When it comes to Dark Ambient music, the name Onasander should come up when discussing the modern chieftains of the genre. With a consistent amount of captivating releases as a stand-alone producer, as well as a consistent contributor to many other releases, this is an artist that must not go overlooked (or unheard). With a new magnificent album (‘Dawn Metrics’) just released yesterday on the mighty Winter-Light label, Onasander is out to prove that his unique brand of dark, audial visions are as good as they come. I recently had the opportunity to interview the mastermind behind this great project and learn what the driving force behind his reign of terror is. Hope you enjoy this as much as I did putting it all together!
1. Thanks for taking some time out of your schedule for this interview. You’ve been busy this year with some amazing releases. Let’s start with ‘Under Unknown Stars’ released on Dark Odyssey Records. How did that album come about?
The idea for “Under…” came from my passion for Alien movies, not just the original quadrilogy but also the prequels. I thought of creating a space horror story using the sound of Onasander. I’m quite satisfied with the result.
2. With the space theme of this album, were there certain techniques you relied on to create suck a dark, immersive atmosphere?
In my opinion, the use of synths like the ASM Hydrasynth and the Waldorf Iridium, in combination with various software, made all the difference.
3. How do you know when a track has been completed and it’s time to move on to the next one?
Usually, my work sessions are short. If a track works, I stop working on it and let it sit for a few days. Then I come back to listen to it.
4. Congrats on your collaboration release with Alphaxone, ‘Futuristic Dereliction’, out now on Cryo Chamber. How was this experience working with one of the (other) greats of the Dark Ambient genre?
Mehdi is a great musician, perhaps the greatest in space dark ambient currently around. You can learn so much from him, and every time you listen to one of his elaborations, you’re literally blown away.
5. This album has such a broad sound that covers a large realm of the soundscape spectrum. What was the focus of the music on this release?
A dystopian vision of the future that touched on different genres and different sonic contaminations (like cyberpunk, for example); I think it’s very common in more modern dark ambient.
6. Whose idea was it to incorporate the Berlin School sequences on the track, “Time Fracture”?
Honestly, it was Mehdi’s great idea. In that wonderful track, I contributed by giving depth with the drones in the background.
7. Another release from earlier this year was the collaborative powerhouse, ‘Animic Atmospheres’, featuring yourself, Ashtoreth and Gydja. How did this creation come about?
The idea for Animic Atmospheres came entirely from me as a big fan of theosophy and anthroposophy, especially the works of Rudolf Steiner. I then chose some musician friends who were very close to an “esoteric” sound and definitely of a very high level.
8. There are some really dark tones on this album, dare I say ritualistic even. What inspired the bleak, tonal passages throughout this recording?
Definitely the idea of the relationship between man and the cosmos, theorized by the father of anthroposophy. We are nothing but “a thought that is thought” by unknown cosmic entities…
9. Throughout your recording career, what role has sound improvisation play?
It has played a predominant role. And it still does. I don’t consider myself a musician but a lover of sounds that I use to express what I have inside.
10. Do you already have a good plan, or set of ideas ready to go before you begin recording each album?
Sometimes it can be a book you’ve read; other times, a movie. Suggestions can come from literature, philosophy, or cinema. Very rarely do they come from other listening experiences.
11. Are there any specific synths or sound processors that are essential to your sound?
Yes, I use several synths like the ASM Hydrasynth, the Waldorf Iridium, the Moog Subharmonicon, Korg Modwave and several SOMA instruments.
12. How do you balance darkness with musicality in your compositions?
For me it’s pretty simple, since my idea of sound is essentially based on dark atmospheres.
13. How does your background or personal experiences help shape your music?
Very little, I would say. My personal experiences are quite distant from my idea of music.
14. With each recording, is there a specific story you’re trying to tell with your music?
For some records, I would say yes, like for “Under Unknown Stars,” for example. For others, they are just philosophical concepts put to music (“Cosmic Extinction”).
15. Is there a particular artist that influenced your passion for Dark Ambient music?
There are so many artists that I love but if I had to choose just one, I would say without a doubt Collapsar.
16. What are some things you hope to achieve with future projects or albums?
I hope to improve the sound I have in mind more and more; that is, to give a sound to the darkest aspects of the cosmos.
17. How important is performing Dark Ambient music in a live setting? Is this something that is a priority for you?
I don’t find it that important but I would love to play live.
18. What can we expect to hear from Onasander in the years to come?
Currently in my mind there are two orientations: that of “Under Unknown Stars” and that of “Cosmic Extinction”. My future sound starts from these two albums that I adore.
19. I really appreciate you taking the time to answer a few questions for The Dungeon In Deep Space. Are there any final words for those that will be reading this publishing?
I want to thank The Dungeon In Deep Space (this name is beautiful!) for hosting me and all those who have supported and continue to support Onasander and the side projects. Thank you very much!
It’s that time of year again, our favorite holiday is upon us. Of course, I’m talking about Halloween, and The Dungeon In Deep Space is back for the sixth installment of the All Hallows’ Eve Extravaganza. In a continued effort to bring you a few summary reviews of this years’ audial frights, I have selected five new releases that will do Halloween proud. Each of these recordings would make the perfect companion to you Hallows’ Eve scares. I hope you will enjoy these as much as I have and please support these amazing artists, as they continue to bring the best in dark music excellence!
1. Halloween Scene – The Last Trick Or Treater
Halloween Scene, the spooky, seasonal side project of Guild of Lore, is back for a second nightmarish installment of creepy soundscapes. Playing more like a soundtrack to a 80’s horror flick, ‘The Last Trick Or Treater’ comes packed with evil haunts and retrospective modulations. Each track precisely elicits a sense of fear as an anomalous entity stalks trick o’ treaters on All Hallows Eve. Some of the more terrifying tracks include, “Bad Things Between Backyards”, “Something In The Mist On Reaper Road” and “This Long And Frightful Night”. At nearly one hour in length, this is the perfect companion piece to your ghoulish encounters on Halloween. My favorite song on the album has to be “Show’s Over”. With its retro electronica vibe and tasteful usage of Berlin School sequences, it screams 80’s B-movie horror. Halloween Scene certainly knows how to create an audial encounter for the most menacing nights of the year and I’m here for it.
Just in time for Halloween, the ever-so-reliable (and consistent) force of nature known as Erythrite Throne has unleashed ‘Strigoic Myths’, a five track excursion through the darkest points of your imagination. From the seasonally-themed logo to the solid color album backdrop, you know the darkened season is upon us when Erythrite Throne graces us with this combo. As for the music, it’s everything that you’d expect from one of the Godfathers of Dungeon Synth; desolate synths, impending beats and a slab of melancholic darkness that would prepare even the ghoulish of entities for All Hallows’ Eve. The best example of this comes by way of the second track, “Tenebrous Whispers From The Night’s Fog”. Commencing with a looping, mesmerizing beat, Medieval incantations soon follow by way of haunting, modulated synths. As the song intensifies, periods of melodic wonder increases, thwarting this track into the catacombs of great bleakness. We can always count on Erythrite Throne to deliver the goods and this album is a stark example as such.
Mombi Yuleman, the distributor of all things dark electronica is back with a collection of Dark Ambient soundscapes, previously released on various collaboration albums. ‘Tales Of Lost Transmissions’ is the first of a two part series that focuses on the assemblage of early recordings and rarities and it’s just in time for Halloween. Producing a Sonic range of material from Dark Ambient to Psytrance and Synthwave, this material of a culmination of Dark Ambient tracks that emit an eerie resonance while paying homage to 80’s horror soundtracks. So far, my favorite track is “Ominous Hazards” with its completely retro vibe, thunderous synth pad arrangement and electrifying Berlin School sequences. Another favorite is “The Madness Of Alhazred”, as it absorbs classic B-horror movies aesthetics and adds a modern Dark Ambient twist – complete with haunting vocal samples and spooky narrations. This would be a great album to play loudly while handing out candy to the costumed humanoids. When you’re done playing this one, queue up the second album in this series, ‘Tales From A Darkened Corridor’, you won’t regret it.
Hours Of Worship is back with their multi-genre offering, ‘Death & Dying Vol. II’. Aggregating facets of Dungeon Synth, Gothic and Darkwave, Hours of Worship is making a bold audial statement that is equally fascinating as it is addicting. With a dreamy production and retrospective sound mix, the six tracks contained within compels the listener through a surreal journey of darkness and dismal proportions. Most of the tracks are hypnotically lethargic, like a slow emotional decay while offering a few upbeat songs that continue to be melancholic at the same time. Standout tracks include “Derelict And Ruined” and “Opaline Ashes”, while “Shattered In Aspect” is reminiscent of a track that could have been a part of The Silence Of The Lambs soundtrack – which isn’t a bad thing because that’s one of the greatest psychological thrillers of all time. In summary, I can’t recommend this masterpiece enough. If you love the musical aesthetics of the aforementioned genres, then definitely do not pass on this release.
Born From Pain is an unusual entity that resides on the outside of a variety of dark electronic genres. The project also has the dismal vision of rescoring classic film score to a more modern, gloomy output. This Halloween we are presented with a Dark Ambient rendering of the 1932 film, Vampyr. Consisting of four, foreboding modulations that intertwine possessed tape loops and ghastly soundscapes, this is a droning experience that exhibits an angst filled void where there is no escape. The final track on the album, ‘Here, In Seclusion’ is a near fifty three minute long journey through the macabre, where desolate ruins provide the abhorrent landscape for a one-way trip to hell. The lo-fi production also adds a layer of dread, enhancing the repulsive nature of this audial dive to deep, distant voids. Born From Pain never fails to deliver and the projects vision of extreme musical obscurity makes this a promising album.
Over the past few years, Arbadax has become one of my favorite Dungeon Synth artist. With each release bringing an amazing venture down a dark realm filled with fantasy-based themes and intriguing musical intonations, Arbadax excels at releasing consistent music that is bound to connect the listener to a fascinating, Medieval world. I recently had an opportunity to talk to Arbadax about his wonderful discography of Dungeon Synth greatness, where the inspiration came from and the direction for future releases. Please enjoy this interview with the prodigious Arbadax!
1. Thank you very much for taking the time to answer a few questions about the Arbadax Dungeon Synth project. How did you first get introduced to dungeon synth as a genre?
Thank you and the friends at The Dungeon in Deep Space for the interest you’ve shown! For years, I was unaware of the existence of the genre itself, even though I knew about artists more closely tied to the metal scene, like Burzum, Mortiis, Summoning… The real discovery happened during the COVID lockdown, when I was stuck at home due to restrictions, spending time playing music, listening to music, and working on building my small home studio. The memories are already blurred by the passage of time, but the first DS record that struck me straight to the heart was Hole Dweller’s ‘Flies the Coop’. From there, a whole new world opened up for me to explore. At the same time, I also regretted not discovering this genre earlier, because who knows, maybe I would have started making this music much sooner… But perhaps the time wasn’t right yet.
2. Do you see Dungeon Synth as a subgenre of ambient, black metal, or something else?
More or less, we all know how it originated; its roots run deep in black metal, but after so many years, I think we need to give DS the proper dignity it deserves, as far as I’m concerned, it’s a genre in its own right. What I found when I approached this world was a mature and grown-up scene, still confined to the underground and the limbo of amateur musicians, but in my view, it’s absolutely right to define it as its own genre.
3. Who are some of your musical influences, both within and outside of Dungeon Synth?
I was born a metalhead, and I still am one. I’m currently a bassist in a band called Heavenfall, and I used to play in an epic metal band, Holy Martyr, so my main influences are the entire hard ‘n’ heavy world, mostly classic, hard rock, epic metal, thrash metal, and to a lesser extent, other metal genres as well. To complement that, I’d also mention classic rock from the last century. I’ve also always listened to instrumental compositions, especially soundtracks, classical music, and some of the most famous musicians who made electronic music popular, like Jarre, Vangelis, and I’d also like to mention the Italian Franco Battiato, who experimented with synths in the early 70s. Recently, with my interest in DS, I’ve also gotten into other electronic genres, like ambient or synthwave, for example. On my YouTube channel, I’ve published a few synthwave-oriented songs, which I usually do between albums to take a break from the DS atmosphere and reset my mind.
4. When it comes to thematic expression, Arbadax has released some amazing albums in the realm of Medieval fantasy. What role does fantasy, mythology, or history play in your music, if any?
Clearly, my love for fantasy is evident in my storytelling, which focuses on the character of ‘Arbadax.’ More generally, I’ve always been passionate about the fantastic in a broad sense, and also about the mysterious. I’m deeply fascinated by the world of the occult, even though this fascination is in constant conflict with my rational side. This attraction to the fantastic and the mysterious is a very human, primal component, but then there’s the adult me, an engineer no less, with years of scientific studies behind me, who says, ‘Hey, you know all of this is nonsense, right?’ This also ties into my passion for ancient and modern history, its mysteries, its conspiracies, its horrors… the epic and the mythology. It’s all connected. In the end, fantasy is nothing more than the story of humans living in a world truly shaped by their mythology, beliefs, and folklore. I’m fascinated by the bestiaries of various cultures, and sometimes I’m amazed by how imagination can conjure up such incredible creatures with extraordinary powers and strength. It would be fun to live in such a world, and that’s why I enjoy talking about it. When I created the two more medieval-oriented albums, I was undecided about starting a separate project under a different name. But in the end, I continued as Arbadax and incorporated “The Bard’s Tales” and “The First King” into Arbadax’s storytelling, as if they were tales of the mythology and past history of the island of Ankmar.
5. What do you think makes Dungeon Synth so unique compared to other ambient or electronic genres?
What sets it apart is a raw sadness and a gritty darkness that I don’t see in other genres. For example, ambient music is relaxing, and synthwave music is usually cheerful, with positive or ‘comfy’ vibes, as they say nowadays. But when you listen to DS music, you’re catapulted into a sonic dimension that takes you to other levels. Even comfy synth, which might not have that sad and dark note, transports you into a world where the musician wants to guide you (and I could mention Hole Dweller again in this regard). Perhaps this is also a characteristic of the genre: the listener lets the musician guide them into their world. A song title or even a brief bit of storytelling is enough to make it work. This is obviously what I’m trying to do as well.
6. Dungeon Synth often evokes the essence of nostalgia. How do you capture that feeling in your music?
Musically speaking, I like to write pieces that sound sad, and to do this, I usually rely on minor modes, technically speaking. However, it doesn’t mean that if I write melancholic-sounding pieces, I’m feeling that way myself. In fact, sometimes it’s the opposite—the music, as I write it, brings out certain emotions. It’s an equal exchange with what I’m creating.
7. How important was it to capture that on your first album, ‘A Sad Story Of Blood And Love’?
This was the first album; we were in the middle of the COVID era, locked inside for months, and in the album, I conveyed this sense of sadness, abandonment, and melancholy. The compositions were very minimalist and stripped down, and it naturally made me think of something terrible like war and a story of passion ending in blood. Then maybe there’s something personal as well, who knows?
8. Do you prefer your tracks to have more of a lo-fi or raw sound, or do you focus on more polished production?
So, this also seems to be quite a debate among DS fans, right? Probably, if I could afford it, I would go to a studio to work with a sound engineer or producer to get the best out of the tracks. But perhaps, at that point, it wouldn’t be DS anymore; it would become something else, because everything would be wrapped in a nice layer of sound, with bright dynamics and clear, well-balanced tones. I try to do the same on my own, on a smaller scale, often without consulting anyone. What comes out in the end is 100% mine, but I’d definitely be very curious to hear one of my albums professionally produced at a high level.
9. Your third album, ‘The Land Of Ankmar’ shows an incline in musical growth. Do you feel as if your comfort level in the genre was getting better at this point?
Let’s say I really started to enjoy myself. There was a period when I spent almost all of my free time writing music, recording, and jotting down ideas. I still have about a hundred riffs recorded on classical guitar, waiting to be developed. During that time, I also invented an alphabet that would be the alphabet of Ankmar and laid the foundations for its language. I was completely immersed in inspiration from all angles. It was also a period when I started studying piano and became interested in the basics of mastering and mixing techniques, but I eventually stopped due to lack of time. This project also marked a break from my previous work because it doesn’t represent the typical ‘journey’ theme of fantasy stories, but simply a description of my imaginary land, Ankmar, which is partially connected to Sardinia, where I was born. For example, ‘The Ruins of Karahal’ refers to the ancient name of the city of Cagliari, which was called Karalis in Latin. Or the sound of the sea in ‘The Grand Sea’ was recorded on a beach in Sardinia.
10. Your seventh album, ‘Lost’ is one of my favorites by you. The music is as relaxing as it is imposing. How do you balance simplicity and complexity in your music?
It is said that life requires balance, but man is not perfect and is in an eternal struggle to find balance in everything he does, in every emotion, and in every relationship. Sometimes genius is found in a person’s imbalance and madness, but I don’t think that’s the case for me because I’m a fairly rational person. Therefore, in my music, balance is still given by the sensations I feel. Often, I find myself adding instruments and overlapping harmonic lines in a compositional high, but then when I listen back the next day, I start to remove things, bringing the piece back to its simplicity and keeping only the parts that still sound good to me and that don’t alter the essence of the piece.Or it can just as easily happen the opposite, meaning that a piece that started off simple can then develop in an incredible and unexpected way. You know, sometimes when I listen back to my old tracks, I find that I absolutely don’t remember how I came to develop them in that specific way.
11. Do you incorporate live instruments into your recordings, or is it all digital/synth-based?
First of all, you should know that I’m not very good at playing the piano or keyboard. I usually write pieces on guitar or bass, then I take everything into MIDI and from there, I develop the piece by adding and removing until I feel it’s complete. So, it was inevitable that sooner or later, I would reach the point of adding something different, especially because I often feel the need to find new sounds. In ‘The Land of Ankmar,’ for the first time, I used an acoustic guitar, while in ‘Winds of War,’ I recorded bass and electric guitar with my Fender Precision and an Ibanez guitar. At that time, I was in an ‘epic metal’ phase; if I remember correctly, the war in Ukraine had just broken out or was about to break out, and I was angry. Subsequently, in my other works, I sporadically used the acoustic guitar, especially in the two projects with medieval sounds. I always think that sooner or later, I’ll make another album in the style of ‘Winds of War,’ with bass and electric guitar, because I had a lot of fun making it!
12. On your eighth album, ‘The First King’, there is again, another shift in musical focus as the tracks seem more melancholic yet more developed and powerful. How has your sound evolved since you first recording?
I had a lot of fun creating many harmonic lines on this album. There are some long and intricate pieces, with key changes and varying themes. This is definitely something I didn’t do in my earlier works, which may have been more repetitive, but you know, it also depends a lot on the mood and the types of sounds I use. With medieval orchestrations, there’s actually a lot of space in the mix to create many harmonies, while using fat pads like in ‘LOST,’ which occupy a lot of space in the frequencies, there’s much less room to develop harmonies. In any case, I like to frequently change the type of sound and song development, as I did with the latest album.
13. Your latest album, ‘The Necromancer’s Swamp’, is a short collection of fun tunes that are very eclectic. What was your vision with this album?
Originally, the tracks were created with the intention of doing something different from everything I had done before, and I started working on this album convinced that I would integrate it into the storytelling of the island of Ankmar. Then I was contacted by the label HDK to write five pieces to be published on a cassette alongside three other musicians, and so the composition took a different turn to follow the storytelling of the short narrative provided by HDK. I slightly modified the pieces by adding sounds and noises and replacing the percussion with pads that, in my opinion, give that eclectic touch you mentioned. Those tracks seemed perfect to me for telling a story of black magic and necromancy.
14. Do you see Dungeon Synth as a form of escapism for yourself? What do you hope that your listeners get out of your music?
Certainly, yes! I think all forms of art are like that. It starts with passion, and then when you delve into the art, you discover that it can also be a great way to unload your problems or transfer them into it. In a broader sense, there’s also the fulfillment that creating something of your own gives you, like when I made the physical copies of the cassettes, taking care of the artwork, the recording, and the preparation of the cassettes myself.
15. Can we expect any new releases from Arbadax this year? Do you plan to incorporate exciting new directions or experiments?
At the moment, I’m working again for HDK, this time for a full release, although I’m not sure when it will be ready, because in the coming months, I will also need to enter the studio with my band. Recently, I have actually slowed down my production pace, so we’ll see. I have a lot of ideas in my head that I would like to explore sooner or later… I’m always thinking about starting a project exclusively focused on historical themes, as well as the science fiction that I love so much, with sounds that are, how should I say, more ‘spatial’? Finally, I’m also considering making an album completely based on guitar and bass… We’ll see; at the moment, I’m not sure what I’ll do first or if I’ll be able to do everything.
16. I really appreciate you taking the time to answer these questions. Do you have any final thoughts for those that will be reading this?
I hope I haven’t bored you too much! I invite those who don’t know me to check out some of my work on my channels. Arbadax awaits you in the city of Ankmar, in the land of Ankmar, to share a drink together at the Boar’s Inn. But send a messenger first, because I might be too busy studying a new spell, and I would be sad not to meet you! Remember to support music and your favorite artists, stay in peace but fight for your well-being.
It still amazes me to this day how immersive the Ambient and Dark Ambient genres are. Although these genres typically expand upon minimalistic soundscapes, the fact that they deliver such a variety of unique expressions can be attributed to the plethora of well-versed artists and their ability to produce an insurmountable amount of audial visions. One of the premiere artists to venture into both genres is Derrick Stembridge. The mastermind behind projects such as Long The Night and Drifting In Silence delivers thought-provoking modulations that truly define what these genres are all about. I recently had the opportunity discuss these projects with him, and how his passion for ambient music commenced in the first place. Hope you enjoy this engaging interview and please support his accomplished musical endeavors.
1. Thank you so much for participating in this interview and I’m really excited to hear about your amazing projects. What inspired you to start creating Ambient music in the first place?
Thank you for having me. It’s truly an honor to be featured on Dungeon in Deep Space. My journey into ambient music began with a deep fascination for the subtle, often overlooked sounds in all types of music. These ambient elements create a rich tapestry that can evoke powerful emotions and vivid imagery. My early musical influences were quite diverse, ranging from classical compositions to modern electronic music. However, the common thread that intrigued me was the ambient layers within these genres—the sounds that painted the background and created a sense of space and depth.
Creating ambient music allows me to explore these layers more focused and expansively. It’s about building a sonic landscape where every sound contributes to the overall atmosphere, no matter how subtle. I believe ambient music is a vessel for storytelling without words, a medium that can transport listeners to different realms, evoke memories, and inspire introspection. It’s an immersive journey that encourages deep listening and emotional connection. The ability to take listeners on a voyage through sound, where they can lose themselves and find new perspectives, is what drives my passion for creating ambient music.
2. Can you tell us about the first Ambient piece you ever created?
My early musical explorations were rooted in the intensity and raw energy of Death Metal. During my formative years, I played keyboard and guitar in several bands, which was an exhilarating experience. However, I always felt drawn to the atmospheric elements within the music—the moments when chaos gave way to haunting melodies and expansive soundscapes.
While experimenting with a 4-track recorder, I discovered the vast possibilities of manipulating pitch and creating atmospheric textures. This was a pivotal moment for me. I began experimenting with layering sounds, slowing down tapes, and creating loops that would evolve. These early experiments were rudimentary but laid the foundation for my future work in ambient music. The transition from the structured aggression of Death Metal to the freeform exploration of ambient music was liberating. It allowed me to focus on sound’s emotional and spatial aspects, creating introspective and expansive pieces.
3. What artists and/or genres have helped you create this type of music?
Brian Eno’s “Music For Airports” was a seminal influence on my ambient work. Eno’s ability to craft serene, meditative soundscapes from simple elements was revolutionary. His philosophy of ambient music as an environmental experience that could enhance or alter the listener’s perception of their surroundings deeply resonated with me. On the darker side, early works by raison d’être, particularly “Enthralled by the Wind of Loneliness,” provided a blueprint for creating immersive, haunting environments. These artists taught me the power of minimalism and the profound impact of carefully sculpted sound.
The broader electronic music landscape, from pioneers like Tangerine Dream to modern innovators like Aphex Twin, has shaped my approach. The versatility and innovation within these genres demonstrated that ambient music could be both a standalone art form and a complementary layer within more complex compositions. These influences, combined with my background in metal and classical music, have allowed me to develop a unique style that blends serenity with intensity and structure with fluidity.
4. Are there any non-musical influences (e.g., literature, visual art, nature) that have helped shape your sound over the years?
Absolutely. My work as a photographer and graphic designer has profoundly influenced my music. Visual art, particularly the works of Dave McKean, HR Giger, and MC Escher, provides a thematic and aesthetic foundation for my soundscapes. McKean’s surreal collages, Giger’s biomechanical art, and Escher’s impossible structures inspire me to create music that challenges perception and evokes a sense of wonder and intrigue.
Nature also plays a crucial role in my creative process. The tranquility of a forest, the vastness of the ocean, or the isolation of a desolate landscape often inspire my compositions. I frequently incorporate field recordings of natural sounds—birds, wind, water—to create a sense of place and immersion. These elements add an organic layer to my music, grounding the abstract electronic textures in the real world.
Literature, too, mainly works that explore existential and surreal themes, helps shape my compositions’ narrative and emotional depth. Authors like Haruki Murakami, with his blend of the mundane and the fantastical, and Franz Kafka, with his explorations of the human condition, provide a rich source of inspiration for creating music that is both introspective and otherworldly.
5. Let’s talk a little bit about Drifting In Silence. What makes this project different from your other projects?
Drifting in Silence represents the core of my ambient explorations. Unlike my other projects, which delve into Dark Ambient and various electronic genres, It is pure ambient. I focus on creating serene, expansive soundscapes, encouraging introspection and emotional connection. This project is about capturing the essence of tranquility and transporting listeners to meditative reflection.
Drifting In Silence allows me to delve deeply into the nuances of ambient sound, exploring how different textures and tones can interact to create a cohesive and immersive listening experience. The project is a testament to my belief in the power of ambient music to evoke a wide range of emotions, from calm and relaxation to introspection and contemplation. It’s a space where I can experiment with sound in its purest form, free from the constraints of traditional song structures and genres.
6. Drifting In Silence has quite the extensive catalog? What are some of your most proud recordings with this project?
“Truth” is a cornerstone of my work, encapsulating the origins of my ambient sound. It represents a pivotal moment in my musical journey where I began to embrace the ambient genre and explore its potential fully. The track is built on layers of atmospheric textures, creating an immersive and evocative soundscape. “Dawn,” on the other hand, stands out as the moment where I truly honed the Drifting In Silence sound. The layering techniques I used in “Dawn” have become a hallmark of my style, allowing me to create rich, multi-dimensional soundscapes that invite listeners to lose themselves in the music.
These tracks represent significant milestones in my journey, reflecting both my personal growth and the evolution of my sound. They capture the essence of Drifting In Silence—creating music transcending boundaries and taking listeners on a journey of discovery and introspection.
7. I’m interested in learning more about how the “King’s Cross” track came about. It’s an amazing Pet Shop Boys cover, but what brought on this idea in the first place?
“King’s Cross” has always captivated me with its haunting strings and poignant melody. Throughout the years, I found myself repeatedly drawn to its sonic qualities, envisioning how it might sound within an ambient framework. The original track has a depth and emotional resonance that could be further explored through ambient music. Covering “King’s Cross” allowed me to delve into its emotional core, transforming its essence while maintaining its original impact.
The reinterpreting of this track was both a challenge and a profoundly satisfying creative endeavor. I aimed to strip the song down to its most fundamental elements, rebuilding it with layers of ambient textures and atmospheric effects. The result is a version that pays homage to the original while offering a new perspective, inviting listeners to experience the song entirely differently.
8. Your latest album, ‘Winter’s Past’ also contains a Madonna cover (“Live To Tell”). What was it about that song that made you think, “hmm, I bet I could transform this into an Ambient masterpiece?”
“Live To Tell,” with its evocative piano phrasing and atmospheric qualities, has always resonated with me. Patrick Leonard’s composition for the movie “At Close Range” created a profound emotional backdrop that I felt could be further explored in an ambient context. The original track’s haunting melody and introspective lyrics provided a perfect foundation for an ambient reinterpretation.
Covering “Live To Tell” was a way to pay homage to my early musical influences while reinterpreting the song through the lens of ambient music. I aimed to capture the emotional depth and complexity of the original, transforming it into a piece that is both familiar and new. This process involved deconstructing the song’s elements, focusing on its atmospheric qualities, and rebuilding it with ambient textures and effects. The result is a track that invites listeners to explore its emotional landscape in a new and immersive way.
9. Let’s switch gears to Long The Night. This project seems more drone oriented and definitely darker than Drifting In Silence. Was this project created to keep the two sounds separated from each other?
Long The Night was born from Drifting In Silence’s darker, more experimental sessions. I wanted to create a distinct space to explore Dark Ambient, and drone sounds fully. This project allows me to channel influences like raison d’être and other classic Dark Ambient artists, incorporating modern techniques with samples and field recordings. Long The Night is about delving into the depths of sound, exploring the shadows and the unknown.
Creating Long The Night was a way to keep my artistic vision clear and focused. By separating the darker elements from Drifting In Silence, I fully immersed myself in the world of Dark Ambient and drone music. This project explores the more mysterious and haunting aspects of sound, where I can push the boundaries of what ambient music can be. It’s about creating an immersive experience that challenges listeners to confront the darker side of their emotions and imagination.
10. I really love the track “Emotions Without Logic” (from ‘Shadows Of Discretion And Unspoken Truths’). It has a really distant and dystopian feel to it. What was it like to record and produce that track?
“Emotions Without Logic” is a deeply personal track that takes the listener through turbulent emotions and serene resolutions. It involved extensive field recordings to capture the natural elements and textures that define its atmosphere. I wanted to create a soundscape that felt distant and immediate, evoking a sense of place and emotion that transports the listener to another world.
The process of creating this track was both challenging and rewarding. I spent significant time layering sounds, experimenting with different textures, and manipulating field recordings to achieve the desired effect. The goal was to create a piece that felt like a journey through a storm, with waves crashing around you, leading to a distant calm where the rain begins to fall gently. This track is a testament to the power of sound to evoke memories and emotions, creating an immersive experience that resonates deeply with the listener.
11. You also run and operate the Labile Records label that features several other fantastic acts. What would you say your mission statement is for this label?
Labile Records was created to promote and distribute my Drifting In Silence recordings, but it has grown into a collaborative family of like-minded artists. We aim to seek out, develop, and distribute innovative music and visual art. We strive to incorporate our artists’ personal goals, cultures, and emotions into our products and marketing strategies, providing unwavering support and the best opportunities on both global and regional scales. We also aim to stay informed about changes in the music industry, acting as a bridge between our artists and the broader market.
Labile Records fosters a community of artists who share a passion for pushing the boundaries of music and art. We support our artists’ creative visions and help them achieve their goals through innovative marketing strategies, distribution networks, or collaborative projects. Our mission is to be a platform for artistic expression where artists can explore new ideas, experiment with different sounds, and connect with a global audience. We are committed to promoting the best opportunities for our recording artists, honoring their unique voices and perspectives, and contributing to the ongoing evolution of music and art.
12. How do you see the Ambient/Dark Ambient community evolving, and what role do you hope to play in it?
The ambient and Dark Ambient community has grown significantly, thanks partly to technological advancements that make music production more accessible. This trend continues, with more artists exploring these genres and pushing their boundaries. My role is to continue innovating and introducing new sounds and techniques while honoring the genre’s roots. I aim to inspire and support emerging artists, contributing to the community’s evolution and helping shape its future.
The ambient and Dark Ambient genres are entering a new phase of growth and innovation. The accessibility of digital recording tools and platforms has democratized music production, allowing more artists to experiment and share their work. This has led to a vibrant and diverse community of creators pushing the boundaries of what ambient music can be. My goal is to be a pioneer in this space, continuing to explore new sonic territories and inspire others to do the same. By staying true to the genre’s roots while embracing new technologies and techniques, I hope to contribute to the ongoing evolution of ambient and Dark Ambient music, fostering a community of artists passionate about creating immersive, transformative experiences through sound.
13. What are some of the biggest challenges you face as a Dark Ambient artist?
Promotion remains a significant challenge. While the community is growing, it’s still relatively small, making it difficult to reach a wider audience. Navigating the niche market and finding effective ways to promote my music requires constant creativity and adaptability. Additionally, the nature of Dark Ambient music, which often focuses on subtle, atmospheric elements, can make it challenging to capture the attention of listeners who are more accustomed to mainstream genres.
Another challenge is balancing the need for artistic integrity with the market’s demands. Dark Ambient music is often deeply personal and reflective, making it difficult to conform to commercial expectations. Finding the right balance between staying true to my artistic vision and making my music accessible to a broader audience is an ongoing struggle. However, these challenges also present opportunities for innovation and growth, pushing me to find new ways to connect with listeners and share my work.
14. What instruments and equipment do you use to create your mesmerizing soundscapes? Are there any particular techniques or effects you frequently use in your compositions?
My setup evolves with each album, but I primarily use Logic Pro as my DAW, with the Waldorf Quantum as my primary controller. I incorporate a variety of guitar pedals from Strymon, custom samples played through Native Instruments Kontakt, and Make Noise Modular Gear for unique textures. Techniques like layering, pitch manipulation, and field recordings are central to my process, allowing me to create complex, immersive soundscapes.
The use of field recordings is an essential aspect of my work. I often venture into nature to capture sounds that can add a unique, organic element to my compositions. These recordings are then processed and manipulated to create textures and atmospheres that enhance the emotional impact of the music. Additionally, I experiment with various effects and techniques to develop a sense of space and depth, using reverb, delay, and modulation to sculpt the sound and create a three-dimensional listening experience. This approach allows me to blend synthetic and natural elements, creating a rich and immersive sonic landscape.
15. How do you maintain a balance between your artistic vision and the expectations of your audience (if any)?
Maintaining a balance between my artistic vision and audience expectations involves staying true to my creative instincts while remaining open to feedback and collaboration. I strive to create music that resonates deeply with listeners, fostering a connection that transcends expectations. This means continuously evolving my sound and exploring new creative avenues while honoring the core elements that define my music.
I believe that authenticity is key to maintaining this balance. By staying true to my artistic vision and creating music that genuinely reflects my emotions and experiences, I can connect with listeners on a deeper level. At the same time, I value the input and feedback of my audience, as it provides valuable insights into how my music is received and helps me grow as an artist. This dynamic interplay between personal expression and audience engagement is what drives my creative process, allowing me to create music that is both meaningful and accessible.
16. What advice would you give to someone starting out in the Dark Ambient genre?
Start by immersing yourself in the genre’s origins. Study the foundational techniques and listen to classic and contemporary works to understand the genre’s evolution. This will help you develop a well-rounded perspective and find your unique voice. Don’t be afraid to experiment and push boundaries; innovation is critical in creating compelling Dark Ambient music.
Developing a solid understanding of sound design and production techniques is also essential. Dark Ambient music relies heavily on texture and atmosphere, so learning how to manipulate and layer sounds effectively is crucial. Invest time exploring different tools and technologies, and don’t hesitate to experiment with unconventional methods. Finally, be patient and persistent. The Dark Ambient genre is niche and can be challenging to break into, but with dedication and a willingness to explore new ideas, you can create music that stands out and resonates with listeners.
17. Can you share any details about upcoming projects or releases? Are there any new directions or experiments you’re excited to explore in future releases?
I recently released a captivating album titled All of My Faults Laid Bare with my friend Chris George for our project Brighten The Corner. This work elegantly traverses ambient and dark realms, showcasing our combined creative vision. I’m deeply immersed in crafting a new Drifting In Silence album, Echos Beyond, in collaboration with Suseti. This album is a journey into new sonic territories while staying true to my ambient roots. It delves deeply into field recordings and organic textures, seamlessly blending them with electronic elements to create a rich, immersive soundscape.
Later this year, I plan to release another Long The Night album, which will further explore the depths of dark ambient and drone sounds. This upcoming release will feature innovative techniques and experiments in sound manipulation, pushing the boundaries of ambient music even further.
These projects represent exciting new directions and experimental ventures that I am thrilled to share with my audience. These forthcoming releases reflect my constant quest to explore new ideas and evolve my sound. I eagerly anticipate how listeners will respond to these new explorations and look forward to continuing to push the limits of ambient and dark ambient music.
18. I really appreciate your time and of course all of the killer music that produce and release. Do you have any final thoughts for those that may be reading this?
Thank you for your support and for listening. Your engagement and enthusiasm keep the ambient and Dark Ambient communities thriving. Stay curious, explore new sounds, and never stop seeking out the music that moves you. Your support helps artists like myself continue to innovate and share our creative visions with the world.
For those reading this, I encourage you to dive deep into the world of ambient music. Explore these genres’ vast sound landscapes, and don’t be afraid to venture into new and unfamiliar territories. Music is a journey, and each piece has the potential to take you somewhere new. Thank you for being part of this journey, and I look forward to sharing more music with you in the future.
In 2021, I reviewed the amazing album by Logan Mccurter called, ‘Primitive Baptist & The Oldest Time Traveler In The World’ and what I discovered was an alluring blend of Dungeon Synth and Ambient music. This album brought a fresh prospective to both synth-based genres and I was eager to hear more. Fast forward to 2024, and we have the same compelling music but now under the moniker, Wøzard. Curious to find out more about this artist and the motivation behind the music, I reached out to Wøzard for an interview opportunity, which was quickly obliged. What I found was a down-to-earth musician with a solid approach to songwriting, with quite the comical side to boot. I hope you enjoy this interview as much as I had putting it together.
1. In really appreciate your time in order to discuss your music projects. Before we get into the meat of things, tell us what music means to you and how it led to you commencing your own musical endeavors.
Howdy! And thank you for having me. This is SUCH a heavy question to start with haha but I think its an important foundation to any artist. I was born into a very musically inclined family.
MY grandfather, aka: “The last western hero” and my grandmother formed a Country Western Christian Gospel group called “The Cox Family” (not that one…the other one) in the 80’s, which also featured my Mother and my Aunt. They performed all over America and had a residency show in Branson Missouri until the late 90s. All this to say when I was born in 1999 I was surrounded by musicians.
HOWEVER~ When my mother got pregnant at age 16/17. While I was incubating, they used to play pink Floyd to me through her stomach with headphones. I was literally raised in a sonic WOMB.
And I think this parts important. My father and his side of the family, are all bikers, my dads a metal head / tattoo artist. And I was always drawn to the alt life style artistically and sonically. So when I picked up guitar at age 5 or whatever I wasn’t banging out christ tunes, I was playing whatever alternative underground bla bla I could get my hands on. My inspirations range from the likes of Daniel Johnston, Mort Garson, Neutral Milk hotel, Bruce Haack, The Protomen, My Bloody Valentine, Sleep, Yob, Mastadon, Brian Eno, Hiroshi Yoshimura, Asobi Seksu, and MANY many other artist that I wear close to my chest.
For me, Making music is as automatic as breathing, it’s ingrained in the pulse of our hearts. Music as we refer to it is the one thing that truly binds us as a species. Humanity from dust till dust, separated by time and space, has and will have a musical culture that transcends language. Humans are many things, granted. But we are ALL musicians. We are all songbirds. We are all storytellers.
Ok…ill get off this mighty tall soapbox now.
2. In 2019, you started releasing albums under your own name but then shifted everything under the Wøzard moniker. What brought about this change?
No I didn’t, who told you that? You’re lying. Its ALWAYS been Wøzard…
No you’re totally right I did go by my name for a while. To be honest I never intended to become an electronic musician. Or even a dungeon synth artist (if you can even call me that) My earliest work (which I’ve scrubbed from existence) was an amateurish acoustic singer songwriter EP. That was mostly inspired by my being a teenage dirtbag, my love of Daniel Johnston, and an unhealthy serving of Midwest-ish pop punk.
my “Debut” EP from 2019 titled “may I admire you again someday” (a reference to pretty in pink) was a synth pop concept about an astronaut who is selected for an experimental program called “MIAYAS” which will launch him into the mind of another person to discover the truth therein, but before his mission can even begin, his ship crashes into the lucid mud. Now lost and trapped inside this OTHER mind, slowly losing all sense of self as he experiences the subconscious. Until he reaches the bridge of memories. And finds out he’s not trapped in someone else’s mind. He is trapped inside his own. And upon this realization. He wakes up, in the very chair that sent him on this adventure. But its not the end…its the beginning. An ouroboros loop, doomed to wake up in the very chair that stars this mission and to be launched right back in… it’s also a live theatrical stage production. Which you can hear in the album with people clapping, the curtains raising, footsteps on the hard wood floor of the stage. And the track intermission (Which is a play on Enter, Mission)
With all that in mind. I decided in 2020 after becoming enamored by dungeon synth to try my hand at that. And once I had a few projects under my belt. I realized that my name was weirdly to broad. I found the electronic ambient hill I wanted to die on. But felt my government name was not the energy for that world. So I changed it to Wøzard!
Wøzard by the way is a reference to the Mort Garson record “The Wozard of Iz” which is a fantastically cynical retelling of the wizard of oz set in 1960’s hippie culture. And the slash in the ø comes from my name. Løgan!
I feel like my brand is sorta obtuse, mystical, otherworldly, contemplative, and wonky. So I felt Wøzard fit that bill.
3. Wøzard is not your typical Dungeon Synth project, as it incorporates so many other aesthetics of electronic music. Is this what you set out to achieve from the very beginning?
The idea of “what even is the music I make” has been floating around for a while I think. While my works are not deeply known within the broader scene. I have had many refer to it as “progressive dungeon synth” which is flattering! I never meant to progress anything. In fact, many of my go-to inspirations for where I achieve my sound is Moog music from the 60’s, 70’s and 80’s. With a healthy does of ambient electronic scenes like lowercase, Japanese ambient synth form the early 80s, some Berlin school, and THEN dungeon synth, also the word “achieve” is funny here because I don’t know if I truly ever meant to do anything of the sorts. My LP “primitive baptist” was my honest attempt at making a dungeon synth record. And it SUPER wasn’t a dungeon synth record. Its something totally and tonally other. But It did accidentally give me an identity. I’m just glad people like my work.
4. In 2020 you released the ‘Primitive Baptist & The Oldest Time Traveler In The World’. First of all, how did you come up with that amazing title?
“Primitive Baptist & The Oldest Time Traveler in the World” was my attempt at giving the listener as many clues as possible to the plot of that record. Which like…duh? But also the plot of this story is VERY convoluted. Which I will get into…if the reader will simply skip to the next question…did…did they skip to the next question?
Why are you still here? The cool juicy plot stuff is on the next question…oh you’re just stubborn is it. I see… There is nothing else to see here reader. I promise, you can move on.
Ok fine. You WANT to stay here and read THIS questions answer. Fine… If you want to waste your time not move on to the much cooler and dare a say “saucer” questions then by all means. I can’t stop you…
Unless…
If you’re being here is in direct response to the nature of my continued presence here. If I were to simply stop existing, and move my metaphorical voice to the next question. You would then be forced by THE HANDS OF GOD HER SELF to read the next question. There in ending my suffering and your absolutely annoying ability to persist here—
5. Please tell us the back story of the album theme, as it’s really intriguing.
—Oh! That worked. Ok then, moving on, finally…
Primitive baptist tells the story of a young boy in the mid-first century CE. In a temple to god. A chapel dweller by nature, he one day finds a secret hatch to a vault below the temple. And here he finds a dusty, old, computer. The kind you’d find in the 80’s. That is still somehow connected to the internet. Likening it to a painting that moves. The young boy discovers that this device allows him to literally physically transcend time and space. So he steps through the painting and becomes the very first (and possibly only) time traveler in the world.
As he travels he discovers many secrets and deep magics, and becomes a being of unyielding knowledge. The hero of his own story. Becoming master over life and the betrayer of death. However, this is a disaster course. That was set in motion by…well… we will get into that soon as well.
6. That was such a great album that I continue to listen to today. What was the process like putting that album together musically?
so wildly enough, this record started as a noise project. Like harsh noise. I listened to merzbo’s “pulse demon” and was like…I can totally do that. (Clearly that was a lie) because as I begun creating the harsh noise tracks I started to linger on the quite moments between passages and this space between was deeply intriguing for me creatively. And with my new found love of dungeon synth on the rise. And my history with ambient works and Moog music. I wanted to create a love letter to the FEELING of dungeon synth without feeling restricted to the walls of its many dungeons. Every track you hear in most of my music is the result of a lot of trial and error, experimentation, lazy quick hacks, and a rather destructive tracking process.
I often will make a midi file and bounce it. Bring it in as a sample, play it two Simi-tones lower so it will artifact and distort. Or like ill record a whole ass song, bounce it. Sample it to a midi. Play it an octave lower. And then play a whole new instrument lead over the top of that. And then bounce THAT and put it into idk PaulxStretch or something. Texture reigns king.
But I do find that I favor a melodic sensibility. Just to ground a piece. So ill pretty routinely load in a flute sample or whatever and just improvise away until something sticky happens. Genuinely everything on these records are mostly improved in real time the whole way through a song. And then I go behind that and check my work. And then ill do all the destructive editing I do. All this to say i have NO idea how i would be able to perform this project live.
7. In 2022 you released a Comfy Synth EP called ‘Save The Forest, Little Flower’. Please tell us how this album came about and to you plan to release anymore that continue this subjected path?
Save The Forest, Little Flower, (my darling EP) was a commissioned work from HDK records for their volume 6 Dungeon Synth Magazine. It was a blast making this because I had NO F*&%KING IDEA how to do comfy synth. Nor did HDK want me to do comfy synth. They simple said “make something” and write a story to go with it. And so…being the aquarian contrarian that I tend to be, I reached into the deepest recesses of my mental vast. And found the clouded memories of my childhood. Sitting in front of an old CRT watching cartoons wrapped up in blankets. Within that hazy memory I listened into that sonic landscape of nostalgia. And thats where the impetus came from for this record. I followed a lot of my tendencies workflow wise but explored a more melodic flow state. And tried my damndest to find sounds that had that sense of AGE on them. I used a lot of tape VST’s and Vinyl Warble plug ins to achieve that effect.
I had coined this “A Little Adventure” because at the time I did plan on making more. But because it takes me forever to get my ideas together that sorta fell through. I was also approached by Phantom Lure Records to turn this into a vinyl…but, they wanted me to add more tracks. And I took to long, so they dropped it. I would love to have this pressed to vinyl at some point. I love this EP.
8. Last year we saw the release of ‘Future Cultist & The Slip Space Micromancy’, which was one of the most brilliantly unique albums of 2023. This album leans more toward ambience and retro soundscapes but still maintains that Dungeon Synth vibe. How did this one come about?
Ok so Future Cultist is a continuation of the story set in the first LP. Its part of a planned trilogy of albums i’ve coined “Monomythica” This album sees our time traveling boy whom stepped through the painting, now within the way future. Old, learned, and dying…Reflecting on the time that has passed him. It is here that he begins to use the planets in a sort of divinatory manor to seek out WHY he was called to this adventure. And he finds the answers. There is a beast beset upon all of existence. Story. The ever growing demon of forward motion through the hero’s journey, but this beast has abandoned this story, and has moved to a new one. In our time. Now.
It is then that our hero realizes what he must do has done many times over. And so he uses deep magics to call upon a ritual of death…filtered though the powers of universal love. And he destroys this narrative line. Travels back in time to his former life. And gifts unto himself the very computer that sent him on his journey. With the clear objective of finding the beast with 1000 faces. And killing it. Once and for all…but like in the next album obviously.
As towards your question, thank you for the kind words! I actually had no idea what to do for this record originally. So when “production” began I sorta was throwing everything at the wall to see what clung on for dear life. I was really getting into 80’s goth and post punk at the time. And wanted to uses instruments that were popular during that time. Lots of Roland VST’s and Juno Reverbs. But I also wanted to chase that high of nostalgia from save the forest. So I tried to find the balance of these two idea in a sorta of soundtrack to a space documentary form the late 70s early 80s. If that makes ANY sense…
9. I noticed that both of your longer albums are thirty three minutes in length? Strange coincidence or is there a back story to that?
the first time that happened was purely accidental. HOWEVER…333 is a number that comes up a lot in my life. And when the albums run time came out to be 33:33 I was like, this is so totally a sign. Right? But then something funny happened. I made the next record without any though or care towards that notion. And it just happened to also end up being 33:33…like on the dot. And I was stunned. Maybe I just have an internal clock that taps out at 33 minute. But this has become the branding for the LP’s now. So I gotta stick to it.
10. One of my favorite tracks from that album is, “The Meaning Of Death Is That It Teaches”. Were you shooting for that horror-themed soundtrack aesthetic?
thank you! I don’t know if I was shooting for ANY aesthetic really. This track was the “thesis” of the record. Much like Primitive Baptist’s “the meaning of life is that it ends” was that records thesis. i find that these LP’s often have the term scary thrown at them. or like… ominous. but i truly have never meant to make it that way. i just find the energy of these records has a lingering darkness that hides in the shadows of its more ethereal melancholy. and that energy definitely comes out from time to time. though unintentionally. Honestly, when making these records i find myself in a stage of experimentation until i stumble upon a creative spark that moves me.
But then i get trapped on this cycle of (damn i now have “the sound” or whatever) but now i have to capture that again on these next few tracks to make a coherent record. So to the question, the reason this one has a vibe change up near the end is i wanted to shock the system of the listener and draw them back in. Ambient music can sometimes scare away new listeners due to it being a more passive form of music. and i feel like my goal has always been to move my listeners into a more active state of engagement within these sonic landscapes.
11. What’s next for Wøzard? Any new releases planned for this year?
I’m currently working on an EP simply titled “Daughter” which weirdly i’ll talk about more in depth here in a few more questions….(foreshadowing)
12. Have you thought about releasing a straight up Dark Ambient/Drone album? If so, would it be under the Wøzard moniker or something different?
I haven’t really put much thought into that to be honest. Earnestly Wøzard is by definition and scope an electronic genre-jumping-ish experiment of texture and scope. i have no qualms with the the idea of releasing a dark drone record and i fear that my works already teeter totter on that particular line already.
13. Have you thought about collaborating with other Dungeon Synth artists? If so, who are some that intrigue you the most?
I so totally have! Thought about it I mean. I would love to work with anyone who would have me. I think collaboration is the life blood of music. And while Dungeon synth can be a sort of loners club, I think some of the best records we have seen have come form colboaritive efforts.
however, my process is sorta catty wompus and i have no idea how a collaborative effort would work…
however part two, (the return of the previous statements) My next project “daughter” IS a collaboration…with myself and my band Fuzzwall.
Fuzzwall is a shoe-gaze, fuzzed out wall of sound, inspired by MBV, Asobi Seksu, Boris, The Melvins, my love of riff landed stoner doom / my inability to escape a pop melody.
I hope to use this EP as a stomping grounds for the sound and texture of what Fuzzwall can do. while giving me the ability to play within that which rings familiar in my process for my project wøzard. i’ll send you a tester track of the opening song “ frequencies within the light” I can’t wait for you to hear it!
14. What are your thoughts on physical releases (Vinyl, Cd, Cassettes, etc..)? How important is physical media to music in general?
i think physical media is beyond important! in an age where our very right to ownership to the media we purchase is all hanging in the delicate balance between corporate capitalistic greed and the world being on fire. I feel its desperately needed now more then ever for us as artist and consumers of art to archive our hearts out with the things we wish to keep in perpetuity.
So the listeners shitty Demo tape. Yeah thats worth more then gold to me. The listeners favorite cartoon that is no longer on streaming, pirate it and put it to VHS. I mean it.
The DIY scene of Dungeon Synth has always blown me away for the simple fact that despite the world and everything going against them. Labels and artist still find a way to sell their music. Its inspiring.
15. Once again, I appreciate your time and insight to all things Wøzard. Any last word/comments for those that will be reading this interview?
Thank you for having me, your last review of my record made my whole year. I can not stress how excited I am to hear your thoughts on my latest LP Future Cultist & The Slip Space Micromancy,
Go follow me on stuff! My instagram is my most active…(barely) and my music is on everything you can find music at. Yes even at the weird local wizard man who sings ancient lores under the bridge by I-20 whom smells of lilac and piss.
Almost two hundred and seventy years ago, Earth experienced the rise of the Industrial Revolution. This was a time when hand made goods gave way to much faster and efficient machinery. As this dynamic became more large scale, so did the exponential use of factories, broadening the scope of expansion and a necessity for expedient reliability. However, a looming downfall became present in the form of perpetual harsh noise, the release of deadly chemicals in the air and the rise of healthcare concerns due to smog and pollution. Although the Industrial Revolution has come and gone, lingering developments from that period are still in use, especially in the form of large-scale factories – which continue to deliver the negative anomalies as in the past. That brings me to the fascinating new album by Conducive called ‘Vanterwood Industries, Inc.’, a three track magnum opus that focuses on the chaotic elements of industrialized tormentors and their abrasive influence.
“At The Edge Of Town” is a powerful seventeen plus minute album opener that doesn’t waste any time delivering a menacing scene of black smoke, dense fog and voracious machinery with an insatiable appetite for devastation. With industrial chaos thrashing at full speed, this unstoppable presence creates an intoxicating fabric of endless sound with an intriguing appeal of mesmerizing modulations. The sound patterns on this track loop with full force, creating an anxious blend of eerie commotions and an intensity that is destined to pummel everything in its wake. Additional heavy machinery noises begin to take shape in malevolent pattern that increases with ferocity as they cycle through their creative process. As the droning ambience begins to thicken, a sense of chaos is abound, increasing productive and unabridged wear and tear simultaneously. As the machinery is pushed to the brink of its capacity, a sense of dread begins to compound, while melancholic intonations are scattered throughout, like a sudden disharmonic side effect that may soon breakdown the workload of the machinery. The track abruptly stops, as if a horrified worker suddenly presses the emergency stop button, putting an end to the noise abscondment. The second track is the short, “Outside The Factory Walls (12pm)”. At just under two and a half minutes, this track represents a much needed break time from factory endeavors and although it’s much more peaceful than the first track, it continues to showcase another side of endless noises that invade outside. From natural sounds to motor vehicles there is no actual peace from the turbulent sounds that fills the audible space in our lives. The final track on the album is the near twenty minute long, “The Brink Of A New World”. Commencing with a soothing drone, a variety of one-off sounds create a dawning soundscape that slowly intensifies over time. The alluring effects casually accelerate into a wall of distortion that increasing multiplies as the track continues to unfold. At about halfway in, a motley of heavy machinery produces a synchronized pattern of dominating vortex energy that translates into harsh, mechanized chaos. Soft synth pads are tenderly introduced, giving us a somber reminder that industrialized machinery is a dominating force that cannot be stopped and that our surrender to its malevolent presence is impending.
Although Conducive has only been around for a short period of time, the creative force of this project is extremely satisfying. The chaos produced on this album allows for endless, imagined possibilities and is addictive to listen to as well. To some that may not be familiar with the genre of harsh noise, their only takeaway may be that it’s just an album full of perpetual chaos. However, there is an element of beauty that is represented on ‘Vanterwood Indistries, Inc.’ that stretches far beyond noise. If you let your imagination go and soak in all of the intricate details that may go overlooked, you’ll be completely satisfied with the end result. This album is absolutely amazing and without a doubt, my favorite offering by Conducive. If you’ve not checked this one out yet, you’re missing out on an amazing experience that is like no other. Click on the link below and begin your trip through the industrial wastelands of ‘Vanterwood Industries, Inc.’
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One of the bleakest forms of Dark Ambient music is known as Dark Industrial. Combining an esoteric blend of Dark Ambience, terrifying ritualistic undertones and a mechanized form of harrowing drones, Dark Industrial is definitely not for the faint of heart. One of the most consistent producers of this form of music is Pavor Nocturnus. With a stint of terrifying full-length albums, dismal split albums and a handful of singles, Pavor Nocturnus is one of the premier acts the genre has to offer. I had the honor of interviewing the dark entity behind the project and received some great insight on the driving force behind this amazing music.
1. Thank you very much for taking the time to answer a few questions. Congratulations on the release of your latest album, ‘Ecatombe’. What type of theme did you have in mind while writing this album?
I started writing “Ecatombe” during the first pandemic wave, collecting suggestions and thoughts that stormed in my mind during those months spent in confinement. Then I synthesized those moods in archetypes and transformed them in sound. I think that each track title is pretty self explanatory.
2. It’s been just two years between the release of ‘Ecatombe’ and the previous album, ‘Bosch’. Were there any delays between recordings or were you involved with other projects?
“Bosch” release has been delayed several times because of the pandemic, from the end of the recordings it took almost two years. Once the album was out I started recording “Ecatombe” and it took almost the same time to be released; I spoke with Frederic (Cyclic Law) in the first months of 2022 but he told me that the release would have need time to be out. In the meantime I had the chance to restart the live activity that was interrupted by the pandemic.
3. ‘Ecatombe’ was released on the mighty Cyclic Law label. Was this your first release with them? Do you have any future releases with them as well?
This is my first release with Cyclic Law, it is a great achievemnt for me to release my work with this prestigious label alongside many important artists I admire.
There are no other releases planned with Frederic at the moment but hopefully we will have the chance to do something else together in the future.
4. Your previous album, ‘Bosch’ was released on Italy’s Toten Schwab Records. That album definitely fit right in with the dark, industrial vibe of the label. How was it working with Toten Schwab for that release?
“Bosch” was released on Toten Schwan Records and Dio Drone, both labels are runned by friends and despite the difficulties we encountered, as I stated before, due to the covid 19 emergency, I was very glad to make this release with such like-minded people.
I’ve known Marco (Toten Schwan) for a long time, we have also recorded and released some music together under the monicker “Cameraoscura”. Concerning Dio Drone I really admire the work Naresh makes with his label and all the people involved in his projects, we shared some live gigs together and I am looking forward to hit the road again with him.
5. I really enjoyed that album and reviewed it back in 2022. Was there a particular vibe you were going for back then?
My intent was to translate in music not only the beautiful symbology of H. Bosch’s paintings, but also the impact those images had on me and my personal, emotional interpretation. I felt an intense experimental freedom during the whole creative process.
6. What does the name Pavor Nocturnus mean and why did you choose it as your project title?
Pavor Nocturnus means “night paleness” or “night terror” in latin, it is a sleep desease that can occur during childhood. I suffered of this kind of desease while I was a child and when I started my project i thought this monicker could be representative of the mood of my music.
7. Before starting Pavor Nocturnus, were you involved with any other musical endeavors?
I played in some black/death metal bands when I was younger, but Pavor Nocturnus is my first personal project.
8. What intrigues you the most about Dark Ambient and/or Dark Industrial music?
In my opinion the most fascinating thing about these musical genres is the range of emotion they are able to evoke, putting the listener in an immersive sonic enviroment. Everyone can experience something different according to his personal perception.
9. You’ve release several collaboration tracks over the years and I’m most intrigued by your collaboration with New Risen Throne called “Collapse Of The Orbiting Void”. How did this collaboration come about and do you have any possible plans for a full length release with New Risen Throne?
I wrote to Gabriele/NRT during the pandemic asking if he was interested in doing something together and in a couple of months we started to record and share some tracks. I took care of the arrangement, mixing and mastering process, while Gabriele was working on a computer graphics video for the track. He had this 3D model called “The Void” so that’s where the title comes from.
Besides being a great musician and 3D artist, Gabriele is also a very nice person, his work is always inspiring and I would be glad to work on something else together with him in the future.
10. What was your very first release as a Dark Ambient artist and how has your musical expression expanded since that release?
My first official release as Pavor Nocturnus was “Streghe”, an interpretation of witches’ imaginary, primordial rituals and mysticism. Back then I was not that much into electronic music, I was just looking for a musical language that could translate my intentions, that could give me freedom in composing my music. I think that a lot of my metal and classical music background merged into that album. Since then my musical approach has changed consistently and I don’t consider my music as dark ambient, despite it contains that kind of flavour of course. I have released four albums now as Pavor Nocturnus and each album sounds different from the previous one, this is something I would like to pursue in the future.
11. What has been your favorite album that you’ve released so far?
I do not have a favorite one, each album means something different to me and every release is a step forward in my growth as a musician and as a human being.
12. How do you record your eerie soundscapes? Do you record your own field recordings (if any)?
I use a mix of field recordings and sound synthesis, mangling the sounds with some samplers and effects. I have collected a lot of field recordings while working on “Bosch”, and usually when a sound intrigues me I record it and store it.
13. Do you have any album release plans for 2024?
There is going to be a release in autumn, a very limited physical edition of some material I recorded after “Ecatombe”. More info soon…
14. Have you ever played any live sets? If not, is that something that you might be interested in?
Playing live has become a fundamental part of my musical activity, in the last years I have been focused on touring in Italy, Europe and UK. Some years ago I had the opportunity to play a gig in Montreal and I would like to come back in Canada and USA.
Now I will take a break from live activity to work on some new music.
15. I really appreciate your time for this interview, and most of all your incredible music! Do you have any final words for those that may be reading this?
I would like to thank you David for this interview and for your interest in my music. My gratitude goes also to all the people that keep on supporting independent/experimental artists with interest and passion.
Chances are, if you’re reading this, you’re already familiar with the music and fantastical tales of Guild of Lore, but if not, you’re missing out on one of the most revered acts in the genre. Not only is the music consistently outstanding, but the conceptual worlds and landscapes paint a picture of Medieval admiration and enchantment. As if that was not enough, Lamp & Dagger was created and offers a assortment of hand crafted candles, with mystical scents to match a variety of darkened realms. I recently had an opportunity to interview the mastermind behind Guild of Lore to discuss the magnificent force that drives these projects (and several others) to their peak consummation.
1. What an honor it is to have this interview with the great Guild of Lore! How have things been going for you lately?
Things have been going swiftly. Last year was a crazy roller coaster for me, both in my personal life and in music. Felt like a constant mixed bag of good and bad, which I won’t get into. But I say “swiftly” because it felt and continues to feel like time is just moving too fast for my liking. Which I suppose comes with the fact that I’m approaching 50. I am planning on relocating to another state this year, so I imagine that won’t be changing anytime soon. All in all, doing alright.
2. Take us back to the inception of this project. How did you come up with the idea for Guild of Lore and what influenced the name?
Seems like ages ago. I had been working on another project over the Summer of 2018 and was pretty frustrated with it after a couple of months. I kept beating it, twisting and turning it and pulling my hair out trying to get something out of it. To the point that every time I’d try to work on it, I was just making it worse. So somewhere in October, I finally chose to drop it completely, archive it and work on something totally different. That particular end of the year was a cold one. A lot of rain, lots of snow in the mountains and grey and foggy days. Pair that with playing through Skyrim for an umpteenth time and listening to a lot of neo-folk and dark ambient stuff and I had the necessary ingredients for what was to become GOL. Which led me to writing Winterstead and writing differently than I had been in the past. Really taking in my surrounding atmosphere and channeling the type of feelings that Winter can bring. I allowed myself to write freely without expectation, being more influenced by these images of places I had drawn up. I was making a lot of the art at the same time I was recording. As far as the name.. It took a while to fall into place. I probably had 50 different names I was playing with, not one of which I can remember. But both the words Guild and Lore were peppered in there and if I remember right, I looked at them all one night and saw those two words together and it just locked in. I knew that I was building a world which would be rich with lore and thus the Guild was born to record such lore and stories.
3. You’ve created quite a few albums that are in the Winterstead realm. First of all, what a fascinating and creative world it is. How did this concept come about?
As I said, it all came about simultaneously during the Fall and Winter of 2018. I was writing its background and short stories while writing the music and drawing the art all together. I have a deep love for these two seasons, so they played a big part. But Winterstead quickly grew on its own. To the point that I would sit back a lot of times and ask myself where this or that came from. It would just develop itself. I think that’s when I first realized that this world was much much bigger and that the territories of Winterstead were just one massive part of that world.
4. The first Guild of Lore album, ‘Winterstead’ came out in 2018. Did you have any Dungeon Synth projects going on before this?
No I didn’t. I mentioned earlier that prior to writing Winterstead, I had been working on an album from a different project. That was for my project called Breather1, which ironically, I had created years prior as a means to take a break or “breather” away from whatever project I might be working on at the time. And honestly I don’t even remember what I was working on in early 2018 that steered me to work on a B1 album. But I do find it very peculiar that the Breather1 album that I was working on to get away from some other project ended up frustrating me enough to put it down to create an entirely new project out of thin air. Perhaps divine intervention? Perhaps the intense effects of the elements. Whatever it was, it helped give birth to my first Dungeon Synth project. A point of interest for those curious. The B1 album that I was working on at that time would later end up being Studies From The Outer Worlds. Which I went back to and completely deconstructed and rebuilt at the beginning of 2020.
5. Musically, Guild of Lore has a vast instrumental sound. Do you use a mix of electronic and acoustic instruments?
Yes. But for the most part the majority of it is electronic. I have a lot of acoustic instruments that I am partial to within my DAW. However, on the analog side I’m a bit of a percussion junkie. So there are percussive instruments throughout the discography that have been recorded direct and to analog tape. A lot of which I have sampled as well and integrated into my workstation. Ideally, I would love to own all of the acoustic instruments that I use physically such as the dulcimers and lutes etc. But limited space and life realities have kept those dreams at bay for now. Hopefully the new Guild headquarters will have plenty of space to accommodate new instruments.
6. My introduction to Guild of Lore was the 2019 release, ‘Autumn Massacre’. This is still one of my favorite Dungeon Synth releases. What was the journey of this album about?
Well, my love for Halloween and the Autumnal season played a huge part. And I had already been chomping at the bit to introduce a part of the world that had all of the fantastic things that Autumn brings. Much the same way Winterstead was written, Autumn Macabre took shape quickly and really wrote itself. I took a lot of inspiration from my childhood growing up in Visalia, my home town. Which ended up translating pretty heavily to both the music and the artwork. Foggy cornfields and pumpkin patches. Groves of oaks and walnuts. A countryside filled with mystery and decrepit graveyards unattended all while a sense of foreboding darkness lingers on the edge of sight. The foothills at the base of the Sierras used to be prime for exploring and finding relics and ruins, even if they weren’t that old. Imagination can take you to many wondrous places. The journey, to answer your question, was just that. A romp through all of these places I’d imagined over so many years. Some dark and frightening. Some not so much, but those came out more on Bohollow.
7. Is the ‘Autumn Bohollow’ release a continuation of this concept? If so, do you have any future releases that will continue this story?
It is. Over the course of writing these albums, it became very clear to me that there were ongoing stories happening in different locations of the world which would lead to multiple albums just based in those locations. Some even overlapping and converging like the way Bohollow ends for instance. Calling for a return to Winterstead, which we have now done and laid the groundwork for yet another Winterstead album to continue that part of the story. However, when concerning the Autumnal lands, the story is far from over. In 2022 I began writing the 3rd Autumn album, which I had very briefly teased at releasing that year. I quickly retracted that idea though. I was approximately 16 tracks deep with a written story that was growing bigger and bigger everyday. I knew there was no way it was going to be ready by October. So I made the decision to throw a curveball into my discography and switched gears to write Night of Halloween. After releasing the Portals albums, I figured why not go through a portal to 1988 USA and put out a Halloween synthwave album? Do some spooky tongue in cheek narrative and give it a 4/4 beat. It was a fun one to make indeed! All the while, I continued to write the 3rd Autumn album and the story kept growing. When I first started, I had a lot of plans to have a full narrative with multiple characters and dialog. And that may still happen, but I’m not too sure, the story is already beyond that of short story length. As I continue to write it, I find myself considering releasing it as a printed book. Which I have long wanted to publish a GOL book as it is, so this may very well be the first to come as it were. The album would obviously need to come at the same time, so as you can imagine it’s a rather large undertaking. I dare say, more so than any other album I’ve written.
8. Tell us how you got involved with The Spine of Night project. The music and the movie were both incredible. How rewarding was this project to do and complete?
I was contacted by Philip in late 2019 after he had listened to Autumn Macabre. He asked if I would be interested in writing a piece for a film that he was working on. Sent a few details about the movie and what he was looking for and I in turn said yes of course. I was excited to work on a soundtrack for film, however the timing of the offer came when I was organizing Dungeon Siege West and preparing to fly to Seattle. You could say my plate at that time was pretty well stacked. Regardless though, I managed to work on the music for Spine of Night even while doing DSW. Which I believe I completed in January or February of 2020. I ended up recording seven tracks for the film, four of which were used. I really enjoyed writing for film and the experience was invaluable. It honestly made me want to find a producer to do some GOL work. Maybe a GOL movie or a series? You never know.
9. Do you know if there will be a Part II for this as well?
That I do not know, I suppose it’s possible. I’m sure a lot of people would love to see more of that world, myself included.
10. The latest Guild of Lore album, ‘Return To Winterstead’ was a surprise Christmas drop. First of all, THANK YOU! What made you revisit the Winterstead theme?
I knew early on that there would be a return to Winterlands and Bohollow is meant to segue into that return. As I mentioned previously, this album was to lay the groundwork for another, exposing some new locations and to give the listener a welcome back into the snow. But as we know from the journey in Bohollow, all is not well in Winterstead. The Macabre has grown and spread to the snowy land and has given reason for a call to arms. The album was written much in the same style as the original was. Winterstead has always felt more stripped down and organic to me. I opted to use minimal field recordings and used the soundscapes as interludes so that it was more focused on the acoustic songs for the return. These to me tell the stories of this land and help to paint a vivid picture for the listener.
11. I’d like to talk a bit about your Lamp & Dagger label. What a unique concept to not only release some of your other musical projects, but your very own candles as well. How did this endeavor come about?
I am a candle fanatic which has led me to spending a lot of money on them over the years. At one point I stopped and thought, it’s got to be cheaper just to make my own. From there, I fell head first down the rabbit hole. Started ordering supplies and learned how to make them by trial and error. This and the label all sort of came together at the same time. Friends Fen Walker, Sombre Arcane, Shrouded Gate, FVRFVR and Halm had all been artists that I enjoyed, who in talking with had expressed interest in releasing physical material on the label. And I wanted to corral my DS projects under its umbrella as well, keeping with the same level of physical releases that I had been doing with GOL. Pairing the candles with physical releases was something I’d been wanting to do as a form of further immersion for the listener. Having the artwork, the music and the scent of the places they’d travel you to helped to accomplish this. Brendan Elliot became a big part of this as well. His artwork is hands down some of my most favorite out there and the paintings he has done for L&D definitely help to create fantastic places for the listener to visit.
12. I’m also a fan of your Pathworn Pilgrim project and it’s showcases a different creative space than Guild of Lore. How did this project come about?
Pathworn was created simply out of my love for The Elder Scrolls. My introduction into that universe was through Morrowind years ago, and has long been a favorite place to revisit. Equally, Cyrodiil and Skyrim both get revisited often each year. Pathworn acts as a means of tribute to these places and looks to expand even further on the musical aspects, giving the listener yet another perspective therein. It’s a project that has been received well within the community and that I very much enjoy working on. Many have asked whether there will be an Oblivion based album, to which I will answer, yes.
13. The Lamp & Dagger “Halloween” releases were incredible too but last year, you created a separate page for Halloween Scene. Why wasn’t that one release on Lamp & Dagger.
I loved This Tape Is Haunted one and too. Aptly named by my friend Brenden, who was loosely putting a spin on the old “This Magazine is Haunted.” The artists on those compilations did phenomenal work and I really enjoyed putting it all together. But this past year I had to come to a decision on whether I was going to continue with it or not and ultimately chose not to. The story for those two albums was pretty straight forward. Making your way to a haunted house as well as the surrounding areas and then actually exploring the inside of the haunted house. It seemed proper to leave the two at that. Though as I have said before, I love Halloween and I love Halloween music. Especially the old sound FX cassettes from days long gone. I used to love collecting those in the 80’s no matter how cheeseball they were, I’d have a bunch lined up for listening throughout October. So came Halloween Scene, which is essentially an extension of the idea that started with This Tape Is Haunted. The project intends to be an audio magazine of sorts with one release per year during the witching season.
14. Will you continue to release annual Halloween albums?
I fully intend to!
15. In 2022, you released a Dark Noir/Dark Jazz album under the moniker, Radio Roadhouse that loosely pays tribute to Twin Peaks. How did this come about and will there be any more releases?
I have long been a fan of the work David Lynch does. But beyond anything he has done, Twin Peaks remains my all time favorite. Before the grand invention of the internet and streaming services, I used to have a marathon once a year where I would just soak up all the Twin Peaks I could. These days, with it readily accessible, I find I go back even more. I watched a lot that year as well as the previous, which ultimately led to me wanting to do a tribute. I’m a big fan of all things jazz and I love the moods that jazz noir can set. Obviously Angelo Badalamenti was a huge influence in that sector, Bohren too as well as my old friend Manet. I really just wanted to expand on some of the things that I loved most about this place. Everything from the campy cheese to the down right dark and scary. And before I knew it, I had an album. Which I quickly had to put a lid on, because it was growing way too fast in track count. Originally it was meant to be a one and done project, but I’m not so sure now. The desire to do more jazz and jazz noir comes and goes often with me. And it has a tendency to leak into other projects a lot. You can find it especially in B1 and even GOL.. So I may end up going back to Radio Roadhouse just to fulfill that need and expand more on some Twin Peaks ideas.
16. I can’t end this interview without mentioning Breather 1 – the dystopian-based, chillwave/synthwave projects with a handful of amazing releases. What brought about this project?
Breather1 was originally intended as an escape for me. Something to switch gears and get away from other projects I might be working on. I learned that it was good for me to have multiple projects to bounce between so that I would encounter less writer’s block and tunnel vision. It was also my excuse to do sci-fi/space music, something that at first I didn’t have to take too seriously. That began to change after the Outer Worlds album when it really started to develop a more synthwave/cyberpunk direction. With no intention of putting it into a box of course, the project still remains loose to me, without boundaries. But it has become pretty evident in direction.
17. I absolutely loved ‘The Noodle Bar’ and am hoping that ‘The Sushi Bar’ will be a future follow-up (LOL). Do you have plans to continue this synthwave endeavor?
I think it’s inevitable that the project is going to continue down this path. I like the material and the world that it’s sitting in right now. And I have often thought about doing a follow up to Noodle Bar, perhaps another mystery that takes place in this dystopian city. But we shall see.. I also would like to expand further into another Drive album, which is something I really enjoy working on. I like solo drives at night with minimalistic, repetitive almost drone synth music playing. I used to do that a lot. Go find some roads on the outskirts of town and just get lost driving. It’s good therapy and helps to clear the headspace.
18. What are your musical plans for 2024? Do you have any physical releases (cassettes, CD’s, etc.) planed as well?
Yeah, this year is going to be very busy for me. Firstly, preparing to relocate to the state of Texas will be a pretty big venture. My wife and I have spent the past year working on this and even spent some time there last Spring to scout locations. It will surely be an adventure with our three dogs, five cats and the possibility of even bringing along a couple of strays that we take care of. I know it’s not the most ideal place for someone who is a Fall/Winter lover and is used to having access to a massive mountain range. But as they say, change is good and opens new doors. And with the recent surge of DS artists and live shows happening in TX, I’m really feeling optimistic about the move. This is obviously going to directly affect everything I do from L&D to writing music. I’m hoping that once settled I can get back to work on both as I am way behind on physical releases. And I get asked a lot about that. There are plans to release the albums that I have done over the past year physically. When it will happen and in what capacity I just don’t know yet, which I imagine is just as frustrating to fans as it is to me. But rest assured, these things are constantly on my radar.
19. I really appreciate your time and most of all your music and friendship! Do you have any final thoughts for those that may be reading this interview?
I would very much like to express my eternal gratitude to all of the folks out there who continue to listen to and support what I do. None of this work would exist without them. So a very big thank you to all of you. And a huge thank you to the dungeon in deep space for everything that it has done and for having me here for this interview. This site has been an instrumental place for getting the word out on dungeon synth and dark ambient that people might not otherwise know about. Much respect to you for that! I am looking forward to this new year and to all the new adventures that it brings!
This was another fantastic year for Dark Ambient music. Not only were there many releases from well-known artists, but there were many great releases from up and coming artists as well. That being said, I was a fan of so many Dark Ambient albums this year, that it was almost impossible to come up with a Top 10. I could have easily had a Top 100 but it would have taken me forever to compile and write about each of them. After much thought (and a few changes along the way), I’m happy with this Top 10 list and hope you enjoy it as well. If some chance you’ve not heard any of these projects, I highly recommend them. Happy readings, Happy New Year and I already can’t wait for 2024!
10. Monasterium Imperi – Sanctium Choir Collection
Scorpio V has released four extremely impressive albums under the Monasterium Imperi moniker this year but ‘Sanctium Choir Collection’ is the grandest of them all. Over two hours of bleak, Gregorian chants over haunting drones is exactly what I love about this project and ‘Sanctium Choir Collection’ delivers in a monumental way. In all honesty, I wish this album was about four hours long but the seven epic tracks contained within will do just fine. Perfect for meditation, background noise or sleep music, I can’t recommend this one enough. Even though it’s only been out about a week, it definitely deserves a spot on my year end list. Don’t sleep on this one!
Infinexhuma released ‘Denown’ back in March and it’s been one of my go-to Dark Ambient albums ever since. Featuring a murky blend of industrial noises and immeasurable drones, this album almost has a ritualistic essence to it. This intense collection of colossal modulations is – at times – downright terrifying. There are bits of sinister vocalizations that will have you checking the perimeters for evil entities and I wouldn’t recommend this to fall asleep to, unless you desire the most extreme forms of nightmares in existence. Highly recommended for fans of more extreme forms of Dark Ambient music.
Scorpio V’s second entry in this year end list is for his bellwether project, Metatron Omega. Released on the mammoth Cryo Chamber label, ‘Kataphasis’ continues a long string of Metatron Omega albums that emphasizes Dark Choir chants and haunting ambient textures. In addition to the elongated droning modulations, there are some beautifully melodies throughout that adds another dimension to this imposing offering. Chances are, if you’re reading this article, then you’re already aware of this massive project and the consistent vibes of the six releases available on the Cryo Chamber label Bandcamp site; but if you’re not familiar with Metatron Omega, I highly recommend ‘Kataphasis’ as a starting point.
Dev-I-Ant is another amazing project that has a pretty consistent catalog of sinister offerings. From the opening modulations of ‘A Place Of Warmth And Tears’, I knew this album was going to be a malevolent journey into the depths of darkness. From terrifying soundscapes throughout and the horror-like theme that spews from every track, there is no way that I could leave this masterpiece off of my year end list. If your aim is to be aghast while experiencing Dark Ambient music, then look no further than this album and be prepared for a frightful encounter.
Sonologyst excels at releasing masterful Dark Ambient albums that build upon isolationism through elongated drones and minimalist haunts. On the projects latest effort, ‘Shortwave Spectrum’, the intonations go above and beyond than ever before. Featuring over ninety minutes of ghastly sequences that are reminiscent of sounds that may be heard at an abandoned communication station, these tracks provide the full experience of abandonment and psychotic terror. Although not as ominous as other releases in my collection of Top 10 releases, there is an everlasting presence of dread that has an equivalent effect. If nominal Dark Ambience is your thing, then the works of Sonologyst will be right up your alley and ‘Shortwave Spectrum’ would be the perfect starting point for diving into this eerie style.
The third and final entry for this Top 10 list by Scorpio V is the enthralling, latest chapter of raw, Gregorian Chants by Eshaton called, ‘Pneumos’. Consisting of a single, thirty four minute track, ‘Pneumos’ builds upon coarse production efforts, grainy synth modulations and persistent dark choir effects to deliver an ancient – almost Medieval – sound that is consistently bleak but with an emotive posture. As Scorpio V continues to expand his unique sound fit for a fantastical universe, Eshaton is quickly becoming my favorite project out of all of his endeavors. Even fans of Dungeon Synth will become drawn to this effort and appreciate this massive sound for what it is – dismal and introspective.
I continue to be astonished by the consistent output from Blackweald. Not only are the albums filled with dreadful, Dark Ambient soundscapes, but the theme choices and album length are a huge undertaking as well. ‘The Fermi Exhibit’ is over five hours of unhinged, maniacal ambient music that contains bits of Space Ambient, Ritualistic tones, industrial Ambient and Isolationism all wrapped up in a single release. Additionally, the use of field recordings and demonic effects are prevalent throughout, making this a true Dark Ambient masterpiece. My favorite track is the one hour, forty four minute long “Vast Emptiness”, as it is a Space Ambient showcase that goes from nominal tones to penetrating horror and the listener gets to experience the dark unknowns of doomed space travels. Don’t pass on this immaculate offering.
Stars Without Light is a completely new listening experience for me and I was immediately hooked when listening to ‘Beneath And Before’. Even though this is the first album from this project, it’s easy to identify that the music contained within is the product of a veteran Dark Ambient musician. From crisp drones to apocalyptic soundscapes, this is for certain, one of the darkest offerings in my Top 10 list. At times, it borders into complete noise terror with complacent Industrialism, with a surprising ritualistic twist, and other times it sways through chaotic soundscapes that are equivalent to vicious nightmares. Even though this offering is just under thirty six minutes, you’ll feel completely drained of any comforts upon the first listen. This is a brilliant release that must be heard by all fans of Dark Ambient music.
If you’re not familiar with the Planetary series by Ruptured World, then you’re probably living under a rock or are not familiar with Ambient music in the first place. All jokes aside, This series – which consists of four releases – is an enthralling experience that has a complete story narration that is just as exhilarating as the music. In the latest installment, ‘Xenoplanetary’, Ruptured World goes all out to provide one of the best listening experiences ever recorded and – in my opinion – the best chapter of the Planetary series. The music, which is completely captivating and full of trance-induced emotions, plays on loop until the listener is completely entrapped. Then, the haunting narrations of Alistair Rennie will send you spiting into an otherworldly experience like no other. Tracks like “The Cruel Darkness” and “The Daze Of Foreboding” are so good, they’ve remained on repeat since the album was released in January.
God Body Disconnect is one of the most consistent artist on the Cryo Chamber label and whereas his albums has mostly a dystopian feel to them, I find myself drawn in by the simple (and sparse) narrations that provide a huge amount to expression to each release. However, ‘The Weight Of Regression’ is a monumental achievement in multiple ways and this seventy six minute endeavor is my favorite Dark Ambient album of 2023. Not only are the dreamy synths still present throughout, but the addition of percussion instruments provides a Dark Noir texture which ultimately emits a potent sound that is highly addictive. “Remnants Of A Soldier” is almost like a Post-Rock track that hypnotizes for over eleven minutes, while “Dosed And Dreaming” is one of the most calming experiences on the entire album. All in all, there is a lot of variety on this album that gives it the ability to remain fresh and relevant for a long time to come.
As I continue to explore the depths of Ambient music, I often find myself amazed at the talent that is out there. Daily, I dig through the trenches of Bandcamp, in search of something new and innovative. Other times, it’s chance encounters on social media that brings in the amazement. My introduction to Anser Flare was the latter. Where as a lot of Ambient and Dark Ambient music slowly builds in layers, creating songs of epic lengths, Anser Flare takes a more modest approach, creating celestial incantations that are shorter and often times more lively. I recently had the opportunity to have a discussion with the artist known as Anser Flare (now simply known as Anser), to find out what this project is all about. Hope you enjoy this interview and please check out the fascinating works of Anser!
1. Thank you for taking the time to answer a few questions for The Dungeon In Deep Space. Let’s start with the origins of Anser Flare. How did this project come about?
I was originally interested in doing something more minimal than my old project Madrigals. It made sense to keep the styles separate as in July ’22 I was in the middle of recording a DS split.
2. Your first release was ‘Gnosis’ back in September of 2022. I find a lot of musical influences on this recording and it transcends the thresholds of just Dark Ambient. Who were some of your influences at this time?
Gnosis was heavily inspired by Aphex Twin, Kraftwerk, Prurient, and some of my dark ambient collaborators on Umbra Vulgaris such as Sylvanum and Narbaiz. Gnosis was about a young man who leaves Earth after it’s rendered mostly uninhabitable by a meteor. There is a full story but lately I’ve paid less attention to shaping the narrative.
3. After the ‘Gnosis’ release, you had a track on the ‘Falling From A Star’ collaboration. Can you talk a little about that project and how it came about with the other artists?
This split was fairly spontaneous. Aradias Kingdom and Fenrir both expressed interest in a “space ambient” split after they had original tracks on UVR’s “Shades of Dark Ambient V2”. My comfort zone leans more to the “pure dark ambient” side with less percussion or overt DS.
4. In June of 2023, you released ‘The Ethereal Hours’, which is another stellar musical journey that branches outside of the ambient genre more than ever. What led to the inclusion of these elements?
Thank you for your kind words! I have always been a big fan of 80s electronic, its revival with outrun/retrowave, and needed to step out of the comfort zone and make something pop fans might like. “Can You See Heaven” came about in trying to channel the 80s. As well as hearing The Weeknd in every shop for over a year and needing to get those songs out of my head!
5. I really dig the track, “Space Habitation” as it perfectly sums up the discordant and sonic journey for this album. What’s the story behind this 8+ minute track and is this longest song you’ve produced to date?
Space Habitation is the longest track across all my projects so far, yes. At this point in the story, the main character has left earth for good and lives permanently on a space station closer to Mars.
6. In October of 2023, you released the ‘Apostate’ album and it’s more of a Dark Ambient adventure, filled with a good amount of celestial drones. What influenced the soundscapes on this album?
“Apostate” was influenced a lot by Mortiis and Burzum, but without high fantasy reference points. Where the previous album was more extroverted, I tried to create a very subdued, solitary feeling. It also basically ignored the story written so far.
7. In my opinion, the track “Reincarnate” is some of your best work and has a minimalistic quality that can easily be built upon. What’s the chances of releasing more works of this nature?
Very high. One of the Logic synths “Haunted Castle” from that song makes its way onto each release at least once.
8. I know that 2023 is coming to a close but do you have any more releases planned for the immediate future?
Nothing immediate. There will be another full-length from Anser in mid 2024.
9. How about collaboration efforts? Is there any more of those in the works?
You might know that I play synths in the Dungeon Synth project “Deabruen”. I consider that a long-standing Anser-Narbaiz collaboration. But no splits planned at the moment. “Ethereal Hours” will also be out on cassette this winter from Fantasy Audio Magazine, and “Apostate” from Umbra Vulgaris on November 17.***
10. I know that for many independent artists, the Bandcamp platform has been extremely reliable (up to this point) but do you release music on any other platforms, including physical releases?
Bandcamp is the main way. All the tapes and CD-R’s of Anser are available through UVR on Bandcamp and Discogs, and for streaming on Spotify, Apple etc.
11. You’ve mentioned Umbra Vulgaris a few times so far. Is this a label that you put together? If so was it intended only for your own projects or was it open to other artists as well?
Yes, UVR was an idea dating back to early 2021 as a way to release my own music on CD or cassette at low cost. There have been multiple people tangentially involved behind the scenes but it’s always been my label. It was open to other artists from Fall 2021, but with an emphasis on split EPs and albums, such as those with Sylvanum, Narbaiz and Frostgard. Full length albums from other artists arrived in 2022 and it became a “proper” label.
12. If I’m not mistaken, the first release on this label was ‘Fallen’ by Madrigals. Can you talk a little bit about this project and is it one that you plan to continue at some point?
That’s right, it was a digipak limited to 100 copies. I still have about a dozen. Madrigals was a melodic dungeon synth project that mostly used ideas I had been holding onto for years, before really becoming aware of DS as an active genre. After realizing a lot of it existed, and people were doing much cooler things with it than me – e.g. any of the other artists on those splits – it lost its magic and Anser became my primary focus. I don’t plan to continue as Madrigals.
13. What’s your opinion on digital releases versus physical releases? How have both formats helped shape Umbra Vulgaris Records?
Digital releases without a physical tend to get unfairly written off. Cassettes have their obvious charm, and CD’s too in my opinion; so they’ll always be part of what I do. As far as the label goes, it would be great to try and grow the digital side – free compilations, e-zines, even considered a podcast. In the current setup, we’re trading and wholesaling off a lot of cassettes to build up an extensive distro selection, which will help support more digital output. The distro is overwhelmingly tapes, so we’ve been pigeonholed as a “tape label” which is probably fair.
14. I really appreciate you taking the time to have this interview session. Do you have any final thoughts for those that may be reading this?
Thank you very much for your questions, and thank you to the readers!
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