A genre of post-industrial music that has an ominous, dark droning and often gloomy, monumental or catacombal atmosphere, partially with discordant overtones.
After a lengthy hiatus, I’m finally back in the Dungeon (in Deep Space, of course) and ready to provide my analysis and opinion on the great genres of Dungeon Synth, Dark Ambient and anything in between. For my first post-hiatus offering, I’d like to spotlight the ‘Shrouded’ trilogy by Everyday Dust. Focusing on minimalistic soundscapes and audial designs that are reminiscent of retro adventures and blissful morning decadence, Everyday Dust transcends the typical Dark Ambient outing with a fresh take on sound manipulations, solid use of loops and a combination of musical ideas that extends beyond a single genre. Below, I will summarize my thoughts of each album and hope that you’ll check them out as well.
Shrouded I (2023)
The 2023 release that began this amazing trilogy, set the tone right away with retrospective variations and haunting melodies that cultivate a rich tonal texture of relaxing soundscapes. “Broken Wings” is a pleasant album opener that provides a virtual backdrop of an avant-garde soundtrack for a utopian, yet visionary audial design. Continuing with “Evensong”, Everyday Dust sways to a dissonant realm of exotic rhythms and reverberated loops. This creates a blissful adventure through lethargic dreams and peaceful endeavors. Skipping over to “Distant Lanterns”, we find a more spacial approach with looming drones and cosmic intonations. The final track, “Solus” is a jovial offering that encapsulates the overall vibe of the album. Definitely ending on a high note, ‘Shrouded’ sets the stage for two follow-up albums that do not disappoint.
‘Shrouded II’ begins with the nostalgic, “Who Built The Chimes?”. Audial hisses and looping cracks present a lo-fi setting for the deluge of sounds that are contained within. “Horns Sound As The Haar Surrounds” continues with the grungy production sounds but with more of a minimalist radiance. Various sounds and cryptic noises radiate throughout this crack, producing an eerie offering that easily captivates the listener. “The Jackalope Whisperer” is the darkest track on the album with its bleak atmospherics and demented sound bites. At just under 15 minutes in length, this canticle plays on the psyche with a variety of emotional changes and hypnotizing, yet protracted modulations. The final track, “Thorns”, delivers a nefarious experience with malevolent tones, ominous atmosphere and despondent pitch changes. Although it continues the same sentiments as the first album, it’s delivered with a darker, deeper prospective.
In 2025, Everyday Dust delivered the final installment of the harrowing trilogy with ‘Shrouded III’. Immediately commencing with the dystopian thriller, “Make No Bones”, it explores the outer realms of space ambience with planetary clamor and peaceful drones. “Sentinel” follows with the sounds of tape hisses in the background with heavily reverberated synths, producing a striated track full of turbulent intentions. “Heresy” is another dismal offering with its glooming, apocalyptic resonance that mimics what one may hear during a grueling nightmare. With the time span of just over 12 minutes, this effort creates an uneasy adventure that cannot be avoided. The final track on the album (and of the trilogy), is the maniacal, “Smokescreen”. As with the case with any finale, incandescent modulations pulsate with dreadful intensional, producing an all-encompassing array of looping timber with somber soundscapes that conclude this obscure yet magnificent trilogy of recordings.
Spanning three years, the ‘Shrouded’ trilogy, presents a fantastic audial adventure that is both retrospective and modern. As with the old “create-your-own-adventure” books of decades past, these albums allow the listener to dwell deep into their own minds to construct a voyage that can be both unique and audacious. Everyday Dust have gone above and beyond with these recordings and have produced something very special that will definitely stand the test of time. Each of these albums deserve repeated listens and new elements are sure to be gained every time someone connects with these songs.
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When it comes to Dark Ambient music, the name Onasander should come up when discussing the modern chieftains of the genre. With a consistent amount of captivating releases as a stand-alone producer, as well as a consistent contributor to many other releases, this is an artist that must not go overlooked (or unheard). With a new magnificent album (‘Dawn Metrics’) just released yesterday on the mighty Winter-Light label, Onasander is out to prove that his unique brand of dark, audial visions are as good as they come. I recently had the opportunity to interview the mastermind behind this great project and learn what the driving force behind his reign of terror is. Hope you enjoy this as much as I did putting it all together!
1. Thanks for taking some time out of your schedule for this interview. You’ve been busy this year with some amazing releases. Let’s start with ‘Under Unknown Stars’ released on Dark Odyssey Records. How did that album come about?
The idea for “Under…” came from my passion for Alien movies, not just the original quadrilogy but also the prequels. I thought of creating a space horror story using the sound of Onasander. I’m quite satisfied with the result.
2. With the space theme of this album, were there certain techniques you relied on to create suck a dark, immersive atmosphere?
In my opinion, the use of synths like the ASM Hydrasynth and the Waldorf Iridium, in combination with various software, made all the difference.
3. How do you know when a track has been completed and it’s time to move on to the next one?
Usually, my work sessions are short. If a track works, I stop working on it and let it sit for a few days. Then I come back to listen to it.
4. Congrats on your collaboration release with Alphaxone, ‘Futuristic Dereliction’, out now on Cryo Chamber. How was this experience working with one of the (other) greats of the Dark Ambient genre?
Mehdi is a great musician, perhaps the greatest in space dark ambient currently around. You can learn so much from him, and every time you listen to one of his elaborations, you’re literally blown away.
5. This album has such a broad sound that covers a large realm of the soundscape spectrum. What was the focus of the music on this release?
A dystopian vision of the future that touched on different genres and different sonic contaminations (like cyberpunk, for example); I think it’s very common in more modern dark ambient.
6. Whose idea was it to incorporate the Berlin School sequences on the track, “Time Fracture”?
Honestly, it was Mehdi’s great idea. In that wonderful track, I contributed by giving depth with the drones in the background.
7. Another release from earlier this year was the collaborative powerhouse, ‘Animic Atmospheres’, featuring yourself, Ashtoreth and Gydja. How did this creation come about?
The idea for Animic Atmospheres came entirely from me as a big fan of theosophy and anthroposophy, especially the works of Rudolf Steiner. I then chose some musician friends who were very close to an “esoteric” sound and definitely of a very high level.
8. There are some really dark tones on this album, dare I say ritualistic even. What inspired the bleak, tonal passages throughout this recording?
Definitely the idea of the relationship between man and the cosmos, theorized by the father of anthroposophy. We are nothing but “a thought that is thought” by unknown cosmic entities…
9. Throughout your recording career, what role has sound improvisation play?
It has played a predominant role. And it still does. I don’t consider myself a musician but a lover of sounds that I use to express what I have inside.
10. Do you already have a good plan, or set of ideas ready to go before you begin recording each album?
Sometimes it can be a book you’ve read; other times, a movie. Suggestions can come from literature, philosophy, or cinema. Very rarely do they come from other listening experiences.
11. Are there any specific synths or sound processors that are essential to your sound?
Yes, I use several synths like the ASM Hydrasynth, the Waldorf Iridium, the Moog Subharmonicon, Korg Modwave and several SOMA instruments.
12. How do you balance darkness with musicality in your compositions?
For me it’s pretty simple, since my idea of sound is essentially based on dark atmospheres.
13. How does your background or personal experiences help shape your music?
Very little, I would say. My personal experiences are quite distant from my idea of music.
14. With each recording, is there a specific story you’re trying to tell with your music?
For some records, I would say yes, like for “Under Unknown Stars,” for example. For others, they are just philosophical concepts put to music (“Cosmic Extinction”).
15. Is there a particular artist that influenced your passion for Dark Ambient music?
There are so many artists that I love but if I had to choose just one, I would say without a doubt Collapsar.
16. What are some things you hope to achieve with future projects or albums?
I hope to improve the sound I have in mind more and more; that is, to give a sound to the darkest aspects of the cosmos.
17. How important is performing Dark Ambient music in a live setting? Is this something that is a priority for you?
I don’t find it that important but I would love to play live.
18. What can we expect to hear from Onasander in the years to come?
Currently in my mind there are two orientations: that of “Under Unknown Stars” and that of “Cosmic Extinction”. My future sound starts from these two albums that I adore.
19. I really appreciate you taking the time to answer a few questions for The Dungeon In Deep Space. Are there any final words for those that will be reading this publishing?
I want to thank The Dungeon In Deep Space (this name is beautiful!) for hosting me and all those who have supported and continue to support Onasander and the side projects. Thank you very much!
It’s that time of year again, our favorite holiday is upon us. Of course, I’m talking about Halloween, and The Dungeon In Deep Space is back for the sixth installment of the All Hallows’ Eve Extravaganza. In a continued effort to bring you a few summary reviews of this years’ audial frights, I have selected five new releases that will do Halloween proud. Each of these recordings would make the perfect companion to you Hallows’ Eve scares. I hope you will enjoy these as much as I have and please support these amazing artists, as they continue to bring the best in dark music excellence!
1. Halloween Scene – The Last Trick Or Treater
Halloween Scene, the spooky, seasonal side project of Guild of Lore, is back for a second nightmarish installment of creepy soundscapes. Playing more like a soundtrack to a 80’s horror flick, ‘The Last Trick Or Treater’ comes packed with evil haunts and retrospective modulations. Each track precisely elicits a sense of fear as an anomalous entity stalks trick o’ treaters on All Hallows Eve. Some of the more terrifying tracks include, “Bad Things Between Backyards”, “Something In The Mist On Reaper Road” and “This Long And Frightful Night”. At nearly one hour in length, this is the perfect companion piece to your ghoulish encounters on Halloween. My favorite song on the album has to be “Show’s Over”. With its retro electronica vibe and tasteful usage of Berlin School sequences, it screams 80’s B-movie horror. Halloween Scene certainly knows how to create an audial encounter for the most menacing nights of the year and I’m here for it.
Just in time for Halloween, the ever-so-reliable (and consistent) force of nature known as Erythrite Throne has unleashed ‘Strigoic Myths’, a five track excursion through the darkest points of your imagination. From the seasonally-themed logo to the solid color album backdrop, you know the darkened season is upon us when Erythrite Throne graces us with this combo. As for the music, it’s everything that you’d expect from one of the Godfathers of Dungeon Synth; desolate synths, impending beats and a slab of melancholic darkness that would prepare even the ghoulish of entities for All Hallows’ Eve. The best example of this comes by way of the second track, “Tenebrous Whispers From The Night’s Fog”. Commencing with a looping, mesmerizing beat, Medieval incantations soon follow by way of haunting, modulated synths. As the song intensifies, periods of melodic wonder increases, thwarting this track into the catacombs of great bleakness. We can always count on Erythrite Throne to deliver the goods and this album is a stark example as such.
Mombi Yuleman, the distributor of all things dark electronica is back with a collection of Dark Ambient soundscapes, previously released on various collaboration albums. ‘Tales Of Lost Transmissions’ is the first of a two part series that focuses on the assemblage of early recordings and rarities and it’s just in time for Halloween. Producing a Sonic range of material from Dark Ambient to Psytrance and Synthwave, this material of a culmination of Dark Ambient tracks that emit an eerie resonance while paying homage to 80’s horror soundtracks. So far, my favorite track is “Ominous Hazards” with its completely retro vibe, thunderous synth pad arrangement and electrifying Berlin School sequences. Another favorite is “The Madness Of Alhazred”, as it absorbs classic B-horror movies aesthetics and adds a modern Dark Ambient twist – complete with haunting vocal samples and spooky narrations. This would be a great album to play loudly while handing out candy to the costumed humanoids. When you’re done playing this one, queue up the second album in this series, ‘Tales From A Darkened Corridor’, you won’t regret it.
Hours Of Worship is back with their multi-genre offering, ‘Death & Dying Vol. II’. Aggregating facets of Dungeon Synth, Gothic and Darkwave, Hours of Worship is making a bold audial statement that is equally fascinating as it is addicting. With a dreamy production and retrospective sound mix, the six tracks contained within compels the listener through a surreal journey of darkness and dismal proportions. Most of the tracks are hypnotically lethargic, like a slow emotional decay while offering a few upbeat songs that continue to be melancholic at the same time. Standout tracks include “Derelict And Ruined” and “Opaline Ashes”, while “Shattered In Aspect” is reminiscent of a track that could have been a part of The Silence Of The Lambs soundtrack – which isn’t a bad thing because that’s one of the greatest psychological thrillers of all time. In summary, I can’t recommend this masterpiece enough. If you love the musical aesthetics of the aforementioned genres, then definitely do not pass on this release.
Born From Pain is an unusual entity that resides on the outside of a variety of dark electronic genres. The project also has the dismal vision of rescoring classic film score to a more modern, gloomy output. This Halloween we are presented with a Dark Ambient rendering of the 1932 film, Vampyr. Consisting of four, foreboding modulations that intertwine possessed tape loops and ghastly soundscapes, this is a droning experience that exhibits an angst filled void where there is no escape. The final track on the album, ‘Here, In Seclusion’ is a near fifty three minute long journey through the macabre, where desolate ruins provide the abhorrent landscape for a one-way trip to hell. The lo-fi production also adds a layer of dread, enhancing the repulsive nature of this audial dive to deep, distant voids. Born From Pain never fails to deliver and the projects vision of extreme musical obscurity makes this a promising album.
It still amazes me to this day how immersive the Ambient and Dark Ambient genres are. Although these genres typically expand upon minimalistic soundscapes, the fact that they deliver such a variety of unique expressions can be attributed to the plethora of well-versed artists and their ability to produce an insurmountable amount of audial visions. One of the premiere artists to venture into both genres is Derrick Stembridge. The mastermind behind projects such as Long The Night and Drifting In Silence delivers thought-provoking modulations that truly define what these genres are all about. I recently had the opportunity discuss these projects with him, and how his passion for ambient music commenced in the first place. Hope you enjoy this engaging interview and please support his accomplished musical endeavors.
1. Thank you so much for participating in this interview and I’m really excited to hear about your amazing projects. What inspired you to start creating Ambient music in the first place?
Thank you for having me. It’s truly an honor to be featured on Dungeon in Deep Space. My journey into ambient music began with a deep fascination for the subtle, often overlooked sounds in all types of music. These ambient elements create a rich tapestry that can evoke powerful emotions and vivid imagery. My early musical influences were quite diverse, ranging from classical compositions to modern electronic music. However, the common thread that intrigued me was the ambient layers within these genres—the sounds that painted the background and created a sense of space and depth.
Creating ambient music allows me to explore these layers more focused and expansively. It’s about building a sonic landscape where every sound contributes to the overall atmosphere, no matter how subtle. I believe ambient music is a vessel for storytelling without words, a medium that can transport listeners to different realms, evoke memories, and inspire introspection. It’s an immersive journey that encourages deep listening and emotional connection. The ability to take listeners on a voyage through sound, where they can lose themselves and find new perspectives, is what drives my passion for creating ambient music.
2. Can you tell us about the first Ambient piece you ever created?
My early musical explorations were rooted in the intensity and raw energy of Death Metal. During my formative years, I played keyboard and guitar in several bands, which was an exhilarating experience. However, I always felt drawn to the atmospheric elements within the music—the moments when chaos gave way to haunting melodies and expansive soundscapes.
While experimenting with a 4-track recorder, I discovered the vast possibilities of manipulating pitch and creating atmospheric textures. This was a pivotal moment for me. I began experimenting with layering sounds, slowing down tapes, and creating loops that would evolve. These early experiments were rudimentary but laid the foundation for my future work in ambient music. The transition from the structured aggression of Death Metal to the freeform exploration of ambient music was liberating. It allowed me to focus on sound’s emotional and spatial aspects, creating introspective and expansive pieces.
3. What artists and/or genres have helped you create this type of music?
Brian Eno’s “Music For Airports” was a seminal influence on my ambient work. Eno’s ability to craft serene, meditative soundscapes from simple elements was revolutionary. His philosophy of ambient music as an environmental experience that could enhance or alter the listener’s perception of their surroundings deeply resonated with me. On the darker side, early works by raison d’être, particularly “Enthralled by the Wind of Loneliness,” provided a blueprint for creating immersive, haunting environments. These artists taught me the power of minimalism and the profound impact of carefully sculpted sound.
The broader electronic music landscape, from pioneers like Tangerine Dream to modern innovators like Aphex Twin, has shaped my approach. The versatility and innovation within these genres demonstrated that ambient music could be both a standalone art form and a complementary layer within more complex compositions. These influences, combined with my background in metal and classical music, have allowed me to develop a unique style that blends serenity with intensity and structure with fluidity.
4. Are there any non-musical influences (e.g., literature, visual art, nature) that have helped shape your sound over the years?
Absolutely. My work as a photographer and graphic designer has profoundly influenced my music. Visual art, particularly the works of Dave McKean, HR Giger, and MC Escher, provides a thematic and aesthetic foundation for my soundscapes. McKean’s surreal collages, Giger’s biomechanical art, and Escher’s impossible structures inspire me to create music that challenges perception and evokes a sense of wonder and intrigue.
Nature also plays a crucial role in my creative process. The tranquility of a forest, the vastness of the ocean, or the isolation of a desolate landscape often inspire my compositions. I frequently incorporate field recordings of natural sounds—birds, wind, water—to create a sense of place and immersion. These elements add an organic layer to my music, grounding the abstract electronic textures in the real world.
Literature, too, mainly works that explore existential and surreal themes, helps shape my compositions’ narrative and emotional depth. Authors like Haruki Murakami, with his blend of the mundane and the fantastical, and Franz Kafka, with his explorations of the human condition, provide a rich source of inspiration for creating music that is both introspective and otherworldly.
5. Let’s talk a little bit about Drifting In Silence. What makes this project different from your other projects?
Drifting in Silence represents the core of my ambient explorations. Unlike my other projects, which delve into Dark Ambient and various electronic genres, It is pure ambient. I focus on creating serene, expansive soundscapes, encouraging introspection and emotional connection. This project is about capturing the essence of tranquility and transporting listeners to meditative reflection.
Drifting In Silence allows me to delve deeply into the nuances of ambient sound, exploring how different textures and tones can interact to create a cohesive and immersive listening experience. The project is a testament to my belief in the power of ambient music to evoke a wide range of emotions, from calm and relaxation to introspection and contemplation. It’s a space where I can experiment with sound in its purest form, free from the constraints of traditional song structures and genres.
6. Drifting In Silence has quite the extensive catalog? What are some of your most proud recordings with this project?
“Truth” is a cornerstone of my work, encapsulating the origins of my ambient sound. It represents a pivotal moment in my musical journey where I began to embrace the ambient genre and explore its potential fully. The track is built on layers of atmospheric textures, creating an immersive and evocative soundscape. “Dawn,” on the other hand, stands out as the moment where I truly honed the Drifting In Silence sound. The layering techniques I used in “Dawn” have become a hallmark of my style, allowing me to create rich, multi-dimensional soundscapes that invite listeners to lose themselves in the music.
These tracks represent significant milestones in my journey, reflecting both my personal growth and the evolution of my sound. They capture the essence of Drifting In Silence—creating music transcending boundaries and taking listeners on a journey of discovery and introspection.
7. I’m interested in learning more about how the “King’s Cross” track came about. It’s an amazing Pet Shop Boys cover, but what brought on this idea in the first place?
“King’s Cross” has always captivated me with its haunting strings and poignant melody. Throughout the years, I found myself repeatedly drawn to its sonic qualities, envisioning how it might sound within an ambient framework. The original track has a depth and emotional resonance that could be further explored through ambient music. Covering “King’s Cross” allowed me to delve into its emotional core, transforming its essence while maintaining its original impact.
The reinterpreting of this track was both a challenge and a profoundly satisfying creative endeavor. I aimed to strip the song down to its most fundamental elements, rebuilding it with layers of ambient textures and atmospheric effects. The result is a version that pays homage to the original while offering a new perspective, inviting listeners to experience the song entirely differently.
8. Your latest album, ‘Winter’s Past’ also contains a Madonna cover (“Live To Tell”). What was it about that song that made you think, “hmm, I bet I could transform this into an Ambient masterpiece?”
“Live To Tell,” with its evocative piano phrasing and atmospheric qualities, has always resonated with me. Patrick Leonard’s composition for the movie “At Close Range” created a profound emotional backdrop that I felt could be further explored in an ambient context. The original track’s haunting melody and introspective lyrics provided a perfect foundation for an ambient reinterpretation.
Covering “Live To Tell” was a way to pay homage to my early musical influences while reinterpreting the song through the lens of ambient music. I aimed to capture the emotional depth and complexity of the original, transforming it into a piece that is both familiar and new. This process involved deconstructing the song’s elements, focusing on its atmospheric qualities, and rebuilding it with ambient textures and effects. The result is a track that invites listeners to explore its emotional landscape in a new and immersive way.
9. Let’s switch gears to Long The Night. This project seems more drone oriented and definitely darker than Drifting In Silence. Was this project created to keep the two sounds separated from each other?
Long The Night was born from Drifting In Silence’s darker, more experimental sessions. I wanted to create a distinct space to explore Dark Ambient, and drone sounds fully. This project allows me to channel influences like raison d’être and other classic Dark Ambient artists, incorporating modern techniques with samples and field recordings. Long The Night is about delving into the depths of sound, exploring the shadows and the unknown.
Creating Long The Night was a way to keep my artistic vision clear and focused. By separating the darker elements from Drifting In Silence, I fully immersed myself in the world of Dark Ambient and drone music. This project explores the more mysterious and haunting aspects of sound, where I can push the boundaries of what ambient music can be. It’s about creating an immersive experience that challenges listeners to confront the darker side of their emotions and imagination.
10. I really love the track “Emotions Without Logic” (from ‘Shadows Of Discretion And Unspoken Truths’). It has a really distant and dystopian feel to it. What was it like to record and produce that track?
“Emotions Without Logic” is a deeply personal track that takes the listener through turbulent emotions and serene resolutions. It involved extensive field recordings to capture the natural elements and textures that define its atmosphere. I wanted to create a soundscape that felt distant and immediate, evoking a sense of place and emotion that transports the listener to another world.
The process of creating this track was both challenging and rewarding. I spent significant time layering sounds, experimenting with different textures, and manipulating field recordings to achieve the desired effect. The goal was to create a piece that felt like a journey through a storm, with waves crashing around you, leading to a distant calm where the rain begins to fall gently. This track is a testament to the power of sound to evoke memories and emotions, creating an immersive experience that resonates deeply with the listener.
11. You also run and operate the Labile Records label that features several other fantastic acts. What would you say your mission statement is for this label?
Labile Records was created to promote and distribute my Drifting In Silence recordings, but it has grown into a collaborative family of like-minded artists. We aim to seek out, develop, and distribute innovative music and visual art. We strive to incorporate our artists’ personal goals, cultures, and emotions into our products and marketing strategies, providing unwavering support and the best opportunities on both global and regional scales. We also aim to stay informed about changes in the music industry, acting as a bridge between our artists and the broader market.
Labile Records fosters a community of artists who share a passion for pushing the boundaries of music and art. We support our artists’ creative visions and help them achieve their goals through innovative marketing strategies, distribution networks, or collaborative projects. Our mission is to be a platform for artistic expression where artists can explore new ideas, experiment with different sounds, and connect with a global audience. We are committed to promoting the best opportunities for our recording artists, honoring their unique voices and perspectives, and contributing to the ongoing evolution of music and art.
12. How do you see the Ambient/Dark Ambient community evolving, and what role do you hope to play in it?
The ambient and Dark Ambient community has grown significantly, thanks partly to technological advancements that make music production more accessible. This trend continues, with more artists exploring these genres and pushing their boundaries. My role is to continue innovating and introducing new sounds and techniques while honoring the genre’s roots. I aim to inspire and support emerging artists, contributing to the community’s evolution and helping shape its future.
The ambient and Dark Ambient genres are entering a new phase of growth and innovation. The accessibility of digital recording tools and platforms has democratized music production, allowing more artists to experiment and share their work. This has led to a vibrant and diverse community of creators pushing the boundaries of what ambient music can be. My goal is to be a pioneer in this space, continuing to explore new sonic territories and inspire others to do the same. By staying true to the genre’s roots while embracing new technologies and techniques, I hope to contribute to the ongoing evolution of ambient and Dark Ambient music, fostering a community of artists passionate about creating immersive, transformative experiences through sound.
13. What are some of the biggest challenges you face as a Dark Ambient artist?
Promotion remains a significant challenge. While the community is growing, it’s still relatively small, making it difficult to reach a wider audience. Navigating the niche market and finding effective ways to promote my music requires constant creativity and adaptability. Additionally, the nature of Dark Ambient music, which often focuses on subtle, atmospheric elements, can make it challenging to capture the attention of listeners who are more accustomed to mainstream genres.
Another challenge is balancing the need for artistic integrity with the market’s demands. Dark Ambient music is often deeply personal and reflective, making it difficult to conform to commercial expectations. Finding the right balance between staying true to my artistic vision and making my music accessible to a broader audience is an ongoing struggle. However, these challenges also present opportunities for innovation and growth, pushing me to find new ways to connect with listeners and share my work.
14. What instruments and equipment do you use to create your mesmerizing soundscapes? Are there any particular techniques or effects you frequently use in your compositions?
My setup evolves with each album, but I primarily use Logic Pro as my DAW, with the Waldorf Quantum as my primary controller. I incorporate a variety of guitar pedals from Strymon, custom samples played through Native Instruments Kontakt, and Make Noise Modular Gear for unique textures. Techniques like layering, pitch manipulation, and field recordings are central to my process, allowing me to create complex, immersive soundscapes.
The use of field recordings is an essential aspect of my work. I often venture into nature to capture sounds that can add a unique, organic element to my compositions. These recordings are then processed and manipulated to create textures and atmospheres that enhance the emotional impact of the music. Additionally, I experiment with various effects and techniques to develop a sense of space and depth, using reverb, delay, and modulation to sculpt the sound and create a three-dimensional listening experience. This approach allows me to blend synthetic and natural elements, creating a rich and immersive sonic landscape.
15. How do you maintain a balance between your artistic vision and the expectations of your audience (if any)?
Maintaining a balance between my artistic vision and audience expectations involves staying true to my creative instincts while remaining open to feedback and collaboration. I strive to create music that resonates deeply with listeners, fostering a connection that transcends expectations. This means continuously evolving my sound and exploring new creative avenues while honoring the core elements that define my music.
I believe that authenticity is key to maintaining this balance. By staying true to my artistic vision and creating music that genuinely reflects my emotions and experiences, I can connect with listeners on a deeper level. At the same time, I value the input and feedback of my audience, as it provides valuable insights into how my music is received and helps me grow as an artist. This dynamic interplay between personal expression and audience engagement is what drives my creative process, allowing me to create music that is both meaningful and accessible.
16. What advice would you give to someone starting out in the Dark Ambient genre?
Start by immersing yourself in the genre’s origins. Study the foundational techniques and listen to classic and contemporary works to understand the genre’s evolution. This will help you develop a well-rounded perspective and find your unique voice. Don’t be afraid to experiment and push boundaries; innovation is critical in creating compelling Dark Ambient music.
Developing a solid understanding of sound design and production techniques is also essential. Dark Ambient music relies heavily on texture and atmosphere, so learning how to manipulate and layer sounds effectively is crucial. Invest time exploring different tools and technologies, and don’t hesitate to experiment with unconventional methods. Finally, be patient and persistent. The Dark Ambient genre is niche and can be challenging to break into, but with dedication and a willingness to explore new ideas, you can create music that stands out and resonates with listeners.
17. Can you share any details about upcoming projects or releases? Are there any new directions or experiments you’re excited to explore in future releases?
I recently released a captivating album titled All of My Faults Laid Bare with my friend Chris George for our project Brighten The Corner. This work elegantly traverses ambient and dark realms, showcasing our combined creative vision. I’m deeply immersed in crafting a new Drifting In Silence album, Echos Beyond, in collaboration with Suseti. This album is a journey into new sonic territories while staying true to my ambient roots. It delves deeply into field recordings and organic textures, seamlessly blending them with electronic elements to create a rich, immersive soundscape.
Later this year, I plan to release another Long The Night album, which will further explore the depths of dark ambient and drone sounds. This upcoming release will feature innovative techniques and experiments in sound manipulation, pushing the boundaries of ambient music even further.
These projects represent exciting new directions and experimental ventures that I am thrilled to share with my audience. These forthcoming releases reflect my constant quest to explore new ideas and evolve my sound. I eagerly anticipate how listeners will respond to these new explorations and look forward to continuing to push the limits of ambient and dark ambient music.
18. I really appreciate your time and of course all of the killer music that produce and release. Do you have any final thoughts for those that may be reading this?
Thank you for your support and for listening. Your engagement and enthusiasm keep the ambient and Dark Ambient communities thriving. Stay curious, explore new sounds, and never stop seeking out the music that moves you. Your support helps artists like myself continue to innovate and share our creative visions with the world.
For those reading this, I encourage you to dive deep into the world of ambient music. Explore these genres’ vast sound landscapes, and don’t be afraid to venture into new and unfamiliar territories. Music is a journey, and each piece has the potential to take you somewhere new. Thank you for being part of this journey, and I look forward to sharing more music with you in the future.
In 2021, I reviewed the amazing album by Logan Mccurter called, ‘Primitive Baptist & The Oldest Time Traveler In The World’ and what I discovered was an alluring blend of Dungeon Synth and Ambient music. This album brought a fresh prospective to both synth-based genres and I was eager to hear more. Fast forward to 2024, and we have the same compelling music but now under the moniker, Wøzard. Curious to find out more about this artist and the motivation behind the music, I reached out to Wøzard for an interview opportunity, which was quickly obliged. What I found was a down-to-earth musician with a solid approach to songwriting, with quite the comical side to boot. I hope you enjoy this interview as much as I had putting it together.
1. In really appreciate your time in order to discuss your music projects. Before we get into the meat of things, tell us what music means to you and how it led to you commencing your own musical endeavors.
Howdy! And thank you for having me. This is SUCH a heavy question to start with haha but I think its an important foundation to any artist. I was born into a very musically inclined family.
MY grandfather, aka: “The last western hero” and my grandmother formed a Country Western Christian Gospel group called “The Cox Family” (not that one…the other one) in the 80’s, which also featured my Mother and my Aunt. They performed all over America and had a residency show in Branson Missouri until the late 90s. All this to say when I was born in 1999 I was surrounded by musicians.
HOWEVER~ When my mother got pregnant at age 16/17. While I was incubating, they used to play pink Floyd to me through her stomach with headphones. I was literally raised in a sonic WOMB.
And I think this parts important. My father and his side of the family, are all bikers, my dads a metal head / tattoo artist. And I was always drawn to the alt life style artistically and sonically. So when I picked up guitar at age 5 or whatever I wasn’t banging out christ tunes, I was playing whatever alternative underground bla bla I could get my hands on. My inspirations range from the likes of Daniel Johnston, Mort Garson, Neutral Milk hotel, Bruce Haack, The Protomen, My Bloody Valentine, Sleep, Yob, Mastadon, Brian Eno, Hiroshi Yoshimura, Asobi Seksu, and MANY many other artist that I wear close to my chest.
For me, Making music is as automatic as breathing, it’s ingrained in the pulse of our hearts. Music as we refer to it is the one thing that truly binds us as a species. Humanity from dust till dust, separated by time and space, has and will have a musical culture that transcends language. Humans are many things, granted. But we are ALL musicians. We are all songbirds. We are all storytellers.
Ok…ill get off this mighty tall soapbox now.
2. In 2019, you started releasing albums under your own name but then shifted everything under the Wøzard moniker. What brought about this change?
No I didn’t, who told you that? You’re lying. Its ALWAYS been Wøzard…
No you’re totally right I did go by my name for a while. To be honest I never intended to become an electronic musician. Or even a dungeon synth artist (if you can even call me that) My earliest work (which I’ve scrubbed from existence) was an amateurish acoustic singer songwriter EP. That was mostly inspired by my being a teenage dirtbag, my love of Daniel Johnston, and an unhealthy serving of Midwest-ish pop punk.
my “Debut” EP from 2019 titled “may I admire you again someday” (a reference to pretty in pink) was a synth pop concept about an astronaut who is selected for an experimental program called “MIAYAS” which will launch him into the mind of another person to discover the truth therein, but before his mission can even begin, his ship crashes into the lucid mud. Now lost and trapped inside this OTHER mind, slowly losing all sense of self as he experiences the subconscious. Until he reaches the bridge of memories. And finds out he’s not trapped in someone else’s mind. He is trapped inside his own. And upon this realization. He wakes up, in the very chair that sent him on this adventure. But its not the end…its the beginning. An ouroboros loop, doomed to wake up in the very chair that stars this mission and to be launched right back in… it’s also a live theatrical stage production. Which you can hear in the album with people clapping, the curtains raising, footsteps on the hard wood floor of the stage. And the track intermission (Which is a play on Enter, Mission)
With all that in mind. I decided in 2020 after becoming enamored by dungeon synth to try my hand at that. And once I had a few projects under my belt. I realized that my name was weirdly to broad. I found the electronic ambient hill I wanted to die on. But felt my government name was not the energy for that world. So I changed it to Wøzard!
Wøzard by the way is a reference to the Mort Garson record “The Wozard of Iz” which is a fantastically cynical retelling of the wizard of oz set in 1960’s hippie culture. And the slash in the ø comes from my name. Løgan!
I feel like my brand is sorta obtuse, mystical, otherworldly, contemplative, and wonky. So I felt Wøzard fit that bill.
3. Wøzard is not your typical Dungeon Synth project, as it incorporates so many other aesthetics of electronic music. Is this what you set out to achieve from the very beginning?
The idea of “what even is the music I make” has been floating around for a while I think. While my works are not deeply known within the broader scene. I have had many refer to it as “progressive dungeon synth” which is flattering! I never meant to progress anything. In fact, many of my go-to inspirations for where I achieve my sound is Moog music from the 60’s, 70’s and 80’s. With a healthy does of ambient electronic scenes like lowercase, Japanese ambient synth form the early 80s, some Berlin school, and THEN dungeon synth, also the word “achieve” is funny here because I don’t know if I truly ever meant to do anything of the sorts. My LP “primitive baptist” was my honest attempt at making a dungeon synth record. And it SUPER wasn’t a dungeon synth record. Its something totally and tonally other. But It did accidentally give me an identity. I’m just glad people like my work.
4. In 2020 you released the ‘Primitive Baptist & The Oldest Time Traveler In The World’. First of all, how did you come up with that amazing title?
“Primitive Baptist & The Oldest Time Traveler in the World” was my attempt at giving the listener as many clues as possible to the plot of that record. Which like…duh? But also the plot of this story is VERY convoluted. Which I will get into…if the reader will simply skip to the next question…did…did they skip to the next question?
Why are you still here? The cool juicy plot stuff is on the next question…oh you’re just stubborn is it. I see… There is nothing else to see here reader. I promise, you can move on.
Ok fine. You WANT to stay here and read THIS questions answer. Fine… If you want to waste your time not move on to the much cooler and dare a say “saucer” questions then by all means. I can’t stop you…
Unless…
If you’re being here is in direct response to the nature of my continued presence here. If I were to simply stop existing, and move my metaphorical voice to the next question. You would then be forced by THE HANDS OF GOD HER SELF to read the next question. There in ending my suffering and your absolutely annoying ability to persist here—
5. Please tell us the back story of the album theme, as it’s really intriguing.
—Oh! That worked. Ok then, moving on, finally…
Primitive baptist tells the story of a young boy in the mid-first century CE. In a temple to god. A chapel dweller by nature, he one day finds a secret hatch to a vault below the temple. And here he finds a dusty, old, computer. The kind you’d find in the 80’s. That is still somehow connected to the internet. Likening it to a painting that moves. The young boy discovers that this device allows him to literally physically transcend time and space. So he steps through the painting and becomes the very first (and possibly only) time traveler in the world.
As he travels he discovers many secrets and deep magics, and becomes a being of unyielding knowledge. The hero of his own story. Becoming master over life and the betrayer of death. However, this is a disaster course. That was set in motion by…well… we will get into that soon as well.
6. That was such a great album that I continue to listen to today. What was the process like putting that album together musically?
so wildly enough, this record started as a noise project. Like harsh noise. I listened to merzbo’s “pulse demon” and was like…I can totally do that. (Clearly that was a lie) because as I begun creating the harsh noise tracks I started to linger on the quite moments between passages and this space between was deeply intriguing for me creatively. And with my new found love of dungeon synth on the rise. And my history with ambient works and Moog music. I wanted to create a love letter to the FEELING of dungeon synth without feeling restricted to the walls of its many dungeons. Every track you hear in most of my music is the result of a lot of trial and error, experimentation, lazy quick hacks, and a rather destructive tracking process.
I often will make a midi file and bounce it. Bring it in as a sample, play it two Simi-tones lower so it will artifact and distort. Or like ill record a whole ass song, bounce it. Sample it to a midi. Play it an octave lower. And then play a whole new instrument lead over the top of that. And then bounce THAT and put it into idk PaulxStretch or something. Texture reigns king.
But I do find that I favor a melodic sensibility. Just to ground a piece. So ill pretty routinely load in a flute sample or whatever and just improvise away until something sticky happens. Genuinely everything on these records are mostly improved in real time the whole way through a song. And then I go behind that and check my work. And then ill do all the destructive editing I do. All this to say i have NO idea how i would be able to perform this project live.
7. In 2022 you released a Comfy Synth EP called ‘Save The Forest, Little Flower’. Please tell us how this album came about and to you plan to release anymore that continue this subjected path?
Save The Forest, Little Flower, (my darling EP) was a commissioned work from HDK records for their volume 6 Dungeon Synth Magazine. It was a blast making this because I had NO F*&%KING IDEA how to do comfy synth. Nor did HDK want me to do comfy synth. They simple said “make something” and write a story to go with it. And so…being the aquarian contrarian that I tend to be, I reached into the deepest recesses of my mental vast. And found the clouded memories of my childhood. Sitting in front of an old CRT watching cartoons wrapped up in blankets. Within that hazy memory I listened into that sonic landscape of nostalgia. And thats where the impetus came from for this record. I followed a lot of my tendencies workflow wise but explored a more melodic flow state. And tried my damndest to find sounds that had that sense of AGE on them. I used a lot of tape VST’s and Vinyl Warble plug ins to achieve that effect.
I had coined this “A Little Adventure” because at the time I did plan on making more. But because it takes me forever to get my ideas together that sorta fell through. I was also approached by Phantom Lure Records to turn this into a vinyl…but, they wanted me to add more tracks. And I took to long, so they dropped it. I would love to have this pressed to vinyl at some point. I love this EP.
8. Last year we saw the release of ‘Future Cultist & The Slip Space Micromancy’, which was one of the most brilliantly unique albums of 2023. This album leans more toward ambience and retro soundscapes but still maintains that Dungeon Synth vibe. How did this one come about?
Ok so Future Cultist is a continuation of the story set in the first LP. Its part of a planned trilogy of albums i’ve coined “Monomythica” This album sees our time traveling boy whom stepped through the painting, now within the way future. Old, learned, and dying…Reflecting on the time that has passed him. It is here that he begins to use the planets in a sort of divinatory manor to seek out WHY he was called to this adventure. And he finds the answers. There is a beast beset upon all of existence. Story. The ever growing demon of forward motion through the hero’s journey, but this beast has abandoned this story, and has moved to a new one. In our time. Now.
It is then that our hero realizes what he must do has done many times over. And so he uses deep magics to call upon a ritual of death…filtered though the powers of universal love. And he destroys this narrative line. Travels back in time to his former life. And gifts unto himself the very computer that sent him on his journey. With the clear objective of finding the beast with 1000 faces. And killing it. Once and for all…but like in the next album obviously.
As towards your question, thank you for the kind words! I actually had no idea what to do for this record originally. So when “production” began I sorta was throwing everything at the wall to see what clung on for dear life. I was really getting into 80’s goth and post punk at the time. And wanted to uses instruments that were popular during that time. Lots of Roland VST’s and Juno Reverbs. But I also wanted to chase that high of nostalgia from save the forest. So I tried to find the balance of these two idea in a sorta of soundtrack to a space documentary form the late 70s early 80s. If that makes ANY sense…
9. I noticed that both of your longer albums are thirty three minutes in length? Strange coincidence or is there a back story to that?
the first time that happened was purely accidental. HOWEVER…333 is a number that comes up a lot in my life. And when the albums run time came out to be 33:33 I was like, this is so totally a sign. Right? But then something funny happened. I made the next record without any though or care towards that notion. And it just happened to also end up being 33:33…like on the dot. And I was stunned. Maybe I just have an internal clock that taps out at 33 minute. But this has become the branding for the LP’s now. So I gotta stick to it.
10. One of my favorite tracks from that album is, “The Meaning Of Death Is That It Teaches”. Were you shooting for that horror-themed soundtrack aesthetic?
thank you! I don’t know if I was shooting for ANY aesthetic really. This track was the “thesis” of the record. Much like Primitive Baptist’s “the meaning of life is that it ends” was that records thesis. i find that these LP’s often have the term scary thrown at them. or like… ominous. but i truly have never meant to make it that way. i just find the energy of these records has a lingering darkness that hides in the shadows of its more ethereal melancholy. and that energy definitely comes out from time to time. though unintentionally. Honestly, when making these records i find myself in a stage of experimentation until i stumble upon a creative spark that moves me.
But then i get trapped on this cycle of (damn i now have “the sound” or whatever) but now i have to capture that again on these next few tracks to make a coherent record. So to the question, the reason this one has a vibe change up near the end is i wanted to shock the system of the listener and draw them back in. Ambient music can sometimes scare away new listeners due to it being a more passive form of music. and i feel like my goal has always been to move my listeners into a more active state of engagement within these sonic landscapes.
11. What’s next for Wøzard? Any new releases planned for this year?
I’m currently working on an EP simply titled “Daughter” which weirdly i’ll talk about more in depth here in a few more questions….(foreshadowing)
12. Have you thought about releasing a straight up Dark Ambient/Drone album? If so, would it be under the Wøzard moniker or something different?
I haven’t really put much thought into that to be honest. Earnestly Wøzard is by definition and scope an electronic genre-jumping-ish experiment of texture and scope. i have no qualms with the the idea of releasing a dark drone record and i fear that my works already teeter totter on that particular line already.
13. Have you thought about collaborating with other Dungeon Synth artists? If so, who are some that intrigue you the most?
I so totally have! Thought about it I mean. I would love to work with anyone who would have me. I think collaboration is the life blood of music. And while Dungeon synth can be a sort of loners club, I think some of the best records we have seen have come form colboaritive efforts.
however, my process is sorta catty wompus and i have no idea how a collaborative effort would work…
however part two, (the return of the previous statements) My next project “daughter” IS a collaboration…with myself and my band Fuzzwall.
Fuzzwall is a shoe-gaze, fuzzed out wall of sound, inspired by MBV, Asobi Seksu, Boris, The Melvins, my love of riff landed stoner doom / my inability to escape a pop melody.
I hope to use this EP as a stomping grounds for the sound and texture of what Fuzzwall can do. while giving me the ability to play within that which rings familiar in my process for my project wøzard. i’ll send you a tester track of the opening song “ frequencies within the light” I can’t wait for you to hear it!
14. What are your thoughts on physical releases (Vinyl, Cd, Cassettes, etc..)? How important is physical media to music in general?
i think physical media is beyond important! in an age where our very right to ownership to the media we purchase is all hanging in the delicate balance between corporate capitalistic greed and the world being on fire. I feel its desperately needed now more then ever for us as artist and consumers of art to archive our hearts out with the things we wish to keep in perpetuity.
So the listeners shitty Demo tape. Yeah thats worth more then gold to me. The listeners favorite cartoon that is no longer on streaming, pirate it and put it to VHS. I mean it.
The DIY scene of Dungeon Synth has always blown me away for the simple fact that despite the world and everything going against them. Labels and artist still find a way to sell their music. Its inspiring.
15. Once again, I appreciate your time and insight to all things Wøzard. Any last word/comments for those that will be reading this interview?
Thank you for having me, your last review of my record made my whole year. I can not stress how excited I am to hear your thoughts on my latest LP Future Cultist & The Slip Space Micromancy,
Go follow me on stuff! My instagram is my most active…(barely) and my music is on everything you can find music at. Yes even at the weird local wizard man who sings ancient lores under the bridge by I-20 whom smells of lilac and piss.
One of the bleakest forms of Dark Ambient music is known as Dark Industrial. Combining an esoteric blend of Dark Ambience, terrifying ritualistic undertones and a mechanized form of harrowing drones, Dark Industrial is definitely not for the faint of heart. One of the most consistent producers of this form of music is Pavor Nocturnus. With a stint of terrifying full-length albums, dismal split albums and a handful of singles, Pavor Nocturnus is one of the premier acts the genre has to offer. I had the honor of interviewing the dark entity behind the project and received some great insight on the driving force behind this amazing music.
1. Thank you very much for taking the time to answer a few questions. Congratulations on the release of your latest album, ‘Ecatombe’. What type of theme did you have in mind while writing this album?
I started writing “Ecatombe” during the first pandemic wave, collecting suggestions and thoughts that stormed in my mind during those months spent in confinement. Then I synthesized those moods in archetypes and transformed them in sound. I think that each track title is pretty self explanatory.
2. It’s been just two years between the release of ‘Ecatombe’ and the previous album, ‘Bosch’. Were there any delays between recordings or were you involved with other projects?
“Bosch” release has been delayed several times because of the pandemic, from the end of the recordings it took almost two years. Once the album was out I started recording “Ecatombe” and it took almost the same time to be released; I spoke with Frederic (Cyclic Law) in the first months of 2022 but he told me that the release would have need time to be out. In the meantime I had the chance to restart the live activity that was interrupted by the pandemic.
3. ‘Ecatombe’ was released on the mighty Cyclic Law label. Was this your first release with them? Do you have any future releases with them as well?
This is my first release with Cyclic Law, it is a great achievemnt for me to release my work with this prestigious label alongside many important artists I admire.
There are no other releases planned with Frederic at the moment but hopefully we will have the chance to do something else together in the future.
4. Your previous album, ‘Bosch’ was released on Italy’s Toten Schwab Records. That album definitely fit right in with the dark, industrial vibe of the label. How was it working with Toten Schwab for that release?
“Bosch” was released on Toten Schwan Records and Dio Drone, both labels are runned by friends and despite the difficulties we encountered, as I stated before, due to the covid 19 emergency, I was very glad to make this release with such like-minded people.
I’ve known Marco (Toten Schwan) for a long time, we have also recorded and released some music together under the monicker “Cameraoscura”. Concerning Dio Drone I really admire the work Naresh makes with his label and all the people involved in his projects, we shared some live gigs together and I am looking forward to hit the road again with him.
5. I really enjoyed that album and reviewed it back in 2022. Was there a particular vibe you were going for back then?
My intent was to translate in music not only the beautiful symbology of H. Bosch’s paintings, but also the impact those images had on me and my personal, emotional interpretation. I felt an intense experimental freedom during the whole creative process.
6. What does the name Pavor Nocturnus mean and why did you choose it as your project title?
Pavor Nocturnus means “night paleness” or “night terror” in latin, it is a sleep desease that can occur during childhood. I suffered of this kind of desease while I was a child and when I started my project i thought this monicker could be representative of the mood of my music.
7. Before starting Pavor Nocturnus, were you involved with any other musical endeavors?
I played in some black/death metal bands when I was younger, but Pavor Nocturnus is my first personal project.
8. What intrigues you the most about Dark Ambient and/or Dark Industrial music?
In my opinion the most fascinating thing about these musical genres is the range of emotion they are able to evoke, putting the listener in an immersive sonic enviroment. Everyone can experience something different according to his personal perception.
9. You’ve release several collaboration tracks over the years and I’m most intrigued by your collaboration with New Risen Throne called “Collapse Of The Orbiting Void”. How did this collaboration come about and do you have any possible plans for a full length release with New Risen Throne?
I wrote to Gabriele/NRT during the pandemic asking if he was interested in doing something together and in a couple of months we started to record and share some tracks. I took care of the arrangement, mixing and mastering process, while Gabriele was working on a computer graphics video for the track. He had this 3D model called “The Void” so that’s where the title comes from.
Besides being a great musician and 3D artist, Gabriele is also a very nice person, his work is always inspiring and I would be glad to work on something else together with him in the future.
10. What was your very first release as a Dark Ambient artist and how has your musical expression expanded since that release?
My first official release as Pavor Nocturnus was “Streghe”, an interpretation of witches’ imaginary, primordial rituals and mysticism. Back then I was not that much into electronic music, I was just looking for a musical language that could translate my intentions, that could give me freedom in composing my music. I think that a lot of my metal and classical music background merged into that album. Since then my musical approach has changed consistently and I don’t consider my music as dark ambient, despite it contains that kind of flavour of course. I have released four albums now as Pavor Nocturnus and each album sounds different from the previous one, this is something I would like to pursue in the future.
11. What has been your favorite album that you’ve released so far?
I do not have a favorite one, each album means something different to me and every release is a step forward in my growth as a musician and as a human being.
12. How do you record your eerie soundscapes? Do you record your own field recordings (if any)?
I use a mix of field recordings and sound synthesis, mangling the sounds with some samplers and effects. I have collected a lot of field recordings while working on “Bosch”, and usually when a sound intrigues me I record it and store it.
13. Do you have any album release plans for 2024?
There is going to be a release in autumn, a very limited physical edition of some material I recorded after “Ecatombe”. More info soon…
14. Have you ever played any live sets? If not, is that something that you might be interested in?
Playing live has become a fundamental part of my musical activity, in the last years I have been focused on touring in Italy, Europe and UK. Some years ago I had the opportunity to play a gig in Montreal and I would like to come back in Canada and USA.
Now I will take a break from live activity to work on some new music.
15. I really appreciate your time for this interview, and most of all your incredible music! Do you have any final words for those that may be reading this?
I would like to thank you David for this interview and for your interest in my music. My gratitude goes also to all the people that keep on supporting independent/experimental artists with interest and passion.
This was another fantastic year for Dark Ambient music. Not only were there many releases from well-known artists, but there were many great releases from up and coming artists as well. That being said, I was a fan of so many Dark Ambient albums this year, that it was almost impossible to come up with a Top 10. I could have easily had a Top 100 but it would have taken me forever to compile and write about each of them. After much thought (and a few changes along the way), I’m happy with this Top 10 list and hope you enjoy it as well. If some chance you’ve not heard any of these projects, I highly recommend them. Happy readings, Happy New Year and I already can’t wait for 2024!
10. Monasterium Imperi – Sanctium Choir Collection
Scorpio V has released four extremely impressive albums under the Monasterium Imperi moniker this year but ‘Sanctium Choir Collection’ is the grandest of them all. Over two hours of bleak, Gregorian chants over haunting drones is exactly what I love about this project and ‘Sanctium Choir Collection’ delivers in a monumental way. In all honesty, I wish this album was about four hours long but the seven epic tracks contained within will do just fine. Perfect for meditation, background noise or sleep music, I can’t recommend this one enough. Even though it’s only been out about a week, it definitely deserves a spot on my year end list. Don’t sleep on this one!
Infinexhuma released ‘Denown’ back in March and it’s been one of my go-to Dark Ambient albums ever since. Featuring a murky blend of industrial noises and immeasurable drones, this album almost has a ritualistic essence to it. This intense collection of colossal modulations is – at times – downright terrifying. There are bits of sinister vocalizations that will have you checking the perimeters for evil entities and I wouldn’t recommend this to fall asleep to, unless you desire the most extreme forms of nightmares in existence. Highly recommended for fans of more extreme forms of Dark Ambient music.
Scorpio V’s second entry in this year end list is for his bellwether project, Metatron Omega. Released on the mammoth Cryo Chamber label, ‘Kataphasis’ continues a long string of Metatron Omega albums that emphasizes Dark Choir chants and haunting ambient textures. In addition to the elongated droning modulations, there are some beautifully melodies throughout that adds another dimension to this imposing offering. Chances are, if you’re reading this article, then you’re already aware of this massive project and the consistent vibes of the six releases available on the Cryo Chamber label Bandcamp site; but if you’re not familiar with Metatron Omega, I highly recommend ‘Kataphasis’ as a starting point.
Dev-I-Ant is another amazing project that has a pretty consistent catalog of sinister offerings. From the opening modulations of ‘A Place Of Warmth And Tears’, I knew this album was going to be a malevolent journey into the depths of darkness. From terrifying soundscapes throughout and the horror-like theme that spews from every track, there is no way that I could leave this masterpiece off of my year end list. If your aim is to be aghast while experiencing Dark Ambient music, then look no further than this album and be prepared for a frightful encounter.
Sonologyst excels at releasing masterful Dark Ambient albums that build upon isolationism through elongated drones and minimalist haunts. On the projects latest effort, ‘Shortwave Spectrum’, the intonations go above and beyond than ever before. Featuring over ninety minutes of ghastly sequences that are reminiscent of sounds that may be heard at an abandoned communication station, these tracks provide the full experience of abandonment and psychotic terror. Although not as ominous as other releases in my collection of Top 10 releases, there is an everlasting presence of dread that has an equivalent effect. If nominal Dark Ambience is your thing, then the works of Sonologyst will be right up your alley and ‘Shortwave Spectrum’ would be the perfect starting point for diving into this eerie style.
The third and final entry for this Top 10 list by Scorpio V is the enthralling, latest chapter of raw, Gregorian Chants by Eshaton called, ‘Pneumos’. Consisting of a single, thirty four minute track, ‘Pneumos’ builds upon coarse production efforts, grainy synth modulations and persistent dark choir effects to deliver an ancient – almost Medieval – sound that is consistently bleak but with an emotive posture. As Scorpio V continues to expand his unique sound fit for a fantastical universe, Eshaton is quickly becoming my favorite project out of all of his endeavors. Even fans of Dungeon Synth will become drawn to this effort and appreciate this massive sound for what it is – dismal and introspective.
I continue to be astonished by the consistent output from Blackweald. Not only are the albums filled with dreadful, Dark Ambient soundscapes, but the theme choices and album length are a huge undertaking as well. ‘The Fermi Exhibit’ is over five hours of unhinged, maniacal ambient music that contains bits of Space Ambient, Ritualistic tones, industrial Ambient and Isolationism all wrapped up in a single release. Additionally, the use of field recordings and demonic effects are prevalent throughout, making this a true Dark Ambient masterpiece. My favorite track is the one hour, forty four minute long “Vast Emptiness”, as it is a Space Ambient showcase that goes from nominal tones to penetrating horror and the listener gets to experience the dark unknowns of doomed space travels. Don’t pass on this immaculate offering.
Stars Without Light is a completely new listening experience for me and I was immediately hooked when listening to ‘Beneath And Before’. Even though this is the first album from this project, it’s easy to identify that the music contained within is the product of a veteran Dark Ambient musician. From crisp drones to apocalyptic soundscapes, this is for certain, one of the darkest offerings in my Top 10 list. At times, it borders into complete noise terror with complacent Industrialism, with a surprising ritualistic twist, and other times it sways through chaotic soundscapes that are equivalent to vicious nightmares. Even though this offering is just under thirty six minutes, you’ll feel completely drained of any comforts upon the first listen. This is a brilliant release that must be heard by all fans of Dark Ambient music.
If you’re not familiar with the Planetary series by Ruptured World, then you’re probably living under a rock or are not familiar with Ambient music in the first place. All jokes aside, This series – which consists of four releases – is an enthralling experience that has a complete story narration that is just as exhilarating as the music. In the latest installment, ‘Xenoplanetary’, Ruptured World goes all out to provide one of the best listening experiences ever recorded and – in my opinion – the best chapter of the Planetary series. The music, which is completely captivating and full of trance-induced emotions, plays on loop until the listener is completely entrapped. Then, the haunting narrations of Alistair Rennie will send you spiting into an otherworldly experience like no other. Tracks like “The Cruel Darkness” and “The Daze Of Foreboding” are so good, they’ve remained on repeat since the album was released in January.
God Body Disconnect is one of the most consistent artist on the Cryo Chamber label and whereas his albums has mostly a dystopian feel to them, I find myself drawn in by the simple (and sparse) narrations that provide a huge amount to expression to each release. However, ‘The Weight Of Regression’ is a monumental achievement in multiple ways and this seventy six minute endeavor is my favorite Dark Ambient album of 2023. Not only are the dreamy synths still present throughout, but the addition of percussion instruments provides a Dark Noir texture which ultimately emits a potent sound that is highly addictive. “Remnants Of A Soldier” is almost like a Post-Rock track that hypnotizes for over eleven minutes, while “Dosed And Dreaming” is one of the most calming experiences on the entire album. All in all, there is a lot of variety on this album that gives it the ability to remain fresh and relevant for a long time to come.
As I continue to explore the depths of Ambient music, I often find myself amazed at the talent that is out there. Daily, I dig through the trenches of Bandcamp, in search of something new and innovative. Other times, it’s chance encounters on social media that brings in the amazement. My introduction to Anser Flare was the latter. Where as a lot of Ambient and Dark Ambient music slowly builds in layers, creating songs of epic lengths, Anser Flare takes a more modest approach, creating celestial incantations that are shorter and often times more lively. I recently had the opportunity to have a discussion with the artist known as Anser Flare (now simply known as Anser), to find out what this project is all about. Hope you enjoy this interview and please check out the fascinating works of Anser!
1. Thank you for taking the time to answer a few questions for The Dungeon In Deep Space. Let’s start with the origins of Anser Flare. How did this project come about?
I was originally interested in doing something more minimal than my old project Madrigals. It made sense to keep the styles separate as in July ’22 I was in the middle of recording a DS split.
2. Your first release was ‘Gnosis’ back in September of 2022. I find a lot of musical influences on this recording and it transcends the thresholds of just Dark Ambient. Who were some of your influences at this time?
Gnosis was heavily inspired by Aphex Twin, Kraftwerk, Prurient, and some of my dark ambient collaborators on Umbra Vulgaris such as Sylvanum and Narbaiz. Gnosis was about a young man who leaves Earth after it’s rendered mostly uninhabitable by a meteor. There is a full story but lately I’ve paid less attention to shaping the narrative.
3. After the ‘Gnosis’ release, you had a track on the ‘Falling From A Star’ collaboration. Can you talk a little about that project and how it came about with the other artists?
This split was fairly spontaneous. Aradias Kingdom and Fenrir both expressed interest in a “space ambient” split after they had original tracks on UVR’s “Shades of Dark Ambient V2”. My comfort zone leans more to the “pure dark ambient” side with less percussion or overt DS.
4. In June of 2023, you released ‘The Ethereal Hours’, which is another stellar musical journey that branches outside of the ambient genre more than ever. What led to the inclusion of these elements?
Thank you for your kind words! I have always been a big fan of 80s electronic, its revival with outrun/retrowave, and needed to step out of the comfort zone and make something pop fans might like. “Can You See Heaven” came about in trying to channel the 80s. As well as hearing The Weeknd in every shop for over a year and needing to get those songs out of my head!
5. I really dig the track, “Space Habitation” as it perfectly sums up the discordant and sonic journey for this album. What’s the story behind this 8+ minute track and is this longest song you’ve produced to date?
Space Habitation is the longest track across all my projects so far, yes. At this point in the story, the main character has left earth for good and lives permanently on a space station closer to Mars.
6. In October of 2023, you released the ‘Apostate’ album and it’s more of a Dark Ambient adventure, filled with a good amount of celestial drones. What influenced the soundscapes on this album?
“Apostate” was influenced a lot by Mortiis and Burzum, but without high fantasy reference points. Where the previous album was more extroverted, I tried to create a very subdued, solitary feeling. It also basically ignored the story written so far.
7. In my opinion, the track “Reincarnate” is some of your best work and has a minimalistic quality that can easily be built upon. What’s the chances of releasing more works of this nature?
Very high. One of the Logic synths “Haunted Castle” from that song makes its way onto each release at least once.
8. I know that 2023 is coming to a close but do you have any more releases planned for the immediate future?
Nothing immediate. There will be another full-length from Anser in mid 2024.
9. How about collaboration efforts? Is there any more of those in the works?
You might know that I play synths in the Dungeon Synth project “Deabruen”. I consider that a long-standing Anser-Narbaiz collaboration. But no splits planned at the moment. “Ethereal Hours” will also be out on cassette this winter from Fantasy Audio Magazine, and “Apostate” from Umbra Vulgaris on November 17.***
10. I know that for many independent artists, the Bandcamp platform has been extremely reliable (up to this point) but do you release music on any other platforms, including physical releases?
Bandcamp is the main way. All the tapes and CD-R’s of Anser are available through UVR on Bandcamp and Discogs, and for streaming on Spotify, Apple etc.
11. You’ve mentioned Umbra Vulgaris a few times so far. Is this a label that you put together? If so was it intended only for your own projects or was it open to other artists as well?
Yes, UVR was an idea dating back to early 2021 as a way to release my own music on CD or cassette at low cost. There have been multiple people tangentially involved behind the scenes but it’s always been my label. It was open to other artists from Fall 2021, but with an emphasis on split EPs and albums, such as those with Sylvanum, Narbaiz and Frostgard. Full length albums from other artists arrived in 2022 and it became a “proper” label.
12. If I’m not mistaken, the first release on this label was ‘Fallen’ by Madrigals. Can you talk a little bit about this project and is it one that you plan to continue at some point?
That’s right, it was a digipak limited to 100 copies. I still have about a dozen. Madrigals was a melodic dungeon synth project that mostly used ideas I had been holding onto for years, before really becoming aware of DS as an active genre. After realizing a lot of it existed, and people were doing much cooler things with it than me – e.g. any of the other artists on those splits – it lost its magic and Anser became my primary focus. I don’t plan to continue as Madrigals.
13. What’s your opinion on digital releases versus physical releases? How have both formats helped shape Umbra Vulgaris Records?
Digital releases without a physical tend to get unfairly written off. Cassettes have their obvious charm, and CD’s too in my opinion; so they’ll always be part of what I do. As far as the label goes, it would be great to try and grow the digital side – free compilations, e-zines, even considered a podcast. In the current setup, we’re trading and wholesaling off a lot of cassettes to build up an extensive distro selection, which will help support more digital output. The distro is overwhelmingly tapes, so we’ve been pigeonholed as a “tape label” which is probably fair.
14. I really appreciate you taking the time to have this interview session. Do you have any final thoughts for those that may be reading this?
Thank you very much for your questions, and thank you to the readers!
We have finally reached our favorite holiday of the year – Allhallows Eve, or Halloween as it’s referred to in modern times. For the youngsters, the festivities are completed by dressing up as their favorite characters and obtaining as much candy as possible while Trick o’ Treating! However, for others, it’s the perfect opportunity to embrace the darkness and dwell in all things maniacal and evil! Whether it’s watching your favorite horror series or getting an ear full of brooding music, there is no other day quite like this. My favorite thing to do is to have a dark music marathon of new and old music, no matter the genre. If you’re like me, there is never a shortage of music to listen to but if you’re down for checking out something new, I’ve compiled a set of summary reviews for seven new releases that are bound to get you into a dark, atmospheric mood. I hope you enjoy these recommendations and please support all of these artists and the labels that provide a platform for their ominous craft.
1. Halloween Scene – Issue No. 1-The Graveyard Manor
If you’re not spending Halloween with the sounds of spooky intent, then unfortunately you’ll not get to experience the full effects of the most ghostly night of the year. Thankfully, we have ‘Issue No. 1 – The Graveyard Manor’ by Halloween Scene to supplement our sinister audial needs. Over an hours worth of grim incantations of darkened ambience, this recording is just what we need to provide the eerie atmosphere for this special night. Whether it’s the ominous textures of “An Old & Gloomy Road”, “The Haunted Manor” and “An Eerie Secret Passage”, or the discordant soundscapes presented in “A Safe Room To Escape?” and “Cadavers Unearthed For Fiendish Reasons”, there is an uncanny presence though out that magnifies the intensity of this horror-filled evening. I hope that Halloween Scene continues to release these seasonal recordings, as it sets the mood perfectly.
Onasander never fails to deliver the darkness and on the latest outing, ‘Eltanin’, we find a heavily drone-induced recording with the expansive elements of deep space ambience. Delivered in a soothing arrangement of flowing, broad textures, there is an ominous presence on each track that creates an unhinged barrier of menacing darkness. Tracks such as “Acrid” and “Council Of War” generate a dreamy scenario of comprehensive modulations akin to drifting in a celestial dimension, while “Ancient Nightsky” and “Outer Primitives” produce a range of eccentric soundscapes that may provoke a sense of fear. At any rate, this six track offering by Onasander is not only another amazing recording in his consistent discography, but it has a persistent sound direction that easily aligns with the theme of Hallows Eve.
Some Dark Ambient recordings are not meant for the squeamish; and by squeamish I mean those that are adversely triggered by haunting timbres and disturbing soundscapes. ‘A Place Of Warmth And Tears’ by Dev-I-Ant is a resounding journey through the macabre via unhinged, nightmarish textures and ominous field recordings. There is a frightful presence throughout this album that will send chills down your spine and may give your nightmares a nightmare. At almost seventy minutes in length, there is no escaping these terrifying modulations as they continuously elicit a sense of dread and provide jolts of disarray without any notice. Whether it’s Halloween or not, this is how Dark Ambient was intended to be played. If you think you’re ready for this menacing journey, then test the waters with tracks such as, “Carriage Of The Fox” and “The Room Of Despair”. These are prime examples of how disquieting this album is.
4. Erythrite Throne – Forever At The Mercy Of Thy Abhorrent Cruelty
Erythrite Throne has never released anything short of amazing. After all, in my opinion, Erythrite Throne is the G.O.A.T. of modern Dungeon Synth. On ‘Forever At The Mercy Of Thy Abhorrent Cruelty’, Wyrm constructs six tracks of Medieval enchantment, with powerful orchestrations and somber emotions that are compelled to bring out a sense of ensorcelled sorrow. It’s inevitably special when you can produce a sound of lugubrious intent and captivating beauty at the same time. At just under an hour, these six long players succeed in setting a gloomy mood and maintaining it for the duration of the recording. Not only is Erythrite Throne a treat to experience all year round, it’s uniquely amazing to experience it during the Season Of The Witch as well, as it magnifies the intensity of the darkness and all of the evil it brings with it.
Skuggkonungen, an adept purveyor in the realms of Dark Ambient and Dungeon Synth music, presents his latest recording of minimalistic ambient music called, ‘Skördetid’. As if endlessly adrift in a vivid, hallucinating dream, these six modulations are crafted with enlightened intent. The electronic spectrum is a hallowed spectacle on this recording as each track presents a variety of soundscapes and modulations that flow seamlessly into the next, offering a unique, emotional experience along the way. Whether it’s the cold, disturbing drones of “Den Sista Frosten” or the retro soundscapes of “Vilan”, this amazing album has something to offer for all fans of ambient music. As Halloween festivities present a fabric for chaos and unhinged enjoyment, ‘Skördetid’ can be listened to for winding down from all of the abrupt discord that may have played out previously. Needless to say, this is a beautifully ominous album that can be enjoyed at anytime!
When it comes to ambient improvisations, Mora-Tau is one of the best in the business. ‘Music For Ghosts’ is no exception as it showcases a sense of disharmonic nostalgia in the form of three epic tracks. At seventy two minutes long, there is plenty of room to balance haunting atmospherics with audible storytelling. Just in time for Halloween, this album can be used a a backdrop for those bleak moments that are to be expected during this dark, festive season. With layers of dissonant synth leads, there is a particular grimness that lurks around every corner and nothing is as it seems while churning through these long players. At just over twenty one minutes, the lead off track, “The Water Dripping From The Veins Of A Leaf” is the shortest on the album, but sets an ominous mood for what’s left to come. The albums title track (and fitting closer for this amazing recording) is twenty six minutes of sporadic modulations that complete the soulful journey that only Mora-Tau can present so eloquently.
7. Various Artists (Dustopian Frequencies) – Ghost Stories
In true Halloween fashion, Dustopian Frequencies presents ‘Ghost Stories’ a collection of tracks from four artists that go above and beyond the confines of basic presentation, by manifesting audial renditions of their favorite hauntings. With each song being around ten minutes in length, there is an endless space for translating these stories into magnificent audial performances that maintain the same level of impact. From Dark Ambient and Hauntology to Industrialized trance pieces, each convey a story or horror in their own unique way. My favorite amongst these transmissions is “Dullahan” by Everyday Dust. This whirlwind of a performance is a sonic journey through various modulations and sound sequences that are not only mesmerizing but paint a picture of a dystopian time where perpetual escapism becomes the norm and defeat by death exists at all costs. Each of the remaining tracks are high-level outings that demands the listeners attention with the utmost reward hanging in the balance.
Mombi Yuleman is one of the most versatile electronic producers making music today and there is no doubt that he’s one of my favorites as well. Whether it’s the nightmarish effects of his conceptual Dark Ambient masterpieces or his upbeat Psychill offerings, he can almost be considered a one-stop shop for all of your electronic audial transmission needs. This year has been one of his most accomplished to date has he’s released a string of albums that elicit a variety of styles. One of my favorites (thus far) is the buoyant offering called ‘Underground Dwellers’, a maniacal Psychill adventure that is inspired by 80’s horror cinema and details the terrifying experience of diseased rats banding together to take over a futuristic Chicago setting. Featuring eight tracks of contentious beats and retro-styled synths, this is an amazing album that can be played and enjoyed on just about any occasion.
The vigorous album opener, “Sewer Rat With Babies” may sound very familiar – especially if you’re a Rush fan. The very first sequence sounds like a homage to the album ‘2112’, with its sonic sequences and space-like modulations. However, that’s where the similarities stop and the Psychill action begins as this track goes into a full-throttle, dance mode inflection. Peculiar soundscapes and galloping rhythms continue to drift with ease, as a looming darkness continues to impress. “Subway Tunnels” begins like an 80’s synthwave soundtrack piece, as inner city soundscapes and Sci-Fi cinematic timbre sets a bleak vision of classic soundtrack vibes and haunting Dark Ambient structures. With shrills of sewage vermin and Berlin School sequences, this is the perfect build up to the next track while maintaining the overall vision of the album. “Experimental Growth Formula” commences with thunderous drones and melodic pads, leading to a head bobbing cadence that is groovy without being over the top. New wave styled synth leads and bits of reverberated keys lead the charge in this mid paced, late night excursion. About halfway through, an abbreviated pause followed by a quick narration leads right into a grinding Psychill section that continues to build with synth leads and ambient atmospherics. “Increasing Metabolism” is a bleak intonation that continues with the audial storyline and presents a precipitous beat, solid keys and and just enough atmospherics for the listener to continue their own interpretation of the theme of the album. There is an amazing shift in keyboard effects toward the end that finds a balance between melancholy and controlled chaos. As the synth leads continue to build this track ends in a wall of sound that you just want to continue for longer than it actually does. “Gods Feast” slows the pace down a bit but certainly conjures a wall of sound in the form of modulated drones, captivating sequences and distant sounding synth soundscapes. As the Berlin School sequences start to progress, it’s apparent that the underground dwellers have taken over and morphed into an indestructible force that is bringing their subterranean terror to the surface. “Contamination Hazard” starts with some grimy ambient textures and a short narrative before breaking into a minimalistic beat. This track is a slow builder but with each layer we get an addictive blend of fabulous synth arrangements and upbeat percussive parts. There is a futuristic vibe to this track represents a complete takeover of the mutated vermin, as they steadily devour everything in their path. “Saving The Day” is probably my favorite track, as it supremely represents the best in retro synthwave and 80’s electronic soundtrack recordings. Although there isn’t a percussive element to this song, the multi-dimension synth leads provide a harrowing cadence that magnificently assembles into a synchronized arrangement that is as much grimly lit as it is enveloping a sense of light. The final track on this amazing nocturnal adventure is “Hidden Nest”. At almost nine minutes long, it’s the longest track on the album and is a fitting conclusion with its blend of celestial sounds, jubilant synth leads and rapid beats that remain constant throughout. About halfway through, this song becomes a cinematic marvel in that it creates such a dynamic sound of flowing textures and elongated synth impulses. By the time we reach the end of the track, there is a myriad of thunderous activity that illustrates complete havoc, as the subsurface vermin demise all in their path.
Mombi Yuleman continues his streak of masterful albums as he dominates in multiple electronic genres. Whether it’s ghastly Dark Ambient albums or invigorating Psychill releases, there is no doubt that he is at the top of his game. Although I’m more of a fan of his Dark Ambient works, ‘Underground Dwellers’ is quickly becoming my favorite album from his extended discography of greatness. As of this writing, I’m excited to learn that there is already a plan to release ‘Underground Dwellers II: Swamp City’. This is excellent news as this is a story line that could continue across several albums and I’m glad that the next one will see the light of day in the near future. As for ‘Underground Dwellers’, don’t sleep on this amazing album, as I can assure fans of electronic music, this one is an Album Of The Year contender. Please click the link below to check it out and please show your support for this amazing artist.
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