Eyre Transmissions XIII: Interview with Synth Extraordinaire, Elminster

With just over a year of active involvement in the Dungeon Synth scene, Elminster has managed to rack up quite an assortment of excellent albums. Whether released under his flagship moniker – Elminster – or other incredible crafts such as Anadûnê, The Owl Knight or DCCCVIII, it’s apparent that Elminster is in it for the long haul and is quickly becoming a “go to” artist for all of your Dungeon Synth needs. I recently had the opportunity to chat with Colin Bacon – the maestro behind all of these amazing projects – to find out what the driving force is behind all this talent, how he got into this genre of music, and what the future hold. Please enjoy this very detailed account for all things Elminster!

1. Thank you so much for this interview opportunity. Elminster hit the Dungeon Synth scene just over a year ago with the ‘Making Of A Mage’ series. Since then, you’ve been on a relentless spree of new album releases, other projects and splits. How did you get started in the genre and where are all of the fresh ideas coming from?

As much as I wish that I could say that my introduction to the genre was by finding a cassette hidden in the middle of a stone circle or castle, I actually found the genre via Youtube’s recommended function. I had checked out a few before, but the first handful to grab me were the Blood Tower/Apothecarium split, Barbaric Frost’s Against The Darkness, Coniferous Myst/Owlbear/Scrag/The Herbalists split (which Isaac was kind enough to sell me their artist copy of), and the Druadan Forest/Uruk Hai/Bannwald Split. All of these albums are magical to me and, even though I now know the basics of songwriting, I still am not entirely sure how each was made. Pivoting to the second part, I get a bit restless with my hobbies and often feel like I am climbing the walls if I am not able to indulge them, in a rather compulsive sense. As for the variety, I read a lot growing up, especially fantasy novels. Each of my projects is an attempt to capture a specific feeling within a wide and varied genre.

2. I want to go back to the ‘Making Of A Mage’ series of releases. Can you talk more about the inspiration for these EP’s and do you have a plan for anymore “Mage” albums?

The inspiration for TMOAM was a novel of the same name by Ed Greenwood, never has a book captivated me with such ease. My brain created a picture of every scene and ran wild with how I would make a movie for it, how it would be scored, etc. etc. (It would be animated similarly to the 1970s LOTR movies, if I had my way). When searching for what the alias of my project would be, Elminster just felt right and I decided in that same moment that my favorite novel required a soundtrack. Each of the EPs is named after a part of the book (part 1 was brigand, part 2 burglar, etc. etc.) and each of the song titles are referential to plot points. Seeing as I created a product that accomplished what I wished it to, there likely won’t be any more albums of that name, but I would certainly consider doing soundtrack albums for the other books in the Elminster series.

https://elminster.bandcamp.com/album/the-making-of-a-mage-2

3. Earlier this year, you released the Crypt Hop EP, ‘Beats To Dungeon Crawl To’. This was definitely a seamless transition to another one of the fascinating Dungeon Synth sub-genres but was this something that had been planned all along or just an experimental effort?

When first creating the Elminster project, I did not know of Crypt Hop, it was only through the Vandalorum episode of Midnight Ambience and murmurings on facebook that I learned about it. I had been into the concept of beatmaking ever since discovering the grime artist JME during early lockdown. Through him, I got into UK Drill artists such as Digga D, Kwengface, Teezandos, Abra Cadabra, and Pop Smoke (an american who laid down NY Drill vocals over UK beats, rest in peace Bashar). I saved up my money and got FL Studio and began to learn how to make those types of instrumentals. While getting into each of the aforementioned genres, I began to realize that I enjoyed the fact that they borrowed from carribean dance rhythms and blended said rhythms with darker instrumentals. A practiced ear will likely notice that most trap artists put the snare on beats 3 and 7 while using a steady rhythm hi hat pattern, but these genres (drill especially) like to put the snare on beats 3 and 8 while using a nonlinear hit hat pattern, which gives the beat both bounce and swing. From there, my selfish desire to marry crypt hop and drill produced the EP in question.

https://elminster.bandcamp.com/album/beats-to-dungeon-crawl-to

4. I have to talk about ‘Antipaladin’ as it’s one of my favorite efforts by you. How does your albums evolve from one epic story to another and what do you think makes this one stick out amongst your ever growing discography?

My albums usually get named near the beginning. I am usually on a nature walk and think “It would be awesome for an album of X name to exist. Alright, Colin, what would it sound like? What would the songs be called?”. The reason it stands out could vary from listener to listener, but the reason it feels different to me is that it was the first time I had had a mythological topic in mind and that I really pushed myself to learn a new songwriting style, which I’ve heard get called Berlin school (I’m a bit of a genre tourist with that genre, so I won’t claim to have a great understanding of its hallmarks).

5. You also did a very unique thing with this release by giving download codes for those that donated to the Shelter House Domestic and Sexual Violence Center in Fort Walton Beach, Fl. What was your decision to release this on a “give back” like scenario?

I’ve been slowly coming to the realization that I want to be involved in activism. I naturally lean a bit more introverted so I figured that leveraging my music would be the most effective and most comfortable way for me to do some good. On top of that, I figured that a DV shelter is something that pretty much anyone could get behind, so people would be willing to give more freely. I’d like to thank High Mage for being so willing to help me make this a reality and I’d like to thank the community for raising a combined $250 for those charities from that run, it really warmed my heart. I would also like to mention here that the split I have with Maiden Hair and coming out through Weregnome this October will also be giving its proceeds to (I believe 2 seperate) wildlife charities, please consider donating if you have the means to. I would like to make this type of release happen a few times a year.

6. In July of this year – almost a year after releasing albums under the Elminster moniker – you started a new project called, Anadûnê. Other than the music being a tad more cinematic than Elminster, what influenced the creation of this project?

This project was created because I was lucky enough to land a spot on the dev team of the Medieval II Total War Silmarillion Mod as the in-house musician. I felt like a project of that theme should be separate and approached with a different writing process.

https://elminster.bandcamp.com/album/the-rise-of-gondolin-2

7. ‘The Rise Of Gondolin’ (by Anadûnê) is probably one of your coldest albums to date, but there is so much dreamy melody happening at the same time. How do you manage to incorporate these distant facets in order to create something so amazing?

Thank you! I’ll be honest, I don’t know. With that album, I didn’t let myself think too hard about it and just let myself write. I often find that it is pretty obvious when I overproduce a release and usually find that I enjoy trusting my instincts. Gun to my head, the patches I used were not as in your face and I leaned into them.

8. The Owl Knight is another fascinating project that draws upon chip tune, retro experiences and classic RPG theme songs. How are you able to make this sound so refreshing without being as whimsical as other chip tune recordings?

If I had to guess, the reason it doesn’t share a lot of the tropes with other chip tune recordings is a combination of hardware (I use toy keyboards as opposed to synthesizers/console sound cards), growing up after the era of 8 bit music being the de facto game soundtrack, and by being primarily inspired by the album Sunken Dungeon by Longsword. I also have listened only to a little bit of chiptune DS. It’s definitely good music, but there’s only so much time in my day.

9. You have another Crypt Hop project out called DCCCVIII. First of all, what is the meaning behind the name and secondly please tell me that this is a long term project because it’s freaking amazing!

DCCCVIII is a nod to my love of using crazy 808 patterns in my beats, it is the roman numeral spelling of 808. I have no plans to stop that project, it has been both incredibly fun to write for and has been extremely good for me to have a new challenge, genre-wise.

https://elminster.bandcamp.com/album/in-days-past

10. In August alone, you’ve released 5 albums including two splits. Where do you find the time to stay this busy and what’s behind all of the musical motivation?

I get incredibly restless and I don’t sleep a whole lot haha. On top of that, music has been a very rewarding hobby to get into. I love the dopamine hit I get when I hit the publish button or when I see people receiving their copies of my tapes.

11. The split release with Baerdcyn is so tantalizing that it’s quickly becoming one of my most listened to albums at the moment. Do you record music specifically for split releases or are they leftover tracks from previous efforts?

Thank you! I usually create them specifically for splits, I generally don’t keep a lot of “overhead”. When I finish something, I release it in most cases.

https://elminster.bandcamp.com/album/mystical-manifestations

12. I think split releases are very important as they show artist solidarity and help promote from within. What are your thoughts on this and do you have any more split releases in the works?

That is absolutely how I view them! I love the work of so many artists and selfishly want to have an opportunity to work with them and splits allow me to do that in a less invasive way. I also got into the genre through several splits and from doing so gained an immense appreciation for them. I have 2 more in the pipeline that are finished, 1 that I was doing the vocals for before I blew out my voice from screaming, and handshake agreements with a few artists for more in the future.

13. Do you have any plans to share your craft in a live setting, specifically during one of the Siege events?

I am certainly interested in playing live, but would probably only do so if reached out to. I would really want to do something fun for it if so.

14. What do you have in store for the rest of 2021 and what are your musical goals/dreams for 2022?

For 2021, I am planning on continuing to have fun writing different types of music. I have plans to try my hand at black metal and might give black ambient (think gonfanon but without being a fascist) once my 4 track arrives. In December, High Mage and I have agreed to do an event called Magemas, where they will be doing an entire month of my releases, so keep your eyes peeled for that (I hope they don’t mind me mentioning it here haha). For 2022, I plan to release an Elminster box set through them as well.

15. I really appreciate your time and thanks for all the great music! Do you have any final words or thoughts for those that may be reading this interview?

Thank you so much for having me! This has truly been an honor. My parting shot would be to ask the community to keep their eyes open for releases of mine with the charity element involved as their donations will be able to impact the wider world and allow our beautiful genre to do good for others. Stay safe and love each other. – E

Links:

BC: https://elminster.bandcamp.com/music

The Menagerie Of Madness Continues To Evolve On Guild Of Lore’s ‘Portals Volume II’

Just in case ‘Portals Volume I’ wasn’t enough to tide you over, the simultaneous release of ‘Portals Volume II’ will surely continue to overload the auditory senses with massive Dungeon Synth and Crypt Hop sounds. As with Volume I, this album sustains the mission of Guild Of Lore reworks in hypnotic fashion, and every track explores territories that are unique to the artists themselves, while maintaining the granite-like foundation set forth by Guild Of Lore. This review will concentrate on the wonderful sounds of ‘Portals Volume II’ and how it perfectly complements the first volume without seeming repetitious.

As with ‘Portals Volume I’, Guild Of Lore provides the lead off track with “Storm Haven (Rainy Night Jazz Mix)”. As the title suggests, it sounds like something you would hear in a late-night dark noir jazz club, many years into the apocalypse. The stand-up bass sound provides a very comforting tone as this decorous composition sets a very soothing yet grim mood. “The Sunless Sea” by Encloaked begins with an excellent piano composition while a storm-like field recording brews in the background. That soon fuses into an elegant guitar riff that is beautiful produced. Although a short track, this one has an addictive sound and will leave you wanting more when it’s over. “The Tipsy Waltz Inn” by FVRFVR is a whimsical piece with carnival-like theatrics and obscurely arranged instrumentation. The production value is effortless and the soundscapes & field recordings make this quite the entertaining track. “Snow Shielded Giants (Blackened Snow Swell Mix)” by Whispering Mirrors is another short track but probably one of my favorites as it contains a very melodic percussive element and and insurmountable mix of industrialized distortion in the middle section, before settling back into the opening melody for its closing. “Somewhere Beneath The Stars” by Orb Of The Moons is a spectacular display of soundscapes and modular frequency manipulation. Containing more of a Dark Ambient or Black Ambient vibe, this is a very welcomed edition to this collection and goes to show how versatile Guild Of Lore’s music can be when given to the right artist to exploit. Next up is “Night Of Harvest (Swirling Fog In The Walnut Grove Mix)” by Guild Of Lore. Putting another mellow, albeit jazzy spin on this amazing track from the ‘Autumn Macabre’ album, there is also a distinct Crypt Hop tone to it as well that will keep the listeners head nodding throughout. “Hills Of Hoarfrost” by Fogweaver is a lush, somber affair that is full of simplicity and emotion and arranged only in a way that Fogweaver can do. It effectively strikes a heartwarming chord and maintains that stance, especially with the consistency of the rainy field recordings. “Sojourn & Return I & II” by Shrouded Gate showcases an amazing arrangement with downtempo beats, a variety of soundscapes and beautiful, elongated keys that are cinematic in nature. Keeping a steady pace throughout, this is a mesmerizing piece that is easy to get lost in. “Winterstead” by Vaelastrasz is another one of my favorite tracks on Volume II. Keeping more in line with traditional Dungeon Synth, this is a doomy track that crescendo’s and build into a wall of distorted sound consisting of dark colors and bleak occurances. At almost seven minutes long, it’s also the longest track on the album as well. The final track on the album is “A Fireside Contemplation” by Garadrak. Featuring minimalistic Crypt Hop beats and 8-bit synth leads, this is a unique song for the album and a very organic way to close out this two volume compilation. The grooves are exhilarating and harmonious fusion of various keys and effects make this an inspiring piece as well.

What more is there to say about ‘Portals Volume II’ that hasn’t already been translated by the ten vibrant tracks presented within? Although there is a variance of influences between Volume I and II, they are both beautiful recordings and effective in their own rights. Even though ‘Portals Volume II’ has a more intimate approach than Volume I, I recommend this one equally and enjoy these tracks so much. Show your support for Guild Of Lore and all of these amazing contributing artist and download both of these albums for an amazing listening experience.

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Links:

https://guildoflore.bandcamp.com/album/portals-volume-ii

Guild Of Lore Summons Select Mercenaries Of Music To Remix Select Intonations For ‘Portals Volume I’

One of Dungeon Synth’s premiere acts, Guild Of Lore, has culminated quite the following of the past few years. Captivating listeners with tales that span the cold corners of Winterstead to the cultivated lands of Bohollow, Guild Of Lore has amassed an impressive catalog of memorable tunes that inspire, thrill and amaze audiences of multiple genres. Those intonations have now been taken to a new level as the galvanizing releases, ‘Portals Volume I’ and ‘Portals Volume II’, pull together a group of astounding artists to breath new life into some of these Guild Of Lore relics. In this review, I will take a closer look at the ‘Portals Volume I’ album and examine the works that were compiled for this musical adventure.

What better way to start off this journey than with Guild Of Lore, providing an astounding alternate take on “Covenant And Conquest (Paarthurnax Wisdom Mix)”. Impeccable drum beats, soothing ambience and endless melodies assimilate in excessive sound quality and quantity and the end results are tranquil to say the least. “Winter Riders” by Phranick develops into an alternative folk experience with haunting vocal melodies with a retrospective production quality. Never loosing sight of the Dungeon Synth origins of this track, they capture the essence of other genres with supreme transparency. “Pumpkin Pickers Festival” by Fen Walker is a groovy piece that gathers hints of Crypt Hop, whimsical instrumentation and alluring orchestrations. Setting a spectacular mid-paced vibe throughout this track, you’ll be nodding your head in amazement and fascination as multiple music styles continue to mesh together. “A Wondering Path” by Malfet commences with an intrusive drone and inaudible narrations, while a variety of soundscapes paint a vivid, winter scene. This track morphs from ghostly drones to somber melodies and continues to maintain a consoling balance for the duration. “Mouth Of The Murky Abyss” by Lurk is my favorite track of Volume I and embodies every single quality of an unparalleled Crypt Hop song. From catchy melodies, groovy synth patterns and insane drum beats, this one demands multiple replays and epitomizes the goal of this remix album in the first place. Next up is another Guild Of Lore outing in the way of “Peace Be With You (Mighty 8-Bit Hero Mix)”. Addictive, mellow and serene, this track has a calming effect but also has a few surprises to keep it especially interesting. The echoes of the guitar track works well with the 8-bit effects and together, provide a gentle atmosphere of Crossover Dungeon Synth. Next is multi-genre/instrumentalist Francis Roberts with the atmospheric rendition of “Descending Drifter Valley”. Showcasing an astounding ethereal feel, Francis makes this track his own with masterful production, stellar percussion integration and a knack for bringing every instrument and soundscapes to the forefront in a cinematic fashion. “The Long Lodge” by Gondar is a grim, theatrical affair with a soundtrack-like quality. A fascinating blend of ambient tones and Dungeon Synth arrangements, this track is laid back and meant for relaxation more than battle-ready warriors. “Voice Of The Mountain” by Cascadian Lightfall is an elegant composition that combines those wonderoud Guild Of Lore styled field recordings with upbeat percussion and synth leads, essentially turning this delicate track into a buoyant recording. The final track on this album is “Isle Of Mer” by Vandalorum. This track is simply amazing as it favorably modifies the astounding original into a Crypt Hop beast. With gracious synths and atmospherics, the perplexing drum beats play a pivotal role in spicing this one up. A perfect way to end this first volume of prodigious remix tracks.

For ‘Portals Volume I’, Guild Of Lore has done an an unbelievable job at choosing top-rate Dungeon Synth and Crypt Hop artists to participate in this project. The song arrangements and layout are perfect as the listener is made familiar with a wide array of genres and sounds. From upbeat to mellow and jazzy to cinematic, these tracks contain it all and there isn’t a single weakness contained within. If you’re a fan of Guild Of Lore, Dungeon Synth, Crypt Hop and anything in between, don’t miss out on this breathtaking album.

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Links:

https://guildoflore.bandcamp.com/album/portals-volume-i

Vandalorum Surpasses All Expectations On The Extremely Diverse ‘Maewyn’

Vandalorum is an artist that needs no introduction, especially if you’ve followed the Dungeon Synth genre for the past couple of years. Quickly establishing himself as one of the premier acts in the community, Vandalorum has persistently released a number of exceptional albums, garnering a huge following amongst musicians and fans alike. Vandalorum is also no stranger to The Dungeon In Deep Space either, as I reviewed the 2019 album, ‘Flagellum Dei’. That album erupted with enormous Medieval anthems and made me an instant supporter. Although I didn’t get the chance to review the massive follow-up release, ‘Mesopotamian Death Cult’, it was also a work of art that surpassed its predecessor. That leads us to the latest release called ‘Maewyn’, the gallant story of the life of St. Patrick; from the trials and tribulations of his actions with bringing Christianity to Ireland to his lasting impression on history and story telling throughout the ages.

Jubilant album opener, “A Saint Lays Claim To The Souls Of The Irish” is light and vibrant and immediately presents colorful layers of energetic electronic music that transcends Dungeon Synth. The warm drum patterns and vigorous synth leads catapult this track down a genre-less path and exposes it to boundless sources of musical universal acclaim. From the very first note of “Rise Of The Fomorians”, I realized that this album was going to be special and once again eclipse its predecessors. After a short keyboard intro, a drum beat fuses with expansive synths and showcases a groove that is completely mesmerizing. Traditional Dungeon Synth keyboard effects have a few spots that are commendable and gives it a bit of flare and variety, but the real winner is the choir-like vocals and the bombastic drum fills. I can’t get enough of this track and it may be my favorite one on the album. Next up is the short, symphonic piece,“Moraltach”. Although at just under a minute and a half long, it plays an important role by continuing this voiceless story and shows just how powerful good music really is. “Children Of Lir” continues the passion set forth in the previous tracks and offers even more melody as layers of synth effects meld together to form a memorable composition. However, once the drum beats are engaged, this Crypt Hop track soars to chilling new heights. Retro synthwave vibes with a touch of reverb keeps it old-school while maintaining a modern appeal. “Enslaved By Celtic Raiders” takes us back to a more traditional Dungeon Synth style, but powerful percussive parts and soaring guitar leads makes this one of the most ambitious compositions yet. The synth break in the middle – complimented with natural sounding field recordings – is beyond extraordinary and it completely exudes tons of emotions. “Exodus Of The Tuatha De Danann” commences with an immaculate piano lead that builds up to a serene duet with a soaring synth. As other instruments are betrothed, you can sense a maniacal presence taking over as this early-dawn, synthwave track soars beyond the stratosphere. “Cu Chullain” is another musically diverse piece, as it begins with a peaceful and somber intonation. As various instruments assemble to form a harmonious arrangement, the track ascends to new heights as black metal vocals are introduced at the same time the drum beats come in to play. “The Nymph Of The Forest Of Neri” is an elegant cantata that has some of the best melodic moments on the album and the brisk drum beats are a welcomed treat. “The Cave Where He Saw Hell” takes us back to a more traditional Dungeon Synth sound, specifically in the layered synth effects. However, this one would easily classify as a Crypt Hop track as well, especially when the smooth beats start up at various times. There is a velvety shine throughout this emotional song and it serves as a spiritual uplifting guide, as this magnificent album comes to a close. The final track on the album is the near ten minute long, “A Prayer In The Fields, and God Answered”. Not rushing a single thing, it begins with a simplistic synth drone, with layered leads filling in with some lush details that sound very emotional. This structure remains throughout the track, although the synth effects change style a few times to maintain a curious introspective. This song is so mellow & beautiful and provides the perfect ending to this amazing album that has provided so much variety.

This is one of those albums that can be listened to from start to finish without ever skipping over any tracks. I can’t think of a single song on ‘Maewyn’ that I would skip during a play through. Since it contains so much diversity on every track, I wouldn’t want to miss any of the intricate details contained within because at any given time, any of these tracks could easily become my favorite song on the album. The vast improvements in musicianship and songwriting over the past three albums or so is just unreal and Vandalorum should be proud of such an amazing accomplishment. Please show your support for one of the genre’s best and download ‘Maewyn’ 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://vandalorum.bandcamp.com/album/maewyn

Top 10 Dungeon Synth / Synth Releases Of 2020

What an amazing year for Dungeon Synth (and other underground synth-based genres). This year has exploded with some of the most absorbing musical ventures my ears have been privileged to hearing. Whether it’s the grimness of Vampyric Dungeon Synth, the obscurity of Comfy Synth or the enlightenment of Berlin School dark synthwave, I embrace all of these sub-genres with the hopes of finding the most amazing music possible. Although there were hundred (possibly thousands) of Synth-based releases over the past twelve months, this is a list of my 10 favorite albums of the aforementioned sub-genres. I hope you enjoy…what I’ve been enjoying!

10. Moss Golem – Of Witches Blood And Angel Tears

https://serpentsswordrecords.bandcamp.com/album/of-witches-blood-and-angel-tears

What better way to get things started than with a dose of Uncomfy Synth! Moss Golem may be categorized by some as Comfy Synth but this is light years from it. It’s more like a menagerie of darkened dungeon synth arrangements with colossal black metal screams and I absolutely love it. Of the small handful of releases by Moss Golem this year, ‘Of Witches Blood And Angel Tears’ is my favorite.

9. Wooded Memory – My Secret Horror

https://woodedmemory.bandcamp.com/album/my-secret-horror

‘My Secret Horror’ caught me by surprise this year, as I wasn’t expecting it to be so amazing. Don’t get me wrong, 2019’s ‘The Lost Stories’ was great, but this one is so much better. From the illustrious arrangements to the phenomenal production, I’ve really enjoyed this album and it, accordingly, deserves a spot on my Top 10 list.

8. Erang – Imagination Never Fails

https://erang.bandcamp.com/album/imagination-never-fails

Erang takes us on a mythical journey like no other! From brooding musical-like tracks and symphonic marvels, to traditional dungeon synth and synthwave, Erang leaves no stone unturned and is one of the most ingenious synth artists out today. ‘Imagination Never Fails’ is an addictive listen and I revisit this one quite often.

7. Borg – Woodland

https://borg.bandcamp.com/album/woodland

Borg is as quirky as they are talented and this modern day Medieval-style music with analog instruments (and numerous unconventional undertones) is to be taken seriously. ‘Woodland’ is a fantastic album and showcases their capability for idiosyncratic arrangements, as well as more serious sounding tunes that may have well fit in on some cult spaghetti western films. Absolutely amazing!

6. Guild Of Lore – Autumn Bohollow

https://guildoflore.bandcamp.com/album/autumn-bohollow

Guild Of Lore is the real deal! The hybrid combination of cinematic elements and dungeon synth makes this one of the most unique albums of the year. The production and arrangements are perfect and the writing will leave listeners (and possibly other artists) in awe of the amazing talents that spew from within. If you’ve not heard this album, you’re definitely missing out!

5. Abholos – Whispers From The Dark Sea

https://serpentsswordrecords.bandcamp.com/album/whispers-from-the-dark-sea

Abholos is one of my favorite Dungeon Synth projects and I look forward to these release than perhaps most other artists. The fusion of retro-style synth arrangements and maritime soundscapes is exactly what I love to listen to and not many others excel at it more than Abholos. ‘Whispers From The Dark Sea” is my most listened to Abholos album and one of my favorite releases of 2020.

4. Lurk – From The Depths Of Y’ha-nthlei

https://lurkmusick.bandcamp.com/album/from-the-depths-of-yha-nthlei

I knew after being just two minutes in to this album that it was going to end up on my Dungeon Synth AOTY Top 10. The crystal clear production makes it possible to enjoy the outstanding music, soundscapes and samples that grace this behemoth of an album. From start to finish, this album rips and I cannot wait for the next dose of Lurk to come about!

3. Jenn Taiga – Plight

https://jenntaiga.bandcamp.com/album/plight

I listen to this album at least once a week. I mean it’s that good and just puts me in a zone that almost no other album can do. Consisting of two tracks that are nearly forty three minutes long, there is definitely enough time to drift off into another world that depicts a scene of sonic beauty. Heavily influenced by Berlin School and progressive space rock, this enchantment of a recording should be on everyone’s playlist by now!

2. Mystica Visio – Mystica Visio

https://mysticavisio.bandcamp.com/album/mystica-visio

‘Mystica Visio’ is probably one of the best albums (of any genre) that I’ve heard this year. Gustavo Jobim is an award-winning musician that decided to try his hand at Dungeon Synth this year and I couldn’t be happier about that decision. Not only is this an amazing album, but the track “Spell Of Entrapment” is probably my song of the year for this genre. This album is an absolute must for your collection!

1. Varkâna – Cosmic Terror

https://varkana.bandcamp.com/album/cosmic-terror

Varkâna’s ‘Cosmic Terror’ was released in May of this year and its still one of my most played albums. This Lovecraftian-themed endeavor features some of the most meaningful tracks I’ve ever heard, and the emotional output is only topped by the amazing musicianship, pristine song arrangements and writing. All of these elements combined have made this my Dungeon Synth / Synth album of the year for 2020.

Interstellar Space – Special Halloween Review #3: Lurk – ‘From The Depths Of Y’ha-nthlei’

After releasing a few EP’s, a Demo, and participating on both Crypt Hop Compilation releases, Dungeon Synth vanguard, Lurk, has finally issued its dynamic, Lovcraftian album entitled, ‘From The Depths Of Y’ha-nthlei’. Upon initial listen, it took me only about a minute or two to realize that this album is extraordinary to the point that it belongs on my Dungeon Synth Album Of The Year list. Let’s dig in to this distinguished offering.

“From The Depths Of Y’th-nthlei” initiates like the opening theme song to a Hollywood movie with it massive sound and bombastic orchestrations. Hints of Middle-Eastern tones add a multi-cultural influence, while haunting narrations pave a dark path for this nostalgic Lovecraftian story. “Tenebris Et Spiritus” starts with a bold keyboard melody, played in a rhythmic pattern. Layers of effects build on to this colossal sound and it’s makes for a perfect transition into a sick Crypt Hop beat toward the last minute of the track. It’s dark and groovy and you’ll want to throw up your sword in an offensive stance and bop your head at the same time. “A Mountain Walked” begins with eerie soundscapes and ghostly narrations, continuing the storyline of the album. Wonderfully produced percussion play a tribal-like, rhythmic pattern while supernatural keyboard effects provide a ritualistic ambience. As this is settling in, tribal chanting from a group of warriors begin their mantra. “Vast Plains Of Madness” commences with a retro sound of hissing tapes and various soundscapes before a piano arrangement eerily plays a melody on top of the continuous battle-like effects. “700 Steps To The Gates Of Deeper Slumber” has a haunting ambient track in the background while slow footsteps can be heard. Soundscapes and field recordings are embedded in spots as another Crypt Hop beat is slipped in perfectly to keep everything in sync. Another Middle-Eastern orchestra effect is fused in with the main melody and it absolutely works perfectly. As the song fades out, the footsteps can still be heard walking off in the distance. “Moon Wine In The Phosphorescent Wood” begins with sounds from the wilderness and a pounding drone that slowly fades into the mix. A warm percussion part is added, as well as additional layers of effects. This is all brought together eventually with a louder mix and is absolutely beautiful – and almost has a chill out vibe too it, as it is very mesmerizing to listen to. I almost wish this track was ten or twelve minutes long! “Ascending The Steps To Unknown Kadath” has a very nice symphonic feel to it and toward the middle of the track contains some very nice retro-wave keyboard work. Everything in this song harmonizes beautifully and the addition of the Crypt Hop beat in the last minute is very unforgettable. The final song on the album is “Behold The Great Onyx Temple”. It begins with the sound of a distant thunderstorm and a deep drone and after a some additional field recordings, a thudding bass drum infiltrates the mix, along with harrowing keyboard effects. All of these tones slowly begin to muffle and fade out as this spectacular album comes to a close.

The first full-length album by Lurk was well worth the wait. After enjoying the amazing music thats been released on a few EP’s and compilation albums, the compositions on ‘From The Depths Of Y’ha-nthlei’ have amazed me beyond expectation and this album may also end up on my Dungeon Synth album of the year list as well. From the story, cover artwork, and the incredible music, this album blends everything perfectly to deliver an amazing release. Please show your support for Lurk by downloading this album at the link below.

Please Like/Follow my blog so that you’ll get first hand updates every time I post a review. While your at it, please check out my friends podcast called “The Opinionated Optimist” at the other link below, where he reviews anything and everything. He will be releasing a set of special Halloween Podcasts as well. Thanks for visiting the Dungeon!!

Links:

https://lurkmusick.bandcamp.com

The Opinionated Optimist:

https://podcasts.apple.com/us/podcast/the-opinionated-optimist-podcast/id1485260250?i=1000491868998

Two Obscure – Yet Groundbreaking – Genres Collide On The Unfathomable ‘Crypt Hop Compilations I’

Who would have ever thought that two musical genres at the farthest ends of the sonic spectrum could provide so much listening pleasure when combined? Well, quite a few obviously, because it’s definitely a thing. Crypt Hop was born out of the enigma known as Dungeon Synth and the ambiguities of Memphis style hip hop from the early 90’s. If you’ve not heard artist from that genre such as Manson Family, Gangsta Pat and Three 6 Mafia (among others), you’re missing out on some of the early, most innovative artists from the Memphis Horrorcore genre. If you strip away the gangsta rap, hip hop beats and underlying samples, you’ll actually hear an early 90’s rendition of Dungeon Synth, that typically features lo-fi production and the structural hissing of vinyl and cassette tapes. Fast forward to 2020 and we have the Dungeon Synth-led ‘Crypt Hop Compilations I’, which features thirteen daring tracks from various artist that intend to leave their mark not only in the Dungeon, but also in the Crypt!

The track that begins this morose phenomenon is “Poltergeist Manifestation At Midnight Cemetery” by Kravtun. Ghastly lo-fi synths compete against background static before a stunning hip hop beat immerses to synchronize everything. A swift breakdown in the middle with layered synths before the massive beats and bass tone reignites to finish out the track. “Astrals” by Leneaux has the warm sounds of fantasy synth that is soon accompanied by smooth drum & bass with a constant clap track. The background organ tones throughout add a nice texture to the track. “The Horla” by The Spirit Of Luvenium begins with a traditional Dungeon Synth sound then is bombastically merged with a mid-paced trap beat that is right on point. “Unterwelt Pt. 1” by Orcaluv is more of a hip hop track, as it features some grime style rap but the music is undeniably cemented in Dungeon Synth. “Tenebris Et Spiritus” by Lurk starts with droning synth notes that tip the creepiness scale. Barbaric percussions are interlaced to give a big, theatrical sound as layers of instrumentation continue to build. As soon as it reaches that “wait for it” moment, narrative samples take over, leading the anticipation, then it happens – slow, doom-like hip hop beats explode onto the track for the final minute. “Towers Of Time” by Moon Druid is truly unique in that it features an early 80’s style hip hop beat and clean sounding synth tone. Soon in, it changes to a more modern sound with a lush atmosphere. The track then morphs back into its original beat to close out the track. “On The Darkest Occurrence That Has Ever Happened By Right Of My Own Hand” by Pharanick is a straight up horrorcore rap track with eerie backing music and with medieval rapping about wizards and daggers, what can go wrong? “Windy Night (Crypt Hop Remix)” by Francis Robert is another superb fantasy/forest synth-based track with manic hip hop beats and throbbing bass lines. “From The Ashes Of Bael’s Kingdom” by Erythrite Throne is my favorite on this compilation. The multi-layered synth work is amazing and the quality Of Dungeon Synth in this one track is unmatched. Not only is the production spot-on, but the beats are amazing as they consistently ebb and flow with the tempo change of the music. “His Crimes Against The Realm” by Poodle Knight is another amazing track as it has multiple genre influences. Not only hip hop and Dungeon Synth, but I also hear influences of early synthwave on this track and it fits in perfectly. “Skull Bong” by Resinator begins with ambient undertones, Tibetan bowl sounds, and narrative samples before introducing a dark dub beat and discordant sound effects that are reminiscent of early-90’s pioneering electronic experimental artist, Scorn. “Noblesnatch” by Were-Panther is one of the most unique tracks on this compilation as it features medieval times centered rapping, 8-bit sound effects, chorus breakdowns, and a whirlwind of strange instruments. However, as weird as it is, it’s also a highly addictive listen and probably my second favorite track on the album. The final track, “Belabored With Mysteries” by DJ 行者, is a three and a half minute trip hop, psychedelic adventure that properly closes out this astonishing compilation.

What more is there to say? This compilation album is pure fire! The artists selected for this project have a gift for fusing two seemingly incompatible genres of music and making it sound like a band of gangsta’s should be raiding a castle with 9mm’s instead of swords. At any rate, this compilation is an incredible body of work in which these artists should all be proud to be a part of. If this is any indication of what’s to come, then I can’t wait for what the future has in store for Crypt Hop! Show your support for these artists 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://crypthopcompilations.bandcamp.com/releases