Xerxes The Dark Delves Deeper Into The Chaotic World Of Death & The Macabre With ‘Soundtrack To The Blind Owl’

Over the past few albums, Xerxes The Dark has taken a seemingly harsher approach to his Dark Ambient output. Instilling more of an industrial assault rather than lush, cinematic tones, it’s safe to say that XTD is producing some of the most aggressive work of his career. Although his past work has contained quite a bit of ominous modulations and sinister soundscapes, material from the past couple of years have been extremely bleak and harrowing, but a fitting progression for one of the best artists in the genre. That leads us to this years surprise release, ‘Soundtrack To The Blind Owl’. Extremely influenced by the 1937 novel, ‘The Blind Owl’ by Sadegh Hedayat, the story is about a desolate mans descent into chaos after experiencing personal loss and metaphysical shame. XTD interprets that discord into a grueling six track album of harsh noises and antagonizing dread that breaks down ones own spirit and will force the listener to question their own sanity.

It’s almost cliche to say that the album begins with a calm-before-the-storm approach. However, with the ensuing onslaught of punishing tonality that reeks havoc on the mind (and ears) for the following fifty three minutes, that statement is putting it mildly. “Misanthropic Mind Within Nightmares” begins with pulsating modulations and distorted guitar screeches that progressively sets the tone for this horrific ordeal. Subtle glitches are manipulated in a rhythmic pattern while random guitar noises inflict audial damage at deafening volumes. “The Women” commences with some of the same fragmented tones that were predominate in the first track and fuses with strident guitar reverberations that would please fans of the mighty Sunn O))). Bleak soundscapes are imbued strategically, enhancing the experience of the ascension of chaos. The layers of deep, guttural nuances give this track an overall creepy vibe. Next up is my favorite track, “Opium & The Bent Man”. Before I get into the details of this track, I’d like to point out that each song flows seamlessly into the next and is meant to be listened to as a single instance, showing a slow descent into oblivion and the process in which maniacal sentiment infiltrates all thought processes. As for “Opium & The Bent Man”, this is the eeriest eight minutes on the album and the celestial synth contained within are what phantasmic dreams are made out of. The droning, distorted guitar riffs are still present but take a back seat to the sinister soundscapes that oscillate at will, like an abandoned pitch shifter. “Bed Of Dead” continues down the path of destruction as distorted frequency sounds create a drone-like impulse, devastating everything in its wake. Layers of exaggerated guitar riffs continue to surge, adding a frenzied accent to this otherwise minimalistic intonation. “Horrible Abyss” continues the insanity but doesn’t begin with a constant hysteria of sound. Instead, vibrant impulses tease of an imminent demise before fully committing to an agitated madness of constant tones and malevolent riffs. The final track on the album is “The Shadow Of The Void”. Commencing with a low volume and gradually committing to a solid foundation of hateful, droning guitar riffs and dismal effects, this is the climactic piece that solidifies the concept of this very engaging album. As the psyche begins to wear thin, the throbbing fill of sonic distortions continue to blast at earsplitting volumes. However, everything comes to a grinding halt – and without warning – as the song stops in an instant, representing the abrupt end to the rapid decline of the mind.

Xerxes The Dark has been on a role over the last few years by releasing some of the best albums of his career. Instead of maintaining the status quo, XTD continues to add to his signature sound, digging deeper into the industrial ambient sub-genre and producing albums of harsher and more severe sounds. “Soundtrack To The Blind Owl” is no exception, as it’s his most brutal XTD output thus far. However, if this is what we can come to expect, then I’m already excited to hear of what may be next. This is not a relaxing, meditative listen. This is very coarse and requires the full attention of the listener in order to appreciate and understand what all is going on. That all being said, this album is absolutely amazing and one of my favorite Dark Ambient recordings of the year so far. Please show your support and listen to and/or download this outstanding piece of work from the link below.

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Links:

https://xerxesthedark.bandcamp.com/album/soundtrack-to-the-blind-owl

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

I love how Dark Ambient continues to grow and find ways to expand beyond the typical means of uniformity. While the baseline of stimulating drones and gloomy soundscapes are a permanent fixture in Dark Ambient music, the use of textured field recordings and the fusion of other genres show an increased variety in the music created for this genre and how it is able to expand. Welcome to round three of Celestial Ephemerides for my Dark Ambient summary reviews and I hope you savor these broad spectrum of releases and appreciate them as much as I do.

1. Secant Prime – Wavelets

For starters, this album is a few years old but after have been introduced to it, I knew that I had to write about it in some form or fashion. This isn’t your run-of-the-mill Dark Ambient recording, as it is filled with pulsating modulations, harsh industrialized noises with random samples and soundscapes that make this a horrifying affair. However, these five tracks present an hours worth of entertaining dark electronic music that will keep you on the edge of your seat, and trapped in a dark post-apocalyptic world.

https://secantprime.bandcamp.com/album/wavelets

2. Ulvestad – Fall

On the other end of the spectrum, Ulvestad presents the drone-laden, “Fall”. This minimalistic adventure commits the listener to a world of obscurity through elongated drones that build around cinematic soundscapes and grandiose production. This is as disturbing as it is tranquilizing and these four tracks tell a story through masterful synth and pad arrangements.

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

3. Tarme Til Alle – Blood Moon Prophecy

‘Blood Moon Prophecy’ is a unique recording in that it contains all of the elements of a theatrical and climactic Dark Ambient album but in a harsher sense. The tone and volume on the instrumentation is mixed louder than usual, creating a level of acerbity and distortion not normally experienced in this genre. Whereas Dark Ambient (at times) tends to be calm and soothing, this album is more abrasive, presenting more of a realistic approach to post apocalyptic and industrial themed tracks. Fortunately, it blends perfectly and I need to hear more of this!

https://tarmetilalle.bandcamp.com/releases

4. Mindspawn – Daemon

Mindspawn excel at creating a drone masterclass with the ominous ‘Daemon’. Extremely minimalistic droning with the help of some very demonic sounding effects, this may not be the album you want to fall asleep to. However, I do recommend this for those times where you need bleak soundscapes to set a harrowing mood. The modulation variants are very creative and the arrangements couldn’t be any better for a one hour recording of ominous sounds from the underworld. Don’t sleep on this one!

https://mindspawn.bandcamp.com/album/daemon

5. Flowers For Bodysnatchers – Infernal Beyond

Flowers For Bodysnatchers epitomizes the conceptual experience with each of his albums. From start to finish, you can expect an enthralling journey through realms of the obscure. On ‘Infernal Beyond’ the use of bleak soundscapes and field recordings propels this journey beyond expectation and the results are a sinister cluster of tracks that will leave the listener in a maniacal disarray. An absolutely amazing album from one of my favorite artists!

https://cryochamber.bandcamp.com/album/infernal-beyond

6. Snake Eggs – The Birdland Chakras

‘The Birdland Chakras’ is a deep dive into the dimension of industrial-tinged experimentation. The variety of sounds and noises, mixed with Dark Ambient undertones creates a frantic output and the outcome is a horrifying collection of intonations that will dismantle your very core. At times whimsical and other times sadistic, this is a well blended assemblage of sounds that is very appeasing and completely entertaining. Can’t wait to hear more from this artist.

https://snakeeggs.bandcamp.com/album/the-birdland-chakras

7. Bocci/Arrighi/Lepore – Anagrammi

Now for something a bit different. Bocci/Arrighi/Lepore combine their compositional talents to create a piano-based album full of darkened arrangements and jazzy undertones. Their masterful piano and synth manipulations present a soothing, yet gloomy take on Dark Ambient and experimental music in general. Consisting of just four tracks, the listener is provided with a forty minute journey of alluring ambience that borders improvisational madness and supremely structured tunes. This one is highly recommended for fans of dark noir themed music.

https://unexplainedsoundsgroup.bandcamp.com/album/anagrammi

8. Melkor – Hall Of Bats

‘Hall Of Bats’ embodies the minimalistic listening experience with dark, depressive drones and occasional layers of grim soundscapes and field recordings. Interestingly, there is a sparse sense of melody used throughout this recording, keeping it from become a completely bleak experience. However, it’s used as an expression of dread and increases the grandeur of this Dark Ambient spectacle. This album must be listened to from start to end to gain an appreciation for the full compositional encounter. At times, it’s like having an out-of-body experience.

https://kalpamantra.bandcamp.com/album/hall-of-bats

9. Kammarheit – Thronal

‘Thronal’ is the perfect Dark Ambient album to listen to if seeking a completely melancholic experience. Agonizing synths accompany deep and slightly distorted drones to produce a deplorable sound that is not only addictive, but mesmerizing to the point of total submission. This album is like a minimalistic soundtrack for misery and sadness and I can’t get enough of it. Highly recommended for those seeking a dark and emotional audial dialog to accompany your own personal experiences.

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

10. J. Donovan Malley – Echoes In A Cage

J. Donovan Malley packs more into this twenty two minute album than a lot of artist in an album twice the length. From warm piano ballads and soothing soundscapes to industrial-based noise fills and vocals (both operatic and harsh), ‘Echoes In A Cage’ is a compelling Dark Ambient album that goes beyond standard drones and synth modulations and explores the psyche of emotional projection. This is another expertly crafted album that I highly recommend checking out immediately!

https://jdonovanmalley.bandcamp.com/album/echoes-in-a-cage

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Dark Ambient, Synthwave And Noise Collide on Trajedesaliva’s Intelligent Offering, ‘Ultratumbra’

Sometimes, the best albums out there are the ones that haven’t been heard yet. There are many gems hidden away on bandcamp and often it’s like a diamond in the rough, searching for the one that offers pure cosmic bliss. Fortunately, Bandcamp is one of the best platforms for music these days – especially for obscure genres – so finding an album as impressive as ‘Ultratumbra’ by Trajedesaliva is certainly appeasing to these ears. Combining all of the elements that I love about esoteric music, ‘Ultratumbra’ delivers forty two minutes of musical euphoria that fuses Dark Ambient, noise, spoken word and retrospective synthwave. The modulations that prowl behind every corner are unexpected but are eagerly welcomed, as this album is supremely put together and most of all, enjoyable on multiple levels.

Sonic album opener, “Todo Era Blanco”, sounds like an immediate drift back into time when retro analog synths ruled the airways and the break of dawn demanded its own sound signature. This track builds in grand layers with a lot of reverberation to thicken the sound. The synths are clean without being crisp, like a morning fog clearing before a beautiful day. Spots of percussion can be heard throughout without going overboard and this is such a grand way to start this amazing album. “A Casa Por Las Vías” continues on the strengths of the first tracks with massive, elongated synths that are slightly muffled but concise in the mix. We also get our first listen of a spoken word bit (spoken in Spanish) and it sounds so bleak with the terrifying layer of noises and percussive elements happening in the background. Upon the completion of the spoken word element, there is a climatic shift in music as it builds up in devious fashion before collapsing into a beautiful and melodic synthwave track. “Familia Ferro” commences with a loud, constant tone, followed by a short spoken word piece. It immediately unfolds into harsh noise modulations that shake the foundation with its strident industrial intonations. Next up is the multi-faceted, “Arenas Calientes”. Beginning with a single keyboard chop and then quickly expanding into multiple layers before suddenly unfolding into a mechanized tone, this track goes through several pitch shifts and succeeds at altering ones mood from dark to anxious to downright maniacal. Toward the end, sharp whispers can be heard throughout, adding some mysticism to this already terrifying song. “Mamá Es Un Animal Morado” starts with a jolting tone, like a large turboprop airplane already in mid flight. However, other sound effects are introduced, creating a spacious melody and then spoken words take over. The track deviates from the harshness and turns into a somber affair and the spoken words continue to complete the calming nature of everything that is fused together up to this point. “Mammillaria Sempervivi” is another melodic affair with dreamy keyboard harmonies and a compelling bass line that’s adds a great bit of depth. The spoken words continue to tell their tale and then 80’s style keys and beats commence, adding yet another aspect to this incredibly diverse album. “Queremos Verte” maintains the keyboard harmonies of the last track but adds an extra layer of emotion with superior song writing and haunting production. Even the spoken words sound different in this track, as the narrator seems to be at ease or in a more comforting situation than previously. The final track on the album is “Ultratumbra” and it immediately begins with a line of spoken word before fusing into a harmonic keyboard composition that sounds straight out of the 80’s. This track is magnificently arranged and contains all of the elements that I love about Trajedesaliva. Although it starts out smooth and alluring, there is a middle section that begins to fill out with harsh noises and drum rhythms that’s simply infectious to listen to. This song is so wonderfully arranged, I just wish it would never end.

Although Trajedesaliva is a new artist for me, they’ve been around for over twenty years. It’s a travesty that I’m just now getting to know their craft but I couldn’t be more pleased with what I’ve been exposed to so far. From the retro compositions, nostalgic arrangements, well placed spoken word bits and great use of industrialized noise, ‘Ultratumbra’ contains everything I could ever ask for in an album. I highly recommend checking this one out so please click on the link below and support this amazing artist.

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Links:

https://trajedesaliva.bandcamp.com/album/ultratumba

Eyre Transmissions XII – Interview with Dark Ambient / Necrochill Producer, Sumatran Black

These days, Bandcamp is my go-to platform for a wide assortment of music. I love how it’s given artists unlimited creativity and the ability to showcase their musical aptitude regardless of style, genre or other unconventional standards. One artist that demonstrates this capability is Sumatran Black. Not only is it the name of the labels flagship artist, but it also represents the Bandcamp page itself – Sumatran Black Records. This Dark Ambient/Necrochill page is also home to Black Box Memories and Ataşehir – two other fantastic creations of the Sumatran Black composer himself. The albums produced by Sumatran Black Records are some of my favorite in recent years and although each project is different, they bring a needed variety of memorable compositions to the dark electronic community that are eagerly welcomed. I recently had the opportunity to interview the composer behind the label to find out more about each project and what the future holds for Sumatran Black Records.

1. Thank you so much for this interview opportunity. I’m constantly amazed by the impressive and unique projects that you have going on with your Bandcamp page. Have you always had a vision to create multiple projects, covering an array of themes and sonic adventures?

I’ve always really enjoyed other artists who have released music under pseudonyms or side projects etc for example, I really love the Smackos project by Dutch artist Legowelt, and in terms of dark music I think the Lurker of Chalice project by Leviathan is a really good example of how using a different project name can open up a whole range of opportunities for musical expression.

To be honest when I started out, I didn’t really have any distinct vision or plan for either the music releases or the label. I just wanted to record some music after very long hiatus from having anything to do with music creation and just take it from there. I tend to believe that once you get the ball rolling on something artistically, it will often guide you in its own direction and you can kind of shape the overall ideas into something more focused and concrete. Which I think is an accurate description of what happened with the Sumatran Black Records label. As I began to take it more seriously and produce more music it was obvious there would have to be different names for different projects just to maintain a sense thematic clarity.

2. If I had to guess, I’d say that Sumatran Black was your flagship project. Was this your first endeavor in the Dark Ambient arena or was there something else before that?

Sumatran Black was the first.

3. Were you involved with any other musical endeavors prior to Sumatran Black? If so, what were they and what led you to Dark Ambient?

I’ve been involved in lots of projects before but most of my music endeavours previous to Sumatran Black involved writing music for theatre (Opera and Musical Theatre). Unfortunately despite my best efforts, nothing made it to the stage. I still have hopes to resurrect some of these ideas in the future.

With regards to my journey towards darker music and dark ambient, I guess my character helped steer me in that direction. And I should add that I wouldn’t really class myself as a purely Dark Ambient composer. I think what I’m trying to do is often less textural and less static in terms of movement than a great deal of Dark Ambient. I would also add that I’ve tried to avoid presenting my music with an overly polished sound (in terms of production) in general. Which is something that I would associate with a lot of Dark Ambient. Hence the term Necrochill. As the genre has become more popular through the good work of labels like Cryochamber and the inclusion of Dark Ambient music in mainstream video games, it seems that the Dark Ambient sound has become more homogeneous and less distinctive between artists. I want to avoid this.

Of course my music does have many elements that are common with Dark Ambient and I have no problem with it being categorised in those terms.

4. ‘A Taxonomy of Grief’ (by Sumatran Black) is one of my favorite Dark Ambient experiences of the year so far. Can you tell us a little bit about the Necrotrilogy and how this album came about?

The Necrotrilogy is a trilogy of releases under the name Sumatran Black designed to be thematically and musically linked, and to introduce the audience to my concept of necro chill. Which is essentially just a funny name to categorise my main musical interest which is dark music that is cathartic, emotional and has strong elements of lo fi and some elements of the 2nd wave of black metal necro sound but reimagined in a more ambient context.

‘A Taxonomy of Grief’ is the third and final part of the Necrotrilogy. Musically it’s supposed to be a summation of the sound of the previous two albums. Thematically it’s the most personal of the trilogy and is in the simplest of terms an album about loss and recovery.

https://sumatranblack.bandcamp.com/album/a-taxonomy-of-grief

5. What are the other albums that make up the remainder of the Necrotrilogy?

Part 1: In the Dread

Part 2: Fathomz

Part 3: A Taxonomy of Grief

Not part of the trilogy: A Page of Madness Soundtrack, Elegy for a Lost Cosmonaut.

6. Do you already have plans for any upcoming Sumatran Black albums?

Not an album but I have an EP ready to go into the next stage of recording. The demos are complete, and the EP is a spiritual successor to Elegy for a Lost Cosmonaut. Its working title is Broken Timelines.

7. Let’s shift gears to Black Box Memories. Another stellar project that combines Dark Ambient and lo-fi electronica. I’m so intrigued by this project but how did it come about?

Usually when I’m in the final stages of a project in terms of mixing and mastering I tend to get bored of listening to the tracks over and over again and so I often do some recordings in the middle of this process just to give myself some variation almost like a palate cleanser if you will. And so when I was finishing off In the Dread (which took a long time), I had a lot of other tracks I had been working on which would not fit that project but I thought was strong enough musically to stand alone in a music project in their own right. Those tracks would form ‘Transmissions’ the first Black Box Memories album.

8. Although the Black Box Memories recordings are very modern, they have an excellent retro vibe to them as well. Is this a sound that you were planning for or did it just come about through experimentation?

I don’t really know where the sound came from first and foremost it was initially probably a reaction to the sound of In the Dread. That album is very claustrophobic and employs some quite extreme audio processing and I guess Black Box Memories is sonically just more open and less demanding of the listener. And as I said before musical projects often dictate their own outcomes. So in the case of Black Box Memories the first demos had a very nostalgic and lo fi vintage sound to them and so as more tracks will created they became influenced by the initial demos. I think also at the time I had access to more sounds, I’d upgraded my system and invested in some 80s retro synth clones and my thinking was how can I create a musical idea that uses the nostalgic sounds of my musical youth but recontextualises them in a kind of more dark arena. if you can imagine how vaporwave manipulates old samples in a way to produce something that has a completely different emotional flavour. I thought maybe that would be possible with say for example a Yamaha DX7 VST. Could I take a very recognisable electric piano sound and then sonically manipulate it in a way that sounds even more vintage/lo fi – almost like a musical exaggeration – and then use this sound design in more dark and almost psychedelic musical compositions.

https://sumatranblack.bandcamp.com/album/this-loving-presence

9. On ‘This Loving Presence’, you use a lot of narrative samples – which blend perfectly with the arrangements. Is there an underlying story with these, or are they used to create a particular ambience for the listening experience?

I guess ‘This Loving Presence’ was greatly influenced by my mood and habits at the time of composition which involved lots of late nights and lack of sleep and watching YouTube videos to try and remedy the situation. Most of the narrative samples are heavily edited ASMR style video quotes. I took those snippets of dialogue and then edited them in a way that would create sentences that had a very sharp and poignant emotional resonance immediately.

10. Now, I definitely have to bring up Ataşehir, because out of all of your projects, this one is probably my favorite. This project is a bit more minimalistic and desolate that your others; what were some of the influences for creating this one?

Although it probably sounds nothing like it, the main influence at the beginning of the Ataşehir project was the work of Stars of the Lid and also GAS. Probably my two favourite drone and ambient artists.

https://sumatranblack.bandcamp.com/album/when-the-time-comes

11. I reviewed 2020’s ‘AVM’ album and I loved the theme that was represented within. Are all Ataşehir albums created with a concept in mind?

I think that I can safely say that pretty much every album and EP I’ve recorded (not only Ataşehir) has been what would broadly be described as a concept album. Sometimes I give an explicit explanation in the liner notes, sometimes the concept is hidden in the album and song titles. 

I have given a previous interview where I go into detail about the Ataşehir project https://ambientmusic.com/interviews/sumatran_black

12. On the latest album, ‘When The Time Comes’, the drone work is absolutely fantastic and has a wide range of melody in it. How did you go about creating these sonic soundscapes?

I think with Ataşehir I always have this overriding influence of abstract expressionism and then I’m always trying to find ways of manifesting that musically. I was lucky with ‘When the Time Comes’ because I found a very particular VST that I used throughout the whole process. I won’t name it because I don’t want to give all my secrets away but the person who designed the instrument is aware of the fact that it was used for the entire album.

Maybe I can just describe the overall composition technique that was used. Most of the tracks consist of maybe three or four drone layers that are intersecting with each other to create a musical foundation – and this is the drone element. Then on top of that the melodic element you refer to are improvisations with a synth or a guitar. These improvisations are cut and edited and looped in an asymmetric way to create kind of melodic tension across the pieces.

13. I love the song titles that you come up with for this project. Do they have a particular meaning, and how do you come with those?

I usually take a long time with song titles I really enjoy that aspect of creating music and it’s something I have a lot of fun with. In the case of the album ‘When the Time Comes’, the titles definitely all have a meaning and maybe I can try and clarify that. The album is supposed to describe a near future or alternative future Istanbul after some strange cataclysmic event. Therefore, the song titles refer to numerous locations in the city but some of those locations are real and some of them are imagined future locations. So, for example, the Istanbul Canal does not exist but it might do in the near future. Also, Levent 4.2 does not exist, but Levent 4 exists. If anyone is interested, on the bandcamp album notes I have included a location guide which kind of explains everything.

14. I recently became familiar with one of your older projects, Haram Tapes. These albums are a lot of fun and seem to defy genre limitations. What makes this project so different?

The main reason that project is so different is because it involves two people. Myself and my collaborator See Safari. It would take a long time to go into detail about all the concepts and ideas behind Haram Tapes, but here is a recent interview we did.

15. Are there plans for more Haram Tapes releases?

Yes, we are discussing the concept for the next album at the moment.

https://haramtapes.bandcamp.com/album/scorpions-fountains

16. Speaking of “releases”, do you have any physical releases (I.e. CD, Cassette, LP..) of any of your projects?

Yes, there are cassettes available for Haram Tapes. Logistically, it hasn’t been possible for me to produce physical releases for Sumatran Black Records. However, it’s my plan that all Sumatran Black Records will have physical versions available from now on. This will begin with a new dungeon synth project I’m currently working on. I also plan to slowly but surely add physical releases to the entire back catalogue.

17. Do you have a home studio in which you record and produce your work?

Yes I do. It’s quite minimal and now I also have made it portable. Before all my music used to be created in my home studio desk setup with big monitors etc but recently I’ve tried to do all my initial work just on a laptop so I can be portable add more flexible with my workspace. ‘When the Time Comes” and “This Loving Presence” were recorded and mixed almost entirely on a small laptop with headphones and they were only moved to my larger studio area (the big computer as it were) during the mastering process.

18. What is your gear setup like? Do you have a preference of analog equipment over digital (VST’s etc..)?

I tend to avoid talking about gear and setups too much because I’d like to encourage all musicians to just use whatever they have available. You don’t need expensive analogue gear you don’t need the latest DAW, you just need ideas and some dedication. the first Sumatran Black album was recorded on GarageBand with no third party VSTs for example.

But to answer your question I really do love both analogue and digital but my priority is practicality and pragmatism. So, I can tell you at this moment I own two or three very good analogue synthesisers but they’re not in the same country as my studio (and not one note from them has appeared on any of my records). I’m doing everything in the box just using vsts because that’s what I have available. I’m planning to build something more substantial in the near future with the aim of implementing some more outboard gear.

19. Again I appreciate this opportunity for the interview and I’m always looking forward to new music by you. Do you have any departing thoughts for your fans that may be reading this?

Thanks for listening and reading. If you got this far, please consider following Sumatran Black Records on Bandcamp as this is my main hub for all news and info about new releases. New Dungeon Synth project coming soon.

Links:

https://sumatranblack.bandcamp.com

https://www.sumatranblackrecords.com

https://www.facebook.com/sumatranblack/

https://youtube.com/user/reevespeterson

https://haramtapes.bandcamp.com

Dronny Darko & Ajna Are On A Quest For Bleak Supremacy With ‘Radioactive Immersion’

For the past couple of years, the Cryo Chamber label has been on quite a roll with releasing an impressive stint of collaboration albums. The Dark Ambient genre is already a special musical environment and on many occasions, it’s easy to identify certain artists based on their style. So, when these collaboration albums are released, I look forward to the fusion of the various styles of some of my favorite artists to see what kind of sonic concoction they have in store. In the case of this review, we have Dronny Darko – the King of dismal drones teaming up with Ajna – the majestic arbiter of ominous soundscapes to produce the enigmatic offering, ‘Radioactive Immersion’. This is not the first time these two Dark Ambient Titans have collaborated and hopefully it won’t be the last, as this is atmospheric modulation at its best.

Like music from a sinister movie soundtrack, “Anomalous Gravity Distortion” blasts out an array of malevolent effects to set a devious mood, providing a platform for a darkened endeavor. Haunting drones reverberate cautiously while a cluster of soundscapes create a claustrophobic vacuum in which there is no escape. “Bottomless Gorge” continues the bleak excursion through abandoned corridors and empty chambers of energy. Sudden bursts of pulsating modulations create a sense of dread as isolation becomes the driving factor behind the minimalistic drones and pads. “Electromagnetic Pulse” commences with a terrifying drone that crescendos from the depths of a radioactive inferno. As the fiery field recordings blaze on, nominal soundscapes keep the listener in suspense while subtle variance in the music is sparse but affective. “Uranium 235” begins with the crackles of positive radioactive energy before gravitating to a dense drone, combined with creepy synth effects and jarring sounds that are right out of a nightmare. Narrations can be heard deep in the mix but they are inaudible as a result of the mass decimation caused by the preceding, disastrous events. “Plutonium Clouds (feat. protoU)” begins with a lighter drone and ominous soundscapes that are a result of the fallout from the mass contamination that obliterated everything in its wake. There is a somber vibe to the synth arrangements and it almost has a Space Ambient sound. “Mutated DNA” starts with an eerie drone that builds and collapses over and over again, while various soundscapes and effects provide a sense of disparity. The sound bits are totally random, but fit in with the theme of the album and help describe what may be happening next – the creation of a new horrific being out of the ashes of an unprecedented nuclear fallout. The final track on the album is the near twelve and a half minute long, “Radioactive Immersion”. Instead of starting with a drone, it sounds more like a pack of crawling insects, scurrying for cover as an undisclosed disturbance is in the air. An assortment of field recordings and synth effects are the focus in this track as it’s primary objective is to create a dark scene of impiety and post-apocalyptic dread. About halfway through, sonic drones add a celestial balance as if the dawn of a new beginning were on the horizon. These ethereal tones fade in and out of the mix several times as if relieving tension of a desolate nature. By the end of the track, the synth effects have faded and all that is left is the oscillating drones.

‘Radioactive Immersion’ is an aural journey to an abandoned nuclear reactor, haunted by past indiscretions and the lackluster efforts of mankind. This album is dark & deep and the music really submerges the listener into a toxic wasteland of tarnished energy and the grim outcome of its horrific meltdown. Dronny Darko and Ajna are not only the best Dark Ambient producers to convey this energy, but their masterful efforts set the bar pretty high for collaboration albums. Please click on the link below and download this intense release immediately.

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

Links:

https://cryochamber.bandcamp.com/album/radioactive-immersion

Sphäre Sechs Takes Flight On A Celestial Adventure With ‘Beta Pictoris’

Of all the ambient sub-genre’s, Space Ambient is without a doubt my favorite. There is something about the fusion of warm & dark drones and layers of cosmic soundscapes that I find completely captivating. Whenever I’m in the mood for such deeply atmospheric occurrences, there are a few artists that I can always count on for those undeniable sonic excursions and one of them is Sphäre Sechs. On their latest otherworldly offering, ‘Beta Pictoris’, they offer seven tracks of Exoplanet inspired modulations that are more than just a junket through deep space, but a mission through spectacular visuals told by supreme synth arrangements and articulate improvisations.

“Planetesimal Debris” commences with soothing, warm drones, like a space ship drifting through the outer reaches of a familiar solar system just before exploration begins into the realm of deep space. Cosmic soundscapes accent randomly as if vague transmissions become more distant and unclear. An accretion of synth effects begin to produce a thicker sound as the expedition boundaries become broader. I love how the jolting signals continue to play out in the background, increasing in strength but decreasing in clarity. This ten and a half minute opening journey is exactly what’s needed to create a celestial mindset for the remainder of this captivating album. “Doppler Spectroscopy” begins with an alluring drone that has a slight industrial edge to it. The spacious reverb effect really gives that feeling of floating in the depths of pitch black space, almost motionless, while random particles of space dust fly by at a blistering speed. These drones are layered so perfectly that you’ll loose track of time while lapsing into the intensity of its structure. “Seeking The Infinite” starts with a single drone and a variety of peculiar notes being played. A slight crescendo happens at various times, while the keys & pads create a cosmic sound of interstellar adventure. There is mystery and buildup in this track, as if a dark force is lurking around every corner and avoidance is creating an anxiety that continues to build until the end. “Collapsing Cloud” is my favorite track on the album as this is the point where things begin to turn dark and the drones start to sound quite menacing. As if the constant meander through space wasn’t enough, a sinister plot begins to develop as cosmogonal soundscapes establish an eerie sensation of doom and imminent catastrophic failure. The intense use of reverb continues to build an outer realm of darkness and horror and it doesn’t get much better than this. “Infrared Emission” is the longest intonation on the album at almost eleven minutes in length, and it’s an ethereal journey with alluring drones and consoling soundscapes that are extremely hypnotizing from start to finish. The sound of wind blowing is an added surprise, making this another standout performance. “Exosolar” begins with eerie effects that resonate abruptly in a horrific fashion. With piercing drones layered in a way that oscillates through the upper registers of the sound spectrum, this must be a true representation of what unexplored space must be like – creepy and desolate. The final excursion on this deep space adventure is, “Unstable Orbit”. Deranged effects place an incredible spin on the ominous drones as they continue to intensify and increase with electrifying resilience. Slight variations of synth modulations create dismal patterns of haunting fills and abrasive undertones. Whereas the album opened with warm colors, it definitely ends with a bleak performance, that is astounding nonetheless.

Sphäre Sechs continues their streak of masterful Space Ambient performances with ‘Beta Pictoris’. Although one of the most minimalistic sub-genres of the ambient community, this album epitomizes an array of soundscapes and dream-like drones to produce a celestial atmosphere that needs no words for explanation or understanding. This is an amazingly meditative album and I highly recommend it, especially for those that are seeking a hypnotic experience through sonic modulations. Click on the link below and download this fascinating album.

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Links:

https://cryochamber.bandcamp.com/album/beta-pictoris

Inoriand Returns With Another Winter Synth Extravaganza Aptly Titled, ‘Life Frozen’

It’s been nearly sixteen months since we’ve heard any great tunes from the Eldest Gate Records Bandcamp page. Once thriving with life, as multiple projects routinely released one amazing album after another, those monumental occasions have grown scarce as only Inoriand released a single album in 2020. However, now back from the frozen dead (for lack of a better phrase), Inoriand has returned with a Dark Ambient/Winter Synth masterpiece in a single track called, ‘Life Frozen’. Now, I’m not sure if this is a continuation of winter themed albums, like 2020’s, ‘A World Frozen’, or a bleak double-entendre for how the COVID-19 pandemic has plagued the entire world – perhaps both. At any rate, this near thirty one minute long track is exceptionally written and may be one of my favorite releases under the Inoriand brand.

Although the overall theme for the album is the cold, austere atmospherics of winter, there is a particular warmness that infects this monumental track. It’s as if the harshness of winter is slowly fading and the crystallized water is beginning to thaw, paving the way for a new season. As “Life Frozen” commences with droning keys and a gentle transition between notes, there is an overall vibe of tranquility and quietness that presents the notion of the chilling landscape chronicled in this song, has been a path less traveled for the duration of the winter months. An elegant keyboard melody begins to play at around the three minute mark and remains dominant for the majority of the track. Various soundscapes and effects are also introduced, creating a hypnotizing scene of serenity. At around the ten minute mark, slightly enhanced modulations bring a darker color to the track, representing an extreme isolation from society, as the ice continues to melt at a leisurely pace. At almost the eighteen minute mark, the track shifts gears again, bringing back a version of the original keyboard melody that was so predominant at the beginning. Maintaining a constant drone in the background, this portion of the track is well composed and almost trance-like, as the listener – by this point – will have a great view of an untouched winter landscape that seemingly reaches a utopian state as each second passes. With just six minutes remaining, another slight shift occurs with the addition of haunting effects with the drones becoming a bit louder in the mix. The climax of the track (and winter) has passed and the dawn of a new season is inevitable as the album ends in majestic winter synth fashion.

I’m really pleased that Inoriand has graced us with a new album of exalted, winter synth. One of the great artists of this sub-genre, Inoriand always creates a captivating landscape of musical textures and haunting ambience and it’s so easy to get lost in the compositions that are released. ‘Life Frozen’ is the perfect example of all of these elements working together to form the ultimate platform for a dormant, wintery escape. Eldest Gate Records continues their run of releasing premium music and Inoriand is without a doubt my favorite act from the label. If you’re into winter synth with elements of dark ambience, look no further than ‘Life Frozen’. Continue to support this wonderful label & artist and click on the link below to download this superb 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://eldestgaterecords.bandcamp.com/album/life-frozen

Hilyard Unveils Another High-Caliber Drone Excursion With ‘Division Cycle’

There is a reason why Cryo Chamber is the premiere label for cinematic, dark ambient music, as they consistently release stellar albums on a continual basis. Even artists such as Hilyard – that release other albums independently – seem to put out his best work under the leading label in the genre. ‘Division Cycle’ is no exception and it’s slowly becoming one of my favorite Dark Ambient releases of they year. Not only does it excel in drone modulations, but the cinematic quality is stellar and creates an addictive combination of mesmerizing tunes and emotional concepts, that demands multiple listens. Whereas 2018’s ‘Furthermore’ was a masterclass in Space Ambience, ‘Division Cycle’ is an exploration into an anatomical realm of grand design.

Lead off track, “Division Cycle” is heavy on the soundscapes in the beginning while a sustainable drone slowly builds. Synth effects provide a bit of melody while the trance-like forces maintain a powerful timbre. After several minutes, the track quietly (and slowly) descends into darkness, providing a dynamic introduction to the remainder of the album. Next up is the mesmerizing, “Equal Segments”. Not only is this my favorite song on the album, it is probably my favorite Dark Ambient song of the year so far. The layers of drones are extremely thick and they are positioned in such a way that emotions can be felt from their reverberations. A couple of minutes in, synth pads create a beautiful melody that is not only captivating, but equally serene. Although this track is just over six minutes long, I wish it were about fifteen or twenty minutes in length, in order to sustain that mindless state. “Of Hatred And Wrath” is an excellent follow on track as it continues the calming nature of the previous track, but adds a bit of depth and darkness to it as well. The flow of this song is so smooth and haunting, you’ll not want it to end, as it’s inductive of an out-of-body experience. Subtle soundscapes portray an ominous escape, but the over arching theme is relaxation of the mind and spirit. “Altars Of Warflesh” commences with a malevolent drone and theme-worthy soundscapes, as mischievous activity seems perpetual. The drones grow louder and closer as if destruction is imminent, but consoling synths & pads play dismal melodies that add to this daring adventure. “Feed The Earth” is another track of consoling drones but this time complimented by ghostly vocals. There is something eerie about this track that will leave the listener in total awe and unnerved at the same time. This is probably my second favorite track on the album and I could listen to this one over and over again and feel several types of ways with each listen. “Roots And Bones” begins with maniacal field recordings and minimalistic soundscapes over quiet albeit drifting drones. It’s as if you’re floating in a field of nothingness but headed slowly to a destination of importance, however as you get closer to the end, it seems to drift further away. The power of this music speaks in volumes with the variances of emotions that are created and observed with each listen. “Heartwood Reverie” contains bleak drones that leisurely builds in layers, while providing a stable platform to transform the mental state to another dimension. This is one of the most minimalistic tracks on the album, but it’s extremely alluring and conforms to the rest of the album perfectly. “Abandoned The Ramparts” initiates with ghastly soundscapes that fade into a spacey drone with a soft water-like field recording in the background. As the field recording dissipates, the drones become more existent and remain consistently hypnotizing until the completion of the track. The final song on the album is “To The Warmth Of Pyres (feat Dronny Darko & ProtoU)” and it’s an immaculate way to close out this impeccable album. Beginning with soothing field recordings and soundscapes, layers of synths & pads start to release audial tension as an audible dreamscape begins to unfold. The superb collaboration of these artists can be felt in each elongated note as a quest for solace and darkness unravels. So adventurous, yet remaining calm and pretentious, this is such an amazing track to close out the album as it properly summarizes the approach of all of the previous tracks.

Hilyard’s second album on the Cryo Chamber label is much different from his initial offering, but it speaks in volumes of the type of artist he is. Whether it’s lighter ambient (that is mostly presented on his own Bandcamp page), Space Ambient, or the haunting drones of ‘Division Cycle’, Hilyard is a seasoned ambient artist that has the skills needed to release countless cinematic adventures. Not only is the cover of ‘Division Cycle’ a proper representation of the album, but the music contained within is some of the best Dark Ambient/Drone music released this year so far. I highly recommend checking out this album so please click on the link below and support Cryo Chamber and ‘Division Cycle’ by Hilyard.

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

Links:

https://cryochamber.bandcamp.com/album/division-cycle

Eyre Transmissions XI – Interview With Medieval Dungeon Synth Artist, Pale Castle

If there is ever a musical venture that represents the desolation of solitude while remaining steadfast to the culture of true Medieval Dungeon Synth music, Pale Castle would fit the bill perfectly. Creating a sound that mirrors emptiness and isolation, Pale Castle excels at composing bleak arrangements that casts the listener back to an ancient time of fierce commonwealth rivalries, mystical imagery and mythical adventures, while presenting a soothing atmosphere to get lost in. I recently had the pleasure of communicating with the mastermind behind Pale Castle to gain more in-site to this amazing project and what adventures are to come.

1. First of all, welcome to the Dungeon and thank you for this interview opportunity. The name ‘Pale Castle’ is so intriguing to me because there could be so many meanings for its being. How did you come up with the name and what does it mean to you?

You are very welcome. This is first time I have spoken to the outside world and I thank you for the opportunity. The timing was providence as I have now finished a journey from a dark place of inspiration. 

The name is a place, the place is where I once dwelt. The castle was not always pale but now it fades. Some say it’s no longer there….I have not seen it in ages. 

The Pale Castle is where memories once grew but now fade away. Another musician I admire once said that he could “build a castle with memories just to have somewhere to go”. That is how the listener could interpret ‘Pale Castle’…as a fortress of memories.

2. The music of Pale Castle is – at times – very bleak and dismal, presenting a true Medieval perception. Was that the vision for this project?

Thank you, for that is what I sought to convey.

The vision is that of solitude and adventure. 

A personal journey that I would like to share with my listeners. It’s my path in life to seek mystery and find a higher purpose though music and the realms it brings me to. 

My photography on the Pale Castle Instagram heightens and documents this passage.

Simply put though, the vision is a tale as old as time itself. Loss, gain, death and rebirth. The songs are fragments and imprints of my torment and occasionally my joy. That is my vision, a projection of my emotions both jovial and melancholic.  

3. I really enjoy the minimalistic aspect of the compositions, especially on the S/T album. What’s your typical routine for creating and tracking a typical Pale Castle song?

Sometimes I wander the hills and valleys and there I find inspiration in the wind and the night’s sky. There, when I’m Fortunate enough, I am hit with a burst of creative energy and begin to whistle or hum a few chords and melodies. I take that energy and store it in my mind. Then, when I return to my quarters I center myself and begin to preserve it. The process varies depending on the ambiance or sound I ultimately desire to achieve. I use a few different instrument and I enjoy sketching out a kind of story with a single motif and then expanding from that as my mood commands the direction of the track. A lot of the sorcery happens in the mixing and mastering phase of an album. 

I prefer minimal arrangements as it allows for the listener to focus on the emotion of the piece. Powerful chords and melodies and can be repeated with benefit, similarly as a steady fire can warm one’s bones.

4. My favorite track from the S/T is “Wall Of Blood Crosses”. How did you amass such an ethereal sound for that track and what was the inspiration behind it?

Plenty of analog reverb and tape delay was used to get that tone. It was layered several times as well. The inspiration came from the story that the album tells. As you can see, the album has a linear narrative that is told through the song titles. “Wall Of Blood Crosses” is the part in the story when I am wandering the castle and reflecting on my history and admiring the silver crosses filled with my family’s blood going back centuries. Imagine a huge hallway lined with such talismans all sealed with lead to keep them protected. 

That is the wall of blood crosses. Thousands of talismans filled with blood in a room that is most likely no more. “What happened to the crosses?” one might ask. 

I no longer care anymore. 

5. It’s impressive how your songs can transition from ominous to harmonious on a whim. Is there a particular concept in mind for these types of arrangements?

The concept is that those are reflections of life and how things change quickly, sometimes for the better, sometimes for the worse. Especially when traveling. Dungeon Synth to me was always about the idea of traveling and adventure even if only in one’s mind. 

And even in the mind the mood of one’s thoughts can change without warning. This can be an emotional spark in music when done with feeling. I like to catch my listeners off guard and so that maybe they are slightly startled and taken back if for only a split second. That is not unlike when an animal or a force of nature enters your path while wunderlusting on an otherwise clear road. 

6. Moving on to ‘Sorrowful Memories’, it still contains the dreary aspects of the S/T, but this time around there seems to be more cinematic elements. Was it a conscious decision to branch out with a grander sound the second time around?

The initial offering captured in the self titled release is all about the castle and the stories within it’s boundaries. ‘Sorrowful Mysteries’ is the adventurous spirit the was freed once I was able to separate my soul from my body. On the first tape I created a cold and confined sound to illustrate the oubliette like atmosphere, in ‘Sorrowful Mysteries’ I wanted to convey the feeling of traveling and discovery. So yes, it was a very conscious decision to create a more cinematic sound. The listener should feel outdoors and upon a means travel. 

7. Your songs carry a lot of background ambience that is not only soothing, but an important part of your sound. Have you ever considered doing a Dark Ambient project as well?

I have done several Dark Ambient projects over the years. My very first recordings in the late 1990s could be considered Dark Ambient. 

I was only a teenager when I started recording music, nonetheless I believe that Dark Ambient was my first inspiration for recording my own compositions. There are artifacts of these recordings and others that were produced throughout the 2000s and as recently as last year. I will not name them here but there are ways to find these projects. 

That was another life. Still, fragments remain.

8. “The Gathering Of Spirits” is one of my favorite tracks from ‘Sorrowful Memories’ as it seems to have that gothic, romanticism influence. What were some of your influences during the recording of this album and this track in particular.

When my father died in 2011 it was in our family home and many souls gathered there, myself included to witness his death. Convergences such as these are a sort of phenomenon that occur with little or no flow of information, as if to say that the spirits inform those who need to know. The spirits also gather with each other for the preparation to carry one’s essence to the land of deeper shade.

A family friend one night once witnessed an eerie green ball of energy hover over my family’s land, he and I both believe this to have been my father’s power manifested as it was right before he fell ill. After my father’s body grew cold and rigid other visitors arrived.

They brought flowers to adorn his corpse and helped wrap him in sheepskin pelts. 

Some told us that they knew not of his demise and were only guided to the estate by an urge. Others came wholeheartedly to pay their final respects. He was the sorcerer and the final track is about his death as well. As far as musical inspiration for that track I’d say that perhaps it was inspired by my memories of that fateful night.

9. Speaking of influences, let’s talk about your Dungeon Synth beginnings if we can. When did you first start listening to the genre and who were some of your favorite artists?

My first encounter with Dungeon Synth is difficult to pinpoint as I have been listening to unusual music for quite awhile and definitely heard “dungeon” like music on the odd college radio stations at night in the 1990s. 

With that said though I would say that my first introduction to traditional Dungeon Synth was though listening to Black Metal interludes from bands such as Dimmu Borgir, Burzum, Noktunal Mortum, Summoning and also more avant-garde dark synth, especially Sopor Aeternus & The Ensemble of Shadows. That project definitely had a very significant impact on my musical path. I would actually recommend that your readers listen to ‘Songs From The Inverted Womb’.

I would also like to take this opportunity to share an experience I had upon listening to my favorite Dungeon Synth album for the first time which is ‘Fjelltronen‘ by Wongraven. As I recall I was laying in a pitch dark room and within the first few measures of the opening track I began to feel weightless and I drifted into a simi -conscious state of being. Throughout the rest of the album I experienced what could only be described as an “out of body experience”

After that I began to see Dungeon Synth as something very special. That was 2004. By 2005 I had began recording Dungeon Synth experimentations. Pale Castle is my first complete Dungeon Synth endeavor. 

There is a “je ne sais quoi“ about the genre that definitely matches my personality. 

Not in a dark and brooding gothic fantasy way, more akin though to my fascination with the past and of realms unfound or forgotten.

Loss, isolation, suffering, love and remembrance…those are the aspects of life that stoke the fires of the castle.

10. When did you realize that you wanted to record a Dungeon Synth album and at that time were you involved with any other non-synth based music projects?

I have been recording synthesized music since the 1990s and have been involved with a handful of black metal, ambient, experimental groups and solo projects over the last two decades, although as of 2010 I have been producing and recording only synth based ambient and Dungeon Synth. 

The idea for Pale Castle came to me in late 2019 as I began to see the future of “dark music” and it’s esthetics. The romanticism of old-school black metal, the re-discovery of what brought me solace and to be in a mental place where I felt I could give it a valiant effort. 

That is when the transformation occurred. 

I found the castle in the dark recesses of my mind. It’s with me now forever. 

And with that said, I will choose to remain quiet about those earlier recordings as I see them as part of an old life. Not that I am ashamed or not proud of my past but rather to exemplify my commitment to the future and to Pale Castle. 

11. Earlier this year you released the ‘Remember Together, Remember Forever’ cassette, which features both Pale Castle recordings. How is the cassette release doing so far and what do you think about the recent surge in cassette sales as a form of music release?

At time of this interview it is almost gone far as it’s availability on my Bandcamp merch page. 

So that is good, most importantly because that means it is being heard and shared with others and hopefully will bring some to tears, whether they be tears of joy or sadness, so long as they are not tears like those of a crocodile.

That is the goal of my music, to get a genuine emotional response, especially stimuli connected to memories and personal turmoils. 

Yes, the appreciation of the cassette tape as a collectible form of musical preservation is something that makes me smile. When the compact tape cassette was introduced in 1963 it was not yet a major competition to the vinyl LP, by the late 1970s though it was becoming a standard for music collections across the world. It remained very popular until the early 1990s when CDs, although introduced in 1982 we’re finally more affordable and the players portable enough to start the inevitable death of the cassette tape from a popular consumer prospective. That is what is endearing about cassette culture, that people choose to support artists who make tapes and collect their releases despite it being cumbersome and less convenient. I think the resurgence is also due in part by the current generation hearing about the old times of tape trading and the satisfaction of making something by hand. That is the thing about cassettes, they require just the right amount of patience to make at home but are not too expensive such as the case with vinyl and when compared to CDs, tapes are much more resilient. I have seen an uptick in compact discs as well though,albeit in other genres such as noise and ambient. To finish the subject, I will say that I think the resurgence of tape is an art in and of itself and that alone is a testament to the importance of the cassette’s existence.

12. What else is in store for Pale Castle for the remainder of 2021?

Currently I am recording new tracks for a 60 minute album titled “When Everyone Else Dies, We Won’t” Hopefully I will find the time to also design and make a few clothing items. 

Not only t-shirts, I’d like to offer some one of a kind garments and special items for my supporters. That is the beautiful part of this new golden age of independent artists, no longer do musicians and artists need the approval and favors of the gatekeepers to share their creative passions.

I plan to share many of my creations in 2021.

13. Have you ever thought about performing in a live setting or is Pale Castle strictly a studio project?

The idea of preforming Pale Castle live is something that intrigues me, it would most certainly have to be the appropriate location and setting though. An old church, a stone cellar or an actual dungeon. Short of a venue along those lines I don’t see it happening. If I were possessed to somehow play a bar or club I would probably loose my temper at the crowd and go from “dungeon synth” to “prison synth” 

No, If I were to perform it would have to be around a respectful audience in a somber atmosphere.

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

Thank you for the invitation and for providing me an audience so that I could share my thoughts regarding not only my music but that of the genre itself and with that I would like to say that Dungeon Synth is not a novelty genre to me and that it’s existence is very much rooted in history though various periods in human history. Growing up I often heard sounds that are not “synth” but most definitely of the “dungeon” I would like to say that Dungeon Synth and Dark Ambient as musical genres are two of the most important aspects of my artistic pursuit in life and that anyone considering releasing their recordings should definitely go forth and be proud of your creations. To all artists, take personal time to be alone with your thoughts preferably in the outdoors or more importantly where you as an individual feels the most tranquil. It is within that tranquility that you will find your most genuine ideas. I could ramble for an eon but I shall save that for hopefully a later time with you as I would be interested in a video interview in the future. In closing I would like to say thanks to you again and all hailz be to TYRANNUS! thank you for your music and inspiration! You are noticed and appreciated. 

– Bless all those who keep the candles burning and the fires lit. I feel your pain and I hear your voices in the night.

-Pale Castle

Links:

https://palecastle.bandcamp.com

https://www.facebook.com/𝔭𝔞𝔩𝔢-𝔠𝔞𝔰𝔱𝔩𝔢-111304390635373

https://www.instagram.com/pale_castle/

Ambitious And Hypnotizing, Dagmar Gertot Conjures An Enrapturing Improvisational Chronicle Called ‘Os Lacrimale’

I remember my first time experiencing Scott Walker’s ‘The Drift’ album back in 2006. For those that are not familiar, Scott Walker is a singer-songwriter that had a string of avant-garde albums late in his career, which were a heretical change of pace from his pop beginnings. At any rate, ‘The Drift’ (at the time) was one of the most mesmerizing recordings I’ve ever heard, and at times, it was downright terrifying as well. Fast forward to present times, and once again I am feeling the exact emotional state with Dagmar Gertot’s debut album on Cyclic Law, ‘Os Lacrimale’. Eight tracks of vocal and instrumental improvisations that invoke a sentiment of aimless wander and endless nightmares.

The merriment begins with the portentous “Iron Cradle”. Commencing with a single, unbridled note – that seems to be a fusion of a horned and stringed instrument – the vocals suddenly belt out with an inaudible presence, but present heavy Middle Eastern influences with regards to vocal control and technique. This is improvisation at its best, as there is a particular chemistry between the instrumentation and vocalist that will certainly resonate with the audience. Next up is “Non Healing Wound” and although it slowly crescendos out of darkness, a maniacal presence will soon unfold by way of chilling stringed instruments and mesmerizing vocal effects. This one is a slow builder and finds every aspect of the arrangement coming together in a deranged harmonic variance, while the vocal performance creates a segregated instrument that stands out all on its own. “Snake Dance” starts with an operatic-like vocal performance that assembles with layers of odd harmonies. Although just over a minute long, this track packs a powerful punch and truly showcases the talent of Dagmar Gertot. “Delirious” is one of my favorite songs on the album as it is as entertaining as it is mysterious. Vocals are, once again, perfectly layered and in the background, ritualistic instrumentation sets a bleak scene that is soon filled with Oriental influences and haunting soundscapes. “Two-Headed Roe Deer” begins with crackles and hisses of vintage tape loops, while random stringed-instrument screeches and off-key piano notes create a dismal soundtrack for the vocal performance that – at times – wanders off in the distance. “Pyromaniac” emerges as an a cappella track with soft, layered vocals and an underlying track of deep grunts and growls. Without notice, various instruments play in alliance, but with different types arrangements, as if they are out of synchronization and trying to find their way to a unified sound. Toward the end, the vocal patterns become more eccentric, as if anxiously finding a rhythm to latch on to for a continued aural assault. “Nude Metemorph” begins with choir like vocal harmonies being played in a dream state. As the vocals become more eclectic, the dream turns into a nightmare, intensifying the listening experience. The music for this track is down right dreary and the vocals are some of the most chilling to be heard yet. The final track on the album is “Anathema”. Starting with a refreshing vocal harmony of inaudible cadence, random piano keys create an abhorrent atmosphere that is sure to induce a trance-like state (if allowed). At times, it seems as if the vocals and piano are trading off, telling two versions of an intense story that has no words, but one that can be felt through the power of music and emotions.

Dagmar Gertot’s bold statement of vocal and instrumental improvisations on her first album, ‘Os Lacrimale’ is a magnificent listen and widely open for interpretation. Although I mentioned a comparison to the great Avant-garde artist, Scott Walker, in my opening remarks, Dagmar Gertot transcends any single genre or classification and doesn’t deserve to be held back by any barriers. Whether you’re into ambient, experimental, ritualistic sounds Or avant-garde, ‘Os Lacrimale’ will definitely appeal to your musical taste. I highly recommend this unique artist, so please head over to the Cyclic Law Bandcamp page, or click on the link below to download this amazing album.

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

Links:

https://cycliclaw.bandcamp.com/album/os-lacrimale