Eyre Transmissions XXVIII: Interview With Ominous Industrial Ambient Producer, Pavor Nocturnus

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.

https://musicpavornocturnus.bandcamp.com/album/ecatombe

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.

https://musicpavornocturnus.bandcamp.com/album/bosch

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.

https://musicpavornocturnus.bandcamp.com/track/collapse-of-the-orbiting-void

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.

https://musicpavornocturnus.bandcamp.com/album/streghe

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.

Links:

Bandcamp: https://musicpavornocturnus.bandcamp.com/music

Instagram: https://www.instagram.com/ge_pavor?igsh=NWx2Ym9ybmV1ODhu

The Nebula Breviary – A Voyage Through The Black Hole With Ithildin Tape Production

Welcome to The Nebula Breviary! For starters, I’m not sure if this will be a continuous column or just a one-off publishing. In either case, I wanted to create something where I could spotlight an artist that is involved in a variety of projects, with a steady amount of releases. I couldn’t think of a better entity than Ithildin Tape Production. The home of Dungeon Synth maestro Elminster, Ithildin Tape Production is the mainstay of many other activities that performs in the Dungeon Synth realm and beyond. Enjoy these summary reviews of some of the many projects from Ithildin Tape Production!

1. The Owl Knight – Chamber Of The Starplotter

One thing I love about this release, is that it covers a lot of ground although being very compositionally minimalistic. This assortment of flavors included winter synth, raw Dungeon Synth and nominal chip tune without the cheerful undertones. The constant tape hiss gives off a nostalgic vibe and the flow from track-to-track is well thought out. You’ll definitely be reminiscing through retrospective Medieval content and this truly sounds like something that could be played in a deep, dingy dungeon. This one is worth checking out and adding it to your collection is a must.

https://ithildintapeproduction.bandcamp.com/album/chamber-of-the-starplotter

2. Elminster – Caern Mist

Elminster, the flagship project of Ithildin Tape Production, sends a mesmerizing reminder as to why this is one of the best, traditional Dungeon Synth projects out right now. ‘Caern Mist’ is an exceptional release that features a range of dynamic orchestrations and light-hearted patterns that are enough to sooth the soul. These lengthy tunes drift in slow motion as if waiting for the seasons to change or the lapse in light as day fades to nocturnal bliss. Beautifully produced and elegantly composed, this album is a true testament of the mature path traveled for Elminster.

https://ithildintapeproduction.bandcamp.com/album/caern-mist

3. Muzgash – Hymn Of Hithlum

This is one of those recordings that you can turn on and then get lost in its vast atmospherics. A soothing ambience starts this twenty one minute long track and then it faintly reforms into a juggernaut of ritualistic beats and hypnotic loops that will keep you sedated for the duration on the track. Hints of Dungeon Synth effects are scattered throughout in a tasteful manner, as to not take away from the complete submersion of this audial spectacle. I would love to hear more from this project, especially if this is the material we have to look forward to.

https://ithildintapeproduction.bandcamp.com/album/hymns-of-hithlum

4. Mahomet Renatus – Ire Of The Crescent Reborn

‘Ire Of the Crescent Reborn’ is an interesting blend of lo-fi Black Metal and sparse Dungeon Synth undertones. Minimalistic in approach, these three tracks complete a 20 minute cycle of trance-inducing wall of noise that is more of a controlled chaos that an all out blitzkrieg. The drums shift between blast beats and industrial thumps that maintains a deafening cadence. Overall a good release but the faster parts definitely stand out and create a whirlwind of noise that’s addictive and refreshing.

https://ithildintapeproduction.bandcamp.com/album/ire-of-the-crescent-reborn

5. In Dusk’s Embrace – Earth End’s Pantheon

Atmospheric, primitive and seductive are a few words that come to mind while spinning ‘Earth End’s Panthron’. This thirty four minute opus is a single-track, tour de force of atmospheric black metal that is a melting pot of twisted & sinister riffs, ambient textures and grainy vocals that redirects the listener to early incantations of icy cold Black Metal. Other than a quaint acoustic intro and outro, this track procures a relentless pace and delivers top quality low fidelity music. I highly recommend this recording for those that love that old school necro sound.

https://ithildintapeproduction.bandcamp.com/album/earth-ends-pantheon

6. Moss Keep – The Curtain Of Time

‘The Curtain Of Time’ exhibits two long-players of primordial Dungeon Synth with the essence of Medieval yearnings. Complete with hisses, cracks & pops of ancient recordings, the music leans on the side of melancholic compositions with somber soundscapes and a passion for mellow, emotive terrain. With both tracks extending beyond the thirteen minute mark, these depressive dirges are best heard on a dark, dreary day where emptiness is of the essence. This is a very entertaining release and amongst my favorites by Moss Keep.

https://ithildintapeproduction.bandcamp.com/album/the-curtain-of-time

7. Howling Mire – Answering The Hidden Summons

‘Answering The Hidden Summons’ is like an album of distraught ellegies, assembled for those mournful souls lost in ancient battles. The keyboard work throughout this album is amazing and truly showcases a sophisticated effort from the Ithildin Tape Production camp. Complete with background hisses to supplement the overall dismal ambience, these four tracks are over before you know it, even though totaling almost thirty minutes worth of music. Save this one for a rainy day and it will fit right in.

https://ithildintapeproduction.bandcamp.com/album/answering-the-hidden-summons

8. Dyvyná – Within The Walls Of The Promised Kingdom

From the music to the art work, this has the Renaissance era written all over it. Crisp synth leads and dreamy effects solidifies a haunting atmosphere of bright, effervescent colors. There is a slight reverb on the instrumentation as well, emitting a powerfully thick sound that aligns perfectly with the production efforts. This Dyvyná project is definitely one to look out for and an extensive catalog of music is already building up.

https://ithildintapeproduction.bandcamp.com/album/within-the-walls-of-the-promised-kingdom

9. Whispers Of Umbar – Hail The Voidlord

Whispers Of Umbar is one of my favorite projects from Ithildin Tape Production. There is just something about that primitive sound that blurs the line between Dungeon Synth and Dark Ambient that brings joy to these ears. ‘Hail The Voidlord’ is a near twenty seven minute experience that is crafted in noise and brutal harmonics that produces visions of bleak landscapes and unfathomable bloodshed. By the time this insane track is over, you’ll need a nap and a chalice of spirits before your next listening experience.

https://ithildintapeproduction.bandcamp.com/album/hail-the-voidlord

10. Üvegszakadás – In The Ashes Of The Fallen Empire

‘In The Ashes Of The Fallen Empire’ is a mammoth of an album, especially in regards to previous releases in the Ithildin Tape Production catalog. Almost an hour and forty minutes of granular Dungeon Synth that feels like a massive compression chamber of ghastly intonations that are sequentially summoning Medieval spirits for an upcoming apparitional raid. Haunting melodies compounded by wobbly effects and battle-ready cadences, this is an imposing outing that is sure to become a fan favorite.

https://ithildintapeproduction.bandcamp.com/album/in-the-ashes-of-a-fallen-empire

11. Sorrow Of The Moon – Hávamál

‘Hávamál’ is one of six Sorrow Of The Moon demo’s released this year (thus far), each containing a single track ranging from twelve to twenty minutes of playing time. This project is a firm mashup of Elminster and Üvegszakadás, with its own production value that is gothic influenced and completely introspective. What I do love is the upbeat nature of this demo and how complete it sounds, with regards to the traditional Dungeon Synth sound. This is one that I can easily play over and over again without getting tired of it.

https://ithildintapeproduction.bandcamp.com/album/h-vam-l

12. Maeglin – Screams Of A Frozen Heart

Unlike the other Black Metal releases on Ithildin Tape Production, Maeglin infuses more distorted guitar chords and focuses on melody and song structure, instead of trance-like atmospherics. The results – at least for ‘Screams Of A Frozen Heart’ – is that it’s more focused, catchy and quite enjoyable. There are definitely some Dungeon Synth undertones, specifically in the intro and various spots throughout the release. However, they are used more of as a background discord than being the focal point of the music. This is another admirable release from ITP!

https://ithildintapeproduction.bandcamp.com/album/screams-of-a-frozen-heart

Cassettes Can Be Purchased Here:

https://ithildintapeproduction.bigcartel.com

Hasufel Spreads Anguish Into The Halls Of Madness With Synth-Spectacular, ‘Exaltation’

‘Exaltation’ has been a highly anticipated release ever since the advertisements and promo packages have been putting out exciting information on the music contained within for the past few months. For me, it provoked a sense of enthusiasm for really wanting to dive in and examine the power of each track. With just four songs and about twenty minutes of playing time, I expected this one to hit hard right from the opening note until the final one. So after have experiencing this album at least five or six times now, do I think it lives up to the hype? Absolutely…and then some! ‘Exaltation’ is a seamless blend of Dungeon Synth, Winter Synth and Dark Ambient with superb vocal narrations and effects, as well as ominous soundscapes and field recordings. This is quite the unique listening experience and definitely a rewarding one.

“School Of The Prophets” begins with eerie drones and sinister, lo-fi soundscapes, depicting a true scenery of dungeon vibes and heinous Medieval existence. Winter synth tones come into the equation and are quite melodic, but as an addition to the darkened tones, it’s presents a grim listening experience. Pastoral narrations add a maniacal and dreadful emotion that may seem overwhelming, but fits in perfectly to maintain the gloomy ambiance. The song closes out with a single – high-pitched – tones that leads right in to, “White Mildew”, another bleak affair that showcases what it would have been like to be committed to a lifetime of Dungeon-dwelling existence. The slight echo on the voice narrations is reminiscent of early 90’s Black Metal ambient sections – desolate and ominous at best. Although keyboards are used in a minimalistic setting, they fuse perfectly with the atmosphere of this track. “Salvación” is a slow builder, almost tribal-like, with more outstanding narrative parts. This time there is a vocal variant that is added, expanding the density of the soundscapes and field recordings. This track is almost in the realm of ritualistic black ambient, and is one of my favorite recordings on the album. However, amongst the chaos, it ends on an austere, but peaceful note. The final song on the album is the title track, “Exaltation”. From the very beginning, it emits very creepy vibes with heavily reverberated piano tracks and almost circus-like anthems, as if a great show was coming to a close. This is a grand meshing of the senses, as it is part whimsical and part malevolent. It’s like chaos with paralysis and a perfect way to end this short but amazing album.

Hasufel fuses the best of both worlds – speaking specifically of Dungeon Synth and Dark Ambient. Although ‘Exaltation’ doesn’t fit firmly in either of these genres, the prodigious tracks contained within takes the best of both genres and expands them to a realm of unimaginable terror and viscous imagery. I’m completely fascinated by this recording and it reminds me of 90’s Black Metal as well, especially with the dissonant ambient interludes that create the horrific scenes between the tracks of hateful riffing. I highly recommend checking out ‘Exaltation’ if any of the above-mentioned descriptives appeal to you. I guarantee that you won’t be disappointed, so click on the link below and download this spectacular album.

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

Links:

https://pacificthrenodies.bandcamp.com/album/exaltation

Celestial Ephemerides: A Collection Of Dark Ambient Summary Reviews, Part II

The Dark Ambient community is such a prodigious one, consumed with brilliant artists that release some of the most diverse albums in – what is widely considered – one of the most minimalistic spectrums in music. That being said, I’m proud to present round two of my Dark Ambient summary reviews, that finds many of these artists broadening that spectrum with some of the most divergent tunes I’ve heard in a long time. I hope you enjoy reading these and please support these amazing artists as the continue to progress their musical achievements.

1. Aldebaran’s Nebulah – Deep Form Of Cosmic Signals

Cosmic, Lo-Fi dark ambience that depicts a cold and callous realm beyond the reach of any civilization. Soothing and minimalistic, each track portrays the bleakest depths of space with hints extraterrestrial effects and soundscapes. Although just two tracks, this is a very enjoyable outing and I’m looking forward to more by this artist.

https://aldebaransnebulah.bandcamp.com/album/deep-form-of-cosmic-signals

2. Veinte 33 Records Compilation – From Perihelion To Aphelion

Veinte 33 Records has quite the impressive lineup of artists and releases, producing stellar ambient and obscure efforts on a consistent basis. For those that are not familiar, can start with this amazing compilation album that showcases some of their most incredible talents. From nominal soundscapes to bizarre discordance, these fourteen tracks provide a massive eighty minutes of impressive music. Some of my favorite artists on here include Colonial Skyway, Trucking To Tokyo, ExistenZ & WhaltHisney. I highly recommend this collection!

https://veinte33records.bandcamp.com/album/from-perihelion-to-aphelion-a-veinte-33-records-compilation

3. Sabled Sun – 2149

When it comes to Sabled Sun, I honestly prefer the ‘Signals’ space ambient series over the ‘21xx’ post-apocalyptic ambient series. However, I still love the ‘21xx’ series and ‘2149’ is the perfect addition to the dystopian storyline. Everything about this album is just perfect – the field recordings, desolate piano chops, soundscapes, and even the tape hisses & vinyl scratches gives it a wonderful nostalgic feeling. One of my favorite Dark Ambient albums of 2021 so far!

https://cryochamber.bandcamp.com/album/2149

4. Taphephobia – Blue Hour

Cyclic Law continues their unfathomable streak of enthralling releases with the captivating sounds of Taphephobia. ‘Blue Hour’ provides a slow-motion listening experience of ethereal proportions and the magnitude of the soundscapes expand beyond the grand sphere of audial bliss. If you close your eyes and really absorb this album, you’ll find yourself having a euphoric out-of-body experience.

https://cycliclaw.bandcamp.com/album/blue-hour

5. Anastasia Vronski – In The Dark

If atmospheric chaos and turmoil is your thing, look no further than ‘In The Dark’ by Anastasia Vronski. With two tracks of industrialized black ambience decimating the inner ear cavity for over thirty one minutes, there is no room for recovery and little chance of survival – if your mind is not prepared for this raw and austere journey. This is a very impressive release and hopefully this sonic creation is just the beginning of a string of amazing albums.

https://kalaminerecords.bandcamp.com/album/in-the-dark

6. MNZKRT – MNZKRT

What’s better than thirty five minutes of heavily distorted drone tunes suffused with deep modulations, glitches and eerie soundscapes? Not much, if this sort of audio terror is your thing. ‘MNZKRT’ is an unusual recording but surprisingly captivating with spacious atmospherics of the highest order. I highly recommend checking this out.

https://mnzkrt.bandcamp.com/album/mnzkrt

7. Material Loss – EP

This is an amazing recording that borders the dimensions of harsh black ambient and minimalistic soundscapes with hints of industrialized madness. These four tracks take the listen to an alternate reality, where escape from apocalyptic terror is imminent but highly unlikely. At times bleak and consoling but the remainder of the aural duration is spent with glitches and disturbing sound resilience. This one is best played with the lights down low and a few lit candles to set the mood.

https://materialloss.bandcamp.com/album/ep

8. BECKAHESTEN – Vattenhålens Dräpare

This album is the result of the fortunate collision of nature and a dystopian future of another dimension. These soundscapes are purely cinematic and chronicle an intriguing story of world hereafter. Chanting vocals, haunting narrations and tribal drumming add to the mystique of this adventure and it is sure to garner many repeat plays.

https://cycliclaw.bandcamp.com/album/vattenh-lens-dr-pare

9. Shedir – Finite Infinity

‘Finite Infinity’ is the perfect blend of dreamy space ambience and cinematic soundscapes, fused with elements of both light and dark ambience. Shedir capitalizes on these strengths and creates a bold style of synth-based music that is inductive of trance-like repercussions as well as a sense of ambiguous emotions. Although I wasn’t previously familiar with this artist, it’s safe to say that these songs will continue to be in heavy playlist rotation.

https://cycliclaw.bandcamp.com/album/finite-infinity

10. Aegri Somnia – Nusquam

If I had to pick at least one artist on the Cryo Chamber Label that consistently gave me a sense of strained settlement with each release, it would be Aegri Somnia. These are some of the most well-crafted dark ambient songs that have been released by the artist and there is a steady flow of cinematic quality that can’t be overlooked. One thing that particularly stands out is the excellent use of field recordings and how they extend the listening experience through various cosmic realms.

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

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

Cryo Chamber Label’s Seventh Lovecraftian Collaboration, ‘Yig’, Is The Most Versatile Offering In The Series Yet

Since 2014, the Cryo Chamber label has embarked on an annual endeavor that epitomizes the meaning of artist collaboration. Paying tribute to world renowned author – and creator of the Cthulhu Mythos – H.P. Lovecraft, these musical ventures have proven time and time again to be epically daring and adventurous beyond the realm of typical artistry participation. Consisting of mainly album-length tracks, these Lovecraftian collaborations find the gathering of current Cryo Chamber artists, alumni of the label, and additional artists that are some of the best in the business. As each album culminates an evolution of sound and dynamics, they also improve with more sophistication and a variation of modular potency. The seventh (and latest) album in the series, ‘Yig’, consists of two songs that are around seventy minutes in length each and the transparency of these arrangements make it the most accessible and auditory one yet.

“Yig 1” wastes no time in creating a cinematic ambience, as mystifying soundscapes and fearless drones find a balance between sinister accord and Middle Eastern vibes. Percussive elements of a tribal nature begin to create a ritualistic groove that challenges the senses which results in being caught between darkness and a theatrical emotive state. As the percussion slowly fades, it gives way to deep, peaceful drones that succeed in delegating mental prowess to the subconscious. Various field recordings and effects paint an eerie scene, but this is just the beginning. At the twelve and a half minute mark, electronic beats add a rhythmic cadence that is downright sinister, but it is also a well designed section for this track as it adds an authentic layout to the ominous subject matter. One of my favorite sections of this track starts at around the twenty eight minute mark. Up to this point, the output has been mostly dark and malevolent in nature, but here there is a particular calmness that is a perfect inclusion. Layers of vibrant drones create a spacey vibe while keeping it melancholic at the same time. It’s so easy to get lost in this section as it’s so dreamy and introspective. If you’ve not done so up to this point, you’ll want to close your eyes and soak in the fantasy world that is being created. This section carries on for about seven minutes or so before traversing into darker territories again. At around the forty seven and a half minute mark, another important section of this track is introduced. Commencing with a good mix of field recordings, it is soon joined by West Asian instrumentation and some wicked vocalizations that are barely audible. After a few more very powerful sections of this track, we finally make it to the last few minutes, which ends in the same fashion as it started – unique field recordings and beautiful instrumentations that provide the cinematic finale to this grandiose piece. “Yig 2” is another impressive feat of legendary proportions. Starting with dark, desolate drones and apocalyptic soundscapes, the beginning sets a ravaging pace of systematic annihilation for the next seventy minutes. At around six and a half minutes, spacious drones meander in slow motion while a calming effect pierce through its dense layers. The looping effect creates an arcane sensation and the trance-like results are mind blowing. Another impressive section begins at around nineteen minutes in. As one section transparently fades into the next, this one has soaring guitar and piano leads with almost a dark noir sound. I could listen to a whole album of this stuff. Well played and just enough distortion on the percussive parts to change things up a bit, this is one of my favorite parts on the whole album. Starting at around the thirty two minute mark is probably one of the most essential sections on the album, as it really provides that nostalgic Lovecraftian vibe of horror and fascination for darkness. The bombastic drum beats combines with various drones and soundscapes create a menagerie of sound that is addictive and suggestive of the subject matter. Ominous and explosive black ambience is captured at around fifty two minutes in, as elements of industrialized drones begin to take over. The sound continues to grow darker and more perilous as a sense of anxiety begins to mount. However after a few minutes, that is counteracted by soft, soothing drones that successfully develop into an emotional journey for the final few minutes of this monumental album.

One of the most impressive aspects of the ‘Yig’ collaboration is how over twenty artists from all over the world, supply a version of their craft for this themed story with absolutely no opacity between parts. We’re talking two, seventy plus minutes tracks of some of the best arranged Dark Ambient material that has been produced recently. That extraordinary effort has made ‘Yig’ one of my favorites amongst the Cryo Chamber Lovecraft Collaboration series. If you’ve not heard this yet, I highly recommend checking it out by clicking on the link below.

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

Links:

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

Celestial Ephemerides: A Collection Of Dark Ambient Summary Reviews, Part I

This is my second Celestial Ephemerides posting but the first one that dives into the Dark Ambient genre. Like I mentioned previously, I’m hoping these summary reviews will tide you over while I plow through my endless list of review requests with the hopes of getting caught up one day soon. All of these albums are incredible and it would be awesome if you would show your support for some (or all) of these amazing releases.

1. Cryo Chamber – Tomb Of Wights

Cryo Chamber Label’s Tomb Series, is one of my favorite collections of Dark Ambient releases. Instead of the typical collaboration effort, the Tomb series brings together many artists and allows them to provide their own cinematic input based on the theme. ‘Tomb Of Wights’ is an exceptional addition to the series and features some of my favorite Dark Ambient artists. The majestic quality of these tracks flow effortlessly, while magnificent drones and soundscapes provide a groundbreaking experience in audial sub-harmonics.

https://cryochamber.bandcamp.com/album/tomb-of-wights

2. Deus Ex Lumina – Summoning

‘Summoning’ is a very unique album and is not typical of the Dark Ambient genre. Monolithic drones and callus soundscapes lay the foundation for vibrant orchestrations and symphonic melodies. Additionally, beautiful female vocals and worldly musical intonations can be heard throughout this recording, adding a delicate layer of harmony and variety. This is one that you can definitely go back and listen to over and over again.

https://deusexlumina.bandcamp.com/album/summoning-full-album-dark-ambient

3. Hiemis – Radix

Hiemis is the real deal when it comes to introspective Dark Ambient. Taking a minimalistic approach, Hiemis builds upon dreamy drones that border warm and dark ambient variances and instead of relying on heavy use of field recordings and sonic soundscapes, rich synth textures creates the dynamic and robust atmosphere. ‘Radix’ epitomizes all of these qualities and delivers an auditory masterpiece that is equally soothing and appealing to the depth perception of a cinematic music imagery.

https://noctivagantcollective.bandcamp.com/album/radix

4. The Oracle – Hypogeum

‘Hypogeum’ is way more than a Dark Ambient album; it’s a visionary conquest in experimental & electronic music in general. Although robust drones are used through this recording, it’s the excellent use of percussion, industrial soundscapes and the variety of synth tones that makes this such an adventurous outing. This is an audial experience that must be heard to be understood and thoroughly appreciated.

https://theoraclema.bandcamp.com/album/hypogeum

5. Harrogat – Ignotvs

When I’m in the mood for indisputable drones of the highest order, I usually look no further than Harrogat. ‘Ignotvs’ is a deep dive into the bare essence of Dark Ambient music and focuses on elongated drones and extremely bleak atmospherics. One advantage of this style is the complete embodiment of mind over matter and the ability of the listener to submerge themselves into a deep state of relaxation and remission from reality.

https://lakelabel.bandcamp.com/album/ignotus-2

6. Sydalesis – Dark Beam

Although not quite Dark Ambient, this is some of the most exhilarating ambient music that I’ve heard in quite a while. I can sense a huge Max Corbacho influence on these tracks as ‘Dark Beam’ has an effervescent quality about its tone and overall seamless flow. The Space Ambient quality that can be heard throughout is like an emotional ride through an euphoric realm. Very high-quality ambient music here.

https://sydalesis.bandcamp.com/album/dark-beam-2

7. Vortex – Helioz

‘Helioz’ is a daring Medieval adventure told through experimental musical and divine vocal narrations that will transport the listener back to ancient times. From whaling guitars, galloping tribal beats and engaging drones to foreboding soundscapes, this albums is the complete journey for the wandering mind. I guarantee that you won’t find many albums of this kind, that are completely enthralling and mesmerizing. Good luck waking up from this mystical expedition once the final song finishes.

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

8. Undirheimar – Heljarrúnar

This album is beyond amazing! Undirheimar sounds like a cross between Wardruna, Phurpa & Ashtoreth and ‘Heljarrúnar’ is a result of that fantastic fusion. This is ritualistic Dark Ambience at its most imposing stance. The overtone singing chants are the sustenance of these tracks, but the deep drones and primal percussive parts play a huge factors in creating an over-the-top cinematic experience. This is a must-listen for fans of ritualistic music.

https://cycliclaw.bandcamp.com/album/heljarr-nar

9. Desiderii Marginis – Departed

The variation of musical compositions on ‘Departed’ is beyond compare. From subdued drones and alluring soundscapes to astonishing vocal effects, this album has quite the mixture of Dark Ambient components to invoke various emotional states. In addition, evidence of synthwave can be spotted in several tracks, broadening the scope of sound to a more satisfying level.

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

10. Cernichov – The Mold Legacy

Pulsating, industrialized noises, distorted modulations and a conglomerate of obscure drones make up the bulk of the landscape on ‘The Mold Legacy’. These trance-like compositions are as crushing as they are mesmerizing. Although every track offers something a bit different, don’t expect smooth soundscapes and translucent textures. This album is a maniacal platform for agony relief, yet at the same time the listener will feel totally enthralled with the spacious vibes of each arrangement. This is not one to be overlooked.

https://cernichov.bandcamp.com/album/the-mold-legacy

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

Guan Yin Video Premiere For “Repentance II”

In May of 2020, I reviewed an extremely diverse and unique collaboration album released on Akashic Envoy Records called ‘Apostils Against Hegemony, Vol. I: Transitive Properties’. Although that album contained thirty three extraordinary tracks, I detailed ten of them that stood out the most. Amongst those standout tracks was “Evocation I” by Guan Yin. The ritualistic essence laid a foundation for bleak drones, discordant vocals and black ambience and left me wanting more. The time has finally come for a new track and I’m extremely excited to present the video for “Repentance II”. It’s everything that I expected it to be and so much more. I hope you enjoy this song as much as I do and please visit the links at the bottom of the page.

Information from the artist/label:

Guan Yin: a ritual ambient project from multi-instrumentalist Cicatrix (Nodus Tollens, Chernozem – they/them)) and vocalist Espi Kvlt (Seas of Winter, Apricitas, Nehushtan – they/he).

In much the same way that the duo’s other collaboration Exsanguinated Shade doesn’t fit neatly within the parameters of a single genre, Guan Yin doesn’t approach ritual ambient in the traditional way. For starters, there are no occult themes in the duo’s music – Espi Kvlt is a practicing Buddhist, and all of their lyrics come from Buddhist texts. From a musical perspective, Cicatrix draws as much inspiration from power electronics artists like Prurient and Theologian as they do from the ritualistic sounds of Corona Barathri or Emme Ya.

For the dark and frequently harrowing half of their split with cinematic ambient duo Sun Through Eyelids, Espi Kvlt took their lyrics from the Platform Sutra of the Sixth Patriarch, specifically the section on Repentance. They chose that particular text because they were struggling with a mistake they made around the same time the duo were working on the split, and when dealing with serious life issues, the way they tend to overcome the pain and suffering from said issues is by making music. By focusing on the Repentance section of the Platform Sutra of the Sixth Patriarch, they were able to heal through singing the words and forgive themselves for said mistake. While no amount of repentance can ever truly eliminate the pain caused to another, it can serve to spread good will into the world and bring loving-kindness to any beings we have wronged.

The Sun Through Eyelids/Guan Yin split will be available on cassette from Acepahle Winter Productions on March 19. Limited to 50 copies on metallic silver shells. Preorders launch on March 5.

Links:

https://guanyin.bandcamp.com

https://acephalewinter.bandcamp.com

https://sunthrougheyelids.bandcamp.com

Randal Collier-Ford Ventures Down A Dark, Ritualistic Path on ‘Advent’

If you’re in the market for Dark Ambient that is loaded with substance and distinction, then look no further than Randal Collier-Ford. His unmistakable sound hangs in the balance between desolate drones and ritualistic terror. Somewhere amidst that rudimentary structure, frays of industrial modulations, sonic soundscapes and transcendental field recordings integrate seamlessly to present his signature take on Dark Ambient madness. However, on his latest effort, ‘Advent’, we find a broader approach to the songwriting venture, presenting a more melodic and cinematic sound than ever before. Ranging from effervescent orchestrations to tonal black ambience, ‘Advent’ is the Randal Collier-Ford album I’ve been waiting to hear for a very long time.

The opening track is the near twenty minute long juggernaut, “Beckoning Absurd Shapes”. It begins as expected – bleak, desolate soundscapes with a calm-before-the-storm approach. The drones ascend like low, howling winds and the sound of horns that resembles an early warning alarm enacts in the distance. Disturbing vibes continue to play out, creating an environment of angst and dread. Prolonged stringed arrangements add a slight gothic presence with a noir sediment. Ritualistic undertones in the form of dark, inaudible chants add a necessary layer of power and sonic presence to this track as it continues to ebb and flow with its audible storyline. The last half of this track is inundated with ghastly drones, beautiful stringed compositions and a variety of field recordings that will keep the listener engaged in this visionary conquest. The next track is “Eyes Of The Temple (feat. Northumbria)”. Northumbria – known for their textured guitar and bass recordings – adds a gripping layer of coldness that embodies the true essence of minimalistic ambience. The musical combination of these artists establishes a dreadful world of chaos and darkness that builds into a massive wall of sound. The star attraction in this track is the grandiose guitar reverb. It creates a sound so hollow and disturbing that it’s bound to create nightmarish effects. The final track on the album is the twelve minute long “The Second Wound”. Commencing with powerful drones of a destructive nature, this song slowly ascends into a world of desolate visions. A sultry piano arrangement leads into a tribal drum line of war-like proportions. Enormous soundscapes and industrialized summonings bring forth a climactic ending as the drones fade between the bombastic percussive parts. The track finally comes to a close, as the drums dissolve, leaving synth pads to create a fulfilling ending.

Randal Collier-Ford never disappoints, and has always delivered amazing results on his previous albums. However, with ‘Advent’, he’s stepped up his game and has conveyed his best performance yet. The epic track lengths make the difference for me, as they allow for the atmospherics to captivate the mind and dominate the emotional state. The Cryo Chamber label continues their effortless run of outstanding releases that continue to pioneer the Dark Ambient genre and ‘Advent’ embodies that streak completely. I highly recommend checking this one out so click on the link below and download this amazing album.

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

Links:

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

Ashtoreth & Chthonia Join Forces To Conjure Ritualistic Ordeals On ‘Throne Of Astrōarchē’

To me, Dark Ambient is much more that a listening experience. It’s also a journey into ones own mind, to the realm where the conscious and subconscious rarely fuse together. Even though the soothing – often grim – elongated drones elevates our psyche to the realms of the unknown and produce a trance-like emotional state, there are other variables to consider as well. In the case of the magnificent collaborative effort of Ashtoreth & Chthonia, the use of ritualistic soundscapes, haunting narrations and chilling black metal-esque shrills can also produce a comparable outcome. On ‘Throne Of Astrōarchē’, four sinister compositions is all that is needed to coalesce the inner oracles of the mind, releasing a feeling of modular discomfort and ethereal tranquility.

To begin the ceremonial happenings, “Asir” boldly combine many of the elements I previously mentioned. Dark, liturgical soundscapes make a menacing introduction as they are combined with insane Black Metal styled vocal effects and sacred narrations that will have the listener fully engaged. Void of any prolonged drones, it is replaced by creepy sound effects that enhance the grim vocal arrangements. “Nehalennia” commences with a consoling drone that captures the essence of spiritual beauty, along with various soundscapes and ringing bells. I love how nothing is rushed, allowing for the mood of the music to take hold of the listener and bring them into this dark, captivating world. At almost seventeen and a half minutes long, there is plenty of time for many additional things to occur that will build this mystical journey to be remembered. At around the four minute mark, the drones begin to assemble in layers, creating a space-like vibe. However, as soon as the vocals come in, this track takes on a whole new meaning. This song has such an esoteric vibe that it’s so easy to get lost in its dark beauty. Even at its epic length, this song just isn’t long enough and is easily my favorite one on the album. “Marmarospilia” begins with a field recording of a rain storm and what sounds like crashing waves. However it is soon joined by warm drones and synthwave-like keys and pads, producing more of an obscure sound than on the previous tracks. The layering of these elements create such a massive atmosphere, even with a minimalistic arrangement. This fascinating combination carries on for the better part of twelve minutes and the time passes much quicker that it seems. The final track on the album, “Baetyl”, opens with ominous, howling winds that – at times – screech at piercing volumes. Soon after, the combination of soft, effervescent vocals and deep, guttural tones of throat singing begin to emerge as if providing the main drone for the near fifteen minute long track. Various spots of soft whispers and devilish shrills continue to tell an eerie story that remains gloomy and mysterious. Several times throughout the track, the vocal intensity increases, but always descends into darkness as to not take away from the ritualistic experience. The malevolent chanting that occurs in the last few minutes are epic and I really wish there was more occurrences of this on the album. However, that doesn’t distract from the fact that this song has a certain purity that is nearly perfect from start to finish.

I’ve been a big fan of Ashtoreth for quite some time now and I enjoy the emotional journey he creates through his music. His diverse back catalog crosses several music genres, yet his energy remains the same throughout. This effort, along with Chthonia, is no exception as it takes the listener on a bleak, ritualistic journey that is as haunting as it is cleansing. I highly recommend this album for those of you that like to wander beyond the normal boundaries of Dark Ambient, especially if the addition of harrowing vocals and narrations are your thing. ‘Throne Of Astrōarchē’ is the album for you and it demands to be taken seriously. Please support this outstanding collaboration and download this album from the link below.

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

Links:

https://ashtoreth1.bandcamp.com/album/throne-of-astr-arch

Destruktionsanstalt Resurrects A Cluster Of Menacing Tracks From Various Projects To Comprise The Superbly Written ‘Kaelder Mug’

Destruktionsanstalt is no stranger to The Dungeon In Deep Space site, as I reviewed the mighty 2018 offering, ‘Døds-hymner’. Fueled with industrialized anguish and a powerful artillery of noise, this was a pinnacle album of harsh dark ambience. Fast forward to 2020 and we find the compilation release of ‘Kaelder Mug’, an undeniable distribution of sickening atmospherics amongst several projects by Per Najbjerg Odderskov – the mastermind behind Destruktionsanstalt – that are being unearthed and brought to dark light. Destruktionsanstalt, God Cancer, and Lidane Livering set a new standard in breaching critical mass with deep ambient drones, sinister soundscapes and the harshest of noise modulations and combined, formulate a seventy two minute album that will appeal to the minds of malevolence.

The first eight songs come from pitch-shift master, Destruktionsanstalt. Combining jolting frequencies that pierce the inner ear and sustain a constant discontent for easy listening, these tracks are not just a mine field of random noises. They are randomly crafted oscillations that fuse with morbid soundscapes and narrative samples to create a meaningful soundtrack of crafty intonations. Album opener, “Familia” begins with gloomy tones in the form of layered drones with heavy distorted sequences. Voice samples tell an eerie story and it matches the music perfectly. A couple of tracks later, “Mali Spiritus” blasts off with sharp, piercing resonance and alternates between high and low decibels as if an alarm is providing an early warning for an unfamiliar doomsday. Again, a progression of audible narrations play a major role in deciding the anxious outcome of things. “Sanguinem Pressura” is nearly four and a half minutes of agonizing modulations that deliver some rabid drones and horrifying soundscapes. This is one of those tracks that are not for the faint of heart and is best played in a dark, cold place to receive its full affect. The final Destruktionsanstalt track is “Hic Sunt Dracones”. Commencing with a desolate wind field recording, the radiant, penetrating noise accents suddenly desecrate all in its path. As the wind volume picks up, so does the noise intensity. Together these sounds are mesmerizing and easily succeed at putting the listener into a catatonic-like state for its duration. Samples and various effects can be heard throughout, adding an evil value to this already mind-bending tune. The next three tracks come from the God Cancer project. Although there is still a noise intensity about those songs, there is more of a cosmic vibe to them, thrusting the listener into the farther most reaches of the harsh realms of the universe. The first track, “Midnight Distortions” contains a great dose of glitch recordings and immense pads to radiate the intensity that much more. It’s as if being sucked through a black hole and an dodging an oncoming asteroid field at the same time is unavoidable. “The City Is Alive” is like a sonic nightmare, as this seven plus minute track sees multi-layers of modulations glitch and bend endlessly, catapulting the brainwaves into an unexplained dimension. The final two tracks are from the Lidane Livering project and although these two tracks are probably more accessible than the previous, they are far from being insidious. The final track on the album, “Dunwich”, epitomizes the field recording technique and heavy use of soundscapes makes this minimalistic song a cold adventure all in itself. With the soft sways of an ocean vessel the ripple effects of passing currents, the calm-before-the-storm scenario is close at hand. Soothing drones and inaudible whispers howl in the background and without recoil, it all quietly disappears.

I’m a big fan of Destruktionsanstalt and I really enjoy the intriguing mix of dark ambient and harsh noise that this project provides on a consistent basis. With ‘Kaelder Mug’, we get a fascinating compilation of not only Destruktionsanstalt tracks, but an excellent glimps into two other amazing projects – God Cancer and Lidane Livering. Although the Bandcamp page for this release lists these tracks as part of abandoned projects, I sure hope this is not the last we’ll hear from any of these acts. If you like your Dark Ambient with a touch of harsh noises, look no further than ‘Kaelder Mug’. You can download this awesome piece of work at the link below.

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

Links:

https://marbrenegre.bandcamp.com/album/kaelder-mug

https://destruktionsanstalt.bandcamp.com

https://godcancer.bandcamp.com/releases

https://lidanelivering.bandcamp.com