Eyre Transmissions I: Interview with Eldest Gate Records recording artist, Wayfarer

It’s been quite the year for Eldest Gate Records. They’ve released multiple, exemplary albums by Wayfarer & Inoriand and have launched their publishing company, Eldest Gate Books. Earlier this month, they swiftly commenced book sales by releasing ‘Three Eerie Tales Of Vampires’, the first volume of the Bibliotheca Obscuris series. Here at The Dungeon In Deep Space, I’ve had the pleasure of reviewing recent albums by Wayfarer and Inoriand and both are absolute forerunners in the Dungeon Synth genre! With the brand new release of ‘Misty Morning’ by Wayfarer, I’ve had the honor of communicating with the man behind the project to catch insight of the driving force behind this and his many other projects, including the brilliant startup of Eldest Gate Books.

1. First of all, thank you very much for the interview opportunity and for also being the first interview session on The Dungeon In Deep Space site. Wayfarer has been quite busy this year with releasing three brilliant recordings on Eldest Gates Records. What influences you to record such beguiling material?

First, I thank you, for the opportunity! I think it can be said, that I am a newcomer to the DS revival scene, but that doesn’t mean that I have only recently discovered the genre. Back in the early 2000s my friend and I were big fans of such music as Mortiis or his numerous side-projects, the prison albums of ‪Varg Vikernes or his mystical synth tracks on ‪Burzum albums, such as Rundgang Um Die Tranzendentale Säule Der Singularität or Tomhet. We have recorded our own materials in this style and shared it with each other and was very proud of them! But never knew anybody else, who were into this kind of music. We didn’t even have a name for the genre, so we called it “you-know-that-burzumish-dark-ambient-stuff”. And then one day, years later, I happened to find a blog on the Internet, found the name Dungeon Synth and then the Facebook group and suddenly I saw that we are not alone with our love for this kind of music! Here I found many great artists who influenced me, but the one I remember the most from the beginning was Ancient Boreal Forest. Also, I was a big-time RPG enthusiast all my life, mostly a DM as I’m kind of a creator type. And reading, of course, many-many books since I learned how to read! Fantasy, horror, classics, etc. Those things together, mixed with my passion for experimenting become what is Wayfarer today (or my many side-projects).

2. In my recent review of the ‘Ata Amutar’ release, I’ve described the overall texture of your music as “icy cold Dungeon Synth”. Do you feel that is a fair assessment? Also, did you intentionally set out for Wayfarer to become this dark entity in the Dungeon Synth community?

Yes, I think that’s a good description. I tend to see the beauty in darker things. Being dark, melancholic, occasionally atonal or dissonant makes a good way for me to get those listeners more involved, who are interested in this kind of experience. Also, I think the less receptacle the music for the first listening, the more it makes the listener think about it. Dungeon Synth is a great genre because every artist can find themselves in it some ways. Some artists are looking for that medieval feeling, some of them are more fantasy oriented. For me, it’s all about the atmosphere, world-building and to bring the listener into this world and let them make up their own stories in it while they listen to the music.

3. Typically, DS songs are short and to the point, whereas Wayfarer songs tend to be long. For me, this is an advantage for the listener as it challenges the imagination for what story each track may entail. Do you have a particular mindset prior to recording Wayfarer songs or are they improvised?

Most of the time both. Sometimes I start with something improvised and build the track from there, other times it’s the other way around. Improvisation is fun and lets you set your mind free. I also love long tracks that take the listener on a journey and I make music that I would like to listen to. I consider Wayfarer tracks as a kind of landscape painting with sounds. I don’t want to tell a story with them, that’s up to the listener’s imagination.

4. ‘Misty Morning’ is such a calming album title but the music is bleak and dark. What is your own story behind this recording?

I wouldn’t consider it dark, maybe a bit melancholic. Being alone and focusing your thoughts inwards to your self is what I think this album is about. But for someone else, I think it can be a dark tone. I like to believe that it’s not the music that creates the emotions it’s just the medium that brings them to the surface. If that’s true, then something dark and unnerving for someone in a certain moment can be calming or meditative for someone else or even the same person when in another mindset.

5. What can you tell me about your recording studio and the equipment that you use?

I may be unpopular with this, but I have to admit that I use VSTs nearly all of the time. It’s a budget issue on one hand, but VSTs also make me able to experiment with nearly any kind of sounds or tones.

6. For your VST’s, do you have any favorite plugins that you use on a regular basis?

I try out many VSTs and always looking for something new and interesting, but there are a few that I use in nearly all of my projects. One of them is SQ8L, which is modeled after Ensoniq’s ‪SQ80 and it is a wonderful plugin to use! It’s the basis of the characteristic sound of Inoriand, but I use it on nearly all of my albums. The other one I’d like to mention is Dexed, modeled on the Yamaha DX7. It is a real monster! I use it all the time, especially for Wayfarer.

7. Do you also do any field recordings for your albums?

Sometimes I use field recordings, but no, I do not record them myself, I use royalty-free resources from the web.

8. I’d like to shift topics and talk about some of the other projects you are involved in, specifically Eallnulf and Abyssu. These projects are very experimental, yet very relevant to the DS scene, how hard/easy is it to maintain the balance between Wayfarer and your projects that have harsher tones?

It’s easier than you think! As I said, I love experimenting and sometimes these materials are such different from the tone of my main projects that I just start up a new one. I love to keep my stuff somewhat coherent.

9. Do you plan to release any more albums under those pseudonyms?

Maybe. They are not finished officially.

10. Do you have any other projects that you record under?

Yes, some of them are well-kept secrets, while others are known in the community, like Inoriand, La Morte Amoureuse or Zungarak.

11. I suspected that you were behind the Inoriand project just wasn’t quite sure. I also reviewed ‘Silence’ earlier for my site and must say – for me – it’s my DS album of the year. Since you do a lot of improvisations, at what point do you realize, this is a Wayfarer project or an Inoriand project (or some other)?

Wow, thanks! Usually when I start composing I already have an idea in my mind and that already connects the music to one of my projects. Improvisation doesn’t mean being completely random, but letting your creativity wander freely within a certain set of boundaries. Be it a theme, a scale, an emotion, a leitmotif etc., these rules separate improvisation from pure chaos! But I have to admit sometimes things go out of hands or take unexpected turns. That’s the point, where new projects are born.

12. Recently, Eldest Gate Records has ventured into the realm of book publishing and has established Eldest Gate Books. Can you talk a little bit about the decision to add books to the Eldest Gate media market?

As I wrote in the foreword to the book and also mentioned it earlier, we are avid fans of reading. Publishing a book ourselves is a long-time dream come true. We started working on it at the beginning of this year and took a lot of time to get everything together, as we aren’t experienced in the field and had to learn many things, because – as with everything else Eldest Gate produces – we wanted to do ourselves everything we are capable of. Learning about publishing, typesetting, cover design, printing services, copyright law etc. was a long journey, but a real fun all the way!

13. I already love the direction of Victorian Era vampire tales for the first book offering. Do you already have an idea of future releases?

We have a whole series planned out; the Bibliotheca Obscuris and we are already working on the next volume. I hope that people will love these books. We wanted something that isn’t only enjoyable to read, but also a joy to take into your hands or show-off to others, something that is collectable and looks really great when put on the bookshelf. In the future there may be other series, maybe a fantasy-themed, we will see!

14. Will Eldest Gate books be open to providing publishing opportunities for up-and-coming authors in this genre?

I hope so, in the future! We achieved to learn a lot in the past few months about publishing, but there’s still more we need to get through. But there are many creative and talented members of this community and if somebody reaches out to us to publish his or her novel or to help with self-publishing, we would be more than happy to help.

15. Is the idea to stick with physical books or is there a possibility of providing e-books for the Eldest Gate book catalogue in the future?

E-books are cool, but we wanted a real, physical book, that you can hold in your hand. For this series, we aren’t planning e-books, mainly because these stories are in the public domain and already available on the Internet. But if we happen to publish an original work someday, there will definitely be an e-book edition!

16. I really appreciate your time for this interview opportunity; do you have any final words for your fans in the DS community?

The only thing I can think of is “Thank you, all!”. This community is incredible.

Links:

https://eldestgaterecords.bandcamp.com

https://www.eldestgatebooks.com

https://www.facebook.com/eldestgaterecords/

Bonus Content:

The Wayfarer wants you to enjoy his latest release, ‘Misty Morning’ so please redeem one of these download codes @ https://eldestgaterecords.bandcamp.com/yum

cpx6-6wxc

s74t-g4aw

sls2-umrs

ssqw-jzcl

khpc-whrj

uef4-ceck

v8d4-w3d8

9z4j-cwx2

z3er-csac

3v6d-ws3w

w9yc-hdc4

ctue-5csa

su59-bccb

pw6z-wxsw

rsyu-h5ws

7hsr-c9tl

xc4d-w8uj

hpsc-h2mk

qf4c-5c98

9ws4-bcgn

Apoxupon Convey Endless, Free-Spirited Vibes on ‘How The Garden Grows’ Forest Synth Gem

The resurgence of Dungeon Synth over the past few years has been immensely overwhelming. A plethora of artists from around the world have released a magnitude of DS albums, many of them becoming instant classics of the genre and setting the standards for many generations to come. Another interesting thing that has surfaced with the rejuvenation of the genre is the introduction of sub-genre’s. Many artist have taken the basic approach of DS and have twisted it to the point that it morphs into a new dimension. From the eerie, hollowness of post-DS that transcends subject matter, to fantasy synth which takes the listener on musical journeys to mystical lands far away, where the imagination provides endless adventure, DS sub-genre’s have no boundaries. With Apoxupon’s latest release, ‘How The Garden Grows’, we find the winter season changing to spring, where all living things – once again – reach for life, in this Forest Synth magnum opus.

“Spring Renewal” is the perfect album opener as it fades in with a light streaming water, as if the winter ice has finally melted and is giving way to the natural garden scenery. Smooth harp and bass melodies set the mood for this track as birds chirping in the background find comfort in this warming environment. Beautiful orchestrations and tribal drum arrangements fill the rest of the space, making for a very enlightening song. “Moonlit” provides the same frame of character as the opening track, but elements of the dungeon synth genre are more predominant in the keyboard melodies and harmonies. Evening field recordings alter the atmosphere and the soothing, lush tones that begin around the three and a half minute mark, are the highlight of the track. “Gaia” brings the album to the early morning time where nature is at an awakening state. Alluring keys and background orchestrations are the focal point for the instrumentation, as the calming dawn gives way to full daylight. A flowing harp initiates “Weed & Vine” and various instruments come together harmoniously, representing continuity and growth in the garden. As one of the most upbeat tracks on the album, this one stands out as one of my favorites musically. “The Healing Stream” epitomizes the sub-genre term, forest Synth. From the magnificent harp sounds, minimalistic drum beats, light use of nature field recordings, to the multiple other sounds used, this track has it all. Although it’s very somber musically, it still has a very springtime feel to it, continuing the natural ambiance of the album. The final track, “Night Chorus”, represents the end of daily routine in the garden, and with its ambient vibe, proceeds to slows nature’s processes down to a halt as dusk gives way to the evening sky. What an emotional way to end such a majestic album filled with positive energy and artistic vision.

‘How The Garden Grows’ is an immaculate album full of surprises and musical details that may take multiple listens to fully grasp what all is going on. However, this is one Forest Synth album that you do not want to pass on and Apoxupon is bringing new light to a genre that is normally filled with eerie and grim medieval tales. I’m really looking forward to what the future holds for this wonderful talent and am excited (and hoping) for many future releases. Click on the link below and check out this album as well as Apoxupon’s previous stellar releases!

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

Link:

https://apoxupon.bandcamp.com/album/how-the-garden-grows

Bonus Content:

Mystic Timbre is providing 10 download codes for those readers that would like to have a copy of this album. Please redeem @ mystictimbre.bandcamp.com/yum

xvle-upkj
h9p9-entk
j2fn-3ef9
9xax-h7ez
zc9j-v5fg
zp3r-g3eu
y9x5-b4np
3ycg-xq5n
akjn-et2e
rzgl-u2xu

Black Earth Destroys The Post-Apocalyptic Future With Their Industrial Ambient Nightmare, ‘Gnarled Ritual Of Self Annihilation’

Imagine waking up to a world you’ve never known, in an area where you’ve never been. The man-made city lights give way to post-apocalyptic darkness, in an industrial wasteland where you’re surrounded by heavy machinery that hasn’t been affected by the near complete annihilation of human existence. You find yourself on the run, with nowhere to hide, with no sense of direction, guided only by your heightened sense of awareness for survival. The noise generated by the machines grow louder, almost deafening, as they close in on your existence. There are others on the run as well, and you watch in complete horror as they are decimated by the industrialists. You may be safe – for now – but you can only run for so long before you become a victim of the industrial takeover. This is the kind of bleak story that Black Earth auspiciously creates with their sophomore effort entitled, ‘Gnarled Ritual Of Self Annihilation’. Containing forty five minutes of bludgeoning, ritualistic & industrial Dark Ambient, Black Earth have set out to conceive a soundtrack for the end of the modern world and the dawn of the post-industrial wasteland.

From the onset, “Doctrines Of Dissociation” provides the sudden impulse of urgency as if mass annihilation is imminent. With tribal-like thumping beats and harsh industrial soundscapes that gets louder and darker throughout the track, it pulls you in and grabs a hold without letting go, barricading the mind of all positive thoughts and dragging you down to an agonizing demise. Without skipping a beat, these soundscapes morph into “Abject Practises Beyond The Threshold”, where the listener is now subjected to grim, inaudible vocals that provide an endless nightmare to the rhythmic patterns. “Behold The Serpent” contributes the same chilling vocals, only now the multitude of industrial sounds are at maximum volume and are coming from all angles, with improvised guitars to add another layer to emit a grand feeling of claustrophobia. Right from the start, “The Sharp Blade That Mutilates The Void” produces a feeling of severe tension and anxiety as if you suddenly find yourself on the run from an entity that you cannot see. Although you know it’s there, it’s proximity cannot be determined. During the middle of the track, the industrial soundscapes giveaway to dark ambient drones and provides the feeling that you’re suddenly alone, although you feel you are being closely watched by your predator . “Drowned Under Seas Of Coagulation” is another ritualistic drone piece that – although not as harsh as some of the previous tracks – sets a very dark and depressing tone that is equally eerie in nature. “Lurking Hounds Stagger In The Deep” starts with a constant, deep thudding noise and is joined by some deep growls, ritualistic drones and evil, off-key synthesized noises that add an extra feeling of dread to the track. The song slowly fades into the albums final track, “The Mourning Waters Where Fire Never Dwells”. Whereas the previous track may be considered the climax in the fictitious story of the industrialists harsh takeover, this track is the descent from the madness, a sort of winding down of all of the ritualistic patterns that have ceased the brain for the previous forty one minutes. This is a much needed cool-down track, to allow for the mind to readjust after soaking in Black Earth’s soundtrack of decimation.

Dark Ambient is the perfect genre for letting your imagination run wild on creating a story that matches the music. Although a lot of Dark Ambient is deep droning with soundscapes and field recordings, most of it is rather smooth and mellow, albeit evil in tone. However, Black Earth plays a very ritualistic, industrialized droning Dark Ambient that is harsh on the body, mind & spirit. Even though you may not be able to kick back and relax with a Black Earth recording, you can certainly visualize being in another world, far from the reality for which you live today. This is another scorching hot winner for Cyclic Law Records! Support this amazing artist by clicking on the link below and downloading ‘Gnarled Ritual Of Self Annihilation’ now.

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

Link:

https://cycliclaw.bandcamp.com/album/gnarled-ritual-of-self-annihilation

Faery Ring Delivers A Neo-Classical Dungeon Synth Masterpiece with ‘The Urchin Prince: A Century Of Dust, Vol. 1’

Dungeon Synth provides a great escape from the real world. Most of the time we can look at an album cover, match it with the song titles and embed ourselves in an imaginary world full of endless adventures and possibilities. Whereas a good book drags you into its catacombs through its imaginative talks, a lyric-less musical endeavor has to be more thought provoking, as it pulls on your senses and emotions in order to create character, time, and place. Fortunately, for the captivating release by Faery Ring, ‘The Urchin Prince: A Century Of Dust, Vol. 1′, the cassette release comes with a twelve page story book that whimsically takes you to the coast of Bellspall, where the Pallor family rules the Pale Crag. It is here we learn the tale of the tragic beginnings of the Urchin Prince and his eventual, unnecessary fight to take the castle. I’m sure that subsequent volumes will continue this wonderful story and we’ll eventually learn if the Prince will become King.

Musically, ‘The Urchin Prince’ masterfully combines old school Dungeon Synth and grim, neo-classical instrumentation, as if it’s being provided as the soundtrack to a modern-day horror film. Album opener, “Saltmouth”, is a short piece that describes the horrors that take place during the birth of the Urchin Prince. The music is very dark and begrudgingly evil. “Grim Enceinte, The Old Gaoler” sets the tone of complete obscurity as the infant Prince is rescued from the sea and brought to his new safe haven, even though its almost as gloomy as stranded life at sea. “Dust, The Urchin Prince“, contains mesmerizing musical crescendos as the Prince comes of age and sets out on his own to reclaim what is rightfully his. “The Uncherished Parlours”, contains more of a Dungeon Synth vibe which perfectly describes the hidden place that the Urchin Prince finds that is filled with centuries old swords and rotting tomes. “Bellwether, Herald Of The Long Slumber” is my favorite track on the album as it beautifully combines cinematic film score, classical arrangements and an overall medieval vibe of betrayal and misfortune. “The Starless Stargarden” is another well-played DS track that emphasizes the power of black magick and the darkness it brings in the end. Much like the spell that was cast on the Stargarden, this track soon fades into nothingness. “Mauveine, The Daughter Of The Comfortless King” has a very uplifting, fantasy synth sound to it, showing another astonishing musical direction for this album. “Prolix II, The Comfortless King” contains a very alluring keyboard melody that comes into play as the cymbals crash with the climax of the song. The albums final track, “Lemures” not only musically describes the confrontation of the Urchin Prince, but also serves as the ending credits for this volume of work. The end is almost a dark ambient piece with ghostly violin riffs being played until it fades out, as to say this story will be continued in the very near future.

‘The Urchin Prince: A Century Of Dust, Vol. 1′ is an enthralling tale of sadness, betrayal & revenge, in which our protagonist rises from the ashes of near death to reclaim the family wealth he never knew was his. Although, this musical adventure is just twenty two minutes long, there is so much going on that will keep you entertained beyond any time limit or restriction. I cannot wait for the next volumes of this story to be released so that I can find out what the future hold for the Urchin Prince and the Pale Crag. Please show your support for Faery Ring and Gondolin Records by purchasing this wonderful release at 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!!

Link:

https://gondolinrecords.bandcamp.com/album/the-urchin-prince-a-century-of-dust-vol-i

Lush Atmospherics And Acoustic Ambient Guitar Are Defining Moment For Peter Bjärgö on ‘Structures And Downfall’

After fronting the Swedish neoclassical dark wave band Arcana for nearly two and a half decades, Peter Bjärgö has decided to fully concentrate his musical talents and efforts in his own eponymous project. With a musical shift focusing more on dark atmospherics and songwriting geared toward live instrumentation backed by droning keys, Peter embarks on a soulful dark ambient journey filled with crystal-clear production, haunting vocal patterns and melodies throughout that show a versatile album containing the complete package for pleasing the ear and mind. Peter’s latest solo album, ‘Structures And Downfall’ soars to new heights, creating a perfect wall of sound that is as much wistful as it is opulent.

“Inner Cathedral” opens with an alluring guitar riff with a slight reverb and echo that would even please the production efforts of the great Devin Townsend. That soon gives way to the addition of drums and a backing ambient keyboard track to add to the sorrowful grimness of the song. Peters vocals come in and are absolutely chilling. This is a slow, droning track filled with beautiful, harmonized vocals and live instruments and is one of my overall favorite tracks on the album. “Into Eternity” starts off as just a man and his guitar, but with exquisite production and the eventual inclusion of vocals and ambient keyboards. “Anemoia & Onism” is an instrumental piece that has a tribal drum-like pattern and long, drawn out keyboard patterns that provide both the melody and backing ambience for the track. “When Thoughts Become Your Enemy” is another angelic piece that contains a very hazy, acoustic guitar riff, which is soon complimented by a graceful piano arrangement. “Structures And Downfall” is another one of my favorite songs as it slowly builds with a dream-like guitar riff, simple drum pattern, and a droning keyboards that constantly crescendo in the background. When Peter finally sings in the last half of the song, it’s very reminiscent of David Gilmour singing any of the classic songs from the ‘Wish You Were Here’ album. “Disintegration Of The Mind” showcases Peter’s vocal talents once again as he pushes the boundaries of his lower register and belts out a beautiful vocal melody from the very depths of his voice. The final track on the album, “Winter Song” is a very gloomy track, exposing the grayness of winter as it doesn’t get any brighter than perceived seasonal representation of the song.

Peter Bjärgö has struck gold with has latest release ‘Structures And Downfall’. Although it’s unlike any dark ambient album you’ll hear anytime soon, the atmospheric structure of these songs and the overall production, easily make this one of the album of the year contenders of the genre. Although vocals are used sparingly throughout this recording, there is not a single spot where it sounds discordant or disconnected from the track for which it is contained. The Cyclic Law Label once again produces another high-quality gem in its lineup of unmatched artist. Show your support by clicking on the link below to purchase this excellent album.

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

Link:

https://cycliclaw.bandcamp.com/album/structures-and-downfall

Solus Woods Provides A Double Dose Of Solitude and Obscurity With Two Conceptual EP Releases

Dungeon Synth has once again escaped the clutches of medieval times and have thwarted to a more modern era, where non-traditional themes become the predominate factor for setting the tone of the music. Solus Woods have succeeded in conceptualizing two extended play albums that tell haunting stories of a sailor lost at sea and of the obscure entities that prowl deep in the forest, while musically pushing the boundaries of post-Dungeon Synth. Whereas traditional Dungeon Synth is heavily influenced by Medieval Times, fantasy-based beings, and Dungeons & Dragons type role-based games, post-Dungeon Synth maintains the aesthetics of the music, but the themes can revolve around a myriad of events that are not that far fetched from our current every day lives.

The first of these two albums, ‘The Sea’ tells the tale of a sailor lost at sea and his self-reflection on life as his fate draws near. The opening track, “The Sea”, sets a minimalistic and eerie tone, as we can only expect that our protagonist awaits his trails at sea. “Celestial Star Map” is an eccentric number that can be easily used as a haunting backdrop in a movie soundtrack. Instead, it has a creepy reverse effect as the sailor is probably adrift at sea due to misguided navigation and he soon realizes that he may be in trouble. “The Calm Before…” doesn’t necessarily refer to the current of the sea, but the state of mind of the sailor as the imminent danger he will soon be in has him in a state of shock. The music in this track combines both a smooth, acoustic passage, with a harsh undertone, rendering a perfect environment for what is about to take place. “…The Storm” is a short track that represents the initial destruction of the devastation that will put the sailor in the predicament that he is slated to be in. Dark, bellowing tones that present a bleak and abrupt ending couldn’t have been played out any better. “Below The Surface” is a chilling track with bloodcurdling soundscapes that finally find the sailor in that moment where he is scared for his life and with nowhere to run and hide. At the climax of the story, “The Kraken” comes face-to-face with the sailor and reeks havoc on his beloved vessel. The music weaves in and out like a radiant light, but provides a depressive backdrop for this gruesome and lonely story. “Taking On Water. The Sinking Ship” contains sparse instrumentation and lush soundscapes that unfortunately, find our sailor defeated, stranded at sea and barely hanging on for dear life. “Adrift, Alone” uses horrifying sounds and frightening synthesized tones to describe the sailor as he is hanging on to a piece of driftwood, barely above the surface of the water. His life flashes before his eyes as he contemplates his demise. “The Shore” uses long, drawn out notes, to resemble the great distance that the sailor must travel in order to finally find safety. As darkness bridges to daybreak, there is no shore in site and the sailor must continue to travel, and survive another day. “The Sea (Reprise)” ends just as the story begins, with uncertainty. Although the melody is the same as the opening track, the dynamics of music has changed to represent another day. Although this is a short album, it tells a massive tale that leaves a huge opening to the imagination. Only with the backing of post-Dungeon Synth does this creative combination work out so well. ‘The Sea’ is a culmination of creative art and imaginative story telling at its best.

The second album in this review is ‘Ritualistic Swamp Magick’, a near thirteen minute revelation into the trepidation of isolated cults & religions and terrifying beasts that skulk deep in the woods. Sounding as if it could have been lifted from an 80’s horror movie soundtrack, “Rustic Swamp Magick” contains a ghostly backdrop, with memorable soundscapes that are distinctively eerie and discordant. I can imagine being deep in the woods and coming across a small church, where everyone is dressed the same and worshipping a deity that cannot be found in any book. As you stumble in the church by accident, everyone turns to look at you as if you’re the next offering – a sacrifice – to their supreme idol. As you rush out and escape in an unorthodox pattern through the forest, you get the sense you’re being hunted by a pack of unexplainable creatures. Although containing just a singular track, ‘Ritualistic Swamp Magick’ is another valiant effort by Solus Woods.

Despite being fairly new to the Dungeon Synth genre, Solus Woods is already excelling as a formidable artist, especially in the post-Dungeon Synth sub-genre. From the mature tone of the music to the gritty production, Solus Woods is already ahead of the game in several aspects. If this pace can be maintained, I’m sure many more surprises will be released in the very near future. Show your support for this excellent up and coming artist and click on the link below to check out his material. You won’t be disappointed.

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

Link:

https://soluswoods.bandcamp.com

Solus Woods Facebook Page:

https://www.facebook.com/soluswoods

Moljebka Pvlse Examines Behavioral Impulses Through Chaotic Field-Recorded Soundscapes And Translucent Drones

If you’re a fan of the Cyclic Law Label, then chances are your musical taste expands greater than just Dark Ambient alone. Many of the artists have such a broadened sense of direction, that it’s hard to tie them down to a single genre, even though they may be solidly based in some type of ambient music. One artist that stands out in this endeavor is Swedish-based Moljebka Pvlse. Specializing in bizarre field recordings and extended droning rituals, Moljebka Pvlse drags the listener through an excruciating experience like no other. With hints of industrial ambience and apocalyptic soundscapes, one must be prepared for an audio journey that is equal inhuman and breathtaking. The four unfurled tracks that are presented on ‘Komoku’, are a resounding insight to the behavioral limitations of the mind, and the after effect that are conferred by the time the recording end has been reached.

The therapeutic festivities kick off with the seventeen minutes long “A Repetition Without Origin”. Right off the bat, the audio assault pushes the boundaries of sensory overload as various field recordings and drones clash in an epic battle for tone mastership. I can imagine walking in a pitch-black industrial containment area, in which evacuation alarms are ringing and escape routes have been demolished. As you try to escape your surroundings, matters get worse as additional eerie drones flood the senses. Haunting tones continue to invade your brainwaves as you’ve nowhere to go. This tracks is just test one of four. “An Emptiness Of Language” is an exhilarating track that shows no restraint for emitting audio atrocity. As the deep, extended drones penetrate the airwaves, you find yourself chained to a table in a small room, with a table and only lit by black lights. In your mind you can foresee the terror that awaits but are unable to call out. Unable to scream. There have been many here before you and you won’t be the last. The terrifying field recordings provide much anxiety on this track, even though it’s the shortest one on the album. Next up is the twelve and a half minute long “The Function Of Remembering”. To go along with the cyclic droning, bizarre instruments can be heard, playing non-melodious tones as if your in a circus full of deranged clowns with no means of escape. Even though no one in their right mind would dare enter such a place, you did, and without any recollection. At around the five minute mark, a grotesque recording creeps its way into the mix as panic begins to set in. You’re surrounded by these obscure noises but see absolutely nothing. As they get closer, the hair on the back of your neck stands stiff as you try to recollect your whereabouts. Suddenly you awake from this nightmare that seemed all too real, but find yourself chained to a table in a black light lit room. The final track on the album, “And The Farewell To All That One Has Lost”, could have easily been written for the final climactic scene for Stanley Kubrick’s, ‘The Shining’. For nearly twenty two minutes, there are evil forces at work on this dirge that administer a final sendoff of normal mental appropriation that abandons all hope of recovery and rescue. Although there is an eclectic mashup of styles on this track, and it’s less harsh than the previous ones, it still provides the resources needed to challenge the intellectual ability of ones mind when coping with traumatic experiences.

Moljebka Pvlse have a proven history of releasing drone and field-recording based albums. However, with ‘Komoku’ they’ve reached the pinnacle of their recording existence and have provided a platform for which the listener can place themselves in an imaginative scenario that exudes unlimited amounts of detail. This album’s is as much entertaining as it is intriguing. The German-based label, Cyclic Law, has provide a suitable home for such a wonderful artist. Show your support by downloading this outstanding recording at 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!!

Link:

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

‘Labyrinth Of The Golden Princess’ Is Dungeontroll’s Powerful New Collection Of Lugubrious Hymns

As Dungeon Synth continues to gain notoriety and its musical variety expands into many complex sub-genres, there are some artists that maintain the traditional path of thy medieval biddings by conjuring minimalistic enchantments that are sorrowful, yet enthralling to hear. Over the course of three albums in just the span of a few months, Dungeontroll has painted a hypnotizing picture of beguiling anthems that not only stretch the limits of the imaginations, but allows the listeners to close their eyes and enter a fantasy world like no other. On ‘Labyrinth Of The Golden Princess’, we are drawn to a guarded crypt in a captivating, yet forbidden forest where our Siren awaits to be rescued from an entangled curse in which she is proscribed from ever leaving.

The opening track, “The Sleeping Crypt” is a somber piece, describing the depressive mood of the golden princess as she forever awaits her rescue or demise. “A Long Forgotten Kingdom” has a nice drum track to go along with the ethereal tones of the keyboards. The orchestrations add an additional layer that provides an element of surprise to the story, and a sense of uncertainty for the golden princess. “Weaving A Web Of Gold” is a light, relaxing piece in which I imagine the princess conducting one final act of self glorification – leaving her mark – by creating a golden, magical web. Even though the music is very mournful, it’s an accepting time for the golden princess as she prepares to leave the enchanted world behind. Next up is, “An Unspoken Oath”, which is sort of a continuation track in the storyline of the final moments of the princess. “The Lonely Paladin Of Uzohr” contains some very beautiful orchestral movements and some background choir-like sounds to signal the end of the golden princess. Although her life is no longer, her legacy lives on in the crypt through the mystical golden web that was spun prior to her disappearance. The final track, “Requiem For The Golden Princess” provides a solemn dirge for her final resting place with some very harrowing, yet detailed synth movements that have a melodic approach to a regretful ending.

On ‘Labyrinth Of The Golden Princess’, Dungeontroll examines the elaborate departure of this fantastical being through beautiful, soulful Dungeon Synth sounds that are true to the old school DS vibe and without being too radical. I love the record player sound effect that can be heard in each track that gives it that nostalgic feel, adding to the mystique of the ancient times detailed in this recording. This is one of the more fascinating DS albums that has been released this year and I highly recommend this to both seasoned fans of the genre as well as those people that want to experience something new and exciting. Show your support for this truly amazing artist and download the album from the link below. There is also a link if you’re interested in a physical tape purchase.

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

Link:

https://dungeontroll.bandcamp.com/album/labyrinth-of-the-golden-princess

Tapes also available from:

https://serpentsswordrecords.bandcamp.com

Council Of Nine Dissects The Trials And Terrors Of Cult Followings with ‘Davidian’

Triumph does not always follow tragedy, especially when it comes to the likely results of climactic cult endings when hundreds – sometimes thousands of followers – are tricked into thinking that a mass suicide is what it takes to live the eternal life with their supreme being. Unfortunately, only the non-participating living are able to carry on the historical stories of the fallacies that were created to brainwash so many misfortunate and innocent people. Council Of Nine’s second album dedicated to the atrocities of mass cult followings, ‘Davidian’, is a stark reminder that sometimes it is too late to get out once you’re in too deep.

“Mt. Carmel” is a soothing, yet bleak droning track that sets an excruciating tone for the album and provides a feeling of helplessness even if there is the ability to reach out for help. “Self-Fulfilling Prophecy” contains the sounds of ghostly, hollow tones and the sense that something evil (hidden amongst the good) is about to take place, almost as if this is the calm before the storm. “Blood On Your Hands” finalizes the bizarre cult ending with its sweeping orchestration-like sounds and frantic field recordings to symbolize that this is the epic ending for the countless followers that are mesmerized by being whisked away by their supreme being. “Revelator” paints a scene of total silence, and by silence I mean a compound filled with multiple deaths, lying silently and dressed the same in their beds as if their souls had been lifted from their lifeless bodies and transported through another realm. “Day 51” is a gorgeous, space ambient track that provides closure to these heinous cult crimes. The title track, “Davidian”, adds layers of peaceful synthesizers with the addition of acoustic piano to provide a calming effect after all of the tragedy that has already taken place. “The 7 Seals” is a deep and evil sounding drone that is a reminder that even after the tragedies of one cult is complete, another will commence to take many more innocent lives.

Council Of Nine has done an excellent job creating another dark ambient album dedicated to the tragedies of cult followings. This first album in this nature, 2018’s ‘Exit Earth’, was heavily influenced by the Heaven’s Gate cult. ‘Davidian’ continues down the same path and delivers quite a punch. This is dark ambient at its best, especially when the listener can imagine and formulate a story based solely on the music alone. This makes for a truly valiant effort from Council Of Nine and I hope more albums continue down this same path. Show your support for the Cryo Chamber Label and for Council Of Nine and download this magnificent album!

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

Link:

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

Immateriæ Forges Through Medieval Times Via Mystical Deep Space Portal

Usually when listening to a good Dungeon Synth album, we can imagine being taken back to a distant, medieval time when knights battled for the glory of the king, the forest was an enchanted place of mystical beings, and the inhuman population crowded the dungeons below. However, with the recent release of ‘Leere’ by Immateriæ, Dungeon Synth has safely weathered the elements of deep space and produced a four track – nearly thirty minutes – of cosmic synth that epitomizes the reason why I named this blog, The Dungeon In Deep Space in the first place.

Album opener, “Through Dark Matter And Misty Thoughts” starts off slow and then the DS style synthesizers materialize, adding multiple layers and provide a wonderful melody to this otherwise, gloomy track. For a track that seemingly has a lot going on, it’s also very minimalistic – an approach that works rather well. The second song is the eight and a half minute long “Awakening Of The Psyché.” This track showcases a great mix of reverb synths mixed with space ambient tones. The overall vibe of this song will leave the listener with a sense of loneliness and isolation, but also with a vision of clear direction and accomplishment. “Reaching Beyond The Old Sites” fades in with the same music as the outro of the previous song and continues the journey through the cosmos as our protagonist ventures past distances not previously known by man. This ten minute long track replenishes the mind in a more positive direction even though there is no end in sight for this endless voyage. The final track, “Distant Stars In Elder Memory” is a short track that is full of layered synths to signify a possible ending of some sort in this epic adventure.

Although this is a relatively short album, these four tracks are extremely well put together and the ambiance of the production is amazing. I’m really hoping that Immateriæ is going to provide a follow up release soon in the same vein as ‘Leere’ because it’s something new, fresh, and exactly what the Dungeon Synth Community needs right now. Please support this artist and click on the link below to download this amazing album!

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

Link:

https://immateriae.bandcamp.com/releases