In A Mythical Village Far Away, Whitewood Inn Accomodates Spectral Patrons On Chimerical Demo Release

In a fabled land, back in ancient times, a small group of battle-stricken warriors traverse the mountainous countryside in search for a new, safe place to call home. As they pass through foliage of trees and overgrown wild shrubs, the forest’s thick canopy has no mercy for the traveled path laid before them. However, in the distance, they see a small opening that may bestow hope and opportunity. As the small group of wounded warriors make their way to the opening, they come upon a gate to a small village, oddly situated in the middle of nowhere. Before they make their presence known, the gate opens and they are greeted, welcomed with open arms into a new mythical community hidden away from plain sight. The first large structure in sight is a wooded domicile, large in nature and well maintained. The sign in the front reads, “Welcome To Whitewood Inn”. This is the exact scenery that comes to mind when listening to the debut album by Whitewood Inn. It provides the necessary spectacle to drift back in medieval times and fantasize about a folkloric place full of seclusion and positive spirits. The eight tracks contained on this recording conceptualize a story of whimsical adventure and absolute somber vibes.

“Over The Mountains To Whitewood” starts with a lush, dreamy synth arrangement and sets a bleak atmosphere in this beautiful story where triumph ultimately reigns over tragedy. As depicted in my imagination, the wounded warriors have auspiciously made it to Whitewood and are greeted with open arms. However, does all appear as it seems? Is this mythical setting in the middle of nowhere too good to be true? Alluring orchestral parts complete this lead off track and will leave the listener craving more. Never fear, because “A Stranger In Whitewood” is an absolute companion piece to the first track! The haunting tone in the opening riff is amazing and is amplified by a simple (but effective) drum beat, audio voice samples and some all-around creepy vibes throughout. “Tales By The Hearth” opens with a crackling fire and a forest synth arrangement and features spots of ambient tones to add a layer of dismal texture. More audio voice samples can be heard but they are barely audible, adding to the mystique of the recording. Next up is “The Apothecary” and it’s a more uplifting tune, as if the warriors are traveling throughout the village and seeing all of the amenities that are available. The “Welcome To My Store…” narration is most suitable for the story of Whitewood and is my favorite part of this track. The synth arrangements in this song are more inline with traditional dungeon synth and makes for a very entertaining endeavor. “The Necromancer” has a very dark and dreary sound and contains more various styles of voice narrations. This song would fit right in on a fantasy-based movie soundtrack. “Sanctum Of The Fallen” commences with what sounds like the narration of a village priest or spiritual leader, as he provides some some sort of divine guidance over the members of the Whitewood village. The base of this track has an ambient structure with some ariose keyboard arrangements. “The Emerald” has a very mellow, yet ominous sound as the acoustic guitar cords creates a peaceful atmosphere. However, the backing keyboards forge an uneasy adjustment and provide a more desolate counteracting sound. This works out quite well and the song turns out to be one of the most eerie recordings on the album. The final track, “Villagers Gather In The Square” is another uplifting track that again features some well though out voice narrations, and excellent orchestral arrangements to intensify the dungeon synth parts. What an excellent way to end such a wondrous album, as our wanderers have finally found a trustworthy place to call home at the Whitewood Inn.

For a debut dungeon synth album, this is such an astonishing effort! From the songwriting, musical arrangements, and the amazing untold story that builds in the imagination, ‘Whitewood Inn’ checks all the blocks for a stellar album. I hope that we’ll be able to hear more from this artist in the very near future. Although I would love to hear a continuation of the mythical village and the ghost stories contained within, I’m sure branching out in other directions would be magnificent as well. Please support this brilliant up and coming dungeon synth artist and download ‘Whitewood Inn’ from the link below.

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Links:

https://whitewoodinn.bandcamp.com/album/whitewood-inn-demo

Neraterræ Summons An All-Star Cast Of Artist For Blistering Debut Album, ‘The Substance Of Perception’

This year has been an amazing year for the dark ambient community. Not only have we heard incredible releases by both independent and well known artists, but there has been an overwhelming dynamic of collaboration releases as well. Some of my favorite collaboration albums thus far have been the terrifying, polar ambient release by Ugasanie & Dronny Darko called ‘Arctic Gate’, the futuristic sonic assault by Dronny Darko & RNGMNN called ‘Sector Hydra’, the dark chamber sounds of Atrium Carceri & Cities Last Broadcast on ‘Black Stage Of Night’ and the claustrophobic droning sounds of ‘Symphony Of Dying’ by SÁDON & Treha Sektori. However, when an artist releases an album and assembles a renowned & talented group of dark ambient artists to collaborate on each track, it’s sure to garner some immediate attention. That’s exactly what Italian dark ambient artist Alessio Antoni has done with his project, Neraterræ. On his debut album, ‘The Substance Of Perception’, artists such as Xerxes The Dark, Ugasanie, Flowers For Bodysnatchers, and Alexey Tegin from Phurpa (just to name a few), lend their talents to take this recording to extreme heights and fill all the voids that are left open in the confined drones of each track. This results in not only a prodigious collaboration album, but one of the best dark ambient recordings of the year.

The albums spectacular lead off track, “Shadows Of Regret (feat. Northaunt)” begins with a soothing rain shower field recording layered with dreamy key arrangements. Spoken word narrations and deep droning soon takes over to alter the dynamics of the song while it consistently puts the listener in a hypnotic state. The sound level increases as each drone pad migrated to the next and then they wind down to an ending narration. “To Reveal The Unseen (feat. Alexey Tegin from Phurpa)” is one of my favorite songs on the album. There is something about combining dark ambient and meditative BON chanting that magnifies and intensified the listening experience for me. Although the droning elements are simple, yet effective on this track, it’s the terrifying chanting of Alexey Tegin that solidifies the evil sounds of this recording. I could seriously listen to a whole album of this! “Becoming The Nightmare (feat. New Risen Throne & Treha Sektori)” continues with some of the elements of the previous track but in a more dark industrial way. Instead of chanting, there are some malevolent whispering vocals that are spine chilling! The terrifying soundscapes are enough to put the listener in a state of madness, as if they are enclosed in an industrial wasteland with no way of escape. This is also the longest track on the album, so there is plenty of time to submerge into the realm of this massive recording. “The Wicked Pulse Of Conscience (feat. Taphephobia & Infinexhuma)” is a depressive dive into gloomy soundscapes and impulsive field recordings. As the pads drone on and take the listener to a deeper state of relaxation and abjection, melodious keys infiltrate the airwaves as if light is trying to pierce through the abundant cloud coverage. However, it is apparent by the end of the song that the clouds are impenetrable by any light sources or emotions that match them. “That Which Shall Not Be Witnessed (feat. Xerxes The Dark & Treha Sektori)” is my other favorite track on the album. The minimalist drones and bizarre pad arrangements combined with industrial-like soundscapes and more haunting whispering, gives a frightening sensation when digesting this one in a dark setting. These are all of the elements that make for a perfect dark ambient track and they are arranged immaculately. “Beyond (feat. Ugasanie)” is everything I expected it to be, especially since Ugasanie is providing his unique polar ambient input. Very minimalistic and creepy, just the way dark ambient was meant to sound. The final track on the album is “Echoing Scars (feat. Flowers For Bodysnatchers)”. What a stunning way to end such a dark and adventurous album. Although there are some disturbing droning sounds inhabiting the whole song, it’s the exhilarating acoustic piano work of Flowers For Bodysnatchers that makes this track gnaw at your senses. Although it’s gloomy and disturbing, it’s also beautiful and peaceful as well.

Alessio Antoni has created a near flawless dark ambient recording with his Neraterræ project. With the various collaboration efforts on each track, there is enough contrasting material to manipulate your senses in many directions, yet Alessio does an impressive job keeping everything composed in a way that it progresses without hesitation. From the production, musical arrangements, field recordings and soundscapes to the well represented album cover, ‘The Substance Of Perception’ has everything you need in a single dark ambient album. With this definitely being in my top five favorite dark ambient recordings of 2019, I highly recommend checking this album out right away. Please support Neraterræ by downloading the album at the link below.

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Links:

https://cycliclaw.bandcamp.com/album/the-substance-of-perception

https://www.facebook.com/neraterrae

Foal Projects Opulent Sounds On Fantasy Synth Debut Album, ‘Denu Of Wind’

This year has definitely been a resounding year for dungeon synth. Although there has been a resurgence of the genre within the past few years, the amount of artist and releases this year have been quite explosive. Even though the majority of these projects have leaned more toward DIY ventures, they’ve been crafted with extreme professionalism and a maturity not quite experienced in most other genres. Newcomer Foal is no exception. Although the sole musician of this outfit has previous recording experience with shoegaze, black metal, drone, & noise projects, the decision to release his debut dungeon synth craft known as ‘Denu Of Wind’ will be a pleasant surprise for dungeon synth fans. Although this five track album comes in at just under fifteen minutes, it’s some of the most brilliant fantasy synth that I’ve heard all year and it’s as if a seasoned dungeon synth artist laid the foundation for this recording.

“The Succulent Stream” begins with a beautiful and clean keyboard melody that is reminiscent of an early 90’s black metal album opener. About halfway through, the soulful sounds intertwine with densely layered keys that are toned just right to create a very atmospheric and euphoric dirge. “Goatmen Of The Fog” opens with the chirps of early morning birds and is soon followed by traditional dungeon synth keys. Alluring orchestrations follow suit and construct a buildup to a very cinematic ending that could be used in a fantasy-based movie soundtrack. “Moonlight Quest” contains some echo-like key arrangements that can easily put the listener in a state of reverie. With its dreamy patterns and trance inducing looping melodies, this is one of the stand out tracks on the album. “Tales Of A Ruined King” takes the listener back to medieval times when a kingdom in a distant land became disarrayed by malicious king and he was overtaken by a mutinous group of knights. The music has a luminous mix of forest synth and fantasy synth elements. The final track on the album is the astounding “Bells Of Lake Bled”. Although the melody in this track is a bit on the depressing side, it’s equally fascinating to the ears and imagination. As the tolling of the bells blaze on, I imagine a group of warriors returning to their kingdom, after suffering defeat. Although they’ve survived the ordeal, many of their comrades were lost and they now their kingdom faces an uncertain future.

Foal has written an admirable debut album in ‘Denu Of Wind’. The five tracks that are contained in this relatively short album are extremely well thought out and flow together perfectly as if they were put together in storyboard form for a soundtrack. Producing a well diverse musical output ranging from traditional dungeon synth, medieval ambient, forest & fantasy synth, Foal has released a debut that will surely garner multiple listens. This is one artist I will definitely be keeping my eye on and I recommend that you do the same. Show your support by downloading ‘Denu Of Wind’ from the link below.

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Link:

https://foal.bandcamp.com/album/denu-of-wind

Mombi Yuleman Takes Us On A Supernatural Maritime Endeavor With ‘Mesozoia Oceana’

Oceanic themed ambient recordings hold a special place in my heart because I can personally relate to living a life at sea and being isolated from society, city lights, and technology for weeks and even months at a time. The quiet, droning atmospheres with the seaworthy field recordings and soundscapes provide a soothing sensation, even with the eerie, dreadful thoughts of the hazards many fathoms beneath. Some of my favorite aquatic ambient albums are Max Corbacho’s ‘The Ocean Inside (2012)’ and 2018’s collaboration between Ugasanie & Xerxes The Dark called ‘Abysmal’ – which I personally consider one of the greatest dark ambient recordings of all time. I’m excited to say that Mombi Yuleman’s ‘Mesozoia Oceana’ can join that group of superior amphibious ambient recordings. Musically, I would place ‘Mesozoia Oceana’ right in the middle of the aforementioned albums as the ambient textures are extremely calming, yet not quite as dark as ‘Abysmal’. However, that being said, this is a well written, well recorded album that is full of surprises and will sure to please all fans of dark ambient music.

The astonishing lead off track, “Basilosaurus Cetoides” commences with various soundscapes and a tribal drumbeat, as if a vessel is pulling out of the harbor and setting sail to navigate uncharted waters. The song quickly winds down to a ghostly, droning tone with aquatic samples, and soothing keyboard loops. “Hydrotherosaurus Alexandrae” is a spooky and minimalistic dirge that sounds icy cold, as if a wrong navigational turn has taken a group of mariners to a part of the ocean that is over ran by giant prehistoric entities that have their boat quietly surrounded. “Carcharodon Megalodon” contains consoling yet creepy low toned pads, complimented by a various bizarre field recordings, that would give a negative sensation to any sea-going vessel and it’s crew as they cautiously make their way to safety. “Kronosaurus Queenslandicus” begins with a freakish sound as if a previously unidentified deep sea monster is calmly navigating the waters of its territory. A low-frequency droning sound starts to play as we continue to hear peculiar noises in the background. Throughout this near twelve minute long track, we hear the sounds of this prehistoric creature swim back and fourth, as if it’s stalking its prey for a routine meal. The final track on the album is the very climactic “Shastasaurus Sikanniensis’. Featuring cinematic-like drum beats, melodic keyboard tones and more aquatic creature grunts, this tune summarizes the concept of the album and provides a final underwater meeting place (or resting places) for all of these prehistoric beings. Although the middle section of the track leans more toward a dark ambient atmosphere, the final minute or so picks back up with the tribal drum beats, as if offering a final climactic scene.

Mombi Yuleman’s ‘Mesozoia Oceana’ is a very impressive dark ambient album, worthy of multiple listens. These five tracks accomplish a lot dynamically, inside of forty seven minutes. The songs range from ambient to dark ambient and are filled with a lot of creepy and eccentric soundscapes and field recordings. Everything is put together so well, you’ll feel as if you’re in a deep-sea vessel, surrounded by prehistoric creatures with no means of escape. Please support this brilliant artist by downloading this amazing album at the link below.

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Link:

https://mombiyuleman.bandcamp.com/album/mesozoia-oceana

Varkâna Sets Loose The Spirit Of Darkness And Evil On Valiant Sophomore Album, ‘Ahrimanic Chamber’

In the ancient Persian religion of Zoroastrianism, there were twin spirits that ruled over good and evil. The spirit called Spenta Mainyu was known as the deity of truth, light and all living things, while Angra Mainyu was the evil spirit of deception and death. For thousands of years, these twin spirits fought on the earthly battleground for supremacy and ultimately Angra Mainyu morphed into the entity known as Ahriman. It is at this point where the demonic being became its most horrific form. On Varkâna’s latest album, ‘Ahrimanic Chamber’, sounds of cold and sovereign dungeon synth prevail and display an intense scene of epic bloodshed. Like a doomed enclosure full of impious pariahs, Varkâna makes use of intense keyboard tones, droning ambient textures, live drums and layered frightening resonance to produce moments of dreadful unforgettableness. These nine anthems dig deep into the soul and imagination of the listener and describe the incantations of the dark spirt that once was the Ahriman.

The albums first track, “A Graveyard Under Snow”, sets a very calming, atmospheric mood with its opulent keyboard drones and hazy dungeon-esque melodies. The underlying percussion softly beats a rhythmic pattern as if warriors are slowly marching to an ill-fated battlefield. “Ahrimanic Enlightenment” approaches with a lush synthesizer arrangement that provokes a supernatural mood in ethereal environment. Suddenly, harsher keyboard tones kick in as if providing the audial description to a death scene in a fantasy movie. As the song reaches its climax, dark ambient tones pave the way as if the final onslaught has left everyone lifeless. “Into The Chambers Of Ahriman I Walk” features a great drum track that is supplemented by a beautiful piano provision. This could very well be a perfect intro piece to a symphonic black metal song. However, halfway through the track, it morphs into a peaceful ambient interlude as if the protagonist in the story is anticipating the unexpected as he finally reaches the doorway of the chamber. The music then crescendo’s back into high gear and closes the song out just the way it started. “Lugubrious Ruins” start with droning, dungeon synthesized riffs and continues throughout the whole song with spots of higher pitched keyboards to add layers of dreariness to this already gloomy track. Since this one combines both elements of dungeon synth and dark ambient, it’s probably my favorite and most played song on the album. “Mist” has more of a fantasy/forest synth influence and is predominantly lighter in tone that most of the other tracks. However, it effectively sparks imaginative tales between Angra Mainyu and Spenta Mainyu as their endless battle to provoke good over evil (and Vice versa) rages on. “Old Man’s Tale” succeeds in puts the album back on track in a darker setting with off-kilter piano parts, steady tribal drum beats, and ghostly, droning pads to create a feeling of emptiness. Toward the end of the track, an elegant acoustic guitar riff is introduced and puts the overall sound of this track in another worldly dimension. “Rapture” is another radiant track that combines elements of dark ambient and retro wave sounds of 80’s horror cinema soundtracks. “Spirituality Deformed” has that traditional dungeon synth sound but with added elements of live drums and an unforgettable melody that seems to intensify until the last note of the song is played. The final track, “The Night Of The Hunter” continues down the path as the previous song, as the Ahriman bestows his evil legacy on his legions of followers and it’s chambers become the spiritual battleground for which good has no chance of survival. This track contains energetic keyboard arrangements, a bombastic drum track and ends with a droning tone that signifies the supreme reign of the Angra Mainyu.

Varkâna has auspiciously created a conceptual dungeon synth masterpiece based on the ancient Persian spirit of darkness and evil. The music does an excellent job of providing a soundtrack to this resounding storyline and crosses into dark ambient and even 80’s retro wave cinematic score. With a good balance of both light and darker sounding tunes, ‘Ahrimanic Chamber’ is an excellent dungeon synth album. I highly recommend Varkâna for fans of both dungeon synth and dark ambient so please show your support by downloading this amazing album at the link below.

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Link:

https://varkana.bandcamp.com/album/ahrimanic-chambers

Homelessness, Addiction, Depression, & Abandoned Buildings Are Main Influences For Forgotten Bottom On Intelligent Debut, ‘Hostile Architecture’

Although the Ambient genre is rather minimalist in regards to sound, it’s actually breathtakingly large with regard to its scope of dynamics. From its very humble and atmospheric beginnings in the 1960’s, ambient has developed into a massive musical platform filled with soundscapes, natural and man-made field recordings to even include acoustic instrumentation. All of this combined provides thought-provoking visuals for the listener and sets off imaginative sparks like no other genre of music can do. Although a lot of modern day ambient recordings – especially dark ambient – take the listener to post apocalyptic and futuristic settings, they’re rare occasions when current events set the stage for providing the emotional outlet when conveying a message to the listener. That’s exactly what Forgotten Bottom has accomplished on their debut album called, ‘Hostile Architecture’. Instead of thrusting the listener in the the dangers of futuristic wastelands, they provide a compelling story of an equal horror – modern civilization in America. Whether it be the trials of addiction and recovery, the ailments of homelessness or the forgotten relics of abandoned buildings that once meant something to a past society, these are a few of the topics that take over the mind while listening to the recordings on this album. Although not a true and traditional ambient album, it clearly combines elements of the aforementioned genre with new-age music, chamber music, as well as acoustic dungeon music. It’s this combination that caught my attention and made me realize what an important album this is.

The lead off track, “Resurrected Dead On Planet Jupiter” begins with steady strums of the guitar and viola as if it’s the opening theme to a murder mystery movie. The production is clear and crisp but the vibe is that of an aged setting, creating a vintage atmosphere that portrays quieter times and empty voids. The layered guitar and viola duet creates a thunderous melody on this track as well as more peaceful and lush tones that flow well together. “Shoot Me Or Give Me A Place To Live” commences with a melee of sounds and tones before giving way to a neo-medieval riff. At around the halfway mark in the song, it begins to sound like a classic western-style acoustic arrangement. Eventually the guitar and viola break away in their own direction without creating a clash. There is so much energy in this track and it’s representation of the lower-class and shelterless are portrayed with extreme accuracy. “Touch Nothing Until The Signal” features some beautiful, ambient viola work, while the guitar provide an awesome solo arrangement. There are plenty of soundscapes and atmospherics going on here to fill the voids. Midway through the track, the viola riff takes center stage and gives a somber reminder of how hard it is to prosper during jagged times. However, as the music crescendo’s in the end, it shows that there is light at the end of the tunnel and although we may feel broken at times, we can all triumph in the end. Next up is “The Dog Has Been Poisoned So It Will Not Bark” originates with a mild rain soundscape and some soft guitar and viola tones to match. The melancholic vibe represents the silence of depression and the deep emotions of being lost. “Narcan Fairy” starts slow with a acoustic ambient sensation and then quicken turns into a festive medieval piece that would bring much cheer and celebration. The albums final track, “All Men, No Windows” is a slow building tune that seems to pay homage to those repressed, rural areas that life seemed to have abandoned in one sense or another. As the song seems to build and fade and build again – much like we do with our man-made high rise scenery, the final minute or so drones into the distance as if it’s being forgotten yet again.

Forgotten Bottom have created a superb vintage atmosphere without sounding worn or aged. Relying on multiple genres of acoustic-based music, the resilient sounds provide the ambience of real-world situations in which we can all relate. Whether you’re into ambient, new-age, or dungeon music, there is something on ‘Hostile Architecture’ that I’m sure you will find entertaining and worth multiple listens. Please support this exciting new act by downloading the album from the link below.

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Link:

https://forgottenbottom.bandcamp.com/releases

Machina Coeli Embraces Traditional Dungeon Synth Intonations To Invoke An Allusive Visionary Tale On ‘Lure Of The Forgotten Lake’

Machina Coeli is a legend in the dungeon synth community, having a lengthy career that has spanned over twenty years. Additionally, his visionary, audio art has garnered praise from other legendary and noteworthy acts such as Mortiis – which many consider to be the first to provide a mainstream outlet for the genre. Although only three albums have been released under this moniker, they are staple outings for the genre and easily cement Machina Coeli as one of the principle artists to make dungeon synth a rising form of music all over the world. The three epic anthems that make up ‘Lure Of The Forgotten Lake’ tell the tale of a masterful retaliation with the help of a set of secret scrolls that are sealed away in a chest at the bottom of the Forgotten Lake. With the aid of these scrolls, new and magical weapons can be conceived to help demolish those that are oblivious to the familiarity of righteousness. The evil that stands in the way of this protruding knowledge will surely suffer in the hands of defeat!

“Approaching The Forgotten Lake” contains the mysticism and production of traditional dungeon synth and with its positive sounding vibe, valiantly leads the effort to recover the scrolls from the Forgotten Lake. Layered keyboards, minimal field recordings and the use of choral chants are the focal points for this track and their collision produces a grand entrance for the album and sets the stage for the two mammoth tracks that follow. “Lure Of The Forgotten Lake” begins with a soft flowing stream sound that fades into the echoes of nature followed by a crescendo of tribal drums as if a battalion of knights and warriors stand lined up on a battlefield, ready to defend their kingdom to the death. As the drums continue to pulsate, luminous keys play a battle worthy melody and intensifies, signifying the approach to the Forgotten Lake to claim the abundance of magical findings that will propel them to victory. At around the five and a half minute mark, the music shifts to more of a medieval township melody, layered over a steady drum beat. The sound is uplifting and provides a positive spiritual tone, considering the task at hand. At the ten minute mark, samples of battle cries and yells can be heard, symbolizing another shift in musical direction, as well as the start of the mission to recover the lost scrolls. At around the fourteen minute mark, the climax of the song comes to an end and the melodies from the beginning of the track are now heard again, indicating the recovery from battle and the resumed search for the lost scrolls. “Search Of The Lost Scrolls” is a fourteen minute long inspiriting canticle that utilizes layered keys and delicate melodies to soothe the souls of those searching for the scrolls. The track moves into several minutes of exhilarating ambience with spots of water-like samples. This soon fades into more traditional sounding dungeon synth keyboard arrangements that echo with every key stroke. As the final section fades, the waters from a shoreline can be heard, along with the cries of a local owl as he looks on from above to the great warriors below, as they sift the chest of lost scrolls from the water. With their mission accomplished, it’s now time to create the new magical weapons that will solidify their kingdom forever!

Machina Coeli has pulled out all the stops with the exciting new story that is betrayed on ‘Lure Of The Forgotten Lake’. Although only containing three tracks, they create over thirty five minutes worth of music that is multifaceted when it comes to its musical direction. The traditional dungeon synth vibe is the gigantic under layer that is equally augmented by forest synth, fantasy synth, RPG sounds, and medieval ambient tones. This is not only a must have for your DS music collection, it’s also a necessity for the genre as a whole. Show your support for this legendary artist that has devoted over two decades of existence to the music that we love, and download ‘Lure Of The Forgotten Lake” from one of the links below.

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Links:

https://nigraopera.bandcamp.com/releases

https://machinacoeli.bandcamp.com/album/lure-of-the-forgotten-lake-2019

Santolo Marotta Crosses Into The Somber Realm Of Obscurity With ‘The Bridge Of Dark Existence’

In life on earth, as we know it, bridges are used to actuate travelers from point A to to point B, by providing a means for them to traverse over an area that is intolerant to a normal commute. Wether it be a body of water, another – perpendicular – roadway, a valley between two high mountains, or another terrain of the path less traveled, bridges are the purgatory of destinations for which we rely on in our daily lives. However, in the spiritual life, a bridge can be the platform that connects Heaven & Hell, good & evil, and right & wrong. In Santolo Marotta’s exceptional new album, ‘The Bridge Of Dark Existence’, his message is that of a spiritual nature, in which the bridge connects the minds of the listener to a relatable darkness in a distinguished, yet eerie reality. With dense drones, moody soundscapes & pads, Santolo creates a calming vibe that is haunting, yet very appeasing to the restless nature of the conscious. The six songs contained on this recording flow into each other effortlessly as one sonic volume, while sounding equally entrancing as individual pieces.

“Kierkegaard” is a nostalgic yet mollifying minimalist thrum that solidifies the boundaries of both sides of the bridge as layers of droning pads creates an ominous and evil presence. No matter which side of the bridge the listener may find themselves on, a sense of apprehension takes over as imminent danger lurks ahead. “Atmosphere” has more of a cinematic feel as the keyboards perpetrate the sounds of stringed instruments, crescendoing and declining in sound and nature. It’s the perfect preface for “Atmosphere – Part II”, as the string sound gives way to a darker tone, while maintaining the same melody. This song represents the change in atmosphere, as listeners have committed to crossings the bridge into territories unknown, into a darkness that awaits their confrontation. “Ghost (Interlude)” is a short track that combines droning deep bass frequencies with a screechy soundscape to afford a sense of wonder, as the final steps across the bridge are probable. “Horror” is a definite stand-out track as it epitomizes a horrific danger that is fast approaching as a bizarre music sample is played over a hasty keyboard arrangement with occasional jazz-like improvised key patterns. The final song on the album, “Anaphase”, serves as the full spiritual crossover into the area of dark existence. Once the adventurer completes the trek across, the bridge disappears forever. Clocking in at over thirteen minutes long, this minimalistic piece encompasses several layers of deep and mid-level bass sounds that provide a vibrant and stimulating sound, continuously reverberating in the mind to create an atmosphere of empathy and enchanting nightmares.

‘The Bridge Of Dark Existence’ is a defining moment for Santolo Marotta, as he has successfully created a soundtrack of psychological terror and peaceful refrain. Depending on your reason for crossing a bridge – whether spiritual in nature or in the human world – a dark ambient medium is the perfect companion for providing the guidance needed for making the final leap of faith. ‘The Bridge Of Dark Existence’ is the perfect guide to assist in making that trip. The minimalist tones creating a calming and relaxing atmosphere to help open the mind, and allow for limitless exploration into dark worlds and uncharted territories. Please support this remarkable artist and download this stunning new album from one of the links below.

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Link:

https://lakelabel.bandcamp.com/album/the-bridge-of-dark-existence

https://santolomarotta.bandcamp.com

Vandalorum Soothes The Soul With Warm Vibes On Prodigious Conceptual album, ‘Flagellum Dei’

Atilla The Hun was one of the most revered leaders in the history of the world. He was greatly feared by his enemies and respected by the warriors that fought by his side. Although his unsuccessful surges into Rome, Persia and Constantinople (modern day Istanbul) brought moments of uncertainty, he subsequently invaded and decimated the northern areas of Italy and also the Balkans. What better way to immortalize this great figure and the culture of The Huns than by an atmospheric dungeon synth recording. ‘Flagellum Dei’ by Vandalorum presents a beautiful, conceptual album that is based in Dungeon synth, but also contains atmospheric field recordings, a good dose of percussion, and some twist and turns throughout. Although the overall musical output of ‘Flagellum Dei’ is calm and soothing, it portrays the story of harsh, war-time battles, when countries and territories were overtaken by great force. There is also a great cinematic sound quality to these tunes as well, as they could easily be part of a soundtrack that depicts action and adventure from medieval times.

“Death And Plunder” opens the album with a traditional dungeon synth sound and contains a backing drum track that brings out more emotions as the melody graces our ears in multiple layers. Next comes “Battle Of Chersonesus” and with its gloomy introduction and battle cry samples, depicts a scene of warriors preparing for battle. Although it has mostly an ambient feel to it, the last part of the song kicks into high gear as the dungeon synth sounds come to the forefront (along with more battle cry samples), putting the listener right in the heart of the battle. “Honoria’s Ring” starts with an alluring keyboard arrangement and contains an abundance of melody and empathy that matches perfectly with the lush field recording sounds throughout. “Mounted Archers Of The Steppe” is my favorite song on the album as it begins as a consoling ambient piece with perfectly matched added sounds and samples, as well as various instruments to broaden the scope of the arrangement. Throughout the song, you can feel it building into something exciting, as if the climactic ending of a battle is in near pursuit. Close to the end, the song erupts into a full-on rock arrangement. “Punishment” begins as a grim dark ambient recording and then fades into a cinematic dirge, with droning tones, layered with an echoed keyboard pattern. This is another standout track, as it is well written and performed near perfectly. “Wielding The Sword Of Mars” is a slow, ethereal song that summaries all of the style of the album into a single entity. From the ambient textures, dungeon synth melodies, to the intertwined drum patterns and superb writing, this song has all of the qualities necessary for repeated listens. “Hidden Burial Of The Chieftian” has a quirky dungeon-esque vibe, in which I can see Attila himself hanging out with his troops, enjoying a moment of downtime and festivities, after one of their great invasions. This song is a well-received surprise to the album, especially since it is mostly filled with ghostly and vivid tunes. The final track, “Atilla And Bleda” is a great arrangement in which I envision a gruesome showdown between the two brothers that resulted in the slaying of Bleda. Although historically there are several accounts for how this showdown commenced, the ending is undeniable and the creepy music (especially the monotone drum pattern) does it justice.

Vandalorum have created a monumental dungeon synth recording with ‘Flagellum Dei’. Combining the sounds of various genres of music with battle-like field recordings and an overall cinematic sound, this is an excellent recording and worthy of representing such a historical figure and leader in Atilla The Hun. Although Realm And Ritual will be releasing a physical version of ‘Flagellum Dei’ in the near future, it can be downloaded digitally now, at the link below. Vandalorum is an excellent up and coming dungeon synth artist that has proven he has what it takes to have longevity on the dungeon synth scene. Show your support and download this amazing album now.

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Link:

https://vandalorum.bandcamp.com/album/flagellum-dei

Physical Release (TBD):

https://realmandritual.bandcamp.com/merch

CLAVICVLA Ceremoniously Bring The Upheaval Of Evil With ‘Sepulchral Blessing’

As one descends into darkness, I can only imagine what the soundtrack that accompanies them may sound like. For those lost souls that have committed horrible atrocities, the deafening sounds of decaying industrial noise may forever haunt their every move as it guides them to the pits of hell. For those that have brought shame upon themselves in one way or another may experience a past-lifetime of excruciating gothic undertones. For the rest of the blasphemous descendants, they may experience the diabolical, black ambient sounds of the latest CLAVICVLA album, ‘Sepulchral Blessing’. Horrifying drones, despondent bass frequencies and haunting spoken words bring this terrifying album to life and singes the ear drums of those brave enough to listen. The six ritualistic drones presented on this release combine the dreadful soundscapes that will fill your every wakening moment, with intense anxiety and traumatic noise bliss as the great James Plotkin (O.L.D., Khanate, Phantomsmasher) masters the album to a daunting quality like no other.

The ultra-low bass frequencies of “Demonic Integration”, sets a steady droning pace, as distorted spoken words provide a sermon of evil. Agonizing soundscapes add a layer of discomfort as the listener is treated to an audio assault equivalent to a medieval exorcism. “Insorcist Will” begins with a low-end keyboard arrangement that begrudgingly provides an auditory nail straight to the brain through the ear. The monotone droning creates an eerie vibe and is reminiscent of an early Sunn O))) recording. “Tiamat Skin” ignites a profound soundscape with evil, droning textures and simple, acoustic bass sounds. The frighting spoken words – although barely audible – probably tells a disturbing story of grotesque crimes that have gone unsolved, with bodies unfound. The monk-like chanting at the beginning of “Angra Mainyu” sounds like a demonic summoning gone wrong. As the isolated pads and distorted spoken words join in, it’s clear that corrupt forces are at work here. Ominous soundscapes throughout provide another layer of agonizing excitement as endless torment is imminent. “Apocryphal Truth” starts quietly – compared to the rest of the tracks – but soon gathers alarming momentum, as creepy sounds penetrate the ears. This tracks relies heavily on long, droning sounds to contribute to the misery. The albums final track, “Sepulchral Blessing” furnishes with a climactic ending to the hate and discontent by creating an infernal mix of depressive drones and twisted, synthesized pads. The spoken words are at their most evil and sound abhorrent compared to the previous tracks.

CLAVICVLA have succeeded in creating one of the most disturbing black ambient albums in recent years. The ghoulish spoken word parts and the constant use of distorted low-end bass frequencies are the primary factors that make ‘Sepulchral Blessing” one of the best in the genre. It also helps that the album cover is equally bothersome. This not only surpasses their 2018 debut album, ‘Sermons’, but is May quickly become a defining moment in the genre as a whole. Show your support for this twisted, but brilliant artist (as well as Cyclic Law and/or Sentinent Ruin Laboratories) and download this sinister album as soon as possible!

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Link:

https://cycliclaw.bandcamp.com/album/sepulchral-blessing

https://sentientruin.bandcamp.com/album/sepulchral-blessing