren-of-black-lake

9. Chamber Of Sorrows – ‘Guardian Of The Realm’

Produced with a sense of isolation, this gritty offering presents a cloudless perspective of ancient times. Full of sorrow and melancholy, these tunes range from light-hearted dirges to jarring compositions that truly reflect life back in ancient times. With an array of synth effects and tonal changes, ‘Guardian Of The Realm’ is a complete listening experience and will surly meet all of your Dungeon Synth needs and desires.

https://chamberofsorrows.bandcamp.com/album/guardian-of-the-realm

10. Disemballerina – ‘Fawn’

Unofficially rooted in the aesthetics of Dungeon Synth, Disemballerina charges forth on ‘Fawn’, their latest EP of Medieval fueled orchestrations and discordant instrumentation. Nearly fifteen minutes of classical interpretations that dive into various genres of avant-garde liking. Subtle, smooth, and at times unconventional, this enticing release is worth multiple listens as well as a gander into their back catalog of impressive albums.

https://disemballerinapdx.bandcamp.com/album/fawn

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Temple Of The Fractured Light Projects A Balance Of Psychedelic Fervor And Soothing Accents On ‘PSYOP Theory’

Since 2020, Temple Of The Fractured Light has gone above and beyond with their brand of psychedelic-infused Dungeon Synth music. Combining soothing anthems with whimsical instrumentation and vivid expression across five amazing albums, there is a sense of joyous wonder when experiencing these amazing recordings, especially since they get better and better with each new release. Last years ‘The Groovopolis’ A was met with high praise and amazement and it would be hard to imagine future recordings outshining this pentacle release. However, that has happened as ‘PSYOP Theory’ is an astounding effort into multicolored territories of consoling synth greatness. Six tracks and nearly thirty seven minutes of mind-bending synth compositions, this album contains a multitude of twists and turns and supremely weaves them into massive sounding arrangements so that audial transparency remains intact.

Tantalizing lead-off track “Circle Or Square::Black Or Grey” begins with a 70’s style synth effect, playing a catchy, melodic chop that is soon joined in unison with orchestral instrument sounds. With a very mellow vibe, this ghoulishly mixed track is a spectacular way to start off the album and sets a melancholic mood. Next, is the uptempo “Roswellian Waltzes”. A droning synth slowly crescendos just before a crashing symbol cascades into a histrionic percussive beat. Lush synth effects and mesmerizing echoing sounds maintain the psychedelic appeal while traditional Dungeon Synth melodies exude a tempting resonance. “Sacred Geometry And The Eye Of The Pyramid” is a hypnotic blend of clean synth arrangements and grandiose leads that are reminiscent of classic – and even gothic – intonations from 70’s and 80’s cinema. This is a very impressive track and one that I seem to return to the most often. Following this is a song of similar caliber, “That Which You Should Not Know”. Starting with a few single-note keys that are equally gloomy and ariose, this track maintains a serene prowess from start to finish. Even with additional synth leads that are slightly louder in the mix, this savory piece is a delicate treasure. “The Persuant Theories Of MK Ultra” is a proverbial nod to the illegal experimentation program designed by the CIA. However musically, whimsical keys and spacey synth effects are arranged in a slow looping pattern and become more mesmerizing with each passing. Sudden symbol crashes and sparse percussion add to the mystique of this track as it continues to build into a psychedelic frenzy all the while maintaining a beguiling Dungeon Synth essence. The final endeavor on the album is the alluring title track, “PSYOP Theory”. Beginning with beautifully modulated synths and charming leads, this inspiring track provides a haunting platform for a barrage of strange sounds and peculiar drum beats. I can imagine a group of travelers back in ancient times, escaping the grips of an invisible force while running through and endless, multi-colored forest. Eccentric and atypical, this is an intriguing piece and solid way to close out this magical album.

Another crowning achievement for Temple Of The Fractured Light, ‘PSYOP Theory’ is an exquisite addition to the Dungeon Synth community. From whimsical to battle-ready anthems, these tracks set a prescience for quality Dungeon Synth music while adding a stunning psychedelic aesthetic. In a category all of its own, ‘PSYOP Theory’ is an addictive listen and capable of cleansing the audial pallet for a new, fresh sound. Please click on the link below to support this exceptional artist and enjoy this amazing experience.

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Links:

https://distrokid.com/hyperfollow/templeofthefracturedlight/psyop-theory

Ager Sonus Takes Us On A Journey Through Ancient Civilizations On ‘Niflheim’

Over the years, the Cryo Chamber label has become my go-to label for top-quality, cinematic Dark Ambient music. Not only that, the label has introduced me to – what would become – some of my favorite artists of the genre. One of those artists is Ager Sonus. One thing that sets Ager Sonus apart is the inclusion of ancient mythological themes for each album and contrasting musical sounds that present a deep dive into the theme at hand. On latest album, ‘Niflheim’, Ager Sonus incorporates hoary deities and recollections similar to that of Norse mythology and civilizations. This alone creates a dynamic atmosphere that is supremely backed up theatrical ambient pieces, telling an age-old tale through superior musical expression.

Starting the album off in a tribalistic fashion is “Going North”. After a brief descent into dark modulations, a rhythmic beat begins and a variety of instrumentations treat us to a theatrical composition that depicts the beginnings of uncharted civilizations. Concluding with a jarring ambient section, this track sets a high mark for what will follow. “Murky Waters” introduces an array of field recordings and soundscapes that thwart this mystical journey into undiscovered realms. Synth leads create a chamber of wonder as it produces a visually bleak setting. Haunting vocal patterns and percussive moments broaden the scope of this intense recording. “Bonfire Stories” takes us back to ancient times of Viking warriors and the fight for land and heritage. This song creates such a magnificent image of natural landscapes and dark times of an age-old civilization with its pulsating beat and emotionally charged instrumentation. “Tundra” commences with a dark ambient vibe and slowly incorporates a mid-tempo, pulsating beat with Middle-Eastern influenced arrangements. I can imagine this song playing while venturing through a narrow alley with a multitude of people selling goods and pacing relentlessly as if there is no where in particular to visit. There is a sense of tense atmospherics as some sort of evil may be lurking around every corner. “Decay” has a beautiful new age vibe as a slower drum beat sets a steady cadence for alluring melodies and soundscapes. As crows let out harsh, modulated caws in the background, a sense of tranquility plays on through elegant tones. “Ghosts Of Battles Past” is one of the more darker tracks on the album, as bleak drones and sinister vocal patterns are featured. The flute-like leads produce a harrowing moment as serene charm and cold decay begin to fuse for a mesmerizing output. “Dreamland” continues the pace and aura of previous tracks with industrialized samples and a huge reverberated sound that produces a huge space for maximum audial control and imagination. Toward the middle of the track, an assembly of resonance – previously heard – slowly make their way into the mix and the outcome is simply amazing and addictive to listen to. This is without a doubt, one of my favorite tracks on the album. The final track, “Journey’s End”, supremely summarizes this spectacular album with evocative drones, natural field recordings and pounding beats that are more bombastic and destructive than they are rhythmic. However, it showcases the abrupt ending that was expected on this ancient expedition. The drones intensify and build in layers as this is probably the most traditional sounding Dark Ambient track on the album. Nevertheless, it’s such a soothing way to end an excursion that is full of triumphs, struggles and alluring engagement.

Ager Sonus never ceases to amaze me with his brand of cinematic Dark Ambient music. Whereas many of his albums are rooted and themed in existing ancient cultures, this album – in my opinion – is more inline with the beginning of times and how certain ancient cultures began. This is yet another amazing album from one of my favorite Cryo Chamber label artists and I highly recommend checking out ‘Niflheim’ if your itching for a wondrous audial adventure into ancient civilizations.

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Links:

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

Prepare For A Light-Hearted And Memorable Quest On ‘Journeys In The New North’ By The Wanderer

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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Links:

https://songsofthewanderer.bandcamp.com/album/journeys-in-the-new-north

Regen Graves Delivers A Cacophony Of Desolate Ambience On ‘Climax’

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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Links:

https://regengraves.bandcamp.com/album/climax

Eyre Transmissions XVII – Interview With Dungeon Synth Trailblazer, Erang

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.

https://erang.bandcamp.com/album/tome-i

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.

https://erang.bandcamp.com/album/tome-ii

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.

https://erang.bandcamp.com/album/within-the-land-of-my-imagination-i-am-the-only-god

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.

https://erang.bandcamp.com/album/anti-future

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.

Enter the Land of the Five Seasons below:

Bandcamp: https://erang.bandcamp.com/

Main Website: https://www.erang-dungeon-synth.com/

Spotify: https://open.spotify.com/artist/084f5VMGkCRs4mV96QhJUM

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

A Journey Into the Land of the Five Seasons: https://youtu.be/TIqRMzKEx2g

Odivm Vitare Relives The Essence Of Triumphant Medieval Times On Impressive S/T Debut

Let the horns sound, in triumph and in victory. Not all is doom and sinister amongst the catacombs and dungeons inside the kingdom walls, and within sight of the magnificent keep. When the hours sound with cheerful impact, a cause for celebration is abound. This is the sound that dominates the magnificent debut by Odivm Vitare. Composed of six tracks of gratifying synth music with an emphasis on horn effects and narrative samples, this is a unique spin on Dungeon Synth music, showing a lighter, more victorious side that is normally dominated by sinister, war-like dirges of darker desires. This album represents achievement, massive strides toward community strength and homage to the more conducive, Medieval times.

Heroic album opener, “Manifestovertvre” is a cheerful and bold statement that firmly guides the direction of the album with audacious horn effects and decisive narration samples. It’s sets an ancient mood that allows the imagination to branch out beyond life’s current existing state. Pounding drums also indicate a time of ceaseless victory and passion throughout a venerable kingdom. “5 Finger Hat Die Hand” is an impressive follow up as it includes impulses of outlandish horn arrangements and harmonious backing effects. Once the angelic keys are introduced, layers of sonic excellence fully engage the listener in a tranquil motion of audial combat. The inclusion of drum patterns and fills adds a modern spin on an otherwise relic of a sound. “Sonata Adversvs” takes the album in a slightly different direction with discordant synth effects and ominous background ambience. Early into the song, a groovy drum line prevails, causing an immediate head bob that resides in unison with the addictive cadence of the track. More narrations are heard throughout as whimsical tones sooth the soul. Classical elements are fused around the middle of the song, as a vibrant arrangement produces an alleviating radiance. “Metvs Et Odio” is an inspiring comfy synth anthem that builds upon layers of haunting synth effects and sonic narrations. Mollifying drum beats begin as synth soundscapes build a relaxing wall around the listener, providing an environment of soliloquy and security. “Linkentanz” continues with the pacifying melodies as this is like a lullaby from ancient times. As the easement of sound continues throughout, a change in atmospherics and synth effects maintain the dreamy experience of this track, from start to finish. The final track on the album is the peaceful endeavor, “Canto Di Speranza”. This is a playful tune with an infectious drum pattern and looping synth leads. Relaxing ambience builds in the background as this daunting little melody is a sure sign of peace and happiness wherever music can be heard throughout the lands.

Odivm Vitare has created a charming and inspiring Dungeon Synth album that is different yet appealing on so many levels. From the arcane narrations and creative synth techniques to the impressively playful drum tracks, this album has a plethora of styles and sounds that contributes to its fantastic arrangement. If you’re seeking a new flavor of Dungeon Synth, look no further than the self-titled album by Odivm Vitare. Please support this excellent project by downloading the album from the link below.

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://gulikrecords.bandcamp.com/album/odivm-vitare-glk-064