Category: Dark Ambient

A genre of post-industrial music that has an ominous, dark droning and often gloomy, monumental or catacombal atmosphere, partially with discordant overtones.

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

One of the bleakest forms of Dark Ambient music is known as Dark Industrial. Combining an esoteric blend of Dark Ambience, terrifying ritualistic undertones and a mechanized form of harrowing drones, Dark Industrial is definitely not for the faint of heart. One of the most consistent producers of this form of music is Pavor Nocturnus. With a stint of terrifying full-length albums, dismal split albums and a handful of singles, Pavor Nocturnus is one of the premier acts the genre has to offer. I had the honor of interviewing the dark entity behind the project and received some great insight on the driving force behind this amazing music.

1. Thank you very much for taking the time to answer a few questions. Congratulations on the release of your latest album, ‘Ecatombe’. What type of theme did you have in mind while writing this album?

I started writing “Ecatombe” during the first pandemic wave, collecting suggestions and thoughts that stormed in my mind during those months spent in confinement. Then I synthesized those moods in archetypes and transformed them in sound. I think that each track title is pretty self explanatory.

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

2. It’s been just two years between the release of ‘Ecatombe’ and the previous album, ‘Bosch’. Were there any delays between recordings or were you involved with other projects?

“Bosch” release has been delayed several times because of the pandemic, from the end of the recordings it took almost two years. Once the album was out I started recording “Ecatombe” and it took almost the same time to be released; I spoke with Frederic (Cyclic Law) in the first months of 2022 but he told me that the release would have need time to be out. In the meantime I had the chance to restart the live activity that was interrupted by the pandemic.

3. ‘Ecatombe’ was released on the mighty Cyclic Law label. Was this your first release with them? Do you have any future releases with them as well?

This is my first release with Cyclic Law, it is a great achievemnt for me to release my work with this prestigious label alongside many important artists I admire.

There are no other releases planned with Frederic at the moment but hopefully we will have the chance to do something else together in the future.

4. Your previous album, ‘Bosch’ was released on Italy’s Toten Schwab Records. That album definitely fit right in with the dark, industrial vibe of the label. How was it working with Toten Schwab for that release?

“Bosch” was released on Toten Schwan Records and Dio Drone, both labels are runned by friends and despite the difficulties we encountered, as I stated before, due to the covid 19 emergency, I was very glad to make this release with such like-minded people.

I’ve known Marco (Toten Schwan) for a long time, we have also recorded and released some music together under the monicker “Cameraoscura”. Concerning Dio Drone I really admire the work Naresh makes with his label and all the people involved in his projects, we shared some live gigs together and I am looking forward to hit the road again with him.

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

5. I really enjoyed that album and reviewed it back in 2022. Was there a particular vibe you were going for back then?

My intent was to translate in music not only the beautiful symbology of H. Bosch’s paintings, but also the impact those images had on me and my personal, emotional interpretation. I felt an intense experimental freedom during the whole creative process.

6. What does the name Pavor Nocturnus mean and why did you choose it as your project title?

Pavor Nocturnus means “night paleness” or “night terror” in latin, it is a sleep desease that can occur during childhood. I suffered of this kind of desease while I was a child and when I started my  project i thought this monicker could be representative of the mood of my music.

7. Before starting Pavor Nocturnus, were you involved with any other musical endeavors?

I played in some black/death metal bands when I was younger, but Pavor Nocturnus is my first personal project.

8. What intrigues you the most about Dark Ambient and/or Dark Industrial music?

In my opinion the most fascinating thing about these musical genres is the range of emotion they are able to evoke, putting the listener in an immersive sonic enviroment. Everyone can experience something different according to his personal perception.

9. You’ve release several collaboration tracks over the years and I’m most intrigued by your collaboration with New Risen Throne called “Collapse Of The Orbiting Void”. How did this collaboration come about and do you have any possible plans for a full length release with New Risen Throne?

I wrote to Gabriele/NRT during the pandemic asking if he was interested in doing something together and in a couple of months we started to record and share some tracks. I took care of the arrangement, mixing and mastering process, while Gabriele was working on a computer graphics video for the track. He had this 3D model called “The Void”  so that’s where the title comes from.

Besides being a great musician and 3D artist, Gabriele is also a very nice person, his work is always inspiring and I would be glad to work on something else together with him in the future.

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

10. What was your very first release as a Dark Ambient artist and how has your musical expression expanded since that release?

My first official release as Pavor Nocturnus was “Streghe”, an interpretation of witches’ imaginary, primordial rituals and mysticism. Back then I was not that much into electronic music, I was just looking for a musical language that could translate my intentions, that could give me freedom in composing my music. I think that a lot of my metal and classical music background merged into that album. Since then my musical approach has changed consistently and I don’t consider my music as dark ambient, despite it contains that kind of flavour of course. I have released four albums now as Pavor Nocturnus and each album sounds different from the previous one, this is something I would like to pursue in the future.

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

11. What has been your favorite album that you’ve released so far?

I do not have a favorite one, each album means something different to me and every release is a step forward in my growth as a musician and as a human being.

12. How do you record your eerie soundscapes? Do you record your own field recordings (if any)?

I use a mix of field recordings and sound synthesis, mangling the sounds with some samplers and effects. I have collected a lot of field recordings while working on “Bosch”, and usually when a sound intrigues me I record it and store it. 

13. Do you have any album release plans for 2024?

There is going to be a release in autumn, a very limited physical edition of some material I recorded after “Ecatombe”. More info soon…

14. Have you ever played any live sets? If not, is that something that you might be interested in?

Playing live has become a fundamental part of my musical activity, in the last years I have been focused on touring in Italy, Europe and UK. Some years ago I had the opportunity to play a gig in Montreal and I would like to come back in Canada and USA. 

Now I will take a break from live activity to work on some new music.

15. I really appreciate your time for this interview, and most of all your incredible music! Do you have any final words for those that may be reading this?

I would like to thank you David for this interview and for your interest in my music. My gratitude goes also to all the people that keep on supporting independent/experimental artists with interest and passion.

Links:

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

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

Top 10 Favorite Dark Ambient Albums Of 2023

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

https://monasteriumimperi.bandcamp.com/album/sanctium-choir-collection?label=2690771343

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!

9. Infinexhuma – Denown

https://infinexhuma.bandcamp.com/album/denown

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.

8. Metatron Omega – Kataphasis

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

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.

7. Dev-I-Ant – A Place Of Warmth And Tears

https://raubbau.bandcamp.com/album/a-place-of-warmth-and-tears

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.

6. Sonologyst – Shortwave Spectrum

https://sonologyst.bandcamp.com/album/shortwave-spectrum

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.

5. Eshaton – Pneumos

https://eshaton.bandcamp.com/album/pneumos?label=2690771343

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.

4. Blackweald – The Fermi Exhibit

https://blackweald.bandcamp.com/album/the-fermi-exhibit

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.

3. Stars Without Light – Beneath And Before

https://cycliclaw.bandcamp.com/album/beneath-and-before

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.

2. Ruptured World – Xenoplanetary

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

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.

1. God Body Disconnect – The Weight Of Regression

https://cryochamber.bandcamp.com/album/the-weight-of-regression

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.

Eyre Transmissions XXVI: Interview With Ambient Experimentalist, Anser Flare

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.

https://anserflare.bandcamp.com/album/gnosis

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.

https://anserflare.bandcamp.com/album/falling-from-a-star

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!

https://anserflare.bandcamp.com/album/the-ethereal-hours

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.

https://anserflare.bandcamp.com/album/apostate

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!

Eli aka Anser Flare!!

Links:

BC:

https://anserflare.bandcamp.com

https://umbravulgaris.bandcamp.com/

Instagram:

https://instagram.com/anserflare?igshid=dHpwNnIwb3BmNnRo

https://instagram.com/umbravulgaris?igshid=MWlpc2dkOWsxZHl6OQ==

Interstellar Space – All Hallows’ Eve Extravaganza 2023

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.

https://halloweenscene.bandcamp.com/album/issue-no-1-the-graveyard-manor?label=2567335590

2. Onasander – Eltanin

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.

https://essentiamundi.bandcamp.com/album/onasander-eltanin-em060

3. Dev-I-Ant – A Place Of Warmth And Tears

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.

https://raubbau.bandcamp.com/album/a-place-of-warmth-and-tears

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.

https://serpentsswordrecords.bandcamp.com/album/forever-at-the-mercy-of-thy-abhorrent-cruelty

5. Skuggkonungen – Skördetid

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!

https://skuggkonungen.bandcamp.com/album/sk-rdetid-2

6. Mora-Tau – Music For Ghosts

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.

https://mora-tau.bandcamp.com/album/music-for-ghost

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.

https://dustopianfrequencies.bandcamp.com/album/ghost-stories
Until next Halloween…

Mombi Yuleman Evokes A Sensation Of Upbeat Terror On The Chimerical Album, ‘Underground Dwellers’

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.

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

Links:

https://mombiyuleman.bandcamp.com/album/underground-dwellers-psychill-dark-progressive-psytrance

Eyre Transmissions XXV: Interview With Multi-Genre Synth Specialist, Dragon-Orb

I continue to be amazed by the vast amount of electronic artists that exhibit a level of creativity that transcends a single genre. I know this is something that happens more often than none, but to find an artist that excels in this variety of creativity is wonderfully compelling. Since last year, I’ve been following the works of Dragon-Orb and often find myself completely absorbed in his innovative prowess – specifically when it comes to what genre will be the focal point of each release. Whether it’s Dungeon Synth, Crypt Hop or Ambient, Dragon-Orb has a musical gift that keeps on giving with each new album. I recently had the opportunity to chat with the mastermind behind this project, gaining a good insight on the intricacies that circulate around the being known as Dragon-Orb. I’m happy to share this interview here so please enjoy and support this gifted talent that is dedicated to making some killer electronic synth tunes.

1. Thank you for taking the time to answer a few questions for The Dungeon In Deep Space. You’ve been putting out music for a few years now but for those that are not familiar, how would you summarize the musical vision of Dragon-Orb?

I started this wanting to try and make fantasy music. I can’t exactly remember how I came across the genre of dungeon synth but I believe it was from black metal and fantasy music and I loved the whole vibe of it and thus I wanted to try create my own. In life I was feeling down and low but I said you know what I want to try do this genre, I want to make something that brings some value and maybe that was me trying to give myself that feeling. It took me some months to try make the sound and figure it out but then I finally found my so called sound with a track I made called The Heavens and from there I just kept at it, learning to do better melody’s and learning layering and what vsi felt right with another, what reverbs worked, delays and so on and so on. The musical vision for me was to create fantasy worlds with dungeon synth, I wanted to tell a story through sound and as amateur as I am with no theory education I managed to create that vibe. From there I’ve kept at it and learned better ways to mix, produce and better ways to present but I consider myself an amateur at everything. I’ve done 2 tracks for a video game called Doodle Taxi and I’d be glad to make music for other things but the goal is generally for me to create, I like the fact I can express myself through music and I can try different things and genres to be creative. I also like the idea of my music helping people in a positive way through my fantasy music for that fantasy feel, my ambience to help people chill, meditate and some of my ambience has a fantasy feel or my spiritual hip hop poetry to help people be inspired or think on a deeper level. The goal of Dragon-Orb is to create art and in general an outlet for me to be creative and for others who like my stuff to listen to. There is some things I would like to do on a grander scale however I want it to impress people and it will be magical so I won’t get into it but there is vision for Dragon-Orb and its just to be creative and if good opportunities occur and I can collaborate great but I’m also content with creating for the sake of creating also.

2. To me, you blend the influences of hip hop and grime with Dungeon Synth aesthetics. Which genre came first for you and how did you decide to fuse everything together?

Dungeon synth to me was first when I started doing this Journey and then I decided to express myself vocally as spiritual, conscious rap inspires me and seldom do the masses hear it and like every smaller genre now you come across it on the internet and it opened my mind. You may get the odd meaningful mainstream song now and then but most is made for club rotation and indie artists are smaller but are more free than say a major who has a job to speak what someone else has wrote or a tailored image. I think with rap beats its not really sometimes a melody or professional musician on the beat that brings people as rap beats are quite simplified and sometimes they aren’t but feel simplified, it is a genre to me of a vibe and you don’t have to be a fully trained musician to do it because it can be a rhythm. Generally I just don’t care what others may think to an extent and I just make whatever I feel sounds good beat wise from a synth, sitar, so on  and in my opinion to be creative you generally have to just be your self, sure you can be inspired by people or a genre but don’t try be exactly like the top mainstream artists and be you unless you want to make just party music then all the best with it. Some people say my beats are unique and my style of writing, expression but I’m just being myself and don’t conform to a sound everyone may be chasing or style. Most casual listeners of music who don’t want to create who are listening to the top 10 or whatever chart wise are probably not into the art of writing or expression as a artist actually is or writer.

3. Your first album, ‘Optimistic’ came out in April of 2021. Looking back on that album now, did you achieve the musical endeavor that you set out to do or did that progress over time?

I would say it has progressed over time but for that time I achieved my endeavour. I didn’t know how to I guess properly mix back then, I’m still an amateur at it and my computer back then couldn’t handle much. Mixing wise was basic, I wasn’t sure how to make my voice more impactful on some stuff hence the second take vocals being overlaid on some tracks and sometimes that was experimenting with the sound also but for that moment in time it felt good that I done it and I expressed myself and looking back it’s still an alright quite raw album. Senses I felt was much more of a step up

https://dragon-orb.bandcamp.com/album/optimistic

4. Correct me if I’m wrong but ‘Ancestral Wolf’ is one of your first all Dungeon Synth album. Who/what were some of your influences for this lighthearted and majestic recording?

Passing Moments was my first album and Ancestral Wolf was my second. Ancestral Wolf was dedicated to my fathers dog who sadly passed away and he was the inspiration, it’s also dedicated to our pets ancestors and that can apply to anyone with a dog who wants to think of its ancient lineage. The comfy synth Archives has been very good to me and has helped me a great deal and a lot of artists there have dedicated albums to deceased pets. But yeah a family pet was my inspiration and its ancestors.

https://dragon-orb.bandcamp.com/album/passing-moments

5. I’ve really enjoyed the ‘Passing Moments’ album and the mix of Medieval Dungeon Synth and Ambient textures is just fascinating to listen to. Do you have a particular theme in mind when recording all Dungeon Synth albums such as this one?

This was when I was figuring out how to do melody, maybe I used a little to much harp, not so much a theme but like aspects of a world from its seasons, places, adventure hence the dwarves sneaking around dragons gold track, that was inspired by the hobbit film. I generally try and create a story with my music but often the title comes after the songs completion and my track titles can say where we are in the story.

6. In July of 2021 you released the amazing ‘Communicating Harmony’, which finds you submerging into Dark Ambient territories. Was releasing a Dark Ambient album a part of the Dragon-Orb mystique? Do you plan to release more Dark Ambient albums?

I most certainly will, I like to create ambient as well so yes most definitely. My last Dark Ambient album was Dark Dreams. I definitely want to venture into that ghostly ambient world again. I enjoy making dungeon synth fantasy music but I also like to try express myself or just in general be a creative and try different genres also. Not really a mystique though, I just wanted to try create atmospheres

https://dragon-orb.bandcamp.com/album/communicating-harmony-2

7. The album, ‘The Reunion: Mitakuye Oyasin was a very intriguing release. How did this collaboration come about?

It was another rapper called Eternal Turbulence who reached out to me and also a artist called Truthseekah, he wanted me to produce it though and mix it so I thought cool it may be a fun thing to do and I can say I have a collaboration album. I guess we are 3 artists on a spiritual journey and translating our thoughts into song.

https://dragon-orb.bandcamp.com/album/the-reunion-mitakuye-oyasin

8. Have you thought about releasing an album that contains Hip Hop, Dungeon Synth and Dark Ambient?

I’ve just done on a project now that has dark ambient and rap called Ghost where it follows a ghost in a ghost story on the other side and it’s a concept album however the lyrics can relate to real life also

I maybe might venture into the dungeon synth world with hip hop but I like my Dungeon Synth to have that Medieval and fantasy world type feel.

https://dragon-orb.bandcamp.com/album/ghost

9. What are some of your own indicators for what type genre album you release? Do you get quick hits of inspiration for one genre vice the other?

I find it’s best to just go with the flow, normally I don’t plan things that much I just go with the feeling of what do I want to create today but I want to do some Synth wave, dark wave kinda stuff next so maybe that will be a plan and different direction as I wouldn’t mind doing vocals but more of a gothic style I’d say as well as a possible just instrumental synth wave release.

10. For your hip hop recordings, what is your lyrical vision? Do you write lyrics naturally for whatever comes to mind or are you influenced by world events?

I write naturally what comes to mind, sometimes its just appears there in my head and I write it fast like the whole vision just appears in my mind instantly at random moments and I have to write it down or I will say I want to write something today so I will then try craft the thought

11. What type of equipment do you use for recording? For your Ambient albums do you record your own field recordings?

I’ve been going out recording sounds in nature now yes, generally I just use my phone to record in nature and try not to breath heavily haha. Sometimes I will record myself walking, all sorts really. People who do music that doesn’t really require instruments perhaps should record themselves and learn how to lower pitches, Paul stretch and stuff as you can make some unique sounds with the most simplest of things including your own voice.

Generally if it’s studio recordings I use a microphone and an audio box interface.

12. What are the plans for Dragon-Orb for the remainder of the year? Do you plan to beach out into other forms of music?

Yeah I will probably be venturing into the Synthwave style a little more but for those that like the Dungeon Synth Fantasy stuff I will be venturing into that yes so something could be out by winter at least, maybe earlier. 

13. I really appreciate your time! Do you have any final words for those that will be reading this interview?

Thanks to you first and foremost for this interview and to everyone who’s been on this journey with me.

Links:

Bandcamp: https://dragon-orb.bandcamp.com

Instagram: https://instagram.com/dragon_orb_official?igshid=MzRlODBiNWFlZA==

The Nebula Breviary – A Voyage Through The Black Hole With Strange Mono Records

If your seeking a label that incorporates a menagerie of artists from different backgrounds with a broad sense of musical direction, then look no further than Strange Mono Records. Releasing everything from Dungeon Synth and Ambient to Dream Pop and Extreme Metal, Strange Mono knows no boundaries and has safely provided a home for such artists since 2021. Since I’m always seeking the most obscure forms of music around, it’s no wonder that Strange Mono has resonated with me since the beginning. In order to pay homage to this amazing little label, I decided to write a few summary reviews on ten of their latest releases. These albums are all over the place but equally enjoyable – at least to these ears. Enjoy reading these reviews and please consider listening to and downloading some or all of these fantastic recordings.

1. Forge Of Tears – Softly In This Vale Of Tears

What’s more excruciating than a razor burn filled with rubbing alcohol and sealed with a gob of crazy glue? Probably two long form tracks of chaotic noise terror by way of Forge of Chains. With no compassion for delicate, tender moments, ‘Softly In This Vale Of Tears’ is thirty minutes of intense discord that is as addictive as it is disturbing. With an unrelenting wall of modulated audial pungency, Forge Of Tears produces a mesmerizing soundscape for a pallet of maniacal indulgence, not letting up from start to finish and only adjusting the molecular structure of things between tracks. At first you may be in disarray by the abrupt jolt of power but you’ll soon find yourself drawn into a world of corrupt audial sequences. This is a magnificent release on many levels.

https://strangemono.bandcamp.com/album/softly-in-this-vale-of-tears

2. Grey Windowpane – Ice The World

‘Ice The World’ presents nearly seventy minutes of abstract noise intrusion by way of ambient subtleties, haunting voice recordings and an array of soundscape to catapult this recording to its own unique design. As if being dragged through a vast world of distinct cultures and influences, Grey Windowpane finds a way to gratify all of the senses with a massive kaleidoscope of musical happenings. Presented in four elongated pieces, each track extends a sonic adventure of various themes but ultimate create a fabric of likeness and audial intimacy due to its compelling modulated bonding. This amazing album is the result of obscurity becoming an acceptable criterion of musical bliss.

https://strangemono.bandcamp.com/album/grey-windowpane-ice-the-world

3. Thecia – My Sojourn Among The Torturers

Now on to something more abrasive, as Thecia emits an angered, repugnant blend of distorted guitars, thick drum beats and destructive vocals in their brand of unrelenting Death Metal. ‘My Sojourn Among The Torturers’ presents three tracks of ripping metal that fuses Black and Death Metal with a tinge of classic Heavy Metal riffing. This mixing is both loudly askew and causticly raw – the only way to listen to metal in my opinion. The songwriting is incredible and they are perfectly lengthened to maintain headbanging integrity without becoming dry and sparse. I’m definitely looking forward to hearing more from this prominent act.

https://strangemono.bandcamp.com/album/my-sojourn-among-the-torturers

4. Jonathan Patrick – Open Heart EP

Jonathan Patrick gives us an abridged taste of Americana on his soulful new EP, ‘Open Heart’. Featuring two tracks of heartwarming guitar compositions, I can imagine listening to these out in an early morning Midwest setting, where the Dawn of the sun of slightly obscured by thick fog and towering, natural forestry. These tracks sound new and refreshing while providing a proper callback to acoustic classic rock sounds from the 70’s and 80’s. Two tracks just isn’t enough and my hope is that the next Jonathan Patrick release has at least five hundred tracks on it. All jokes aside, this is simply incredible!

https://strangemono.bandcamp.com/album/open-heart-ep

5. Webb Chapel – Speeding

Webb Chapel presents the unparalleled offering, ‘Speeding’, a lo-fi collection of alternative rock arrangements with obvious influences from synthwave, dark pop and electronica genres. This album sounds as if it could have literally been released in 1984. Even with the gnarled production, this entire albums is an addictive listen with impeccable songwriting and masterful musicianship. I could listen to these tracks over and over again without getting bored and as they say, the louder the better! This is a fantastic release that certainly deserves top tier recognition.

https://strangemono.bandcamp.com/album/speeding

6. Clang Quartet – A Slow Death For The Peacemaker

I’ve only recently crossed paths with the musical endeavors of Clang Quartet, but it’s certainly been a pleasant experience getting to know the output of this artist, the values that he represents and the impactful delivery of the chaotic noise that is consistently presented. On ‘A Slow Death For The Peacemaker’, harsh noises are more conservative and are augmented by spoken word segments and bits of contemporary instrumental parts. That doesn’t mean that there isn’t a sense of pandemonium, because this albums is a breakout achievement for the Noise Ambient genre. In between the more serene parts we can still find a massive wall of industrialized chaos that is hypnotizing as it is war piercing. This is a captivating album that has earned its praise, but demands so much more!

https://strangemono.bandcamp.com/album/a-slow-death-for-the-peacemaker

7. Idiot Mambo – Flamingo In Limbo

‘Flamingo In Limbo’ is a lighthearted soundtrack of summer rock & pop with a passion for shoegaze and low fidelity tones of the late 80’s. With whimsical instrumentation and jocular lyrics, this is a fun album that can be played and enjoyed on just about any occasion. Adding to the dynamics of these tracks are glitchy samples, hissing loops and slightly distorted melodies that all come clashing together in solid harmony. There are eleven tracks on this album and every single one of them portrays a slightly altered style, but at the same time, is very much an Idiot Mambo manifestation. Whether you need a vibe for a steamy summer drive, or some background music on a gloomy, rainy afternoon, ‘Flamingo In Limbo’ is a sure recommendation in order to facilitate an enlightened mood.

https://strangemono.bandcamp.com/album/flamingo-in-limbo

8. Ruah – Ruwa

Strange Mono continues to hit it out of the park with their consistent picks of amazing talent and Ruah is no exception. On ‘Ruwa’, Ruah continues to explore an array of genres to compliment the stellar vocal arrangements contained within. At times, they tread down the Darkwave path with gothic influences and undertones, while on some tracks, they emit a heavy Swans influence with repetitive music play and looping vocal deliveries. No matter what they’ve intended to explore, each track is an alluring endeavor that stands on its own while delivering an arcane composition with ominous intent. This album is totally captivating and it’s hypnotic effects will leave a lasting impression on the listener, while demanding repeated listens. Perfect for fans of The Swans, Vaura or 80’s Darkwave!

https://strangemono.bandcamp.com/album/ruah-ruwa

9. Ixian – Collective Indiscipline

What do you get when you combine harsh noise with Grindcore and Black Metal aesthetics? You get what’s known as unruly, dystopian cybergrind. As if just having one extreme genre wasn’t enough, Ixian goes all out on the pummeling new EP, ‘Collective Indiscipline’. As deranged as it may sound, there is actually a sense of atmospheric control amongst these tracks, as they provide an overwhelming sense of ominous disarray. Discordant tones and hyperactive drum beats create an onslaught of droll modulations. Although it’s only nineteen minutes in length, a back-to-back listen of all five tracks will have you perspiring an illusive sudor, while your brain continues to scramble in a desperate exodus of audial release. This is a very intriguing album and I would recommend this to fans of all forms of extreme music.

https://strangemono.bandcamp.com/album/collective-indiscipline

10. Fugue State – Subtlety’s Dead

Fugue State presents an upbeat, grungy depiction of old-school punk rock. With reverberated vocals (reminiscent of early Les Claypool), fuzzy guitar tones and audial hisses all over the place, ‘Subtlety’s Dead’ is a proper call back to a time when music was routinely presented in raw form to represent the most jubilant crowds of fractious souls. Even at just sixteen minutes in length, there is enough output here to satisfy the tortured umbra that resides in all of us. This makes for a great driving album, especially when blasting it at loud volumes. Can’t wait to hear more from Fugue State in the near future.

https://strangemono.bandcamp.com/album/subtletys-dead

Links:

BC: https://strangemono.bandcamp.com

Instagram: https://instagram.com/strange_mono?igshid=MmJiY2I4NDBkZg==

Merch: https://strangemono.bigcartel.com

Twitter: https://twitter.com/strangemono?s=21&t=XJy864ZhViZB0VAW0YrwBw

Chaigidel & Neraterræ Unshackle An Explosive, Ritualistic Experience On ‘Lamaštu’

It’s not enough that Chaigidel and Neraterræ have already established themselves as prominent musicians within the Dark Ambient genre, but to come together to produce one of the most daring ritualistic experiences in recent years, is a refreshingly bold statement. ‘Lamaštu’ is not your typical Dark Ambient offering, as it relies less on extended drones and dreamy soundscapes but builds it’s captivating sound around ceremonial instrumentation, haunting vocalizations and eerie nuances that give it a completely bleak listening experience. The eight tracks contained within, will take the listener on a ritualistic journey through barren darkness and meditative atmospherics that will result in the ultimate Dark Ambient listening experience.

This enveloping ritualistic encounter begins with the ceremonial, “Da’at”. Deep, grumbling drones ascend from the silence and embark on a malevolent path for us all to descend upon. A caressing ring from a singing bowl creates a grim encounter and sets the tone for darkened ride through chaotic atmospheres. Layers of drones continue to sway in and out of the mix as the looping soundscapes present a mesmerizing adventure. “A’Arab Zaraq” commences as a soothing but gloomy celestial encounter. However, whisper-like narrations present an inaudible storyline that is complimented by industrialized, harsh ambient tones and textures. As if traveling through an bludgeoned wasteland, this track presents an angst-riddled mission through the psyche, filled with unfathomable implications. About halfway through, haunting vocalizations made by throat singing techniques and mild percussive patterns are introduced, adding more frightening textures to this sinister soundscape. “Entrails Of Souls” begins with theatrical modulations and soft noise field recordings while successfully enriching the sound with ritualistic endeavors. Alluring chants are added in with hypnotizing results while tribal-like percussive patterns can be heard throughout. This track presents a bit more melody than some of the others, but it’s done in high-quality and fits in well with some of the more darker tracks. Next up is the ominous offering, “Mac Benach”. Leaning more toward an industrial ambient experience, this has to be one of the coldest tracks on the album thus far. Deep chants resemble the stark grumbles of heavy machinery and the sound couldn’t be more apocalyptic than this. Bits of frantic noises create moments of chaos as the drones will have you pinned down, unable to move at all. Slight orchestral variants create a horror-like ambience that is normally heard in horror films. There is no turning back, as this tracks continually increases in volume and discord. “Purson” stars with a blissful white noise that resembles the perpetual crashing of ocean waves on soft shores. However, it slowly fuses into a turbulent mix of industrial soundscapes and celestial drones. There is a sense of derangement in this track as clashing samples of heavy machinery and chains perpetuate a chilling picture of complete destruction. “Satariel” commences calmly, with minimalistic drones and hollow tones. As the modulations slowly grown more intense, a barrage of instruments and harsh samples begin to take shape, presenting an isolated vibe buried deep in the trenches of ritualistic voids. Even as the music remains embellishing, deep throat-singing chants fuses seamlessly, producing a stellar ceremonial tone. “Eloi Eloi Lama Sabacatni” is the shortest track on the album at a little over three and a half minutes long. Not a filler by any means, it uses cold winds, chants and industrialized noises in a molecular way to promptly lead into the final track, “Malkuth”. Beginning with cosmic drones and eerie soundscapes, this is the beginning of the end for this completely satisfying ritualistic endeavor. Reverberate narrations and ethereal ambient textures create an undefined space of dreary awareness. As pulsating drums get louder, unhinged white noise crescendos in unison, producing a blasphemous breadth of chilling sounds. Although this track builds and ends abruptly, it supremely represents closure for this ethereal listening journey.

Chaigidel and Neraterræ have done an amazing job of creating an ambient album that incorporates elements of Industrial Ambient, Ritualistic and Dark Ambient, intertwining them all into a chaotic but controlled sonic environment. ‘Lamaštu’ is the ultimate soundtrack for ceremonial destruction or life in a dystopian universe filled with possessed heavy machinery in endless industrial wastelands. Every track is masterfully pieced together to provide ups and downs, sensations of calmness and fear, as well as a sense of involuntary meditation. I can’t recommend this one enough so click on the link below and enjoy this truly compelling Dark Ambient album.

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

Links:

https://cycliclaw.bandcamp.com/album/lama-tu

Eyre Transmissions XXIV: Interview With Enigmatic Dark Ambient Producer, God Body Disconnect

The Cryo Chamber label is home to quite a few of my favorite Dark Ambient artists and collectively, they have produced some of the most unique and cinematic music ever created. One artists that has called Cryo Chamber home since 2016 is God Body Disconnect. Fresh off the release of his most recent album, ‘The Weight Of Regression’, GBD has produced eight amazing albums for the heavyweight label that features an array of fascinating soundscapes, as well as his signature spoken word narrations that make his music instantly identifiable. I recently had a chance to catch up with the ambiguously talented producer to discuss his musical endeavors, past musical ventures as well as what the future has in store. Please enjoy this interview with the brilliant God Body Disconnect!!

1. Thank you so much for taking the time to answer a few questions. First, I’d like to say congratulations on the new release. ‘The Weight Of Regression’ is a phenomenal album that finds you heading in a slightly new direction. Was this a gradual progression for you?

Thank you I really appreciate that. I don’t consider it a new direction. Each album has its own flavor, but the overall themes are consistent amongst them. I’m still writing the same emotional, personal music as I’ve always done. Possibly my production or techniques have gotten a bit better, but I feel that’s a natural progression for an artist from album to album.

https://cryochamber.bandcamp.com/album/the-weight-of-regression

2. This album is almost 80 minutes long. Did you plan on releasing so much material at once?

It’s not something I planned on. In fact I don’t do much pre-planning when I produce an album. The writing process is a personal journey for me. I create everything in order from beginning to end. Similar to how an author would write a novel, chapter by chapter. It just happened that this journey took longer to get to the end.

3. In my opinion, this is your strongest release since ‘The Mist Between Mirrors’ (2019). How would you rank this album in your own discography?

Each album is equally important to me. I consider them all as an emotional blueprint of my own personal journeys and development.

https://cryochamber.bandcamp.com/album/the-mist-between-mirrors

4. How do you approach the process of creating new music? Is there a particular method or routine you follow?

I have to feel some kind of inspiration inside to be able to write. I don’t know what that inspiration is or where it comes from, but it has no specific timeline. I don’t force anything. When it hits, I’ll feel compelled to start another journey. I’ll just sit down and begin to play. Whatever comes out comes out. Of course there are many trials and errors, not everything I write is quality enough to be on an album. But once I find the starting path, I’ll continue on it until I feel the journey is complete.

5. Let’s go back in time a little bit. Your first album with Cryo Chamber was 2016’s ‘Dredge Portals’. Before that, were you involved with any other musical ventures?

Yes, I was in 2 death metal bands in the late 90’s-early 2000’s. Cadaverment was the first, which then turned into Dripping, the latter being the more well known project. On Dripping’s debut album I played: drums/percussion, did guttural vocals, spoken word vocals, wrote the lyrics, and co-wrote the arrangement and creation of the music. We decided to breakup in 2001 while recording the album.

https://cryochamber.bandcamp.com/album/dredge-portals

6. Have you had any desires to return to Metal at some point or is Dark Ambient your true calling as an artist?

As far as Cadaverment or Dripping goes no, those bands are both RIP. I still practice death metal style drums on my own to keep up my chops, but for now I don’t have any plans for future metal projects. I’m so busy and having fun with GBD/USO, that I don’t really have the interest in doing something in the metal genre. But, at the same time I hate to say never, so only time will tell.

7. How did you come up with the name God Body Disconnect?

One day at work I experienced an episode of psychosis. While I was hallucinating visually and audibly, I saw a god-like figure that I was connected to by something similar to an umbilical cord. The figure then looked at me in an intimidating way, and severed the connection between us. While I slowly floated away into the darkness, I then heard the words God Body Disconnect spoken to me. I was initially terrified to use the name, given the circumstances it came to me. But, I eventually took it as a sign that it must be used.

8. What initially drew you to music and inspired you to become a musician?

As a young child I already had the hunger for listening to music. I enjoyed the variety of sounds I was exposed to. I liked how certain music I’d hear on the radio or in movies would make me feel inside, and move me emotionally. As far as being a musician I started off on drums at around 17. By 20-21 yrs old I was already on a label with Dripping and playing shows. After we disbanded, I played in a few personal projects with close friends, and we kept the recordings just for us. It wasn’t till around 2013-2014 I decided to create my own music. This was the beginning of what has now morphed into GBD.

9. Are there any specific artists or bands who have influenced your musical style or sound?

I can’t name any specific artists or styles that directly influenced GBD, but I’ve always enjoyed different genres of music. I started off with underground rap mix tapes around 9 yrs old. Then a few years later I moved into metal, which eventually turned into a taste for death and black metal. I’m also a fan of jazz/fusion, shoegaze, 80’s pop and of course ambient. I think I can find something I’m drawn to in almost every genre.

10. Have you ever had to overcome any significant obstacles or setbacks in your musical journey?

When I started to make music on my own, I was only proficient at drums. I had to learn how to play other instruments and produce from the ground up. I’ve never had any formal training or lessons, but I was determined to make music that moved me inside. Eventually I found my lane, and I still continue traveling on it today.

11. One thing that is unique amongst your albums are the short spoken word pieces. In a genre that is mostly instrumental, what led to the decision to include these spoken word bits?

I’ve been performing spoken word pieces since the Dripping debut album, which is close to 25 years ago. Back then I was reciting poetry mixed with a bit of storytelling. With GBD my spoken word pieces are very personal. They aren’t well planned out pieces, but rather late night recordings of my real thoughts and feelings. It’s basically a conversation with my inner self. I’m not sure what drove me to start doing spoken word in music, but I’ve always had a love for monologues in movies. Maybe the spark started from there.

12. Have you ever thought about releasing a book of poetry or a fictional (or non-fiction for that matter) story at some point?

That’s an interesting question, because one of my friends actually asked me that same thing last week. I’ve thought about it some, but it would have to be either poetry or short stories. I don’t have the patience to sit and write a full novel. If I get around to it, maybe it could be something that’s narrated by me as well, similar to audible.

13. If I’m not mistaking, 2020’s ‘The Depths Of Finality’ and 2021’s ‘The Wander’s Dream’ didn’t contain any spoken word elements at all. Was this a conscious decision or did it not fit into your creative space at the time?

During “TheDepths of Finality” I was struggling with a serious bone infection in my jaw. It began spreading to the ears and quickly was on the path to the brain. I was hospitalized a few times and on very powerful IV antibiotics for months. Eventually my body began to reject the antibiotics, and mimicked symptoms of serious mobility diseases. It was a very unpredictable time for me, and I prepared myself for the end. When writing the album I did not have the inspiration or will to speak on recording. The album was meant as a musical letter to myself preparing for and accepting death. “The Wanderer’s Dream” was written during a time when I finally was able to accept that I had been suffering for years with severe mental illness. I had been pushing the illnesses and symptoms off as hard as I could since I was a very young child. I desperately tried everything to stay sane and deny what was really going on. I had been living in a foggy dreamlike state for years. “The Wanderer’s Dream” is an album about trying to find myself and acceptance. The music’s delicate nature was also meant to soothe myself after wandering for so long. Sometimes words aren’t needed.

https://cryochamber.bandcamp.com/album/the-depths-of-finality

14. Can you describe the emotions or feelings you hope to evoke in your listeners through your music?

I actually don’t intentionally try to influence the listener in any particular way. The music I create is self-therapy for myself. They are cryptic, cathartic pieces meant for me to decipher the feelings I have inside. It’s also a place for me to disappear in when life becomes too difficult. I don’t believe it’s my role to influence a listener to feel a certain way. That is solely up to them. Over the years I’ve heard from many wonderful people that relate to my music on a deep emotional level. I’m grateful to have that human to human connection, whether they are following along on my journey or their own personal journeys.

15. What role do you think music plays in society, and why is it important?

Music is life’s blood for me. I know there are a lot of others out there that feel the same way. It can give people hope, when they see none. It can inspire people to totally change their lives for the better. A particular album can make people feel like they aren’t alone, and help them get through difficult times. Music is a very powerful conduit to the heart and soul. That goes for all types of music, not just dark ambient.

16. What are some albums (any genre) that resonates with you on a personal level?

I love so many albums, but I’ll try to keep it short.

Allan Holdsworth-Hard Hat Area

This was the breakthrough album that sparked my love for jazz/fusion. As a drummer, it opened up a whole new world for what could be done on the skins.

Have a Nice Life-Deathconciousness 

Before this album I never thought it was possible to make music on your own without going to a pro studio. It gave me the inspiration and confidence to start.

Group Home-Livin’ Proof

The beats are by the legendary DJ Premier, and the lyrics tell a story of striving through hard times. This album is very inspiring when life gets difficult.

Tears for Fears- Songs from the Big Chair

As a child from the 80’s this album brings back so much nostalgia for me. The lyrics are quite personal as well and deeply resonate with me. Plus, who doesn’t love “Everybody wants to rule the world”?

Iron Maiden-Somewhere in Time

This was the very first metal album I purchased. I got it on cassette at the time so there is definitely nostalgia there. But more importantly, it started my journey in metal.

17. Are there any collaborations or musical projects you plan on pursuing in the future?

I’m always working on something these days. Par and I are beginning our experiments again for another USO album. I’m also toying with some new GBD ideas, trying to find the path. I’m starting to write poetry and short stories again. I try to keep my mind busy with different projects.

18. Speaking of collaborations, back in 2018 you participated on the ‘Miles To Midnight’ album with Atrium Carceri and Cities Last Broadcast. For me, that was a breakthrough album that showed how Dark Ambient can expand into Dark Noir Jazz and beyond. How did that album (and theme) come about?

Thank you, I love that album to death. I framed the vinyl and it hangs right next to my studio setup. We all had a mutual love for jazz, and dark noir movies/stories so it kind of came together naturally as friends trying to explore what we could do. All 3 of us collectively built that album from the ground up. I believe it took us only 2 months from beginning to the end, including Simon’s mastering and artwork. It was one magical summer where all the stars aligned. I’m confident we’ll have a follow up.

https://cryochamber.bandcamp.com/album/miles-to-midnight

19. I want to thank you once again for this opportunity to talk about all things God Body Disconnect. Do you have any final thoughts for those that will be reading this interview?

It was my pleasure, thank you for the opportunity. I really appreciate you giving me the time to express myself on your forum. I also want to give a huge thanks to Cryo Chamber for standing by me and always supporting my vision. And a big thank you to all the fans that continue to listen.

Links:

Instagram: https://instagram.com/god_body_disconnect?igshid=MTIzZWMxMTBkOA==

Facebook: https://www.facebook.com/godbodydisconnect?mibextid=LQQJ4d

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

Eighth Tower Magazine presents In Darkness Is Light (IDIL) Awards

Eighth Tower Magazine (https://www.patreon.com/eighthtower), in collaboration with:

Avant Music News web zine, Enclosure Three radio program, The Dungeon In Deep Space blog, This Is Darkness webzine, Horae Obscura podcast, CITR 101.9 FM, Spectrasonicsound podcast, Paul Casey, Elysian Fields radio program, Ambientblog.net, Raffaele Pezzella, Eighth Tower Records, is proud to announce the International dark experimental music Awards “IDIL” (In Darkness Is Light) 2023/24.

The IDIL Awards is dedicated to all forms of experimental music in its “dark” declination and promotes the innovation and research in the field of dark electronics and dark electroacoustic music.

15 tracks among all the ones submitted will be selected and included in a compilation to be digitally published by Eighth Tower Records within February 2024 (https://eighthtowerrecords.bandcamp.com). An international jury composed by radio djs, podcasters, reviewers, will assign a score to every track determining the winners of the prizes below:

Prize for the 1st classified project: € 200,00 + a full special on the magazine;

Prize for the 2nd classified project: € 100,00 + a full special on the magazine;

Prize for the 3rd classified project: 1 year free subscription to the Eighth Tower magazine + a full special on the magazine;

Prize for the 4th classified project: 6 months free subscription to the Eighth Tower magazine + a full special on the magazine;

Prize for the 5th classified project: 3 months free subscription to the Eighth Tower magazine + a full special on the magazine.

All tracks will be played in the Unexplained Sounds streaming radio program and all radios programs of the circuit.

Participation Guidelines:

  • submissions of a single track for each project (maximum 8 minutes, .wav or .flac format)
  • tracks must be unpublished and exclusive made for the compilation mentioned above; – it’s requested a bio and a description of the project;
  • links to video and visual material will be welcomed;
  • multiple projects from the same person won’t be allowed;
  • track submission via link to Wetransfer, Google or similar transfer services (no Dropbox);
  • deadline December, 31, 2023.
  • Preliminary condition to participate:
  • to be subscribed at least for 2 months to the Eighth Tower magazine (tier Apprentice
    Supporter or upper tier):
  • https://www.patreon.com/eighthtower
  • Jury members:
    • Raffaele Pezzella – Eighth Tower publisher (Italy)
    • Mike Borella – Avant Music News web zine (US)
    • Dj SpaceTerrapin – Enclosure Three radio program (Germany)
    • David Loveless -The Dungeon In Deep Space blog (US)
    • Rich Dodgin – This Is Darkness webzine (US)
    • Bram Hagers – Horae Obscura podcast (Belgium)
    • Bepi Crespan – CITR 101.9FM (Vancouver, Canada)
    • David Warmbier – Spectrasonicsound podcast (UK)
    • Paul Casey – Independent reviewer (UK)
    • Dominic Castelli – Elysian Fields radio program (US)
    • Peter Van Cooten – Ambientblog (Netherlands)

Anyone who would like to support the “In Darkness Is Light Awards” to grow and increase the amount of prizes in time, can donate here: paypal.me/usggroup

Sponsored by Eighth Tower https://www.patreon.com/eighthtower

Sponsor partner: Avant Music News https://avantmusicnews.com

Eighth Tower Magazine is part of UNEXPLAINED SOUNDS (network of aural disorientation). Corso Secondigliano 94, Napoli, 80144 Napoli, Italy. https://unexplainedsoundsgroup.bandcamp.com