Anytime I see a Cryo Chamber Label release, it’s an instant download for me. Although not always the bleakest of Dark Ambient music, one things for sure is that each album from every artist (on the label) is prepared to submerge the listener into an extravagant, cinematic voyage – beyond the infinite realms of space and the darkest depths of the oceans. Relative newcomer to the label, Planet Supreme, released their debut album last year in the form of ‘Creation Of A Star’. Providing a true soundtrack for the stages of this miraculous celestial formation, each track not only stands on their own, but together form a tale of galactic nascency. These eight tracks construct an impressive journey through the cosmos with exceptional space ambience and a quest for ethereal development.
Gentle album opener, “Cometh Night”, initially resembles the boom of a celestial bang with a crescendoing drone that fades out and and back in again. This is the birth of a star, and the imposing musical journey that will play out for the remainder of this album. Heavily reverberated pads produce a drifting motion that simulates a noiseless meander through space. As this dissolves, other ambient tones represent planetary bodies and terrestrial objects traveling in a nearby orbit. “Black Earth” ascends into eternal darkness with a rigid drone and the perfect placement of a variety of industrial soundscapes. Polished synth leads emit a slight chaotic stance while a culmination of harsh effects surround it all with effortless subtlety. A sound reminiscent of a warning alarm, prepares the adjacent area for misadventure, as hauntingly beautiful synths harmonize with ease. “Machina” commences with an assortment of mechanized effects and monstrous blurbs, as if this canticle is preparing to focus on a singular pattern or instance. Warm drones sound off with confidence and an array of keyboard effects play a solid scale, portraying a communicative effort between human and immaterial beings from distant worlds. Toward the end, a peculiar sequence and sub-harmonies create an obscure picture of bleak existence. “Hectronic Lights” is an alleviating ambient piece with soft, melodic drones and synths that play in orchestral fashion. There is a slight hissing noise in the background that shows a separation between the chaos and the comforting atmosphere of this audial adventure. “Scanners” begins at a moment in time just before the commencement of some type of discord. Starting with a low, humming sound, bits of inaudible frequencies are played, causing angst and tension. However, that is soon replaced with highly reverberated tones and synth effects, carrying forth a mission of audial bliss in a slightly hypnotic state. “Genetic Cargo” contains a vast amount of field recordings and sound effects, especially in the beginning before morphing into a mesmerizing drone. The sounds are anesthetizing to the point where you won’t want this excursion to end. A beguiling bass line in the background is a refreshing experience for this album, showing another side of this spectacular project. “Stray” commences with the crackles of a small, contained fire while modulating pulses build around it. Several synth notes are played sequentially with a small echo effect. Harsh pads and tonal order play sporadically and throughout, giving the impression of a lurking presence in the vicinity. The final track on the album is, “Above Broken Ground.” Seemingly incorporating many elements all at once, a wall of sound emits an overwhelming sensation of the final moments of a stars creativity. As if everything is finally falling into place, this climactic track showcases onerous harmonies and layers of synthwave effects that don’t let up until the final moments of this track. Ending with a singular, harsh drone, the creative efforts are finalized and another stunning celestial body is created.
Planet Supreme is a welcomed edition to the Cryo Chamber Label lineup and I hope this project is here to stay. The beautiful soars of melody and mixture of dark and light ambience already equals that of more seasoned veterans of the label. I would love to see a collaboration between Planet Supreme and Beyond The Ghost or In Quantum sometime in the future, as I feel a co-existence of either of those projects could create something beyond amazing. As for ‘Creation Of A Star’, it is a stunning release that will surely stand the test of time. Not to mention, it features one of my favorite Cryo Chamber Label album covers of 2021. If you’ve not heard this superb release yet, head on over to the link below and prepare to be absorbed into a world of chaotic beauty. I highly recommend checking it out.
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Last year was a tremendous year for the Dungeon Synth community. We saw a plethora of albums being released by a lot of our seasoned favorites, cassette releases all over the place, and a ton of new artists making their way on the scene with various intonations of the genre and gaining a stronghold of fans that typically remain loyal to the music and fascination that it brings. One of those new artists, Landsraad, was a standout in my book with the mesmerizing album ‘The Golden Path’. Paying homage to the Dune series, that album could have easily been an unreleased soundtrack to the classic movie of the same name. The album was also in my “Top 10” list for Dungeon Synth albums of 2021. Fast forward to August of this year, and we are greeted with the sophomore follow-up album, ‘Fate; The Inevitability Thereof’ and another trip back into the Dune universe. How does this album stack up to the debut? Let’s take a deeper dive into each track to find out.
From the opening progression of “A Secret Meeting//Edrics Precience”, the fantasy-based synth harmonies present a range of otherworldly emotions and melodies. Berlin School styled sequences places the listener directly in the middle of the Dune Universe, in the presence of a sandstorm of influential characters and fascinating plight. This is a beautiful album opener that respects the thematics of classic storytelling and fictional magnificence. “Face Dancer” immediately opens up with a bold modulated synth sound and an array of leads that build off each other, but always seem to be in unison in this heralded composition. “A Body In The Sand” is a light-hearted track that flows like a brisk breeze over vast mounds of endless sand, while the heat radiates off of its bright surface, producing hints of valuable spice. As if moving in slow motion, the droning nature of this track will leave one breathless and wanting more. “The Lion Throne//Walking The Path” brings a musical shift toward darker, somber tones and audacious radiance. Bringing back a classic, synthwave sound that will resonate with fans of 80’s electronica, the rhythmic succession of tone in this track leads to bleak adventures in euphony as imaginative excursions play out in the subconscious. The melodic journey really picks up with “Hayt”. The opening harmony is memorable and would last a lifetime (if I had my way). As one of my favorite songs on this album, it truly transcends categorization and could easily be included in a motion picture soundtrack. The sequential intonations casually ascend into a world of honor and dignity. “Stoneburner” continues on with the same emotive spirit of the previous track and the monumental music it contains creates an imposing force of majestic synth wizardry. This is another treasured track that is sure to gain multiple listens from fans of electronic music in general. Truly a masterclass in exquisite synth compositions. “Scytale (feat. Thanaphos)” returns to the buoyant sounds of the first several tracks, with dreamy passages and warm droning ambience in the background. This is an enlightening foray into more peaceful times and the arrangements are just a bundle of ear candy, full of tonal flavors that can’t be resisted. “Abomination Pt. 2” is a ballad of sorts, with minimal use of Berlin School sequences and deep pounding synth pads that thicken the sounds of this semi-upbeat performance. It’s as if a daunting trip to find a land of paradise, finally played out in the favor of the songs protagonist, proving the journey was worth the battle to get there. “All Things Yet To Be Said” is another noteworthy achievement that includes crisp, Berlin School patterns, wavy celestial drones and resolute synth leads that describe a drama unfolding with only the use of alluring arrangements. “Bijaz//Oracle” is an introspective offering that features an ornate harmony arrangement that is kind of hidden behind a wall of reverberated chaos. However, if you listen closely, you’ll be able to find a soothing culture of tones that are simply amazing. The albums final song, “A Path Broken//Walking Into Dune” is a breathtaking display of conclusive audial proponents that combine the efforts of the previous songs into an awe-inspiring summation. Multiple layers of haunting melody calmly collide with synth leads that extend beyond the reaches of space, yet gather all of the sounds into a cluster of tonal perfection. This track is such a a wonderful outro to this chapter of Landsraad’s Dune Universe and leave plenty of room for more innovative synth compositions to come in the future.
Landsraad is such an amazing project and it’s hard to categorize the true genre of the music contained within the highly impressive (but small) catalog of album. Of course there is a traditional Dungeon Synth influence but Landsraad also incorporates classic synthwave, Berlin School, soaring harmonies, and an amazing theme to produce a signature sound that can’t be denied. ‘Fate; The Inevitability Thereof’ is a thoroughbred recording of the highest caliber and just may end up on my year end Top 10 list. I highly recommend checking this album out as it has so much variety to offer. Also, the songwriting is out of this world and will surely peak the interest of those that love a good science fiction themed musical outing.
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Earlier this year, I reviewed an amazing album by Monstruwacan. It’s based on the sorrowful concept of grief and poverty and project mastermind, Caldon Glover excelled at creating a dismal state that listeners can dwell in and become at one with the music and theme. I wouldn’t necessarily call that album a side project, but it’s one that relates with the horrors of mankind and societal shortcomings. As for his main Dark Ambient project, Caldon Glover plunges into the very heart of mayhem and polarizing destruction with the harsh sounds of Indistrialized ambience and deep tonal modulations that produce a sinister atmosphere of gruesome discovery. On his latest album, ‘Death Mycelium’, he presents 5 tracks of violent commotion that weighs much more on the psyche than it does toward physical bloodshed. At almost an hour long, these songs send a pulverizing image of darkness and disturbing images by way of horrific drones and soundscapes. Let’s dive deeper into each of these tracks.
The ill-lighted album opener, “Gateway To The Fiber Network Deadworld”, begins with an isolated drone that sounds as if it’s drowning in frequency abandonment. Simplistic but relevant effects depict a scenery of obscure visuals and a dismal populace. As the mind starts to wander with a slow walk through destructive landscapes and architectural structures, soundscapes begin to build, increasingly becoming the dominate force in this song. Sounds of ghostly shrills begin to terrorize while hollow modulations multiple with a brutal sense of depth. It’s as if the clash between tangible disasters and deep space came to an infinite conclusion. “Sunk Into Thin Spaces” commences with several frightening tones, equaling that of the terrorizing music that plays in unison with a killing scene in a horror movie. Although a bit more minimalistic than the first track, it’s just as effective in creating a void that listeners can describe as they are falling endlessly into an abysmal pit. This song sounds like a nightmarish space disaster that has taken place far out of recollection of other beings. “Endless Worm” continues with the grimness but in a less chaotic way. Minimalist sound shift from hollow oscillations to desolate bitterness that seems perpetual. As this twelve minute song continues, deeper instances of continual drones push the boundaries of insanity. Although there is not much going on with regards to effects and soundscapes, there is something deeply disturbing with a track of this nature. Definitely one of my favorite songs on the album. Next up is “Broadcasting Calls Through Strange Winds”. The celestial launch of this intonation is like an unnatural velocity of force that is set to destroy all in its path. The deep bellows of synth pads create a reverberated sound much akin to our thoughts of what the frigid corners of the universe must sound like. At thirteen and a half minutes long, this is the second longest track on the album and is a tour de force of cosmic vacuums and the doomed pandemonium that is kept hidden within. The last four minutes is what nightmares are made out of, as if an unseeable force is pinning you down against your will and infiltrating your mind with terror and dread. The final – and longest – track on the album is, “Let Yourself Away From This Place.” At fourteen and a half minutes long, there is no denying that the bleak adventure that lay ahead will be lethargic and unbearable. Dreamy drones paint a picture of boundless turmoil and apathetic occurrences. The occasional use of percussion is a welcomed sound as it blends with the texture of the dreary soundscapes and ceaseless moments of tonal dissonance. Interestingly, the final few minutes depict a spot of hope, as warm drones enter the picture, shining a hint of light on the distant horizon. What a spectacular way to approach the final moments of this stunning album.
Caldon Glover has provided us with an array of Dark Ambient albums since 2018 and ‘Death Mycelium’ just may be his most challenging (and rewarding) album to date. There are no over-the-top cinematic tricks or indulgences, just bleak, atmospherics that takes the listener beyond imaginative realms. If you’re a fan of sinister and minimalistic Dark Ambient music, look no further than Caldon Glover. Click on the link below to download this amazing album, and check out the remainder of his discography while you’re there.
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Ruins Of Xibalba, the soaring new project of Tir main man, is much more than a Dungeon Synth side project. It is an ambient adventure into outer realms, where cosmic soundscapes compliment daunting melodies and admirable song structures for an outcome of refreshing proportions. Bits of synthwave and cinematic arrangements elicit a high level release that eclipses the boundaries of many electronica genres. Mystical second album, ‘Gobeklitepe’ is an excursion through ancient mythos and compelling sacred cultures through 9 distinguished compositions that erupts in almost an hours worth of synth greatness.
Celestial album opener, “Sirius”, commences with a soothing drone that is reminiscent of gothic overtures from a classic, transcendent period. As altering tones shift like a slow flowing current of vast oceans, luminescent soundscapes and peaceful synths build a scene full of dreamy characters and endless landscapes. “Reverie” begins with a calming tone that creates a sense of relaxation and drifting timbres while utopian synth leads play somber intonations that pay homage to 80’s synthwave. Harrowing textures build into an austere arrangement that is addictive and completely mesmerizing. This is one of my favorite tracks on the album and one of the most played songs in my synth playlist. “Pedestal” is one of the shortest tracks on the album and has more of a traditional Dungeon Synth flare than the previous songs. Layers of synth leads build in crystal clear context and this beautiful little dirge is over just as it starts to create a dream state for the listener. “The Flame In The Temple” fires off on all cylinders as bombastic samples paint a picture of dread and anguish. As if a battle is looming near, this particular sound continues for a few minutes until a melodic chop begins to integrate, forming a massive sound of Medieval spirits. Alluring female vocals are added, sending this song to soaring heights and giving the listener a sensational overture of adventurous development. Additional spoken words enhance the terrain of musical endeavor, making this a supremely well rounded song. At just over ten minutes in length, “Prophesy” is the longest track on the album. Combining elements of synthwave and atmospheric effects, this song is a slow build into a captivating cinematic performance. Sonic drones and spacey keyboards fill the void as a wall of sound is created in hypnotic fashion. Representing the subtle changes that occur at dawn, “Prophesy” runs the gamut of sounds, from elongated and peaceful to melodic and grandiose. “Shaman Of The Welkin” is a change of pace, as a rhythmic drum beat leads the charge in this eerie dirge. Written in a very theatrical way, it features a gigantic orchestral sound that flows in a very emotional way. This track could very well be featured on a soundtrack of a fantasy/adventure-based movie. “Göbekli Tepe” is a whimsical outing featuring a quirky keyboard chop that plays in the background, while sounds of the orient take center stage with colorful effects and serene synth elements. “Eternal” is a daring, ambient adventure with a host of menacing soundscapes and effects. Immediately commencing with a sinister drone, mind-melding effects play sporadically, showcasing a sense of dread and endless agony. About halfway through this eight minute opus, fluid keys begin to play, opening the depth of this track like an endless black hole in deep space. It’s as if a constant storm reaping havoc on the mind and causing a depth of internal commotion. The final track on this spellbinding album is, “Reverie – Yetzer Remix Version”. For over seven minutes, we are treated to a masterful drone experience with minimalistic effects that bridge the gap of various electronic genres. With an anodyne of modulated tones, there are similarities to the original track but this remix version is a darker presentation of an already bleak performance that demands multiple listens.
This sophomore album by Ruins of Xibalba is an extremely fascinating affair and a one-of-a-kind experience. Overall, ‘Gobeklitepe’ is a consoling journey through time, space, the mind and any other relatable experience and certainly fulfills a particular destiny with thoughtful arrangements and mesmerizing cadence. Although this album was released last year, it’s still extremely relevant now and I highly recommend this for fans of ambient textures and the wonders of Medieval soundscapes. Please click on the link below to dive into this amazing adventure.
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Infinexhuma is one of Dark Ambients most spectral artists. Producing a variant that captures the true essence of Dark Ambient music, while always coming up with ideas that catapult his brand of bleak atmospherics beyond comprehensible realms. Each release presents a diverse blend of haunting drones and soundscapes while fusing in intricate nuances that entertain the listeners pallet for extended moments in time. I recently had the pleasure of interviewing the audial administrator of noise terror that IS Infinexhuma. He give us the low down on the projects beginnings, influences, and what all’s to come. Hope you enjoy this as much as I did putting it together.
1. Thanks for taking the time for this interview! One thing that I’ve been wanting to know is, what does the name Infinexhuma mean and how did you come up with it for your project?
Infinexhuma refers to Infinite Exhumation, a process widely experienced by many inhabitants of this earth, a process that breeds monotony and lack of will. Around the time of the initial host death, a doorway in limbo was opened via this concept, more so a realization that this process must be broken, emphasized by the trapping within a limbo state being the most accurate example of the horrors of unbroken monotony, the journey is, was, will be the beaking. The sounds are only evidence and passive teachings channeled through this host, It is and is not music, it is and is not metaphorical, it is and is not real.
2. How did you get into Dark Ambient music and what was the influence that made you decide to start your own project?
I recall approximately 10 years ago, at the time operating a different and now defunct music project, short naps were taken during studio work. During these naps I would listen to some more subdued black metal or perhaps just throw on a horror film for the score. Later I discovered a website called darkambient.de I believe it was called, that became the go-to for the naps after that. Later of course there were multiple stages to the evolution from lightly experimenting to heavy listening to diving into field recording to eventually releasing a first album to discovering scenes etc. Learning the composition structure of such music was a long process as well, as it was new to me, not in terms of listening, but in terms of production. The energy for Infinexhuma grew while the old project died, some influences include (yes some are by the same person); Inade, Lustmord, Ark Tau Eos, S.P.K., Archon Satani, Atrium Carceri, Sjellos, Noctilucant, NERATERRÆ, Tangerine Dream, TG, Altus, Gustaf Hildebrand, John Carpenter, Deathpile, ProtoU, Sabled Sun, film scores, Yen Pox, Terra Sancta, Apocryphos, tomandandy, Enmarta, Council of Nine, A Murder of Angels, Halgrath, Alphaxone, Svartsinn, Kolhoosi 13, Dark Matter, Crawl Unit, Subklinik, Kammarheit, Keosz, Blood Box, Trepaneringsritualen, Apoptose, Beyond Sensory Experience, Raison D’être, Visions, Vestigial, Phonothek, Monocube, Phragments, Therradaemon, Nordvargr, Brighter Death Now, MZ 412, The Human Voice, Paleowolf, Ramleh, Opeth, Ulver, Enmarta, ALLSEITS, Northaunt, Hilyard, Sephiroth, Desiderii Marginis, Phurpa, Northumbria, Psychomanteum, Gnawed, and likely more. Many obscure projects have been discovered over the years, ones that would evade the objective (and often disliked by elders) classification of dark ambient. The tiers and styles and authenticity within this obscure genre could be elaborated on as my perspective and knowledge on it continues to grow and be enhanced, however this would lengthen the interview to perhaps an unhealthy limit. I later began to hit the starting point of a full circle and felt comfortable drawing influences from unrelated genres I knew more pre Infinexhuma, mostly energetically and not so much in terms of the speed and rhythms.
3. The debut album from Infinexhuma, ‘Crossing’ is a well crafted experience that easily rivals albums from more seasoned artists. How much effort and production experience went into delivering this album?
Well, in fact the real first work was Chaotic Depth, the low volume 2016 unmastered version that is, which itself took approximately three to four years of work, not much of an impact, but I believe the process of “peaking” can be reversed for some artists, some achieve the proper transmission of their message with a first production, others take several to weed out what is not to be said, Brian Williams actually said this in an interview, quite refreshing. Anyways, Crossing, the crossing state, a collection of earth captures from what we call the Pacific Northwest. Crossing took several years as well, however a period of sharp acceleration was implemented towards the end. Much of this work was guided by intricate harmonics within the field recs, which gave a solid and consistent base for workflow, and that avoided any creative blockages. This was the true state of transition between this and that world, the energy was aided by a concept I often discuss, is your visual and physical perception of music based on environment, for example Snowy Court, was an actual Snowy Court, a Japanese garden in a strong snowing winter season, aside from the of course the sounds of subtle snowfall, the energy that was there during the recording process, remains (to me) on that recording and follows all the way to the studio, providing an energy base for the track, and I believe this cannot be recreated, despite the sounds being identical, it will lack the energy. This work was mastered by the great Robert Rich.
4. “Broken River” is my favorite track on that album, as it uniquely combines field recordings, drone, haunting textures and a sense of melody. What was the story behind that particular track?
As The Snowy Court, it was in fact a broken river, the first portion of rocks shuffling was traveling to the water, traveling within the break of the river, guided by subtle harmonics, messages beyond the mind. The whole album could have been better in terms of technical production as now I am vastly more advanced in this regard, but for the sake of giving credit where it is due, the “speaking” was natural, clear and very simple.
5. Do you document your own field recordings or sample from other sources?
I use 99.99% original field recordings, samples are seldom used, and if they are, their obscurity would prevent anyone from ever acquiring knowledge of the original source.
6. In 2019, you teamed up with Neraterræ for a remastering of ‘Chaotic Depth’? I can definitely hear his influence on the album but how did this exquisite teaming come about?
In fact, it was more of a gift from fellow creator NERATERRAE, I believe I had given some unused pieces of music and in exchange for this he presented to me a mastered version of this album, alongside I believe a track for a dark ambient compilation. He was featured on his personal favorite of the album, overall it was quite a pleasure to listen to and motivated me to execute a full digital release. Again, none of it thus far is what needs to be said, I could destroy all Infinxhuma material tomorrow and it would not matter, I am attached to nothing, especially material of the past that is now deemed inferior, and in my personal opinion not so good anyway.
7. On 2020’s ‘Arcade’ release, it seems like you went for a more minimalistic, retrospective sound. The results were simply amazing, in my opinion, but what were your expectations with this release?
Very true to the Infinexhuma path, yet in a realm above many of the human compulsions and matters, hence its more neutral and overseeing vibe. This release was expected to sound good, the sound was a heavy focus of this work, the depth and intricacies within the drones were (and are) one of the most fascinating things within music to me. Many planes were explored on this, a perhaps more space oriented cousin to Crossing.
8. There are a variety of instruments used/heard throughout this release. What all do you play on this album – and other albums for that matter?
Arcade had some synth layers as I had not yet adopted the principle of operating on samples only, however likely some guitar, for sure some throat singing on a specific track, but as well likely many many field recordings and their most prominent harmonics brought to the frontlines.
9. Speaking of gear, can you walk us through your studio setup?
Which one? Ha, well
1) DAW/post production, I have an ASUS laptop with decent power, a large casio used as a midi controller and practice at times, Yamaha Hs8 monitors, a few focusrite interfaces, A tape dubber/player, a novation (mini) pad with midi pots, a large bass amp, a condenser mic with multiple filters, a digital reverb unit, two guitars, a V-Drum kit, some brass and wood instruments
2) Practice/Live Prep, of course many of the mentioned and those I will mention can and are often moved in between rooms, but fundamentally I have a Eurorack box, forgetting how many hp total, three Yamaha mg102 mixers (the old school ones without usb and digital effects and crap), many effects and generator pedals, passive ¼ mixer, a few dynamic microphones, a marantz 201, a Roland SP-404 SX multiple (actual) drum pieces, a large collection of carefully selected windchimes, more wood instruments, bells, singing bowls, a Behringer Neutron synth and one more mackie mix8 (not the sturdy VLZ construction). Of course a soldering station for minor repairs and eurorack builds, contact microphones.
3) Mobile, I often use the mackie mixer when recording in tunnels or bunkers (if accessible enough to bring power as well. In my car I have constantly my Sony PCM D-100 for intricate and high quality (safe terrain as I’ve killed a few) field recs, a Zoom H-1 for more rugged and rough locations, quick on the fly recs, and as well to be used in conjunction with the Roland CS-10EM (recommended to me by Gnawed) binaural earphones/microphones for unorthodox binaural recs as I use them in reverse, thus far at least. Next, I carry a Zoom H3-VR for not the most accurate or heavy duty ambisonic work, but interesting nonetheless after decoding, A gopro with a special discontinued Sennheiser MKE-2 underwater microphone and another deeper diving somewhat shabby hydrophone for some cool underwater stuff. A tablet for on the fly Hexen Modular patches, to be used with a smaller JBL cylindrical sound bar, as well a larger JBL ONE portable rechargeable “PA” speaker.
10. Back to the music, on last year’s amazing release, ‘Frontier’, you have a variety of guest musicians that provide some captivating input for several tracks. Did you have a particular sound or theme in mind when working with these talents?
Perhaps only for the Blood Box collaboration, I have always had a very special appreciation for Blood Box and much admiration for their smooth execution of the dark and light mixture throughout their work. This was what I was seeking on our collaboration. Minimalism was sought out for the CEKE collab, and energy for the NERATERRAE one, all I believe were excellent works.
11. I have to ask you about “In The End”. It’s so different from everything else that you’ve released, yet sounds as if it fits right in with the theme of the album. Is this a direction you may be interested in going in with this project or perhaps under another name?
I have huge respect for those that are dedicated and naturally immobile on a specific stylistic path, however as the journey continues, I become more aware of how this is difficult, and not needed for me. They are all artifacts, just sent through a host, a messenger that will one day go back to dust, some artifacts will be slow and brooding, some will be destructive, some will be energetic and within rhythmic structure. There will be more.
12. On your YouTube channel, you have a lot of live performance videos uploaded. This is something that’s not quite common in the Dark Ambient community (yet). How is it pulling off a Dark Ambient show while keeping it creative?
Many live works tend to stray from typical dark ambient, but at times have been very true to the exact style. Live is a heavy opener of creative doors, a heavy generator of energy, a powerful opportunity to give further insight into the Infinexhuma path, however there are often limitations, obstacles and at times failures that are not present in a studio setting. Embracing the failures and the death of expectations allows energy to be recycled and properly reutilized for exploration.
13. How often do you play live and do you have any plans to venture out on a larger scale for performing live?
Live services are conducted perhaps ten times or so a year, there have been some large scale events however there will be more, international service is within the scope as well.
14. We’re mid-way through 2022 and haven’t experienced new Infinexhuma material yet. Do you have something planned and what would be the direction of the material?
It has been some years now, and much work has been discarded, and much more will be created and burned, until the exact energy beam is captured. Artifacts are being prepared, yet completion is far and the time of unveiling is undetermined at this point.
15. As far as large scale collaborations, do you see any releases of this kind in the future? If so, who are some artists that you’d be interested in collaborating with?
There will be more co-operations along the journey and path, yet at this time I cannot elaborate on any who will contribute to the exploration. I will state that there are considerations, and some that may leap to genre crossing branches on the great tree of music
16. I really appreciate your time and letting us know about all things Infinexhuma. Any final thoughts for those that will read this interview?
Thank you for your effort and everything you do for the community of creatives, this will one day be read by artists hundreds of years beyond our existence as historical art exploration.
Xerxes The Dark is one of the most consistent artists of the Dark Ambient genre. Not necessarily when it comes to the Dark Ambient sound in the traditional sense, but with the unheralded impression of incorporating new ideas and tactics that indicates an endless realm of musical opportunity. With a string of highly influential albums that thrusts the Dark Ambient maestro into elegiac territories such as industrial, noise, fusion and metal, ‘The Rise Of AI’ just may be his most enigmatic release yet. With a futuristic story and theme that is not so far off from reality, this album thins the comfort zone of ambient music with a thrust into chaotic bleakness. Think about the hostile take over of bio-engineered humanoids in ‘Blade Runner’ with the invasion of indestructible alien robotics of ‘Terminator’ and then mix it with the technological destruction of ‘Black Mirror’ and you’ll have a sense of what the flow of ‘The Rise Of AI’ is all about. Let’s take a dive into this amazing recording.
Bold album opener, “The Rise Of AI” makes a critical statement for the flow and direction of the album. Slowly building into an industrial nightmare, this track more resembles Godflesh than dark ambience. From the steady cadence of drum machines and solid bass lines to a variety of voice samples and guttural transmissions, this track properly prepares the listener for the destruction that will soon follow. The nightmare continues with “Nuclear Winter”. Starting with eerie drones and haunting whispers, it quickly turns into an emergent, industrial anthem with muddy and distorted vocals. Guitar tones hint on melody but that quickly fades into a realm of bleak discomfort. “Take (No) Shelters” emits more dark ambience than previous tracks and is accommodated by stark samples and mechanized soundscapes. More vocal narration are heavily modulated and are right inline with the horrowing story that continues to unravel. “Synthetic Consciousness” is a full on Dark Ambient endeavor with a Space Ambient vibe, complete with celestial soundscapes and dark timbre that rapidly expands beyond the outer reaches of the universe. Malevolent machine nuances continue the harsh undertones of robotic supremacy. “Cyborg Soldiers” embodies an industrial sound with looping noises and drum beats, while a gritty vocal line chants in disdain. “Signaling The Alien Machine” marks a return to the Dark Ambient domain with a plethora of discordant noises and background echoes. As the drones increase in volume, muffled communications depict a scenery of imminent hostility. This calm before the storm approach creates a sense of anxiety and wonder, while complete AI take over is close at hand. “Simulating The New World” is a cinematic adventure that combines a barrage of industrial beats, melodic arrangements and and glitchy rhythms that flow together seamlessly. Portions of this track stimulate a warm sensation, as if there are light moments amongst the chaos that appear to be fathomable. “Interpret X11-01-10” is a short track that depicts communicative transmissions between AI and distant worlds. Soothing drones in the background allow this effort to be audible but untranslatable, as the evil machines prepare their next move for impending takeover. “Domination Of Humanoids” begins like a sneak attack with small, subtle noises as if being surrounded by unidentified beings. With a slow crescendo, industrial drum beats and bilious vocals elicit a constructive output that wages the war between AI and mankind. Like a battle cry of the ages, this track becomes a statement of dominance and leads the mission of AI acquisition. “Accessing Cosmic Memory” is a desolate ambient track that contains wavering drones, empty soundscapes and a looping pattern that signifies a positive communication efforts between the AI and their end goal. This expressive intonation creates a cessation of offensive strikes while vast information is being absorbed for future use. “Meeting Space Tribes” once again delivers a stark vocal arrangement with looping, industrial passages, while layers of drones produce a grandiose sound. The vocals spew a ton of pain and anger throughout and combined with the music, present a chilling, glacial landscape. “Intergalactic Empire” showcases a new side of the story as well as a new sound for XTD. With a melodic approach to Sy-Fi soundscapes, this track is industrial, yet light-hearted and probably one of the most accessible songs on the album. Complete with drum beats, bass lines and samples, this style is a welcome addition to the album as a whole and actually fits in quite well. Next up is “Holographic Wormhole Drive”. Not only is this the coolest song title ever, it’s also the closest this album comes to the traditional XTD sound. This is Dark Ambient in its truest form, with deep drones, creepy soundscapes and an overall menacing essence. There are several pitch shifts in this track that enhance the listening entertainment value, as well as present multiple sides to this gloomy effort. The final track of this epic album is the summarizing, “Gateway To The Unknown”. This is another scorching Dark Ambient masterpiece that includes some insane trip-hop beats and intense soundscape and noises. This ends the album in dominating fashion, just as the AI has systematically overtaken human kind, in this bewildering conceptual masterpiece.
I continue to be amazed by the many faces and directions of XTD. It’s safe to say that I never have any idea of the direction of each album, but pursue in amazement at how impressive each outting is. Whether it’s the established arrangement of Dark Ambient mainstays, drudging Noise Ambient, Industrial Ambient, or a conglomeration of the aforementioned, rest assured that the entertaining value (and listening experience) will be extremely high. ‘The Rise Of AI’ is right up there with the best that XTD has to offer and I highly recommend this for those that love an eclectic blend of electronic music styles. Please click the link below to download this incredible album and also check out the XTD back catalog while you’re there.
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From the distant reaches of the macrocosm, I bring you another planetary offering of Dark Ambient summary reviews. This batch of Celestial Ephemerides offers a copious selection of mystical performances that surges deep in the spheres of dimly lit voids. From noise and ritualistic to supernatural soundscapes and haunting field recordings, this is the most impressive gathering of Dark Ambient albums I’ve had the pleasure of reviewing in a while. Hope you enjoy!
1. Pillars Of Golden Misery – ‘Riders Of Misfortune’
‘Riders Of Misfortune’ is a majestic blend of discordant algorithms and resounding clamor in this abrasive but enjoyable offering. Served on a tumultuous platter of indignant ambience, this recording is not for the faint of heart or those with sensitive hearing. Piercing effects and elongated droning produce a disquieting pulse of audial horror that is as punishing as it is enthralling. Highly recommended for fans of harsh noise, glitch and transfixing avant-garde.
‘Modular Performances’ is such a fitting title for this massive collection of ambient tunes from VSSP. Innovative, tranquil, dreamy and calming are other adjectives that also accurately describe this seventy three minute offering that traverses the drone, space ambient and dark ambient genres. One thing that is predominant on this recording is the real sense of melody in each track. The emotional feeling is almost heartbreaking and sorrowful but extremely compelling to listen to. Highly recommended for background music on a cold, rainy day or while relaxing with the intent to cleanse the mind of negative thoughts.
To these ears, this is one of the most complete Drone Ambient recordings I’ve heard in a long time. Aside from a few other artists, Sana Obruent is quickly becoming my go-to artist for epic drone excursions due to the prominent foray into meditative resonance. Minimalistic & simple, yet effective and powerful, ‘Aftoktonia’ is over one hundred minutes of reflective musings that brings together powerful drones and circadian effects that is as relaxing as it is strident. This is one of my favorite Ambient albums of 2022 and probably will remain that way for many years to follow.
4. Underwater Sleep Orchestra – ‘The Night And Other Sunken Dreams’
Underwater Sleep Orchestra, the new, brooding collaboration between Cities Last Broadcast and God Body Disconnect is a seventy eight minute magnum opus of polarizing dark ambient music. From hypnotizing drones to warm soundscapes, this is a project that I cannot wait to hear more from. These songs are lethargic and melodic and are a bit different from the typical dark ambient setting. You can definitely hear the input of each artist as they bring their signature sound to this musical alliance. Can’t recommend this one enough, especially if you’re looking for something to listen to while drifting off to never never land.
It’s not often we get a fascinating album with trumpet and glockenspiel performances, but here we are. ‘Phantasiai’ is a spellbinding album of bleak expression with chilling vocals and dreamy production. Cyclic Law continues to recruit the finest artist that are ready to deliver the best of their craft. Thankfully we have Leila Abdul-Rauf to continue the flow and this album fits in with a long list of stellar releases.
The concept of improvisation by O Saala Sakraal is a must listen and ‘Heven’ is one of those albums that will draw the listener in based on the sheer amazement of the unknown. Although only 21 minutes long, this collection of spontaneous incantations is both ritualistic and engaging. Soothing vocal parts with sinister narrations coalesce with haunting atmospherics to provide a post-apocalyptic feel without sounding dilapidated. I can’t wait to hear more from this artist and thanks again to Cyclic Law for continuing to release amazing albums like this.
‘Dilogia’ is another prime example of hypnotic ambience that builds in layers to achieve a fusion of synthwave and dark ambient excellence. Warm, harmonizing drones go through an assembly of thickening tones and modulated soundscapes to produce emotion canticles that represent an exceptional blend of retro and futuristic synth virtue. Also from the Cyclic Law label, it’s no wonder why this album made it into the lineup as it sounds fresh, inviting and completely divergent.
There is nothing more soothing than the blissful sounds of crystal bowls, harmonizing with natural soundscapes. Yuko Nakai excels in this area with a splendid three-track EP, ‘Me, And The Waters’. Fusing the sound of crashing ocean waves with extended hums of crystal bowls, beautifully arranged songs of scenic allure expel a magnitude of harrowing sequences that lure the listener in with unimaginable power. My only wish is that this album was about an hour long in order to fully appreciate its hypnotizing effect. Highly recommended for a deep, meditative experience.
Gdanian is a new edition to the Cryo Chamber label lineup and upon initial listen, I can confirm that it’s the perfect label to release an album as alluring as this one. An oceanic-themed outing, ‘Submersion’ pulls no punches with including aquatic soundscapes and sub-surface atmospherics. Beautifully produced, each track immerses the listener into a vast world of unexplored adventure. With the feeling of unimaginable depth, there is no choice but to sit back and soak in (no pun intended) the bleak soundscapes and minimalistic drones. An amazing recording that should not be overlooked.
Lētum presents a cinematic nightmare of an album with ‘Tue Face Of Live And Death’. A conglomerate of disturbing samples and soundscapes backed by malevolent drones and pads. Horrifying vocal sequences are enough to to disrupt your sleeping pattern and send you down a vortex of enraged evil and madness. Coupled with theatric production values, this is a highly professional offering from one of Dark Ambient’s independent achievers. Recommended for Dark Ambient fans that don’t mind being on edge during a whole albums worth of menacing intonations.
Hope all is well and please enjoy this latest round of Dungeon Synth summary reviews. I know that many of these absolutely deserve a full review. However, being a one-man shop, periodically doing these Celestial Ephemerides articles is the best way for me to keep up with the high review demand. These ten albums are all very intriguing and different in their own right, but are still firmly planted in the mysterious genre that we all know and love.
1. Countryside Views – ‘Mountain Country Memories’
This comfy synth projects takes us to far away hills and farmland settings in this tranquil synth outing. Featuring field recordings of the peaceful endeavors of country living, this album will make almost anyone feel right at home in the serene setting of all things nature. Elongated droning keyboards and crisp, enjoyable synths complete this reposeful recording and provides the feeling of refreshment and undisturbed emotions. ‘Mountain Country Memories’ is perfect for creating a placid start to your day or just having a moment of calmness.
2. Ferrydor Archive – ‘Tale Of The Foolish Dreamer’
Another multi faceted outing that moves Dungeon Synth music beyond the blurred lines of tradition and incorporates a slew of other styles and techniques. From ambience, whimsical interludes to modulations composed of chip tune technique, ‘Tale Of The Foolish Dreamer’ is an impressive album that could very well be a soundtrack for a fantasy-based story. Sometimes cheerful and sometimes somber, it is unequivocally a meticulous synth recording that has superlative elements of classical compositions.
The purveyor of multi-genre greatness, Archanist, surpass all expectations on the darkly fantastic offering, ‘Poseidonis’. From lush, textured synths to Berlin school sequences, this album runs the gamut of soulful and emotional sounds that exclude melody and magnified feelings. Each track produces a unique vibe while maintaining a constant, bleak posture. A wonderful, modern take on Dungeon Synth aesthetics while brilliantly weaving in retro synthwave, this album is an instant classic and is sure to be a fan favorite for all.
Over an hours worth of well crafted, beautifully orchestrated music, ‘A Walk Amidst The Cairns’ is an epic release that transcends any genre. Even though it’s rooted in Dungeon Synth, these soothing tracks emit an energy of classical instrumentation and exuberant scenes of endless landscapes and peaceful times. This is the perfect album to have for filling the void of background ambience, or slipping away into a meditative bliss. This is top quality synth music and is highly recommended.
‘Death Cannot Contain You’ is a hefty collection of quirky canticles with ominous undertones and endless exploration of synth madness. Watch what’s lurking around every corner, as these tunes provide the soundtrack for lurking evil and heinous ambition. Nearly forty five minutes of non-stop keyboard and percussive repose, these tracks offer an impressive melding of various instruments sounds and effects to bring forth a sense of gritty contentment. Don’t pass on this album as if offers an audial satisfaction like no other.
The Sage Of Seers hit the jackpot with this release as it’s one of the most momentous collection of tracks I’ve heard in a while. Heavy use of reverb give it a huge wall-of-sound feel and the instrumentation is performed in a flawless, mesmerizing way. Songs such as “As I Slept Upon The Ancient Barrow” and “The Path Leads To The Light” pay homage to quaint, Medieval settings, while “Under The Frozen Lake” contains Dark Ambient passages and idiosyncratic effects. Very impressive release that covers an array of genres without sounding fatigued or over played.
7. Thalmar – ‘Pried From Winter’s Frost Laden Grip’
Strident, lo-fi project from the Ithildin Tape Production camp, Thalmar epitomizes the despotic side of Dungeon Synth with epic, grinding tracks of looping discord. Creating an uneasy approach to layering with a consternation of bleak arrangements, ‘Pried From Winter’s Frost Laden Grip’ is a disturbing audial ride through chaos and the horrors of Medieval battles. Edgy production that borders on tense distortion and restive modulated impulses, this is the ultimate album for your dark inquisitions.
Fantoma Sânge takes the listener on a colossal adventure that is part whimsical and part theatrical. From big sounds to quirky arrangements, this is a twenty four minute excursion that you don’t want to miss. Jubilant drums and massive synth tones pave a path toward eccentric oblivion while the lo-fi production maintains a tradition of Medieval spirit. Don’t pass up this dainty little offering and enjoy all the turns and twists along the way.
Produced with a sense of isolation, this gritty offering presents a cloudless perspective of ancient times. Full of sorrow and melancholy, these tunes range from light-hearted dirges to jarring compositions that truly reflect life back in ancient times. With an array of synth effects and tonal changes, ‘Guardian Of The Realm’ is a complete listening experience and will surly meet all of your Dungeon Synth needs and desires.
Unofficially rooted in the aesthetics of Dungeon Synth, Disemballerina charges forth on ‘Fawn’, their latest EP of Medieval fueled orchestrations and discordant instrumentation. Nearly fifteen minutes of classical interpretations that dive into various genres of avant-garde liking. Subtle, smooth, and at times unconventional, this enticing release is worth multiple listens as well as a gander into their back catalog of impressive albums.
Since 2020, Temple Of The Fractured Light has gone above and beyond with their brand of psychedelic-infused Dungeon Synth music. Combining soothing anthems with whimsical instrumentation and vivid expression across five amazing albums, there is a sense of joyous wonder when experiencing these amazing recordings, especially since they get better and better with each new release. Last years ‘The Groovopolis’ A was met with high praise and amazement and it would be hard to imagine future recordings outshining this pentacle release. However, that has happened as ‘PSYOP Theory’ is an astounding effort into multicolored territories of consoling synth greatness. Six tracks and nearly thirty seven minutes of mind-bending synth compositions, this album contains a multitude of twists and turns and supremely weaves them into massive sounding arrangements so that audial transparency remains intact.
Tantalizing lead-off track “Circle Or Square::Black Or Grey” begins with a 70’s style synth effect, playing a catchy, melodic chop that is soon joined in unison with orchestral instrument sounds. With a very mellow vibe, this ghoulishly mixed track is a spectacular way to start off the album and sets a melancholic mood. Next, is the uptempo “Roswellian Waltzes”. A droning synth slowly crescendos just before a crashing symbol cascades into a histrionic percussive beat. Lush synth effects and mesmerizing echoing sounds maintain the psychedelic appeal while traditional Dungeon Synth melodies exude a tempting resonance. “Sacred Geometry And The Eye Of The Pyramid” is a hypnotic blend of clean synth arrangements and grandiose leads that are reminiscent of classic – and even gothic – intonations from 70’s and 80’s cinema. This is a very impressive track and one that I seem to return to the most often. Following this is a song of similar caliber, “That Which You Should Not Know”. Starting with a few single-note keys that are equally gloomy and ariose, this track maintains a serene prowess from start to finish. Even with additional synth leads that are slightly louder in the mix, this savory piece is a delicate treasure. “The Persuant Theories Of MK Ultra” is a proverbial nod to the illegal experimentation program designed by the CIA. However musically, whimsical keys and spacey synth effects are arranged in a slow looping pattern and become more mesmerizing with each passing. Sudden symbol crashes and sparse percussion add to the mystique of this track as it continues to build into a psychedelic frenzy all the while maintaining a beguiling Dungeon Synth essence. The final endeavor on the album is the alluring title track, “PSYOP Theory”. Beginning with beautifully modulated synths and charming leads, this inspiring track provides a haunting platform for a barrage of strange sounds and peculiar drum beats. I can imagine a group of travelers back in ancient times, escaping the grips of an invisible force while running through and endless, multi-colored forest. Eccentric and atypical, this is an intriguing piece and solid way to close out this magical album.
Another crowning achievement for Temple Of The Fractured Light, ‘PSYOP Theory’ is an exquisite addition to the Dungeon Synth community. From whimsical to battle-ready anthems, these tracks set a prescience for quality Dungeon Synth music while adding a stunning psychedelic aesthetic. In a category all of its own, ‘PSYOP Theory’ is an addictive listen and capable of cleansing the audial pallet for a new, fresh sound. Please click on the link below to support this exceptional artist and enjoy this amazing experience.
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Over the years, the Cryo Chamber label has become my go-to label for top-quality, cinematic Dark Ambient music. Not only that, the label has introduced me to – what would become – some of my favorite artists of the genre. One of those artists is Ager Sonus. One thing that sets Ager Sonus apart is the inclusion of ancient mythological themes for each album and contrasting musical sounds that present a deep dive into the theme at hand. On latest album, ‘Niflheim’, Ager Sonus incorporates hoary deities and recollections similar to that of Norse mythology and civilizations. This alone creates a dynamic atmosphere that is supremely backed up theatrical ambient pieces, telling an age-old tale through superior musical expression.
Starting the album off in a tribalistic fashion is “Going North”. After a brief descent into dark modulations, a rhythmic beat begins and a variety of instrumentations treat us to a theatrical composition that depicts the beginnings of uncharted civilizations. Concluding with a jarring ambient section, this track sets a high mark for what will follow. “Murky Waters” introduces an array of field recordings and soundscapes that thwart this mystical journey into undiscovered realms. Synth leads create a chamber of wonder as it produces a visually bleak setting. Haunting vocal patterns and percussive moments broaden the scope of this intense recording. “Bonfire Stories” takes us back to ancient times of Viking warriors and the fight for land and heritage. This song creates such a magnificent image of natural landscapes and dark times of an age-old civilization with its pulsating beat and emotionally charged instrumentation. “Tundra” commences with a dark ambient vibe and slowly incorporates a mid-tempo, pulsating beat with Middle-Eastern influenced arrangements. I can imagine this song playing while venturing through a narrow alley with a multitude of people selling goods and pacing relentlessly as if there is no where in particular to visit. There is a sense of tense atmospherics as some sort of evil may be lurking around every corner. “Decay” has a beautiful new age vibe as a slower drum beat sets a steady cadence for alluring melodies and soundscapes. As crows let out harsh, modulated caws in the background, a sense of tranquility plays on through elegant tones. “Ghosts Of Battles Past” is one of the more darker tracks on the album, as bleak drones and sinister vocal patterns are featured. The flute-like leads produce a harrowing moment as serene charm and cold decay begin to fuse for a mesmerizing output. “Dreamland” continues the pace and aura of previous tracks with industrialized samples and a huge reverberated sound that produces a huge space for maximum audial control and imagination. Toward the middle of the track, an assembly of resonance – previously heard – slowly make their way into the mix and the outcome is simply amazing and addictive to listen to. This is without a doubt, one of my favorite tracks on the album. The final track, “Journey’s End”, supremely summarizes this spectacular album with evocative drones, natural field recordings and pounding beats that are more bombastic and destructive than they are rhythmic. However, it showcases the abrupt ending that was expected on this ancient expedition. The drones intensify and build in layers as this is probably the most traditional sounding Dark Ambient track on the album. Nevertheless, it’s such a soothing way to end an excursion that is full of triumphs, struggles and alluring engagement.
Ager Sonus never ceases to amaze me with his brand of cinematic Dark Ambient music. Whereas many of his albums are rooted and themed in existing ancient cultures, this album – in my opinion – is more inline with the beginning of times and how certain ancient cultures began. This is yet another amazing album from one of my favorite Cryo Chamber label artists and I highly recommend checking out ‘Niflheim’ if your itching for a wondrous audial adventure into ancient civilizations.
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Dungeon Synth & Dark Ambient Reviews!! 