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

Multi-Genre Synth Extraordinaire, Jenn Taiga, Cultivates A Nostalgic Collection Of Deft Anthems On ‘Lunar Nocturnes And Esoteric Incantations’

If you’ve listened to Dungeon Synth, Berlin School or any style of Synth music in the past few years, then Jenn Taiga needs no introduction. For all others, well, you’ve been missing out on one of the most talented musicians across a broad spectrum of genres. Last years ‘Plight’, was in my Top Ten list for synth album of the year and remains one of my favorite synth albums of recent years. As time and space progress, I find myself anticipating new releases by my favorite artists – Jenn Taiga included. Earlier this month saw the release of ‘Lunar Nocturnes And Esoteric Incantations’, a collection of six exquisite synth songs that embrace a world of retro darkness and euphoric bliss.

Album opener, “Six Of Swords” first appeared on last years ‘Apostles Against Hegemony, Vol. I: Transitive Properties’ compilation and it was one of my favorite songs from that huge assortment of impressive tunes. Beginning with a dreamy arrangement that slowly builds with haunting leads and cosmic sound effects, this track will surely generate a hypnotic state for the listener and prepare them for the mesmerizing characteristics that gracefully infiltrate the remainder of the album. “Strength” has a beautiful (but mild) Berlin School backing arrangement that is completely lenitive and soothing, while layers of concordant synths provide a rollercoaster of emotive vibes that are unmatched in their scope of memorable influence. Although this track is five minutes in length, I wish that it lasted another ten minutes or so. After a short nostalgic intro on “King Of Swords”, we are treated with a hefty dose of conventional, Berlin School patterns that are soon combined with an ominous arrangement of swaying synth leads and celestial soundscapes that are otherworldly and reminiscent of 70’s retro Space Rock/Synth music that popularized the genre several decades ago. “Justice” is the shortest track on the album at just under three and a half minutes long. However, it’s a monstrous synth piece filled with melody and tasty backing arrangements, making this compact offering a delightful listen. “Braziers Are Burning” commences with a grueling sound, like a distorted warning alarm terrifying an unsuspected community. After that startling lead in, majestic synth offerings come into being and provide a mystical journey of harrowing cadence, cinematic effects and layers of sonic resonance that reveals one of Jenn’s most complete compositions to date. The final symphonic piece on this mesmerizing album is “…As Our Offerings Rise To The Heavens”. At just under nine and a half minutes, it’s the longest track on the album and is an epic ending to this modern-day trip down memory lane. It’s starts with a somber synth fill that sways of lush movements. At just over two minute in, Berlin School melodies permeate the audial channels and we find ourselves falling deep into another legendary excursion. The retro synth patterns are simply amazing and this track is like a continuous build-up to a never ending story. There are several layers of harmony that can be heard in a couple of spots that are hypnotic and could be considered the transcendent soundtrack to a trance-like state of mind. As you continue to ingest the enchanting rhythms of this track, it suddenly fades into the black, leaving you wanting more.

For me, Jenn Taiga is one of the ultimate musicians in the world of synth compositions. Never afraid to venture out beyond a single genre, Jenn Taiga pulls from a wide array of musical aspects to create a sound of her own. Although there is a huge amount of influence from retro synth styles, it’s the polished, modern take on electronic song writing that makes this (and other Jenn Taiga albums) stand out. Whereas ‘Plight’ was in my Top Ten synth album of 2020, there is no doubt that ‘Lunar Nocturnes And Esoteric Incantations’ will be in my Top Ten list for 2021. If you’ve not heard this mind-blowing album yet, please click on the link below and relish in the greatness.

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://jenntaiga.bandcamp.com/album/lunar-nocturnes-and-esoteric-incantations

Humanfobia Fuse Dark Electronic, Dungeon Synth And Avant-Garde On The Impressive ‘Vampiresa’

As I continue my deep dive into music of the obscure, I often find myself enthralled by artists that know limitless boundaries for presenting their craft. Although there have been many instances of genre-bending throughout the years, there are still elements that I find new (and intriguing) that stops me dead in my tracks, enough to warrant my undivided attention. Humanfobia is one of those artists that combines elements of dark electronic, avant-garde, and even Dungeon Synth to create a unique universe of audial sophistication and elegance. On last year’s ‘Vampiresa’ release, six tracks of ambiguous compositions solicit an enigmatic approach to synth music that is powerful and mesmerizing.

Right from the start, “Enchanted Castle” imposes a barrage of symphonic sounds from multiple genres, combining them to form an impressive opening track. Haunting vocals are layered over hefty beats and distorted tones and as a slight tonal shift occurs, the vocals continue to tell its story almost until the final note is played. “Ataúd Solitario” begins with the tolling of a bell and a slight build up of the music. Synths play up and down a scale of notes while a rhythmic drum beat provides a polyrhythmic groove. At the same time, dreamy vocals build and contain various effects to give it a thick, layered sound. Hints of gothic undertones can be heard throughout, as this obscure piece goes through a rotational pattern with the music. “Vampiresa” is a creepy little track that contains some nice Dungeon Synth elements and haunting narrations. There is also a monstrous vocal effect in the background that is downright sinister. The drum beats in this track are pretty cool and show a modest Crypt Hop influence. “Ajos y Cruces” is another Dungeon Synth-heavy track with spacey vocals and an overall Renaissance era vibe to it. “Vampiric Ancient Transmutation” commences with heavy distortion and echo effects that get absorbed into a dark drone, while eccentric vocals begin to make their way into the mix. At the same time, backward narration samples add an alluring feel to this track that is completely devoured by a grim ambiance. The final track on the album is “Ataúd Solitario (Burial Version)”. It begins much like the original version but the drum beats and keys have been replaced with melancholic synths and eerie soundscapes. The vocal performance is still the same, which stands out in both versions of the track.

Humanfobia is a unique and talented entity that has a vision for arcane compositions and seems to feel comfortable at fusing any genre they can to produce quality synth music. ‘Vampiresa’ is a fascinating EP in quite an impressive catalog of releases that I’m still diving into from this artist. If you’re into esoteric music and albums that fuse various genres of music, then I recommend checking out ‘Vampiresa’. Click on the link below and support this artist and check out the large catalog of albums available on their bandcamp page.

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://humanfobia-official.bandcamp.com/album/vampiresa-ep-2020