When it comes to Dark Ambient music, the name Onasander should come up when discussing the modern chieftains of the genre. With a consistent amount of captivating releases as a stand-alone producer, as well as a consistent contributor to many other releases, this is an artist that must not go overlooked (or unheard). With a new magnificent album (‘Dawn Metrics’) just released yesterday on the mighty Winter-Light label, Onasander is out to prove that his unique brand of dark, audial visions are as good as they come. I recently had the opportunity to interview the mastermind behind this great project and learn what the driving force behind his reign of terror is. Hope you enjoy this as much as I did putting it all together!
1. Thanks for taking some time out of your schedule for this interview. You’ve been busy this year with some amazing releases. Let’s start with ‘Under Unknown Stars’ released on Dark Odyssey Records. How did that album come about?
The idea for “Under…” came from my passion for Alien movies, not just the original quadrilogy but also the prequels. I thought of creating a space horror story using the sound of Onasander. I’m quite satisfied with the result.
2. With the space theme of this album, were there certain techniques you relied on to create suck a dark, immersive atmosphere?
In my opinion, the use of synths like the ASM Hydrasynth and the Waldorf Iridium, in combination with various software, made all the difference.
3. How do you know when a track has been completed and it’s time to move on to the next one?
Usually, my work sessions are short. If a track works, I stop working on it and let it sit for a few days. Then I come back to listen to it.
4. Congrats on your collaboration release with Alphaxone, ‘Futuristic Dereliction’, out now on Cryo Chamber. How was this experience working with one of the (other) greats of the Dark Ambient genre?
Mehdi is a great musician, perhaps the greatest in space dark ambient currently around. You can learn so much from him, and every time you listen to one of his elaborations, you’re literally blown away.
5. This album has such a broad sound that covers a large realm of the soundscape spectrum. What was the focus of the music on this release?
A dystopian vision of the future that touched on different genres and different sonic contaminations (like cyberpunk, for example); I think it’s very common in more modern dark ambient.
6. Whose idea was it to incorporate the Berlin School sequences on the track, “Time Fracture”?
Honestly, it was Mehdi’s great idea. In that wonderful track, I contributed by giving depth with the drones in the background.
7. Another release from earlier this year was the collaborative powerhouse, ‘Animic Atmospheres’, featuring yourself, Ashtoreth and Gydja. How did this creation come about?
The idea for Animic Atmospheres came entirely from me as a big fan of theosophy and anthroposophy, especially the works of Rudolf Steiner. I then chose some musician friends who were very close to an “esoteric” sound and definitely of a very high level.
8. There are some really dark tones on this album, dare I say ritualistic even. What inspired the bleak, tonal passages throughout this recording?
Definitely the idea of the relationship between man and the cosmos, theorized by the father of anthroposophy. We are nothing but “a thought that is thought” by unknown cosmic entities…
9. Throughout your recording career, what role has sound improvisation play?
It has played a predominant role. And it still does. I don’t consider myself a musician but a lover of sounds that I use to express what I have inside.
10. Do you already have a good plan, or set of ideas ready to go before you begin recording each album?
Sometimes it can be a book you’ve read; other times, a movie. Suggestions can come from literature, philosophy, or cinema. Very rarely do they come from other listening experiences.
11. Are there any specific synths or sound processors that are essential to your sound?
Yes, I use several synths like the ASM Hydrasynth, the Waldorf Iridium, the Moog Subharmonicon, Korg Modwave and several SOMA instruments.
12. How do you balance darkness with musicality in your compositions?
For me it’s pretty simple, since my idea of sound is essentially based on dark atmospheres.
13. How does your background or personal experiences help shape your music?
Very little, I would say. My personal experiences are quite distant from my idea of music.
14. With each recording, is there a specific story you’re trying to tell with your music?
For some records, I would say yes, like for “Under Unknown Stars,” for example. For others, they are just philosophical concepts put to music (“Cosmic Extinction”).
15. Is there a particular artist that influenced your passion for Dark Ambient music?
There are so many artists that I love but if I had to choose just one, I would say without a doubt Collapsar.
16. What are some things you hope to achieve with future projects or albums?
I hope to improve the sound I have in mind more and more; that is, to give a sound to the darkest aspects of the cosmos.
17. How important is performing Dark Ambient music in a live setting? Is this something that is a priority for you?
I don’t find it that important but I would love to play live.
18. What can we expect to hear from Onasander in the years to come?
Currently in my mind there are two orientations: that of “Under Unknown Stars” and that of “Cosmic Extinction”. My future sound starts from these two albums that I adore.
19. I really appreciate you taking the time to answer a few questions for The Dungeon In Deep Space. Are there any final words for those that will be reading this publishing?
I want to thank The Dungeon In Deep Space (this name is beautiful!) for hosting me and all those who have supported and continue to support Onasander and the side projects. Thank you very much!
It’s that time of year again, our favorite holiday is upon us. Of course, I’m talking about Halloween, and The Dungeon In Deep Space is back for the sixth installment of the All Hallows’ Eve Extravaganza. In a continued effort to bring you a few summary reviews of this years’ audial frights, I have selected five new releases that will do Halloween proud. Each of these recordings would make the perfect companion to you Hallows’ Eve scares. I hope you will enjoy these as much as I have and please support these amazing artists, as they continue to bring the best in dark music excellence!
1. Halloween Scene – The Last Trick Or Treater
Halloween Scene, the spooky, seasonal side project of Guild of Lore, is back for a second nightmarish installment of creepy soundscapes. Playing more like a soundtrack to a 80’s horror flick, ‘The Last Trick Or Treater’ comes packed with evil haunts and retrospective modulations. Each track precisely elicits a sense of fear as an anomalous entity stalks trick o’ treaters on All Hallows Eve. Some of the more terrifying tracks include, “Bad Things Between Backyards”, “Something In The Mist On Reaper Road” and “This Long And Frightful Night”. At nearly one hour in length, this is the perfect companion piece to your ghoulish encounters on Halloween. My favorite song on the album has to be “Show’s Over”. With its retro electronica vibe and tasteful usage of Berlin School sequences, it screams 80’s B-movie horror. Halloween Scene certainly knows how to create an audial encounter for the most menacing nights of the year and I’m here for it.
Just in time for Halloween, the ever-so-reliable (and consistent) force of nature known as Erythrite Throne has unleashed ‘Strigoic Myths’, a five track excursion through the darkest points of your imagination. From the seasonally-themed logo to the solid color album backdrop, you know the darkened season is upon us when Erythrite Throne graces us with this combo. As for the music, it’s everything that you’d expect from one of the Godfathers of Dungeon Synth; desolate synths, impending beats and a slab of melancholic darkness that would prepare even the ghoulish of entities for All Hallows’ Eve. The best example of this comes by way of the second track, “Tenebrous Whispers From The Night’s Fog”. Commencing with a looping, mesmerizing beat, Medieval incantations soon follow by way of haunting, modulated synths. As the song intensifies, periods of melodic wonder increases, thwarting this track into the catacombs of great bleakness. We can always count on Erythrite Throne to deliver the goods and this album is a stark example as such.
Mombi Yuleman, the distributor of all things dark electronica is back with a collection of Dark Ambient soundscapes, previously released on various collaboration albums. ‘Tales Of Lost Transmissions’ is the first of a two part series that focuses on the assemblage of early recordings and rarities and it’s just in time for Halloween. Producing a Sonic range of material from Dark Ambient to Psytrance and Synthwave, this material of a culmination of Dark Ambient tracks that emit an eerie resonance while paying homage to 80’s horror soundtracks. So far, my favorite track is “Ominous Hazards” with its completely retro vibe, thunderous synth pad arrangement and electrifying Berlin School sequences. Another favorite is “The Madness Of Alhazred”, as it absorbs classic B-horror movies aesthetics and adds a modern Dark Ambient twist – complete with haunting vocal samples and spooky narrations. This would be a great album to play loudly while handing out candy to the costumed humanoids. When you’re done playing this one, queue up the second album in this series, ‘Tales From A Darkened Corridor’, you won’t regret it.
Hours Of Worship is back with their multi-genre offering, ‘Death & Dying Vol. II’. Aggregating facets of Dungeon Synth, Gothic and Darkwave, Hours of Worship is making a bold audial statement that is equally fascinating as it is addicting. With a dreamy production and retrospective sound mix, the six tracks contained within compels the listener through a surreal journey of darkness and dismal proportions. Most of the tracks are hypnotically lethargic, like a slow emotional decay while offering a few upbeat songs that continue to be melancholic at the same time. Standout tracks include “Derelict And Ruined” and “Opaline Ashes”, while “Shattered In Aspect” is reminiscent of a track that could have been a part of The Silence Of The Lambs soundtrack – which isn’t a bad thing because that’s one of the greatest psychological thrillers of all time. In summary, I can’t recommend this masterpiece enough. If you love the musical aesthetics of the aforementioned genres, then definitely do not pass on this release.
Born From Pain is an unusual entity that resides on the outside of a variety of dark electronic genres. The project also has the dismal vision of rescoring classic film score to a more modern, gloomy output. This Halloween we are presented with a Dark Ambient rendering of the 1932 film, Vampyr. Consisting of four, foreboding modulations that intertwine possessed tape loops and ghastly soundscapes, this is a droning experience that exhibits an angst filled void where there is no escape. The final track on the album, ‘Here, In Seclusion’ is a near fifty three minute long journey through the macabre, where desolate ruins provide the abhorrent landscape for a one-way trip to hell. The lo-fi production also adds a layer of dread, enhancing the repulsive nature of this audial dive to deep, distant voids. Born From Pain never fails to deliver and the projects vision of extreme musical obscurity makes this a promising album.
Chances are, if you’re reading this, you’re already familiar with the music and fantastical tales of Guild of Lore, but if not, you’re missing out on one of the most revered acts in the genre. Not only is the music consistently outstanding, but the conceptual worlds and landscapes paint a picture of Medieval admiration and enchantment. As if that was not enough, Lamp & Dagger was created and offers a assortment of hand crafted candles, with mystical scents to match a variety of darkened realms. I recently had an opportunity to interview the mastermind behind Guild of Lore to discuss the magnificent force that drives these projects (and several others) to their peak consummation.
1. What an honor it is to have this interview with the great Guild of Lore! How have things been going for you lately?
Things have been going swiftly. Last year was a crazy roller coaster for me, both in my personal life and in music. Felt like a constant mixed bag of good and bad, which I won’t get into. But I say “swiftly” because it felt and continues to feel like time is just moving too fast for my liking. Which I suppose comes with the fact that I’m approaching 50. I am planning on relocating to another state this year, so I imagine that won’t be changing anytime soon. All in all, doing alright.
2. Take us back to the inception of this project. How did you come up with the idea for Guild of Lore and what influenced the name?
Seems like ages ago. I had been working on another project over the Summer of 2018 and was pretty frustrated with it after a couple of months. I kept beating it, twisting and turning it and pulling my hair out trying to get something out of it. To the point that every time I’d try to work on it, I was just making it worse. So somewhere in October, I finally chose to drop it completely, archive it and work on something totally different. That particular end of the year was a cold one. A lot of rain, lots of snow in the mountains and grey and foggy days. Pair that with playing through Skyrim for an umpteenth time and listening to a lot of neo-folk and dark ambient stuff and I had the necessary ingredients for what was to become GOL. Which led me to writing Winterstead and writing differently than I had been in the past. Really taking in my surrounding atmosphere and channeling the type of feelings that Winter can bring. I allowed myself to write freely without expectation, being more influenced by these images of places I had drawn up. I was making a lot of the art at the same time I was recording. As far as the name.. It took a while to fall into place. I probably had 50 different names I was playing with, not one of which I can remember. But both the words Guild and Lore were peppered in there and if I remember right, I looked at them all one night and saw those two words together and it just locked in. I knew that I was building a world which would be rich with lore and thus the Guild was born to record such lore and stories.
3. You’ve created quite a few albums that are in the Winterstead realm. First of all, what a fascinating and creative world it is. How did this concept come about?
As I said, it all came about simultaneously during the Fall and Winter of 2018. I was writing its background and short stories while writing the music and drawing the art all together. I have a deep love for these two seasons, so they played a big part. But Winterstead quickly grew on its own. To the point that I would sit back a lot of times and ask myself where this or that came from. It would just develop itself. I think that’s when I first realized that this world was much much bigger and that the territories of Winterstead were just one massive part of that world.
4. The first Guild of Lore album, ‘Winterstead’ came out in 2018. Did you have any Dungeon Synth projects going on before this?
No I didn’t. I mentioned earlier that prior to writing Winterstead, I had been working on an album from a different project. That was for my project called Breather1, which ironically, I had created years prior as a means to take a break or “breather” away from whatever project I might be working on at the time. And honestly I don’t even remember what I was working on in early 2018 that steered me to work on a B1 album. But I do find it very peculiar that the Breather1 album that I was working on to get away from some other project ended up frustrating me enough to put it down to create an entirely new project out of thin air. Perhaps divine intervention? Perhaps the intense effects of the elements. Whatever it was, it helped give birth to my first Dungeon Synth project. A point of interest for those curious. The B1 album that I was working on at that time would later end up being Studies From The Outer Worlds. Which I went back to and completely deconstructed and rebuilt at the beginning of 2020.
5. Musically, Guild of Lore has a vast instrumental sound. Do you use a mix of electronic and acoustic instruments?
Yes. But for the most part the majority of it is electronic. I have a lot of acoustic instruments that I am partial to within my DAW. However, on the analog side I’m a bit of a percussion junkie. So there are percussive instruments throughout the discography that have been recorded direct and to analog tape. A lot of which I have sampled as well and integrated into my workstation. Ideally, I would love to own all of the acoustic instruments that I use physically such as the dulcimers and lutes etc. But limited space and life realities have kept those dreams at bay for now. Hopefully the new Guild headquarters will have plenty of space to accommodate new instruments.
6. My introduction to Guild of Lore was the 2019 release, ‘Autumn Massacre’. This is still one of my favorite Dungeon Synth releases. What was the journey of this album about?
Well, my love for Halloween and the Autumnal season played a huge part. And I had already been chomping at the bit to introduce a part of the world that had all of the fantastic things that Autumn brings. Much the same way Winterstead was written, Autumn Macabre took shape quickly and really wrote itself. I took a lot of inspiration from my childhood growing up in Visalia, my home town. Which ended up translating pretty heavily to both the music and the artwork. Foggy cornfields and pumpkin patches. Groves of oaks and walnuts. A countryside filled with mystery and decrepit graveyards unattended all while a sense of foreboding darkness lingers on the edge of sight. The foothills at the base of the Sierras used to be prime for exploring and finding relics and ruins, even if they weren’t that old. Imagination can take you to many wondrous places. The journey, to answer your question, was just that. A romp through all of these places I’d imagined over so many years. Some dark and frightening. Some not so much, but those came out more on Bohollow.
7. Is the ‘Autumn Bohollow’ release a continuation of this concept? If so, do you have any future releases that will continue this story?
It is. Over the course of writing these albums, it became very clear to me that there were ongoing stories happening in different locations of the world which would lead to multiple albums just based in those locations. Some even overlapping and converging like the way Bohollow ends for instance. Calling for a return to Winterstead, which we have now done and laid the groundwork for yet another Winterstead album to continue that part of the story. However, when concerning the Autumnal lands, the story is far from over. In 2022 I began writing the 3rd Autumn album, which I had very briefly teased at releasing that year. I quickly retracted that idea though. I was approximately 16 tracks deep with a written story that was growing bigger and bigger everyday. I knew there was no way it was going to be ready by October. So I made the decision to throw a curveball into my discography and switched gears to write Night of Halloween. After releasing the Portals albums, I figured why not go through a portal to 1988 USA and put out a Halloween synthwave album? Do some spooky tongue in cheek narrative and give it a 4/4 beat. It was a fun one to make indeed! All the while, I continued to write the 3rd Autumn album and the story kept growing. When I first started, I had a lot of plans to have a full narrative with multiple characters and dialog. And that may still happen, but I’m not too sure, the story is already beyond that of short story length. As I continue to write it, I find myself considering releasing it as a printed book. Which I have long wanted to publish a GOL book as it is, so this may very well be the first to come as it were. The album would obviously need to come at the same time, so as you can imagine it’s a rather large undertaking. I dare say, more so than any other album I’ve written.
8. Tell us how you got involved with The Spine of Night project. The music and the movie were both incredible. How rewarding was this project to do and complete?
I was contacted by Philip in late 2019 after he had listened to Autumn Macabre. He asked if I would be interested in writing a piece for a film that he was working on. Sent a few details about the movie and what he was looking for and I in turn said yes of course. I was excited to work on a soundtrack for film, however the timing of the offer came when I was organizing Dungeon Siege West and preparing to fly to Seattle. You could say my plate at that time was pretty well stacked. Regardless though, I managed to work on the music for Spine of Night even while doing DSW. Which I believe I completed in January or February of 2020. I ended up recording seven tracks for the film, four of which were used. I really enjoyed writing for film and the experience was invaluable. It honestly made me want to find a producer to do some GOL work. Maybe a GOL movie or a series? You never know.
9. Do you know if there will be a Part II for this as well?
That I do not know, I suppose it’s possible. I’m sure a lot of people would love to see more of that world, myself included.
10. The latest Guild of Lore album, ‘Return To Winterstead’ was a surprise Christmas drop. First of all, THANK YOU! What made you revisit the Winterstead theme?
I knew early on that there would be a return to Winterlands and Bohollow is meant to segue into that return. As I mentioned previously, this album was to lay the groundwork for another, exposing some new locations and to give the listener a welcome back into the snow. But as we know from the journey in Bohollow, all is not well in Winterstead. The Macabre has grown and spread to the snowy land and has given reason for a call to arms. The album was written much in the same style as the original was. Winterstead has always felt more stripped down and organic to me. I opted to use minimal field recordings and used the soundscapes as interludes so that it was more focused on the acoustic songs for the return. These to me tell the stories of this land and help to paint a vivid picture for the listener.
11. I’d like to talk a bit about your Lamp & Dagger label. What a unique concept to not only release some of your other musical projects, but your very own candles as well. How did this endeavor come about?
I am a candle fanatic which has led me to spending a lot of money on them over the years. At one point I stopped and thought, it’s got to be cheaper just to make my own. From there, I fell head first down the rabbit hole. Started ordering supplies and learned how to make them by trial and error. This and the label all sort of came together at the same time. Friends Fen Walker, Sombre Arcane, Shrouded Gate, FVRFVR and Halm had all been artists that I enjoyed, who in talking with had expressed interest in releasing physical material on the label. And I wanted to corral my DS projects under its umbrella as well, keeping with the same level of physical releases that I had been doing with GOL. Pairing the candles with physical releases was something I’d been wanting to do as a form of further immersion for the listener. Having the artwork, the music and the scent of the places they’d travel you to helped to accomplish this. Brendan Elliot became a big part of this as well. His artwork is hands down some of my most favorite out there and the paintings he has done for L&D definitely help to create fantastic places for the listener to visit.
12. I’m also a fan of your Pathworn Pilgrim project and it’s showcases a different creative space than Guild of Lore. How did this project come about?
Pathworn was created simply out of my love for The Elder Scrolls. My introduction into that universe was through Morrowind years ago, and has long been a favorite place to revisit. Equally, Cyrodiil and Skyrim both get revisited often each year. Pathworn acts as a means of tribute to these places and looks to expand even further on the musical aspects, giving the listener yet another perspective therein. It’s a project that has been received well within the community and that I very much enjoy working on. Many have asked whether there will be an Oblivion based album, to which I will answer, yes.
13. The Lamp & Dagger “Halloween” releases were incredible too but last year, you created a separate page for Halloween Scene. Why wasn’t that one release on Lamp & Dagger.
I loved This Tape Is Haunted one and too. Aptly named by my friend Brenden, who was loosely putting a spin on the old “This Magazine is Haunted.” The artists on those compilations did phenomenal work and I really enjoyed putting it all together. But this past year I had to come to a decision on whether I was going to continue with it or not and ultimately chose not to. The story for those two albums was pretty straight forward. Making your way to a haunted house as well as the surrounding areas and then actually exploring the inside of the haunted house. It seemed proper to leave the two at that. Though as I have said before, I love Halloween and I love Halloween music. Especially the old sound FX cassettes from days long gone. I used to love collecting those in the 80’s no matter how cheeseball they were, I’d have a bunch lined up for listening throughout October. So came Halloween Scene, which is essentially an extension of the idea that started with This Tape Is Haunted. The project intends to be an audio magazine of sorts with one release per year during the witching season.
14. Will you continue to release annual Halloween albums?
I fully intend to!
15. In 2022, you released a Dark Noir/Dark Jazz album under the moniker, Radio Roadhouse that loosely pays tribute to Twin Peaks. How did this come about and will there be any more releases?
I have long been a fan of the work David Lynch does. But beyond anything he has done, Twin Peaks remains my all time favorite. Before the grand invention of the internet and streaming services, I used to have a marathon once a year where I would just soak up all the Twin Peaks I could. These days, with it readily accessible, I find I go back even more. I watched a lot that year as well as the previous, which ultimately led to me wanting to do a tribute. I’m a big fan of all things jazz and I love the moods that jazz noir can set. Obviously Angelo Badalamenti was a huge influence in that sector, Bohren too as well as my old friend Manet. I really just wanted to expand on some of the things that I loved most about this place. Everything from the campy cheese to the down right dark and scary. And before I knew it, I had an album. Which I quickly had to put a lid on, because it was growing way too fast in track count. Originally it was meant to be a one and done project, but I’m not so sure now. The desire to do more jazz and jazz noir comes and goes often with me. And it has a tendency to leak into other projects a lot. You can find it especially in B1 and even GOL.. So I may end up going back to Radio Roadhouse just to fulfill that need and expand more on some Twin Peaks ideas.
16. I can’t end this interview without mentioning Breather 1 – the dystopian-based, chillwave/synthwave projects with a handful of amazing releases. What brought about this project?
Breather1 was originally intended as an escape for me. Something to switch gears and get away from other projects I might be working on. I learned that it was good for me to have multiple projects to bounce between so that I would encounter less writer’s block and tunnel vision. It was also my excuse to do sci-fi/space music, something that at first I didn’t have to take too seriously. That began to change after the Outer Worlds album when it really started to develop a more synthwave/cyberpunk direction. With no intention of putting it into a box of course, the project still remains loose to me, without boundaries. But it has become pretty evident in direction.
17. I absolutely loved ‘The Noodle Bar’ and am hoping that ‘The Sushi Bar’ will be a future follow-up (LOL). Do you have plans to continue this synthwave endeavor?
I think it’s inevitable that the project is going to continue down this path. I like the material and the world that it’s sitting in right now. And I have often thought about doing a follow up to Noodle Bar, perhaps another mystery that takes place in this dystopian city. But we shall see.. I also would like to expand further into another Drive album, which is something I really enjoy working on. I like solo drives at night with minimalistic, repetitive almost drone synth music playing. I used to do that a lot. Go find some roads on the outskirts of town and just get lost driving. It’s good therapy and helps to clear the headspace.
18. What are your musical plans for 2024? Do you have any physical releases (cassettes, CD’s, etc.) planed as well?
Yeah, this year is going to be very busy for me. Firstly, preparing to relocate to the state of Texas will be a pretty big venture. My wife and I have spent the past year working on this and even spent some time there last Spring to scout locations. It will surely be an adventure with our three dogs, five cats and the possibility of even bringing along a couple of strays that we take care of. I know it’s not the most ideal place for someone who is a Fall/Winter lover and is used to having access to a massive mountain range. But as they say, change is good and opens new doors. And with the recent surge of DS artists and live shows happening in TX, I’m really feeling optimistic about the move. This is obviously going to directly affect everything I do from L&D to writing music. I’m hoping that once settled I can get back to work on both as I am way behind on physical releases. And I get asked a lot about that. There are plans to release the albums that I have done over the past year physically. When it will happen and in what capacity I just don’t know yet, which I imagine is just as frustrating to fans as it is to me. But rest assured, these things are constantly on my radar.
19. I really appreciate your time and most of all your music and friendship! Do you have any final thoughts for those that may be reading this interview?
I would very much like to express my eternal gratitude to all of the folks out there who continue to listen to and support what I do. None of this work would exist without them. So a very big thank you to all of you. And a huge thank you to the dungeon in deep space for everything that it has done and for having me here for this interview. This site has been an instrumental place for getting the word out on dungeon synth and dark ambient that people might not otherwise know about. Much respect to you for that! I am looking forward to this new year and to all the new adventures that it brings!
This was another fantastic year for Dark Ambient music. Not only were there many releases from well-known artists, but there were many great releases from up and coming artists as well. That being said, I was a fan of so many Dark Ambient albums this year, that it was almost impossible to come up with a Top 10. I could have easily had a Top 100 but it would have taken me forever to compile and write about each of them. After much thought (and a few changes along the way), I’m happy with this Top 10 list and hope you enjoy it as well. If some chance you’ve not heard any of these projects, I highly recommend them. Happy readings, Happy New Year and I already can’t wait for 2024!
10. Monasterium Imperi – Sanctium Choir Collection
Scorpio V has released four extremely impressive albums under the Monasterium Imperi moniker this year but ‘Sanctium Choir Collection’ is the grandest of them all. Over two hours of bleak, Gregorian chants over haunting drones is exactly what I love about this project and ‘Sanctium Choir Collection’ delivers in a monumental way. In all honesty, I wish this album was about four hours long but the seven epic tracks contained within will do just fine. Perfect for meditation, background noise or sleep music, I can’t recommend this one enough. Even though it’s only been out about a week, it definitely deserves a spot on my year end list. Don’t sleep on this one!
Infinexhuma released ‘Denown’ back in March and it’s been one of my go-to Dark Ambient albums ever since. Featuring a murky blend of industrial noises and immeasurable drones, this album almost has a ritualistic essence to it. This intense collection of colossal modulations is – at times – downright terrifying. There are bits of sinister vocalizations that will have you checking the perimeters for evil entities and I wouldn’t recommend this to fall asleep to, unless you desire the most extreme forms of nightmares in existence. Highly recommended for fans of more extreme forms of Dark Ambient music.
Scorpio V’s second entry in this year end list is for his bellwether project, Metatron Omega. Released on the mammoth Cryo Chamber label, ‘Kataphasis’ continues a long string of Metatron Omega albums that emphasizes Dark Choir chants and haunting ambient textures. In addition to the elongated droning modulations, there are some beautifully melodies throughout that adds another dimension to this imposing offering. Chances are, if you’re reading this article, then you’re already aware of this massive project and the consistent vibes of the six releases available on the Cryo Chamber label Bandcamp site; but if you’re not familiar with Metatron Omega, I highly recommend ‘Kataphasis’ as a starting point.
Dev-I-Ant is another amazing project that has a pretty consistent catalog of sinister offerings. From the opening modulations of ‘A Place Of Warmth And Tears’, I knew this album was going to be a malevolent journey into the depths of darkness. From terrifying soundscapes throughout and the horror-like theme that spews from every track, there is no way that I could leave this masterpiece off of my year end list. If your aim is to be aghast while experiencing Dark Ambient music, then look no further than this album and be prepared for a frightful encounter.
Sonologyst excels at releasing masterful Dark Ambient albums that build upon isolationism through elongated drones and minimalist haunts. On the projects latest effort, ‘Shortwave Spectrum’, the intonations go above and beyond than ever before. Featuring over ninety minutes of ghastly sequences that are reminiscent of sounds that may be heard at an abandoned communication station, these tracks provide the full experience of abandonment and psychotic terror. Although not as ominous as other releases in my collection of Top 10 releases, there is an everlasting presence of dread that has an equivalent effect. If nominal Dark Ambience is your thing, then the works of Sonologyst will be right up your alley and ‘Shortwave Spectrum’ would be the perfect starting point for diving into this eerie style.
The third and final entry for this Top 10 list by Scorpio V is the enthralling, latest chapter of raw, Gregorian Chants by Eshaton called, ‘Pneumos’. Consisting of a single, thirty four minute track, ‘Pneumos’ builds upon coarse production efforts, grainy synth modulations and persistent dark choir effects to deliver an ancient – almost Medieval – sound that is consistently bleak but with an emotive posture. As Scorpio V continues to expand his unique sound fit for a fantastical universe, Eshaton is quickly becoming my favorite project out of all of his endeavors. Even fans of Dungeon Synth will become drawn to this effort and appreciate this massive sound for what it is – dismal and introspective.
I continue to be astonished by the consistent output from Blackweald. Not only are the albums filled with dreadful, Dark Ambient soundscapes, but the theme choices and album length are a huge undertaking as well. ‘The Fermi Exhibit’ is over five hours of unhinged, maniacal ambient music that contains bits of Space Ambient, Ritualistic tones, industrial Ambient and Isolationism all wrapped up in a single release. Additionally, the use of field recordings and demonic effects are prevalent throughout, making this a true Dark Ambient masterpiece. My favorite track is the one hour, forty four minute long “Vast Emptiness”, as it is a Space Ambient showcase that goes from nominal tones to penetrating horror and the listener gets to experience the dark unknowns of doomed space travels. Don’t pass on this immaculate offering.
Stars Without Light is a completely new listening experience for me and I was immediately hooked when listening to ‘Beneath And Before’. Even though this is the first album from this project, it’s easy to identify that the music contained within is the product of a veteran Dark Ambient musician. From crisp drones to apocalyptic soundscapes, this is for certain, one of the darkest offerings in my Top 10 list. At times, it borders into complete noise terror with complacent Industrialism, with a surprising ritualistic twist, and other times it sways through chaotic soundscapes that are equivalent to vicious nightmares. Even though this offering is just under thirty six minutes, you’ll feel completely drained of any comforts upon the first listen. This is a brilliant release that must be heard by all fans of Dark Ambient music.
If you’re not familiar with the Planetary series by Ruptured World, then you’re probably living under a rock or are not familiar with Ambient music in the first place. All jokes aside, This series – which consists of four releases – is an enthralling experience that has a complete story narration that is just as exhilarating as the music. In the latest installment, ‘Xenoplanetary’, Ruptured World goes all out to provide one of the best listening experiences ever recorded and – in my opinion – the best chapter of the Planetary series. The music, which is completely captivating and full of trance-induced emotions, plays on loop until the listener is completely entrapped. Then, the haunting narrations of Alistair Rennie will send you spiting into an otherworldly experience like no other. Tracks like “The Cruel Darkness” and “The Daze Of Foreboding” are so good, they’ve remained on repeat since the album was released in January.
God Body Disconnect is one of the most consistent artist on the Cryo Chamber label and whereas his albums has mostly a dystopian feel to them, I find myself drawn in by the simple (and sparse) narrations that provide a huge amount to expression to each release. However, ‘The Weight Of Regression’ is a monumental achievement in multiple ways and this seventy six minute endeavor is my favorite Dark Ambient album of 2023. Not only are the dreamy synths still present throughout, but the addition of percussion instruments provides a Dark Noir texture which ultimately emits a potent sound that is highly addictive. “Remnants Of A Soldier” is almost like a Post-Rock track that hypnotizes for over eleven minutes, while “Dosed And Dreaming” is one of the most calming experiences on the entire album. All in all, there is a lot of variety on this album that gives it the ability to remain fresh and relevant for a long time to come.
As I continue to explore the depths of Ambient music, I often find myself amazed at the talent that is out there. Daily, I dig through the trenches of Bandcamp, in search of something new and innovative. Other times, it’s chance encounters on social media that brings in the amazement. My introduction to Anser Flare was the latter. Where as a lot of Ambient and Dark Ambient music slowly builds in layers, creating songs of epic lengths, Anser Flare takes a more modest approach, creating celestial incantations that are shorter and often times more lively. I recently had the opportunity to have a discussion with the artist known as Anser Flare (now simply known as Anser), to find out what this project is all about. Hope you enjoy this interview and please check out the fascinating works of Anser!
1. Thank you for taking the time to answer a few questions for The Dungeon In Deep Space. Let’s start with the origins of Anser Flare. How did this project come about?
I was originally interested in doing something more minimal than my old project Madrigals. It made sense to keep the styles separate as in July ’22 I was in the middle of recording a DS split.
2. Your first release was ‘Gnosis’ back in September of 2022. I find a lot of musical influences on this recording and it transcends the thresholds of just Dark Ambient. Who were some of your influences at this time?
Gnosis was heavily inspired by Aphex Twin, Kraftwerk, Prurient, and some of my dark ambient collaborators on Umbra Vulgaris such as Sylvanum and Narbaiz. Gnosis was about a young man who leaves Earth after it’s rendered mostly uninhabitable by a meteor. There is a full story but lately I’ve paid less attention to shaping the narrative.
3. After the ‘Gnosis’ release, you had a track on the ‘Falling From A Star’ collaboration. Can you talk a little about that project and how it came about with the other artists?
This split was fairly spontaneous. Aradias Kingdom and Fenrir both expressed interest in a “space ambient” split after they had original tracks on UVR’s “Shades of Dark Ambient V2”. My comfort zone leans more to the “pure dark ambient” side with less percussion or overt DS.
4. In June of 2023, you released ‘The Ethereal Hours’, which is another stellar musical journey that branches outside of the ambient genre more than ever. What led to the inclusion of these elements?
Thank you for your kind words! I have always been a big fan of 80s electronic, its revival with outrun/retrowave, and needed to step out of the comfort zone and make something pop fans might like. “Can You See Heaven” came about in trying to channel the 80s. As well as hearing The Weeknd in every shop for over a year and needing to get those songs out of my head!
5. I really dig the track, “Space Habitation” as it perfectly sums up the discordant and sonic journey for this album. What’s the story behind this 8+ minute track and is this longest song you’ve produced to date?
Space Habitation is the longest track across all my projects so far, yes. At this point in the story, the main character has left earth for good and lives permanently on a space station closer to Mars.
6. In October of 2023, you released the ‘Apostate’ album and it’s more of a Dark Ambient adventure, filled with a good amount of celestial drones. What influenced the soundscapes on this album?
“Apostate” was influenced a lot by Mortiis and Burzum, but without high fantasy reference points. Where the previous album was more extroverted, I tried to create a very subdued, solitary feeling. It also basically ignored the story written so far.
7. In my opinion, the track “Reincarnate” is some of your best work and has a minimalistic quality that can easily be built upon. What’s the chances of releasing more works of this nature?
Very high. One of the Logic synths “Haunted Castle” from that song makes its way onto each release at least once.
8. I know that 2023 is coming to a close but do you have any more releases planned for the immediate future?
Nothing immediate. There will be another full-length from Anser in mid 2024.
9. How about collaboration efforts? Is there any more of those in the works?
You might know that I play synths in the Dungeon Synth project “Deabruen”. I consider that a long-standing Anser-Narbaiz collaboration. But no splits planned at the moment. “Ethereal Hours” will also be out on cassette this winter from Fantasy Audio Magazine, and “Apostate” from Umbra Vulgaris on November 17.***
10. I know that for many independent artists, the Bandcamp platform has been extremely reliable (up to this point) but do you release music on any other platforms, including physical releases?
Bandcamp is the main way. All the tapes and CD-R’s of Anser are available through UVR on Bandcamp and Discogs, and for streaming on Spotify, Apple etc.
11. You’ve mentioned Umbra Vulgaris a few times so far. Is this a label that you put together? If so was it intended only for your own projects or was it open to other artists as well?
Yes, UVR was an idea dating back to early 2021 as a way to release my own music on CD or cassette at low cost. There have been multiple people tangentially involved behind the scenes but it’s always been my label. It was open to other artists from Fall 2021, but with an emphasis on split EPs and albums, such as those with Sylvanum, Narbaiz and Frostgard. Full length albums from other artists arrived in 2022 and it became a “proper” label.
12. If I’m not mistaken, the first release on this label was ‘Fallen’ by Madrigals. Can you talk a little bit about this project and is it one that you plan to continue at some point?
That’s right, it was a digipak limited to 100 copies. I still have about a dozen. Madrigals was a melodic dungeon synth project that mostly used ideas I had been holding onto for years, before really becoming aware of DS as an active genre. After realizing a lot of it existed, and people were doing much cooler things with it than me – e.g. any of the other artists on those splits – it lost its magic and Anser became my primary focus. I don’t plan to continue as Madrigals.
13. What’s your opinion on digital releases versus physical releases? How have both formats helped shape Umbra Vulgaris Records?
Digital releases without a physical tend to get unfairly written off. Cassettes have their obvious charm, and CD’s too in my opinion; so they’ll always be part of what I do. As far as the label goes, it would be great to try and grow the digital side – free compilations, e-zines, even considered a podcast. In the current setup, we’re trading and wholesaling off a lot of cassettes to build up an extensive distro selection, which will help support more digital output. The distro is overwhelmingly tapes, so we’ve been pigeonholed as a “tape label” which is probably fair.
14. I really appreciate you taking the time to have this interview session. Do you have any final thoughts for those that may be reading this?
Thank you very much for your questions, and thank you to the readers!
Mombi Yuleman is one of the most versatile electronic producers making music today and there is no doubt that he’s one of my favorites as well. Whether it’s the nightmarish effects of his conceptual Dark Ambient masterpieces or his upbeat Psychill offerings, he can almost be considered a one-stop shop for all of your electronic audial transmission needs. This year has been one of his most accomplished to date has he’s released a string of albums that elicit a variety of styles. One of my favorites (thus far) is the buoyant offering called ‘Underground Dwellers’, a maniacal Psychill adventure that is inspired by 80’s horror cinema and details the terrifying experience of diseased rats banding together to take over a futuristic Chicago setting. Featuring eight tracks of contentious beats and retro-styled synths, this is an amazing album that can be played and enjoyed on just about any occasion.
The vigorous album opener, “Sewer Rat With Babies” may sound very familiar – especially if you’re a Rush fan. The very first sequence sounds like a homage to the album ‘2112’, with its sonic sequences and space-like modulations. However, that’s where the similarities stop and the Psychill action begins as this track goes into a full-throttle, dance mode inflection. Peculiar soundscapes and galloping rhythms continue to drift with ease, as a looming darkness continues to impress. “Subway Tunnels” begins like an 80’s synthwave soundtrack piece, as inner city soundscapes and Sci-Fi cinematic timbre sets a bleak vision of classic soundtrack vibes and haunting Dark Ambient structures. With shrills of sewage vermin and Berlin School sequences, this is the perfect build up to the next track while maintaining the overall vision of the album. “Experimental Growth Formula” commences with thunderous drones and melodic pads, leading to a head bobbing cadence that is groovy without being over the top. New wave styled synth leads and bits of reverberated keys lead the charge in this mid paced, late night excursion. About halfway through, an abbreviated pause followed by a quick narration leads right into a grinding Psychill section that continues to build with synth leads and ambient atmospherics. “Increasing Metabolism” is a bleak intonation that continues with the audial storyline and presents a precipitous beat, solid keys and and just enough atmospherics for the listener to continue their own interpretation of the theme of the album. There is an amazing shift in keyboard effects toward the end that finds a balance between melancholy and controlled chaos. As the synth leads continue to build this track ends in a wall of sound that you just want to continue for longer than it actually does. “Gods Feast” slows the pace down a bit but certainly conjures a wall of sound in the form of modulated drones, captivating sequences and distant sounding synth soundscapes. As the Berlin School sequences start to progress, it’s apparent that the underground dwellers have taken over and morphed into an indestructible force that is bringing their subterranean terror to the surface. “Contamination Hazard” starts with some grimy ambient textures and a short narrative before breaking into a minimalistic beat. This track is a slow builder but with each layer we get an addictive blend of fabulous synth arrangements and upbeat percussive parts. There is a futuristic vibe to this track represents a complete takeover of the mutated vermin, as they steadily devour everything in their path. “Saving The Day” is probably my favorite track, as it supremely represents the best in retro synthwave and 80’s electronic soundtrack recordings. Although there isn’t a percussive element to this song, the multi-dimension synth leads provide a harrowing cadence that magnificently assembles into a synchronized arrangement that is as much grimly lit as it is enveloping a sense of light. The final track on this amazing nocturnal adventure is “Hidden Nest”. At almost nine minutes long, it’s the longest track on the album and is a fitting conclusion with its blend of celestial sounds, jubilant synth leads and rapid beats that remain constant throughout. About halfway through, this song becomes a cinematic marvel in that it creates such a dynamic sound of flowing textures and elongated synth impulses. By the time we reach the end of the track, there is a myriad of thunderous activity that illustrates complete havoc, as the subsurface vermin demise all in their path.
Mombi Yuleman continues his streak of masterful albums as he dominates in multiple electronic genres. Whether it’s ghastly Dark Ambient albums or invigorating Psychill releases, there is no doubt that he is at the top of his game. Although I’m more of a fan of his Dark Ambient works, ‘Underground Dwellers’ is quickly becoming my favorite album from his extended discography of greatness. As of this writing, I’m excited to learn that there is already a plan to release ‘Underground Dwellers II: Swamp City’. This is excellent news as this is a story line that could continue across several albums and I’m glad that the next one will see the light of day in the near future. As for ‘Underground Dwellers’, don’t sleep on this amazing album, as I can assure fans of electronic music, this one is an Album Of The Year contender. Please click the link below to check it out and please show your support for this amazing artist.
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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.
‘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.
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.
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!
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.
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!
‘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.
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!
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.
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.
As I continue my lifelong descent into the abysmal territories of obscure music, I never cease to be amazed at the gems that perpetually cross my path. Despite the genre, if it goes against the grain of normalcy and wide-spread acceptance, there’s a good chance that it will resonate with me in the most appreciative of ways. An artist that I recently came across, continues that endeavor with their multi-genre blend of darkened modulations. Hours Of Worship successfully integrate the likes of Darkwave, Goth, Shoegaze, Dungeon Synth and just about everything in between and beyond. On their latest endeavor, ‘Death & Dying, Vol. I’, we find an obscure journey through dismal happiness and bleak soundscapes. Containing six tracks of melancholic, lo-fi entanglements, it’s safe to say that the listener will be transported to a retrospective era where dark music matched the atmosphere of more contemplative times.
From the very first note of a somber piano chop, to the vibrant ambience that soon ensures, “Loyal To Misery” immediately takes us back to a gothic landscape where the color gray was as vibrant as the sun and surrounding activities seemed to take shape in slow motion. As this scenery evolves, haunting vocals begin to croon while dreamy instrumentations build a lethargic wall of sound. Although completely bleak, there is something peaceful about this track that will sooth even the darkest of souls. “Forgotten Like The Cross” commences with a Dungeon Synth vibe as ominous keys play elongated notes, while synth leads emit a Medieval vibe. Monotonous vocals add another layer of dreariness and it seems purposefully mixed lower than some of the instrumental parts, extending the eerie expulsions of the overall sound. However, during the chorus, the vocals stand out with a full on gothic-style onslaught. “Smoke Yourself To Sleep” is a more traditionally arranged piece with an alluring amount of harmony. The addition of celestial ambience and deep synth grumbles produces a unique sound, making this one of the standout tracks on the album. A guitar riff can be slightly heard amongst the other instruments but plays a relevant part in the overall delivery of this amazing song. “Blood On Stone” slows things down a bit with its sludgy tempo and discordant harmonies. A lot of focus is put on the vocals, include the heavy reverberations during the chorus sections. This track would be the perfect example of a Darkwave ballad due to its slow, soulful arrangement, combined with the ghastly, harmonizing vocals. “Torn Like Lace” forges ahead in this underground path to renaissance-like emotions with a surprisingly uplifting melody arrangement mixed with impassioned vocals that range between deep, guttural narrations to near falsetto croonings. The medieval, battle-like drum fills near the end is a welcomed edition to this already serene track. The final song on the album is “The Eggs Of Melancholy”. At just over seven minutes, this is the longest offering on the album and it superbly brings this prodigious album to a close with Black Metal-styled screams, reverberated instrumentations, and a slow, galloping tempo that allows everything to come together in unison. Synth leads stand out as they deliver loud, grandiose modulations during the chorus parts. The vocals are mostly sung with deep resonance while an assortment of instruments deliver a minimalistic landscape of darkness and passion for retrospective surroundings. As the song draws to an end, it takes a dark turn to a more evil vibe and then suddenly concludes at sinister depths.
Hours Of Worship have only been around a few years but I believe they’ve found their niche in the Darkwave genre. They’ve also managed to challenge the norm by including other genres such as Dungeon Synth, Synthwave and Shoegaze to name a few. On their latest offering, ‘Death & Dying, Vol.I’, they continue to showcase their musical talent while expanding their catalog of consistent releases. Even if you’re new to this project, this album is the perfect introduction to what they have to offer. Click on the link below to check out this bewildering album and support the blissful existence of Hours Of Worship.
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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.
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.
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.
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.
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.
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.
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):
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
Eighth Tower Magazine is part of UNEXPLAINED SOUNDS (network of aural disorientation). Corso Secondigliano 94, Napoli, 80144 Napoli, Italy. https://unexplainedsoundsgroup.bandcamp.com
Dungeon Synth & Dark Ambient Reviews!! 