Criptadel Takes Us On A Mythical Adventure Into The Precarious Part Of The Village Known As ‘The Goblin Market’

Goblins are grotesque and fabled creatures that are known to do malicious harm to humans. Imagine a market place in a chimerical village completely dedicated to these diabolical beings. I can conceptualize a forlorn situation for any outsider as goblins would completely terrorize anyone that visited this sacred location. Filled with mischievous activity and crude actions that are borderline malevolent, but at the same time, there is a sense of whimsical solidarity in this close nit area. Criptadel supplies an amazing soundtrack to amplify the necessity of this heinous village district simply titled, ‘The Goblin Market’.

Album opener, “The Goblin Market”, sets an abhorrent scene as various soundscapes and inaudible narrations provide an unhinged welcoming to the market place. After a quick, harsh black metal-esque vocalization, the Market opens for business as glorious & melodic synths – along with compounding percussions – provide an addictive jingle to display a sort of pleasantry for those that wish to conduct business in the Market. “Trolls Atelier” begins with a bold synth tone and the builds upon layers of clean synth sounds. A drum beat soon kicks in, playing a fast-paced anthem that is both cheerful and anxious. At about the halfway mark, the music gives way to a drone sound with a grotesque narration before picking back up with a more discordant melody. “The Coal Shop” plays a galloping harmony that features a soothing combination of beats and buoyant synths. After a few minutes of cheery tones, the song takes a more cinematic approach and changes things up a bit. However, it soon gets back to the original melody and closes out the track this way. “Dragon Spa” starts with a beautiful, classical moment and then dives right into a traditional dungeon synth part, along with some inaudible narrations that sounds like a old goblin explaining the details of his store. The last half of this song has a real soothing vibe, complimented with some middle-eastern beats. “No Sales” is a delicate little piece that unifies deeper synth chords with blissful overtones. There are several solo synth moments that provides a musical consonance throughout the track. “Frog Store” properly begins with the sounds of multiple croaking frogs, as the music crescendos into a bright mix of clapping percussion and richly layered synth effects. Deep horn sound effects are featured on this track and fit in perfectly with the theme that this track is portraying. “The Mush Room” is a short interlude that features someone walking up to a door and then knocking on it. Afterwards, creepy and inaudible narrations take over with some hallucinogenic-type laughter at the very end. “The Trasgo Inn” ignites things with a fiery field recording that molds into a hypnotic synth tune that strides alone with a jubilant beat and robust keyboard sound in the background. The track picks up the pace toward the end and fades out on a dashing note. “Cirque Cadavre” begins with a quirky keyboard chop as if you’ve stepped foot in a bizarre circus tent and madness of sorts is happening all around you. However, intricate synth melodies are interwoven to make this an intriguing, yet outlandish listening adventure. The final track on the album, “Ghoul Funeral Service (feat. Uxor Mortis)” is an eight minute finale of what all can be expected once you step foot inside ‘The Goblin Market’. From the slightly twisted intro and grand cathedral organs to the slower theatrical parts, this epic track completes this unique album in the most fascinating way.

‘The Goblin Market’ is an intriguing, conceptual Dungeon Synth album that is sure to entertain die-hard fans of the genre from start to finish. Not only is the music astonishing, but the production is pristine and the additional field recordings and vocal narrations are all done in good taste. I highly recommend checking out this album as it’s definitely a contender for Dungeon Synth album of the year. Please support this unbelievable artist and recording by downloading it from the link below.

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Links:

https://criptadel.bandcamp.com/album/the-goblin-market

Common Eider, King Eider, And Cober Ord Collaborate On Mind-Blowing, Ritualistic Soundscape Called, ‘Palimpseste’

If you think that it doesn’t get any more desolate than the sounds of brooding drones and the menacing soundscapes of dark ambient, then think again. Add in the natural textures of ritualistic ambience and horrific field recordings and the nightmares that you can only imagine will come to life. This is the haunting sensation the listener will undergo while listening to the jolting collaboration between Common Eider, King Eider & Cober Ord called, ‘Palimpseste’. With these five tracks clocking in at around forty seven minutes long, the listener should be prepared for a darkened, ritualized experience filled with essential tones, frightening whispers and bleak drones that are not only mesmerizing but intensely thought-provoking as well.

“Tombs – Earth’s Sacred Womb” begins with a deep, rumbling drone with the sound of soft, dripping rain. There is a slight commotion going on in the foreground and as it stops, ritualistic tones commence. Distant screams can be heard in the background as Tibetan-like chanting start a ritualistic process. Solid instrumentation assists the ritual, like the rumblings of an older model propelled aircraft. Additional instruments are introduced as well, as malevolent sounding whispers signify that the ritual is well in progress. After some harsher tones, the final few minutes consists of a heavy rainfall field recording and the dissipating sounds of wretched vocals and various drones. “Reclamation Of Water” is another ceremonial process that features layered chanting and nightmarish whispers. The assorted tones and field recording heard in the background add to the viscous tone of this recording and it draws the listener in as if they are participating in the reverent events. “Offerings A Wound” contains more of a normal styled vocalization than the chanting heard on the previous tracks. The thumping bass track adds a layer of random assault sounds to the mix, creating a dark and tribal-like offering. The use of assorted ceremonial instruments maintains the integrity of the spiritual aspect of the overall recording. “Calling To The Feral Ones” uses acoustic instruments to create a liturgical vibe, as if ancient cultures were calling upon their deities for guidance. The use of hollow whispers makes this a really creepy track and I can honestly say there probably aren’t many other recordings quite like this out today. The final track on the album, “As The Spirits Watch Over Us, We Reciprocate”, is one final ceremonial experience that combines all of the strengths from the previous tracks. From the deafening whispers, emotional drones, diversified ritualistic instruments, and acoustic sounds, this track is the perfect grand finale for this spectacular recording.

‘Palimpseste’ is not your typical dark ambient recording, it’s a ceremonial experience that demands the listeners time and attention in order to fully appreciate the magnitude of what all is going on. It’s easy to tell that Common Eider, King Eider and Cober Ord dedicated a lot of time and effort to make this a solid listening experience. I highly recommend this for fans of ritualistic dark ambient and heavy use of field recordings. Please support this incredible release by downloading it from the link below.

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Links:

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

Vää’s ‘Ur Sägen Och Hävd’ Is The Equivalence Of An Award-Winning Motion Picture Score

Like many other genres of music, Dungeon Synth has many facets when it comes to styles, production type and songwriting. Whether it’s a lo-fi synth track recorded straight to cassette tape or top-of-the-line equipment used for large-scale productions, I love it all. As long as the songwriting is good, I can get with any style and tolerate any production method. Vää is more like the later, with beautifully engineered music and crystal clear production quality, and the output on debut album ‘Ur Sägen Och Hävd’, is of cinematic quality and could easily be a soundtrack for a medieval fantasy-based movie.

The grandiose synth introduction on “Swarthnor” will immediately grab the listeners attention and as soon as the bass pads make their presence known, the real feast begins. Right from the beginning, the theatrical nature becomes a dominant fixture, not only in this track, but with the rest of the album as well. Swaying through adventurous parts, acoustic passages and bombastic percussive arrangements, this is an excellent lead off song. “Land Ur Havet” begins with an austere acoustical score before massive synths fill the air with such allure and clarity, that you’ll find yourself drifting off to a medieval time, where ancient kingdoms, forest folklore and dragons existed. The classical elements on this track really stick out and are very well written. “Vittradans” starts with a charming and melodic arrangement that slowly grows into a majestic adventure. The percussion elements really stick out in this tracks and are performed flawlessly with the rest of the music. “Vääflickan” is another melodic, yet adventurous piece that easily rivals any soundtrack score of this nature today! Probably my favorite song on the album, it has a slightly dark undertone but is arranged in a magnificent way, in that it ebb and flows like a montage scene from a fantasy film. The depths and layers of synths are magnificent and the clear production gives each of them the glory they deserve in this track. “Ur Hävd Och Sägen” is another large-scale arrangement with percussion and layered keys that sound extremely effervescent in the beginning before slowing down into a middle acoustic passage. The track finishes strong with flute sound, backed by strong keyboard arrangements and additional percussion. “Rå” begins with a delicate string arrangement that puts the listener right in the heart of the Middle Ages. The charming sounds promote peace and prosperity throughout the kingdom and happiness and friendship is at an all time high between the commonwealth and royalty. The string and flute duet in this track are amazing and really stick out as one of the albums finest moments. The final track on the album, “Drottning”, is an awe-inspiring score that signifies the glory of medieval times as well as the luxuries and success of a thriving kingdom. Peaceful synths and harmonious drum patterns play a key part in the tranquil sounds of this track and I can’t think of a better way to end this album.

Vää have produced one of the most exuberant albums I’ve ever heard from the Dungeon Synth genre. Although I love me some lo-fi, crusty dungeon synth, this album is absolutely amazing. ‘Ur Sägen Och Hävd’ is one of the cleanest sounding, top-quality produced albums I’ve heard from this genre. If you like Dungeon Synth with a cinematic quality to it, look no further than Vää. I can’t recommend this album enough so download it from the link below.

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Links:

https://vaamusiikki.bandcamp.com

Dark Ambient & Dungeon Synth Recordings To Enthrall You During The Global Pandemic Continuation

Back in March, I published a playlist of Dark Ambient & Dungeon Synth recordings to help tide you over during the shelter-in-place order. Well – here we are – almost two months later and not much has changed, with the exception of a lot of great music being released. So, whether or not you’re still stuck at home, or have the ability to venture out, please enjoy this personal playlist of Dark Ambient and Dungeon Synth recordings that have been keeping me entertained lately! This is all great stuff so please support these artist and download an album or two!

Dark Ambient Playlist:

https://melanohelios.bandcamp.com/album/the-psychonaut

https://cryochamber.bandcamp.com/album/eternal-drift

https://blackweald.bandcamp.com/album/leonov-2

https://noctilucant.bandcamp.com/album/the-autumnal-end-2

https://roberteggplant.bandcamp.com/album/earth-sinking-into-water

Dungeon Synth Playlist:

https://varkana.bandcamp.com/album/cosmic-terror

https://lordorots.bandcamp.com/album/latzineko-erresumaren-itzulera

https://namelessking.bandcamp.com/album/downfall-of-drangleic

https://wyrmlodge.bandcamp.com/album/the-short-but-touching-tale-of-slime-golem

https://serpentsswordrecords.bandcamp.com/album/perpetual-cruelty

There Is A Dark World Order Evolving On New Risen Throne’s Latest Magnum Opus, ‘The Outside’

The unknowing of what the future holds is like an obsession. Whether we continue to advance in technology and expand physiological boundaries or descend into a foreseen doomed planet, the outcome is an exotic mystery. Given the current state of the world with the COVID-19 pandemic upon us, a futuristic apocalypse is not so far fetched. With millions of people becoming effected, hundreds of thousands of people dying, supplies running low, economies crumbling before our very eyes, we are in the early stages of a possible apocalypse. This is the perfect environment for Dark Ambient music, as this is the setting that is conceptualized the most. Imagine a full-on decimation of the world with no means of viable recovery and after several centuries, a group of survivors begin to investigate the cause of this total annihilation. That is the concept behind the latest cinematic Dark Ambient adventure by New Risen Throne called, ‘The Outside’. Containing seven monumental tracks of bleak and gloomy Dark Ambient, New Risen Throne sets the bar for theatrical and atmospheric music. As a bonus, there are an additional eight tracks of older New Risen Throne material that has been deconstructed by some of the most reputable artists in the Dark Ambient genre.

“The Outside (I)” sets the grisly scene many centuries in the future as profound and despotic drones create a slow, dark grind of unknown discovery. As the tone increases, narrative samples of someone appearing to be in distress adds a horrific texture to the track. Multi-layers of synths and pads resonate evil intonations as malevolent discoveries are imminent. “What We Have Seen” is like a nightmare all in itself, starting calm and increasingly adding soundscapes that will agitate the dead. The background, hollow drones play a key role in this track as they are not overly aggressive, but make their presence felt in a frightening way. About halfway through, a discordant riff can be heard, boasting the despondency of the emotional landscape that is being portrayed. Additional guitar tones and vocalizations add layers of empathy and dread which sends this blistering track into realms of the unknown. “The Outside (II)” begins with alluring drones that slowly increase with the introduction of industrial soundscapes. As the protagonists in this story rummage through the wastelands in search of the answer that ended the world centuries before, one has to wonder if they are fearful for what may be found. As thunderous percussions hammer out a distorted beat in a rhythmic pattern with manufactured sounds, the intensity grows, creating an anxious feeling. This combination comes to an abrupt halt as bizarre and inhuman vocalizations are heard explaining a possible truth of the past. “Corrosion Of Pillars” wastes no time sounding the alarm as abysmal siren-like tones emit a harsh warning. Creepy drones are brought forth along with booming percussive beats, making it obvious that the answer may soon be found and an unsettling reveal is about to be told. “The Outside (III)” continues with the industrial influenced Dark Ambience with mechanized soundscapes and eerie atmospherics layered with haunting drones. “The Outside (IV)” begins with various field recordings and echoed effects, as the climactic ending to the story begins to unfold. The sinister vibe on this track is what nightmares are made of and may also result in a negative ending while the search for answers comes to a close. “Birth Of A New Disciple (II)” is the malevolent conclusion to ‘The Outside’ and a multitude of profound sounds and textures are brought together as a new world order is in formation. From tribal drum sounds, choir-like chants to hollow drones and ritualistic undertones, this track has all of the key elements to become a soundtrack for the post-apocalyptic dawn of a new civilization.

It doesn’t stop here though. Although ‘The Outside’ is the complete package for a Dark Ambient masterpiece, the bonus material is equally as mesmerizing. These eight additional tracks are previously recorded material that have been remixed by some of the top Dark Ambient Artists in the genre to include: Sysselmann, Visions, Taphephobia, Phantom Ship, Vestigial, Apocryphos, TeHÔM, as well as New Risen Throne. If I had to pick a few stand out tracks amongst these, they would be, “A Vision Of The Hidden (Sysselmann Remix)”, “Sigh Of The Soul (Apocryphos Remix)” and “Withered Regions (TeHÔM Remix)”.

Without a doubt, New Risen Throne is one of the leading Dark Ambient artists in the world. By adding a relevant, theatrical story line to his cinematic brand of music, the creativity of his craft sets him miles apart from most others in the genre. ‘The Outside’ is a visionary album and one of the best Dark Ambient recordings of this year so far. I highly recommend checking out this extremely addictive album, so show your support by downloading it from the link below.

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Links:

https://cycliclaw.bandcamp.com/album/the-outside

Vociferous Soundscapes Reach New Heights on Avant-Garde Gem, ‘Ab Antiquo’ By Paolo Rocchi

Over the past few years, Dungeon Synth has taken off and sprouted into many wondrous directions. I stay amazed at the amount of influence it has created across so many platforms, and although it may branch off into regions that are far-fetched from the original idea, one can always tell it’s influence by the harrowing compositions that remain dark and uncanny. That definitely holds true for the masterful works of Paolo Rocchi, as he uses the Dungeon Synth foundation to create leading-edge experimental music. By combining eerie synthesizer tones and electric guitar manipulations, Paolo Rocchi conceives a sound of his own on debut recording, ‘Ab Antiquo’.

Self-titled lead off track, “Ab Antiquo”, submerges the listener in an endless dry desert with the blistering sun glaring down on a battered and dehydrated soul. As the high-pitched shrills of a synth fades in, layered electric guitar riffs soon take command and set the scene with a sense of glimmering light and emotional hope. There are touches of melody throughout that you just don’t want to end, and the fast picking toward the end of the track is the perfect climactic conclusion. “Etiam Periere Ruinae” begins with a distant rainstorm field recording, followed by a beautiful piano melody. A haunting synth tone peacefully drifts in to set a somber and atmospheric outlook. The music and the rain seem to get louder simultaneously, creating an emotional setting that may have a captivating outcome, but they both slowly fade off into the distance, leaving the notes of a piano to fill the impassioned void. “Lupus” is a short track filled with guitar manipulations and effects. Although, it seems as a simple interlude, it’s a relative track for this album and fits in perfectly. “In Fabula” is a creative synth wave piece with random sound bits that dart in and out of the main music pattern like a space ship dodging meteors in deep space. At times, the music gains and eases volume control as if someone is loosing consciousness during a violent cosmic flight. The overall sound has a classic science fiction feel to it, creating a nostalgic vibe throughout. “Ex Novo” begins with random high-pitched keyboard sounds that resembles an old style dial-up modem or fax line connection. In the background, theatrical intonations can be heard from time to time, adding a whole new dimension to this peculiar track. The final song on the album is “Codex Temporis” and it fades in just how the previous track ended. With added effects and demented reverberations, this is one disturbing effort. Modular frequencies bend at any given moment, as the persistent keys continue to provide frightening sounds.

Although ‘Ab Antiquo’ is just a short, sixteen minute outing, it’s much larger than it seems. The musical output is very obscure, yet grandiose and unpredictable, and because of that the listener will be enthralled during the entire listening experience. Although loosely based in the post-Dungeon Synth realm, this is full on experimentation full of bizarre twist and calming melodies. I’m very impressed by this album and highly recommend this for anyone that has no genre boundaries. Please show your support for this amazing new talent by downloading ‘Ab Antiquo’ from the link below.

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Links:

https://paolorocchi.bandcamp.com/album/ab-antiquo-2

Akashic Envoy Records Assembles An Immense Compilation For A Charitable Cause Called, ‘Apostils Against Hegemony, Vol. I: Transitive Properties’

I love compilation albums for several reasons. For one, they are usually extremely long and provide near endless amounts of entertainments. Secondly, it gives us listeners an opportunity to check out artists that we’ve never heard of before. Especially in this incessant sea of Bandcamp artists, it’s nearly impossible to catch every amazing artist that’s out there. Akashic Envoy Records recently summoned LBGTQAI+ artist from multiple genres to lend their amazing talents not only for this behemoth of a compilation, but also for a great cause. Akashic Envoy Records has decided to donate 100% of the sales of ‘Apostils Against Hegemony, Vol. I: Transitive Properties’ to The Trevor Project, a non-profit organization dedicated to the prevention of suicide amongst LBGTQAI+ youths. The fantastic music on this compilation range from dark pop, synth wave, death metal, black metal, dungeon synth & dark ambient. For my reviews, I typically provide a breakdown of each song on an album. However, due to the sheer size of this compilation, I’ve decided to pick ten of my favorite tracks and talk a little about those. That’s not to say the rest of this album isn’t worthy, because that’s not the case. This is one of the most interesting and entertaining compilations I’ve heard in a really long time. However, If I were to write about each track, it would take you an hour to get through this review. That being said, let’s get started!

“Dew Tipped Grass Along The River Banks” by Bowels Of Eternity is a theatrical adventure with massive dungeon synth undertones. Dark ambient like drones and atmospherics, complimented by eerie soundscapes and textures puts this track in a class all of its own. “Ghost” by Forbihavet is an unforgettable post-metal affair that will insert the listener into a fantastic, dark world where somber melodies slowly build like overflowing volcanic lava. The ethereal acoustic ambience floats endlessly like objects in the vast universe. However, as the instruments become louder, the mood becomes more dense. The elongated buildup leads to an emotional and climactic ending that is heavy and energetic. “Her Stillborn Body” by Putrescine is a brutal, death metal affair with old-school 90’s style production. The high-pitched screechy vocals take turns decimating the ear drums with low end gutteral growls. The music is ferocious without being over the top and the amazing guitar solo is a welcoming sound – especially since a lot of bands turn a blind eye on solos anymore. “Ancestral Magick” by Mutable Body is a really cool synth track that builds slowly, layer by layer, until a full on melodic assault takes the listener into a dark world of fantasy and fiction. There are plenty of otherworldly effects and smooth droning to boast a huge sound, but the real treat here is the keyboard arrangement that remains constant throughout most of the track. I could listen to this stuff all day long and never get tired of it. “Evocation I” by Guan Yin, is an eerie track full of samples, soundscapes and gruesome vocal effects that will keep you on the edge of your seat. I sense a ritualistic theme to this track and as it proceeds, the listener is subjected to cultural beauties and horrors that may not be fathomable by some. Listening to this track is a very rewarding experience, as it’s so different, yet fits right in. “The Void, Transmuted” by Blood And Dust is one of my favorite tracks on this compilation as it mixes the aggression of synth wave and the deep droning sounds of dark ambient music. It slowly builds out of a simple drone, layered soundscapes and simple narrations, then mutates into a multi-layered synth wave track as if the climactic ending of an 80’s horror movie is coming to an end. “His Words Are A Void” by Vulgarite is a blackened doom metal track with a great main riff that is layered to have a slight echo sound. Although the vocals are typical of a harsh black metal style, the music has a bit of a post-metal influence, so all of this combined makes for a stunning track that will embed the listener into a trance-like state. “Six Of Swords” by Jenn Taiga is a progressive synth masterpiece. This track is a mix of something you would hear from the Stranger Things soundtrack, 70’s style fusion progressive rock, as well as the instrumentation from the Swedish band Anekdoten. Jenn Taiga is something special, as it takes an extraordinary ear for music to write a track like this, with such passion and restraint. “The Worm/The Wretch” by Age Decay is one of the most unique tracks that I’ve ever heard. It has a good mix of singer/songwriter, metal, clean & harsh vocals and masterful songwriting. If I had to sum up Age Decay in a few words, I would say it’s a metal version of The Swans – which is a huge compliment. This eleven and a half minute track flows between soft acoustic parts and bombastic metal parts, with all around great vocals. Finally, “Wealth Beyond Measure” by Mausoleum Wanderer is a dungeon synth track that tells a voiceless narrative in the most legendary way. Pulling no punches, Mausoleum Wanderer brings his “A” games in a cinematic score-like anthem that soars high above many tracks of this nature. Beautifully produced and with a clear and crisp sound, this track is a very mature step for Mausoleum Wanderer and I’m looking forward to many more tracks like this from him.

Aside from the ten tracks that I just wrote about, this is an overall extremely impressive album and Akashic Envoy Records couldn’t have done a better job assembling a group of top-notch artists with great talent in a wide-array of genres. It’s not often that you get to hear a compilation of this nature that contains all of your favorite genres of music. At just over three hours of playing time, there is plenty of music to explore on here and I’m sure there are some artists on here waiting for you to discover their awesome music. Since this all for a good cause – supporting The Trevor Project – I highly recommend you clicking on the link and supporting this magnificent compilation album!

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Links:

https://akashicenvoy.bandcamp.com/album/apostils-against-hegemony-vol-i-transitive-properties

‘Cosmic Terror’, Varkâna’s Lovecraftian Themed Third Album Is A Mind-Blowing Dungeon Synth Magnum Opus!

H.P. Lovecraft – the legendary author that wrote some of the most transcendent stories in the genres of weird fiction, cosmic horror, horror fiction, and science fiction – has inspired generations of entertainers and artists with his Cthulhu mythos (among others), that has allowed his name to live on for quite the foreseeable future. Unfortunately, Lovecraft’s legacy wasn’t cemented until after his death, as his writing craft and vision was virtually unknown and unchallenged and he died in hardship, unable to support himself by his penmanship along. That being said, his writing was well ahead of its time and influenced movies, music, games, fictional characters as well as occultism. Of the Lovecrafian musical output there has been throughout the years, one of the most impressive recordings is the latest album by Varkâna called ‘Cosmic Terror’. An hour long Lovecraft-themed masterpiece, ‘Cosmic Terror’ builds upon the grimness of dungeon synth and appends ritualistic undertones and synth wave elements to produce what may very well be one of the greatest albums of the year.

“From Beyond” wastes no time as the opening sounds are a conglomerate of haunting synth notes straight from the grave. As the eerie melodies prowl the audio waves, incandescent synths radiate a sense of dire oppression. Soon, blazing synth wave tones fill the atmosphere that radiate with pure madness. At around the three and a half minute mark, trance-like droning keyboard sway like the waves of a Dead Sea under a full moon. One final solo synth arrangement plays on to end this stellar track. Next up is “Space Lord”, my absolute favorite song on the album and possibly one of the best despondent sounding synth tracks ever written. Dismal keys play saddened notes while spacious synth leads create a dynamic atmosphere that is more gray than black. Multiple percussion sounds and retro synths begin to crowd the airwaves as the abundance of textures come together to form the perfect mix of dark tones and harmony. A little over halfway through the song, the music fades into a warm ambient composition that drones slowly with the same melody as the beginning of the track. “The Dream-Quest” has the sound of a dark anthem being played in a dimly lit room that is used for seances to conjure unruly spirits. Tribal-like drums set a deathly pace while the long winded keys continue their heinous ways. Toward the end, more traditional drums are introduced, as well as synth wave patterns that add a bit of light to the grimness. “Nyarlathotep” is my second favorite track on the album as it combines memorable synth melodies with extended keyboard notes that establish a baseline for this epic composition. This nine minute requiem is packed with moments of sheer bliss, specifically the final two minutes as the beautifully toned keyboard arrangement plays so well against the rhythm and drums. “Devourer Of Stars” continues the powerful combination of synth rhythms and leads with alluring drums and retro synth wave sounds. “Devourer Of Dreams” is another nine minute anthem that is full of somber annotations and dreamy textures, especially when the percussion kicks in. The standout part in the track starts at around the four minute mark, when an elegant piano arrangement is introduced and layered with the soothing, yet slightly sinister synth melody. “Ex Oblivione” is another elongated track that features baritone-sounding keys and abstract synth effects. Again, simple but elegant drums provide the perfect balance of synth and avant-garde music. The final track on the album is the title track, “Cosmic Terror”. After a short, stark intro, introspective melodies take over and lead right into a progressive drum beat. The part that ensues has a 70’s progressive/fusion sound to it and it fits in perfectly with the rest of the album.

Varkâna is turning out to be one of the most consistent artists in the dungeon synth genre. Last year, the very impressive ‘Ahrimanic Chambers’, made my list for Top 10 dungeon synth albums of 2019. As of this writing, there is a strong possibility that ‘Cosmic Terror’ will be my top pick for dungeon synth album of 2020. The songwriting is spectacular, the arrangements are unbelievable, and each and every track is extremely memorable and soon you’ll find yourself addicted and playing them over and over again. To have music of this high level paying tribute to the great H.P. Lovecraft, I would say that he would be extremely honored. I can not recommend ‘Cosmic Terror’ enough, so please show your support for this exhilarating artist and download this as soon as possible!

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Links:

https://varkana.bandcamp.com/album/cosmic-terror

Boschivo Form Anomalous Compositions On The Outlandishly Diverse ‘Bardo Dell’Autodistruzione’ Offering

Now it’s time for something a little different. And when I say different, I mean a cacophony of obscure musical genres ranging from Dark Ambient, experimental, noise, dark folk, and any twisted ritualistic audio terror that you may not think of, to form an integrated euphonious choir of melody. Welcome to the distinct world of Boschivo, where anything goes and there are no borders for harmonic tastes. On ‘Bardo Dell’Autodistruzione’, elemental bizarreness is pushed to the limits as magnetic drones are accompanied by acoustic guitar, clean & harsh vocals, various synths & pads, and an array of styles to keep things interesting from song to song. Although this may be a challenging listen for some, it’s without a doubt, a rewarding experience for most others. Let’s dive right in.

“Pozzoscuro” starts with a single droning sound and some ceremonial overtones before a grim acoustic guitar riff takes over. Priest-like chanting accompanied by some eerie background noises blend well with the music. Soon the chanting is replaced by distant sounding vocals, but just for a few bars. The track ends with multiple guitar effects playing altering notes. “La Dania Perversa Delle Falene” is all over the place as it begins with cathedral-style organs and strange vocal effects before giving way to a deep guitar and bass riff that is played over a narration. Soon, that is followed by some harsh vocals while the guitar tone becomes more distorted. About halfway through the track, sampled effects and whispers mesmerize the listener before a frightening organ sound once again infiltrates the airwaves. Like a disharmonic orchestra, this part of the track is like listening to the dead come back to life. “Il Rituale Delle Mosche” features dissonant guitar riffing and haunting narrations, as well as industrial ambient noises. Additionally, soothing guitar riffs and clean vocals come from out of nowhere, almost seemingly out of place but fitting right in at the same time. “Essenza Di Te” continues with the clean vocals, but the guitar riffs are played on on an instrument that seems out of tune. Interestingly, it sounds rather awesome – especially for this album, and I wouldn’t expect to hear anything less. This track also features a great bass line as well – that is played in tune. “Distorta Luna Sterile” is a dark folk track with some excellent droning going on in the background, as well as some creepy sound effects. “Venere D’avorio” has a dark pop vibe to it, albeit with a very discordant sound effect in the foreground. The vocals are very clear on this track but there are echo effects in use to give it a grim feeling. “Quando La Morte Verra’” is a beautiful, dark acoustic passage with whispering narrations and deep droning in the background. Although this is a short and simple piece, it’s one of my favorites on the album. The final track on this underrated masterpiece is the title track, “Bardo Dell’Autodistruzione”. At almost eighteen minutes in length, it’s the longest track in the album and definitely shows what Boschivo is all about. Starting with background drones, ringing bells and simple percussions, other samples and effects are thrown in along the way, including deep, death metal like growls. As these heinous growls continue, church organs begin to play, adding another element of surprise to the album. Eventually, multiple loud bells begin to ring at different tone levels for a divergent sound mix.

Boschivo is an interesting artist that knows no boundaries. Combining all sorts of obscurities to produce a compelling musical experience, this album demands your full attention – and multiple listens – to really appreciate the value of the art for which it provides. ‘Bardo Dell’Autodistruzione’ is an addictive album that doesn’t reside in a particular genre, however it belongs everywhere. If you have an open mind for challenging, but rewarding music, look no further than Boschivo. The album is available for FREE DOWNLOAD from the link below, so check it out.

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Links:

https://totenschwan.bandcamp.com/album/tsr-112-bardo-dellautodistruzione

Eyre Transmissions V: Interview With Dungeon Synth Mainstay, Erythrite Throne

If you’re a fan of Dungeon Synth, then you are well aware of the many talented artists that contribute a steady amount of music for our listening pleasure. One artist that I consider a linchpin of the community is none other than Erythrite Throne. Releasing some of the most consistent blackened Dungeon Synth there is, Erythrite Throne continues to challenge the listener in diving into a medieval world of dark imagery, vampires, and lust for malevolence. With a distinctive sound and style that is unmatched by any other artist, Erythrite Throne is constantly progressing and improving with each release. I recently had the pleasure of interviewing Erythrite Throne main man, Davey Sasahara, to talk about his Dungeon Synth endeavors, Serpents Sword Records and anything in between.

1. First of all, thanks for taking the time to respond to this interview. I have to ask, where do you find the time to write the massive amounts of music that you do?

It’s pretty much the only thing I do with my free time haha. It’s something that I enjoy doing a lot so I write music as often as I can, I also have pretty bad ADHD, so this is something that helps me sit down and work on my concentration.

2. How many projects have you released music under?

Right now, I have 16 active projects, but I have a lot of projects I’ve stopped working on completely and there’s not much of a trace of them on the web. All together I’ve released music under maybe 30 or projects of varying musical styles.

3. When you are writing new music, do you go into it with a specific project in mind or do you improvise and let the music guide your path?

I usually improvise everything and just feel it but there a few times that I sit down with the intention of making music for a specific project.

4. Take us back to before you started releasing Dungeon Synth. We’re you involved with music from other genres?

I was! I was in a hardcore band as well as doing a few projects by myself. I was making some gothic electronic stuff, some vapourware, some trap. I like to experiment with music a lot.

5. What influenced you to start writing Dungeon Synth?

I’ve actually been making this type of music since around 2014, I just had no idea it was called Dungeon Synth, so I was just calling it gothic music haha. Actually, the first Voslaarum album Forgotten Vale is a compilation of stuff I made around 2014-2016, some of it is actually still on YouTube under a different name.

6. I know this year you were slated to play live at the Northeast Dungeon Siege and due to the COVID-19 outbreak it was modified as an online festival (via Twitch). How was it preparing to play live online?

It was good, it was my first time streaming so it took me a bit to figure it out, but I had a lot of help from my friends in the community and I think it turned out great. All those people put a lot into making NEDS happen and I appreciate them so much, it was a great time and I was honoured to play!

7. I highly anticipated seeing your set and thoroughly enjoyed it. Did that inspire you to want to play more live gigs in the future?

100%! I would like to play many more live shows in the future.

8. It seems like Erythrite Throne is the “mothership” of all your projects. Is that the case?

It absolutely is. I played around with a lot of other projects and musical styles before I landed here, it has a very special place in my heart.

9. Some of your earlier Erythrite Throne works contains a good bit of Black Metal (Instrumentation & vocals) whereas the more current material is mostly synth based. Was there a plan to make Erythrite Throne a more metal based project at some point?

Erythrite Throne was always made to infuse Dungeon Synth and Black Metal, I never want to choose between the two because I love them both so much. Which direction I take an album really just depends on how I’m feeling in that moment.

10. One of my favorite projects of yours is Abholos. Although I can hear traces of Erythrite Throne in Abholos, the sound is more ethereal, and the texture is of a primitive nature. What influenced you to start this project?

The first Abholos demo was actually supposed to be an Erythrite Throne album based on the work of Lovecraft, but it just felt different from Erythrite Throne, so I created Abholos which still has my kind of sound, but I try to make it it’s own entity.

11. Do you have more Abholos albums planned for this year?

I absolutely do!

12. Another newer project that I absolutely love is Moss Golem. Initially “mislabeled” a Comfy Synth album, it’s actually like a synth-based black metal project. Did you create this project to defy the sub-genre stereotypes that seem to exist these days?

I did. It was pretty much a fuck you to what you think something is or has to be called. MOSS GOLEM is a really important project to me..

13. One of your less talked about projects is Vokaron – which I think is an amazing project that leans toward the Crypt Hop genre. How did this project come about and do you plan to continue it?

I actually made this album for my partner when he was recovering from surgery. He likes to sing so I made him this album to sing with well he was at home getting better with nothing else really to do. I do plan to drop at least one more Vokaron album!

14. Other than the projects that I’ve mentioned, what are some of the other ones that are near and dear to you, and why?

I can’t really choose one honestly. All of them are important to me in one way or another and I try to put a lot into each one.

15. Tell us a little about Serpents Sword Records?

I created Serpent’s Sword so I could have one spot for all my projects and tapes under one banner. I figured it was better than having 20 different Bandcamp pages.

16. Other than physical cassette releases, are there any plans to expand the merchandise (t-shirts, patches, stickers, hats, etc.) store for Serpents Swords Records?

Absolutely. I’ve already had patches done for Erythrite Throne, but I’d love to get shirts and stickers done for that and a few of the other projects on Serpent’s Sword.

17. Have you toyed with the idea of releasing other artists material on Serpents Sword Records?

I have and I actually will be releasing some other artists music in the near future starting with a very special release for a good friend of mine! More info will come soon for that.

18. I really appreciate you taking the time to answer these questions, as well all of your contributions to the Dungeon Synth community. Do you have any final thought you’d like to share with anyone reading this?

I appreciate you taking the time to interview me and listen to my music; it really means a lot to me! I want to thank all the amazing friends I’ve made in the Dungeon Synth community and all the people who listen to and support my music, it really means more to me than I can describe. I’m excited to continue working on music for you all!

Links:

https://serpentsswordrecords.bandcamp.com

https://erythritethrone.bandcamp.com/music

https://www.facebook.com/serpentssword/