Eyre Transmissions XXIII: Interview With Esteemed Dungeon Synth Artist, Willow Tea

The music of Willow Tea is undeniable. Easily identified by its soft, nostalgic sound, mesmerizing ambience and a sincere offering of Dungeon Synth vibes that are fit for almost any occasion. With a consistently growing catalog, as well as ventures into other realms under various project names, Willow Tea is one of the genres most revered artists. Being one of my favorite synth acts, it was inevitable for me to set aside some time to talk to the entity behind the craft and get some insight on the project, humble beginnings and what the future has to hold. Please enjoy this interview with the one-and-only, Willow Tea!

1. Thanks for this interview opportunity! I want to start off by saying that I’m such a fan of your music and the fact that you represent multiple genres is simply amazing. What drove you toward playing synth/electronic music?

Thank you for having me, I appreciate it.

Electronic music has been a part of my life for as long as I remember. Some of my earliest favourite musicians were New Order, Erasure, and Transvision Vamp, all of whom used electronic instruments to varying degrees. In the mid 90s I became interested in making music because most of the bands I liked at the time made it seem so accessible. The first time I actually made music with a computer was in 1999, making sounds with non-instruments and pasting them messily into a very basic audio editing program on my dad’s work computer. At the time I was listening to a lot of dark ambient and noise music (e.g. Brighter Death Now, raison d’etre) so what I was making naturally leaned that way. I dabbled a bit over the years but the results were pretty directionless and really just an outlet. It wasn’t until the last few years that I had the tools and skill to put together the things I’d been wanting to all along.

2. I believe my first venture into your music was with ‘The Iris River’ release. That was such an amazing little album and although it’s considered Dungeon Synth, to me it’s more like Dark Fantasy Synth with ambient undertones. Is this the style your ultimate trying to achieve with The Willow Tea?

I always felt like Willow Tea generally sits a bit awkwardly under the dungeon synth tag, though it shares a lot of the general DNA. My original intention was to make comfy synth but I sort of missed and ended up somewhere else. A lot of Willow Tea takes inspiration from fantasy films and stories, nature, and folklore, without being too deeply indebted to them – I’m not trying to soundtrack these things, but respond to them and reflect their moods or the impressions they left on me. Which is a roundabout way of saying that dark fantasy synth is a description I like and fits well.

https://willowtea.bandcamp.com/album/the-iris-river

3. Late last year, you released ‘Home’ and I have to tell you that dynamically, that album is soundtrack worthy. There are so many grand moments on that album and it’s not as dark as previous efforts. What was your songwriting approach to this one?

Home was loosely inspired by (or as above, a response to) a pair of movies I’d watched: The Witch and Hagazussa. These are quite atmospheric, quiet, dark stories and I really felt a strong urge to write something that fit with them without being an attempt to write something like an alternate soundtrack.

I definitely wanted it to feel a bit more dynamic than some of my previous releases; I felt like I was running out of steam with Willow Tea and wanted to do something a bit more ambitious and challenging for myself. More contrasts, more depths, unsettling but hopeful, and trying to do something that was intentionally structured as an album, rather than just a handful of sad songs. It’s probably my favourite stand-alone Willow Tea, and I am glad people seemed to respond positively to it.

https://willowtea.bandcamp.com/album/home

4. Earlier this year you released a split album (under the Nebelkrähe moniker) with Thalmar. I love that raw, grainy Dungeon Ambient mixture that both artists displayed on this release. How did this collaboration come about and will there be anymore releases by these two artists in the future?

I am really glad you like Nebelkrähe. With this, I really wanted to attempt something that sat somewhere between some artists I really admire: Nibelung, raison d’etre, Cad Goddeu, and Woodland Spells in particular. Artists who really use depth and time to great effect. I’ve been listening to Nibelung a lot recently and their works feels so wide, like watching a grainy old film at a theatre. It’s been a nice challenge, trying to write music that has space to breathe and develop through small changes and variation, rather than something more straightforwardly melodic.

Colin approached me at the end of last year about working on a split, and it felt like a good opportunity to try out something less melodic and more atmospheric, more drone-ish, more grainy. It took me a few months to get moving, but when it did it all came together really quick and I feel like our tracks really compliment each other well. We haven’t discussed it yet, but I would like to do another one with Colin at some point.

https://ithildintapeproduction.bandcamp.com/album/aestraeus

5. Do you have any other collaborative efforts in the works with other artists?

I do have a few more splits coming up: one with Woodland Spells which will come up on Windkey at some point, another one with Gray Friar as Woods Of Sith Cala, and another one still in-progress but coming along nicely. They’re all quite different and I’m excited for them all.

6. You are so good at creating atmospherics in your music. Have you ever considered creating a straight up Dark Ambient album?

I used to make a lot more noisy dark ambient music, I think I got quite good at building a canvas but it always felt like it was missing something; I saw it like scaffolding or a framework, and I got to a point where I felt like I just wasn’t getting what I wanted from it. Nebelkrähe is a swing towards something more dark ambient, though it’s not quite there. My tastes and influences are constantly shifting, so maybe I’ll end up with something more purely atmospheric in the future.

7. When you’re not spending time making music as The Willow Tea, what other projects are you involved in?

Mostly it’s the broad umbrella of Woods Of Sith Cala where I spend much of my time, but creatively I have slowed down a lot because of life reasons. Nebelkrähe will probably be something I put more focus on, and last week I did a pair of droney, ambient pieces under the title Northwest Passage that I plan to develop further.

8. Do you have any physical releases (cassette or CD) planned for any of your projects this year?

Fiadh Productions just released a tape of Ancient Mariner, a noisy thing loosely based on the Coleridge poem, which I am pretty excited about. A couple of other split tape releases will surface in the next couple of months too. We may see the Nebelkrähe-Thalmar split get a tape release, we’ll see how that one pans out.

https://fiadh.bandcamp.com/album/ancient-mariner

9. When I listen to your music I hear a variety of tones and effects. What is your setup like for recording and do you prefer analog or VST’s?

My setup is really quite basic: I have an ageing Macbook with Garageband and a handful of VSTs, and Audacity for admin and editing – though I am starting to use FL Studio on my desktop PC to explore different ways of working and some instruments and tools that aren’t available for Mac. On the hardware side, I have a small midi keyboard and a few other basic home keyboards and instruments which I am using a lot more in combination with some guitar effect pedals. My handheld Tascam recorder has been getting a lot of work recently for field recordings and sourcing atmospheres.

Overall I try to keep it fairly basic and rely on tools and instruments that I am already familiar with.

10. When you’re not spending time with your own music, who are some artists that you enjoy listening to (any genre)?

I have been on a real lofi kick recently, so things like Jötgrimm, Lochdraoidh, Woodland Spells. Recently I’ve been really into Aura Merlin, The Divine Accolade, Sjöhäxan, Ithildin’s Herbarium series, Elyvilon, Wych Elm, and Spectral Sorrow. Aside from dungeon synth, I have recently been listening a lot to Joy Division’s Closer, The Legendary Pink Dots’ The Tower, and Six Organs Of Admittance’s Luminous Night.

11. That being said, who are some of your main influences for getting started in music in the first place?

It’s an ever shifting feast in terms of who I am feeling inspired or influenced by. The ones that are always there and have been for a long time are Joy Division, Einstürzende Neubauten, PJ Harvey, raison d’etre, Nine Inch Nails, Alice In Chains, those are the artists who really made me want to make music. The artists who really made me want to make my own dungeon synth music were Fogweaver and Apoxupon, and I still feel strongly influenced by their music and the wider dungeon synth community.

12. Going back to the music of The Willow Tree and specifically with the album ‘A Drowning’, I get the impression that there is an underlying story for the buildup of these tracks? In can almost imagine a lone wanderer slowing transcending vast landscapes on an impossible journey. Did you have a story in mind when writing this album?

You’re actually quite close to where I was when making A Drowning. I sometimes have an idea of a narrative or theme or concept, A Drowning was one where I imagined a silent film about a trapper being lost in a blizzard in the highlands of Tasmania, and I just went with that image in my head. I like to set a scene or a landscape and just let it develop without getting too deep into telling a story. But I also like to leave space for others to engage with and respond to it.

https://willowtea.bandcamp.com/album/a-drowning

13. What are some of your own albums that you like to go back and revisit from time to time?

I don’t revisit many of them too often, to be honest. After something is finished and before I release it, I will listen to it obsessively to make sure I’m happy with it, but once they are out there, I am sort of moving on to the next thing I want to make. I put on Dimmerweld by Fjaeldmark from time to time because I like the atmosphere, as well as the split I did recently with Wych Elm.

14. Do you ever draw inspiration from any of your previous works?

Sort of. There’s always a process of learning and developing and building on previous work, I’d never want to stand still in that regard. You keep on moving and further honing your skills and craft. sometimes I’ve spun off new projects inspired by moments or new iterations of something I did previously.

15. I’m really appreciate you taking the time to do this interview for The Dungeon In Deep Space. Do you have any final thought for those that will be reading this?

Thanks for the interview, and keep doing your amazing work. And to the dear dungeon synth community: keep being weird and creative and prolific and kind. You’re wonderful.

Links:

https://linktr.ee/thewillowtea?fbclid=PAAaan3FBBmSO5V1Wya7oNGS3OyCDA59PWwpf2eWKZ7YpWeSVUdZbxxPk7W_8

Abandoned Graves Solicits Posturing Sounds From Various Electronic Genres On The Blazing Dungeon Synth Full-Length Debut, ‘Salvation’

When it comes to Dungeon Synth music, it’s almost as if it’s an “open source” genre of musical incantations. Meaning that almost any form of musical styles can mesh and blend with the basic aesthetics of Dungeon Synth without taking away its original intent. That’s why I love artists that put their own spin on the genre, providing a fresh atmosphere for all to enjoy. One artist in particular that travels down this path is Abandoned Graves. With the release of their first full length album, various electronic genres are explored and seamlessly mesh with the traditional foundations of Dungeon Synth music. The results of this is ‘Salvation’, a thirty eight minute journey into the abysmal infrastructure of electronic music that is gripping and transcendental, to say the least.

Poignant album opener, “Spring’s Lament” commences with a corrosive modulation that wavers viciously before fading into a minimalist tone with a lethargic echo effect. This tonal delivery begins the slow dive into Dungeon Synth madness and the sky becomes the limit at this point. Suddenly, a quirky, chip tune sound develops into a fun but menacing anthem. As this short track fades out into oblivion, the darkened textures of “The Dreamer” start to unfold. The deep, atmospheric drones are met with sporadic synthwave modulations that gradually expands into an electronic escapade through various styles. However, this eclectic fusion of expression coalesces into a grandiose offering that is upbeat and surprisingly accessible. Up next is the melodramatic offering, “The Board”. As the somber intonations start up, the dreamy synth effects evolve into a chaotic piece with heavily modulated synths and harrowing background ambience. As if descending into a nightmare, a blend of mesmerizing tones take this song down a darker path than the precious ones. Almost dipping into noisecore, it ultimately subsides into a peaceful Dungeon Synth canticle of harmonizing effort. “The Tower” doesn’t waste any time meshing various tones in a hauntingly beautiful harmony that finds a blend of warm ambience and light-hearted synth chops. However, that all soon comes to an end as we begin to hear pulsating drum beats and deep ambient drones, as a sinister atmosphere comes about. Industrial samples and radiant textures expose a multitude of horrors before -once again – morphing into a Berlin School styled synthwave anthem. This is definitely my favorite track on the album and my only wish was that this song was a little longer. The title track, “Salvation”, starts with an orient-styled effect but sparingly incorporates more sounds to create an amusing jingle that provides a soulful gateway to the next track. With “First Grave”, we get to experience natural sounds of nocturnal essence with the slight howl of crashing waves. Ambient textures begin to build into a tumultuous affair with looping drones and obscure effects. As this song evaporates into an audial radiance, we once again get to experience a shift in styles as the twists begin to unfold. Jolting modulations and bombastic Medieval cadences begin to consume the airwaves and vast layers become a musical fortress to these ears. The final track on the album, “The Crypt”, is a full on ambient nightmare, complete with ghoulish drones and creepy sound effects throughout. At just over seven minutes long, a lot is crammed into this bleak offering. Even with all of the malevolent effects, there is a sense of calming throughout that seems more minimalistic than chaotic. That being said, this is a cold, desolate way to close this impressive album and one that will stay in my playlist rotation for sometime to come.

Abandoned Graves has presented a fine experience with the multi-genre offering, ‘Salvation’. Although firmly staying rooted in Dungeon Synth, the Keep gates have swung wide open for the inclusion of an assortment of electronic music styles. That being said, there is a lot to take in on this recording and there is never a dull moment throughout. If an eccentric fusion of music is your thing, then I highly recommend checking out this monumental album. Please click on the link below to begin your listening experience with Abandoned Graves.

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Links:

https://abandonedgraves.bandcamp.com/album/salvation

Dronny Darko & Ugasanie Once Again Collude On An Oceanic Dark Ambient Masterpiece With ‘Dark Source Of The North’

One of my favorite thematic subjects for a Dark Ambient album is the vast, dark ocean and the menacing evils that lurk within its chaotic abyss. It’s even more fitting when two of Dark Ambient’s most accomplished artists collaborate for this type of setting and produce an all-out maritime nightmare. However, this is not the first time Dronny Darko and Ugasanie have joined forces on such an event, as they released the chaotically impressive ‘Arctic Gates’ back in 2019 on the Cryo Chamber label. Now, four years later, they are back with a follow-up album and it’s just as bleak and ominous as their first. ‘Dark Source Of The North’ is an aquatic ordeal that delivers a punishing array of soundscapes through an incessant void. The eight tracks contained within produce an otherworldly soundtrack of futile escapism and amaurotic malevolence.

“In Search Of An Object” wastes no time in submerging the listener in a vast, cold ocean surrounded by emptiness and horrifying seclusion. Deep drones, complimented by reverberated textures creates an overwhelming sensation of solitude. As the sound continues to flow and become more aggressive, this nightmarish scenario becomes inescapable. Opaque winds increase for a moment before subsiding with the end of the song. In the second track, “Anomaly”, frigid ocean currents crash against an unprotected shore, creating a sort of naturalistic dominance. Obscure sound effects commence, producing a repulsive sound, only enhanced by deep, droning textures. As the ocean waves subside, the faint abhorrence of distant thunderstorms display an inevitable conclusion of chaotic force and destruction. As the end of the track nears, industrialized chaos create an audible pandemonium before being overtaken once again by crashing waves on a desolate seashore. “In A Magnetic Field” begins with a sinister effect that modulates as if it’s in heavy rotation and being prepare for a destructive scenario. Space Ambient styled drones begin to increase in broad layers as various, creepy effects paint a vivid picture of apocalyptic proportions. “Presence” immediately thrusts into a collision course with an abysmal void with intense drones and arcane noises that are downright terrifying. At the peak of these sound encounters, they maintain their intensity for a while before collapsing into a single drone. Assorted effects are heard in the distance as if fleeing from an anarchic discord. The main drone also builds into a soothing atmosphere for the final few minutes of the song. “Contact” commences with a single drone that emulates a distant beacon, either providing an early warning or waywardly sounding off due to a malfunction. As it continues to fade, synth pads ascend onto the darkness with hints of obscure orchestrations and howling, digital winds. As panic begins to set in, inaudible vocalizations and elongated modulations paint a gloomy scenario of solitude. As the track nears completion, random jolts of high pitch sounds produce a peculiar sound akin to large drops of acid rain bouncing off of industrial material corroding away in a barren wasteland. “Consequences” is one of the shorter tracks on the album so it rushes in quicker than the other offerings and builds layers of destructive patterns within the first minute. Not to say it’s an all out audial assault, this track is masterfully arranged and sets the album up for a climactic ending with the remaining tracks. “Transition” begins with a deep, slightly distorted drone, as if a large vessel is passing by without warning. As the vessel draws near, the tones increase in volume and adds subtle soundscapes that are eerie but luminous. There is a lot of reverb usage in some of the effects, producing a colossal sound design that is beyond epic. The final track on this distressing album is “On The Other Side Of The Arctic Gates”. Instead of beginning with an ominous drone, bells toll in different ranges, symbolizing the traversing to calmer waters. Although many dark obstacles were observed and navigated along the way, the journey to the other side has turned out to be just as challenging. As the layers of aggressively sounding drones kick in, the sense of adventure continues down a dark path in the form of various soundscapes and dystopian-like effects. Proving that wastelands can also be aquatic, the forceful winds and soothing ocean waves at the end are a fitting finale for this esoteric and mysterious album.

Dronny Darko and Ugasanie have once again proven that their collaboration efforts produce top tier results. ‘Dark Source Of The North’ is a fantastic follow up to their 2019 ‘Arctic Gates’ album and if they choose to produce more albums with this same theme, I’d eagerly welcome it. The Cryo Chamber label always provides a solid platform for the best in cinematic Dark Ambient music and this solid release is right up there with the best of the best. If you’re a fan of sinister Dark Ambient music that ventures beyond time and space, definitely check out this album from the link below.

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Links:

https://cryochamber.bandcamp.com/album/dark-source-of-the-north

Top 10 Favorite Dark Ambient Albums Of 2022

This was another amazing year for the Dark Ambient genre and again, I had a very difficult time fine tuning my Top 10 list. If truth be told, I could have probably created a Top 50 list. Many mainstay projects created some of their best music ever, while a lot up up and coming artist created spectacular albums that could easily compete with the best of them. Either way, these 10 albums are my favorite of the year and I’m excited to share them with you. How many of these albums made it to your Top 10 list?

10. Blackweald – From The Dust Of The Old Hungarian Plains, Emerges The Invisible Claw That Drags Us Into Our Rotting Grave

https://blackweald.bandcamp.com/album/from-the-dust-of-the-old-hungarian-plains-emerges-the-invisible-claw-that-drags-us-into-our-rotting-grave

Blackweald always leaves an quite an impression with each release. On his sole release from 2022, we get to experience a bold blend of space ambient, mesmerizing drones, soundscapes, narrative samples and enough field recordings to create a series of audial adventures that are spread across a ninety minute platform. Not as dark as previous efforts but certainly versatile enough to appeal to a wider audience in the electronic/ambient community.

9. God Body Disconnect – Spiral Of Grief

https://cryochamber.bandcamp.com/album/spiral-of-grief

God Body Disconnect never disappoints and I’m always looking forward to a new album by this project with eager anticipation. On ‘Spiral Of Grief’ we get a nice dose of the traditional narrative parts with soothing drones and soundscapes that are hypnotizing from start to finish. Tracks such as “Memories Become Distant Rooms” and “The Fathomless Heart” are downright otherworldly. However, as peaceful as this recording is, there is an underlying darkness – in the form of desolation – that gives these tracks extra meaning.

8. Ajna – Mors Ultra

https://cycliclaw.bandcamp.com/album/mors-ultra

Ajna creates a slowly deteriorating realm of alluring drones and space ambient elegance on the nearly two and a half hour opus, ‘Mors Ultra’. Defining a process that lethargically gnaws at the psyche and combining it with an acumen of tonal clarity, this is a highly addictive album that has garnered a lot of playtime from me, hence earning a spot on my list of favorites Dark Ambient albums for this year. Not having a dull moment on the entire album, each track will have you listening (and understanding) with grave enthusiasm.

7. Eshaton – Arheia

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

This is one of my new favorite projects by Scorpio V. The mastermind behind Metatron Omega and Monasterium Imperi, presents another take on the Warhammer 40k sound with a much rawer style and delivery. Looping tape hisses and layers of Gregorian chants pave the way for this thirty four minute long track, as the grainy production and synth delivery is quite unique and enlightening. ‘Arheia’ presents a dark unknown from an ancient civilization that is part ritualistic and part spiritual – in the sense of how the music has such a strong, dynamic effect. It’s hard to count how many times I’ve listened to this album but even rolling into the new year, that counter will continue to climb.

6. Sana Obruent – Aftoktonia

https://sanaobruent.bandcamp.com/album/aftoktonia

I first became familiar with the works of Sana Obruent on the 2021 release, ‘Fatem’ and instantly became a fan. To say that I was extremely excited for another album is a huge understatement. This year saw the the release of ‘Aftoktonia’ and as expected, its a triumphant release. Nearly an hour and forty five minutes of minimalistic, looping drones. ‘Aftoktonia’ is an imposing collection of obscure tones and discordant modulations that are as eerie as they are tranquillizing. Sana Obruent excels at creating a world that’s easy to get lost in and ‘Aftoktonia’ is the ultimate, creative set to keep you there.

5. Caldon Glover – Labyrintia

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

Over the past few years, Caldon Glover has left quite the impression by releasing some amazing albums under a few different project names (a few in which I have reviewed on this site). However, his ultimate collection of Dark Ambient anthems just may be his current Cyclic Law release, ‘Labyrintia’. Deep, spacious drones and pronounced soundscapes make up the arsenal of this gigantic creation. With the backing of a major Dark Ambient label and a killer production, this is one of my favorite recordings of the year. It’s obvious that the passion that went in to the making of this album was spot on, as the distressed cadence and tense settings are sure to render a lasting effect.

4. Tineidae – Mothership

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

‘Mothership’ has been one of my most played Dark Ambient albums of the year so far. With a bludgeoning sound that reminds me of one of my all-time favorite movies (Blade Runner 2049), this is the empyrean dystopian-themed release of the year. The synth sound is so huge, portraying a trance-filled atmosphere with chronic tones and soundscapes. If this is what the distant future sounds like, please hurl me there now so that I can partake in post-apocalyptic battle for humanity, while playing this soundtrack for all to here. Such a stunning release that should be heard by all.

3. Colonial Skyway – Evening On Earth

https://colonialskyway.bandcamp.com/album/evening-on-earth

When I’m looking for a specific type of music that provides a meditative soundtrack of wonder and openness, I look no further than Colonial Skyway. My go-to artist for all things drone, Colonial Skyway has a niche for turning monotonous noise into asomatous art that is not only relatable but introspective to say the least. Each track has a disparate style but delivers in complete solidarity when played as a whole. Not only does this album provide a level of entertainment value, but is excels at cleansing the mind of reprehensible thoughts in exchange for a positive focus.

2. Mombi Yuleman – Hours Lost

https://mombiyuleman.bandcamp.com/album/hours-lost

It’s extremely hard to pick a Mombi Yuleman album for a Top 10 list, especially with everything he produces is FIRE! That being said, one thing that draws you in to his music is the conceptual themes that coincide with the audio. For 2022, the album that resonated with me the most was ‘Hours Lost’. Based on the true story of an alien abduction case from 1961, ‘Hours Lost’ has a particularly nostalgic value that takes the listener back to that era for an experience like no other. Deep drones, sinister soundscapes and an alien-like vibe are some of the key factors that ensure this album is the real deal. If you’ve not heard this one yet, you’re missing out on quite the Dark Ambient experience.

1. Metatron Omega – ISIH

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

Metatron Omega is my favorite Dark Ambient artist and the intonations created by this project are something that must be experienced. Heavily themed in the Warhammer 40k universe, Metatron Omega uses Gregorian Chants along with malevolent ambient tones to create the most powerful electronic music around. Call me biased, but this is not only my favorite Metatron Omega album (so far), but my Dark Ambient album of the year. To top that, “Megalosthronos” just may be the best MO track of all-time. With the use of looping percussion, this song has an unusual groove and form that stands out amongst the rest. Don’t sleep on this exemplary album.

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Reality Scruncher Produces Otherworldly Timbres On Minimalistic Debut, ‘Deep Space Impingement’

I’m really excited to finally be publishing this review. Reality Scruncher is a new Drone/Dark Ambient project by jack-of-all-trades blogger, Casey Douglass. In case you’re not familiar, Casey always takes an impressive dive into all things obscure, including music, films and books. Speaking of books, Casey is also an accomplished author with many tales of horror and menacing bewilderment under his belt. Now, he is taking on the audial channels with his first Dark Ambient album, ‘Deep Space Impingement’. Thirty seven terrifying minutes of celestial modulations and deepened voids spread across five impressive tracks. How does this intro album stack up against the rest of the genre? Let’s take a deeper dive and find out.

Sinister lead off track, “Hope Into Terror” gradually comes into full perspective as it adjusts with audial bends in and out of earshot. With each louder intonation, it’s apparent that a horrific scene of deep space terror is abound. About halfway into the track, the wavering radiance declines as a mechanical drone – akin to a vessel drifting about in the far reaches of space – produces a mesmerizing sound with bits of chilling effects throughout. Toward the end, the tone grows louder as a doomed final destination becomes imminent. “Constricted Temporals” epitomizes the droning technique as a deep, hypnotic modulation emits an articulate and muffled sound. This track is nearly twelve minutes of eerie soundscapes that slowly builds with layers of ambient pitches that resemble the darkest areas of space where boundaries cannot be identified and the nearest celestial bodies are nowhere in site. This track represents nothingness and the imposing frequencies that it produces as a total sense of anxiety completely unfolds. “Shimmering Spectral Anomaly” continues the epic droning but with a wobbling effect of ominous proportions. As the timing continues to fluctuate, one begins to question the horrors of a possible cosmic impact that is bound to expire all life form in its path. As the song nears its completion, loud revolts form synth pads come into play, providing a level of audial defiance that could change the impending course of this unfolding terror. “Quantum Monstrosities Frolic” is another gigantic undertaking as the drones are presents with more reverberations and tonal distortion. This creates a malevolent sound and is also the pinnacle of horror for this album as a whole. There are some assorted sound effects throughout but are used sparingly, as this track is a true image of nightmares. The final track on the album is, “Suicidal Infinity”. Complete with hollow drones and industrialized soundscapes, this is the ravenous ending that I was hoping for. Most of the audial extremities occur slightly in the background, allowing for the white noise-styled drone to continue as the lead character for this song. The bits and pieces that do occur in the background sound like distant storms and interferences that could become closer as time continues. Suddenly, a loud, glaring alarm begins to blast away, as it warns of a distressed energy that is inbound, ready to infiltrate all forms of communication. As the warning fades away, we’re left with the icy cold sound of endless drones and the realization that nothing is more terrifying than the deep explorations of space.

‘Deep Space Impingement’ by Reality Scruncher is an absolutely amazing Dark Ambient effort and it truly captures the essence of deep space drones and the emotions that come with it. Minimalistic tones with sparse use of sound effects is the combination that is right up my alley and it works very well for this debut recording. I hope that Casey continues his recording career under this moniker and produces more Dark Ambient albums in the same vein as this one. I highly recommend checking out this album if you’re into cosmic drones with horrifying consequences. Please click on the link below and download this bleak but entertaining musical experience.

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://realityscruncher.bandcamp.com/album/deep-space-impingement

Eyre Transmissions XX – Interview With Cryo Chamber Labels’ Multifaceted, Dark Ambient Producer, Tineidae

One thing that is really unique about the artists on the Cryo Chamber Label, is that they all have their signature sound that distinguishes them amongst their label mates. Tineidae brings a fresh, exciting sound that is perceptible in several ways. For one, there is an invigorating fusion of Berlin School, trance, and other facets of electronic music that create a futuristic sea of emotion. There is also an abrupt sense of dystopian landscapes that are crushing in every way. That being said, Tineidae has become a premier up-and-coming Dark Ambient artist that you won’t want to miss. I had a chance to catch up with the rhapsodic producer to find out more about this exhilarating project, it’s beginnings and what the future holds.

1. I really appreciate this interview opportunity. Tineidae has already released a few really impressive albums on the mighty Cryo Chamber label. How did that relationship come to be?

Hey and thanks for the questions! Cryo Chamber is a bunch of creative people with quite a specific aesthetic, that I myself dig. I liked some of the older stuff of Atrium Carceri released in Cold Meat Industry era (in fact that was one of the first dark ambient projects I have enjoyed listening to). Naturally after some time I had a change in the sound of the project that seemed to be fitting. So as per usual, I looked up Cryo Chamber demo policy and sent in my demo (which was EXO at that time). It was a gradual development and there was communication going on between Simon and me, but in the end he quite liked it and so EXO was set to be released through Cryo Chamber.

2. ‘Exo’, released in 2020, had such a massive, dystopian sound – which perfectly matched the times of the beginning of the COVID pandemic. Did you explore a lot of Dark Ambient tones or situational events when coming up with your signature sound?

Ah man, it’s hard 😀 I’ll be honest, I don’t really remember what led me to it. It’s just more bass-heavy ambient, I guess. I wasn’t really aiming at something specific, as most part of it I think was created still when pandemic wasn’t a thing. But yeah, it played nicely together, esp. that I like heavier and darker feel in music in general.

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

3. You impressively blend in subtle bits of Berlin School and Trance. What are some of your influences for the Tineidae project?

Funny that you mention trance, and actually you’re quite on point 🙂 For Berlin School electronica part, I think most of it comes from the time when i was a kid and my parents and i liked to listen to a lot of 80s electronica on cassetes or vinyls. And for trance, yeah, all the supersaw trance of 2000, but also later post-industrial stuff (aggrotech, rhythmic noise, dark-electro etc.) were all heavily focusing on synth leads with that trance-like feel and that is the kind of music that i like to this day. I just like catchy melodies i guess.

4. Before Tineidae, were you involved with other musical ventures?

There were some, yes, fortunately none of those are on the Internet anymore (or at least I hope so). At around 2007-2008 when I was quite under influence of post-industrial (and esp. goth industrial on peak of its popularity), there was one project where together with another guy we were making music (something akin to aggrotech) and I was on vocals. It was fun, there even were some local gigs, but ultimately I stopped enjoying it after a few years. Later on there were two other bands (some black, some death metal) where I tried as a vocalist, but I think I attended a few practice sessions at most and didn’t really feel like it was my thing.

5. Since you mentioned Black and Death metal, do you there there is a parallel between extreme metal and Dark Ambient music?

Oh absolutely. Someone was asking me on discord some time ago about what it feels like to release stuff on Cryo Chamber and be part of its roster, and I was joking that it often feels like a chill-room for tired metalheads, as a lot of artists are or were involved in different kinds of extreme music.

6. Earlier this year, we saw the release of ‘Mothership’ which greatly expanded on the ‘Exo’ sound. What was the process like going into producing this album?

It was indeed an attempt to expand the setup and have some more bits of lore here and there suggested by the track names. The sound turned to be a bit more aggressive (at least now when i listen and compare, i feel like it is), unintntionally, likely again due to the heavier influence of industrial and other dark electronica i’m into lately. We’re not done yet tho 🙂

7. What kind of world/dimension do you want your listeners to experience when listening to your work?

I don’t like to have things overly specific, as this way every listener has their own story in mind that unravels with each album. For me personally it is a story of distant future where people drift through space living aboard huge motherships, harvesting resources from the planet’s atmosphere, discovering new habitats and lifeforms.

8. “Behind The Seal” is my favorite track from ‘Mothership’. There are so many explorations in this track that make it stand out amongst the others. What was your vision for this particular track?

For people who are still living on the planet’s surface, Mothership is more of a mystery, they only see its lights slowly drifting in the night sky every once in a while, knowing nothing about what’s actually happening inside. As the album is retold from a point of view of a new recruit who comes aboard the mothership, it is that moment of unveiling the greatest mystery of his life (as no one ever returns back from the Mothership).

9. In terms of the equipment that you use for recording, did anything change between albums or did you use the same gear? Can you describe what your recording setup is like?

The setup is rather minimal – field recordings are done with good old Zoom h2n, some sounds come out of Roland JD-XI, some from a bass guitar meticulously tortured by different exciters, but like 95% is in the box (VST synthesizers and effects, samples etc.). Actually i think i even got the whole process of making at least one of the tracks during live-streams (uploaded to my youtube now), and that one was 100% in the box (okay maybe some odd field-recordings or other noises from “outside” sources, but that’s about it).

10. Going back to ‘Mothership’, another track that I find truly impressive is “Manufacturing Facility”. The dynamics of that track is so massive and the sampling sequences are quite mesmerizing. Do you approach each track with a particular idea or do you build a story and find ways to connect each track?

Thanks, yeah that’s a neat track. Usually there is a rough idea it all starts with and there are different approaches to try and implement it, sometimes it takes a good bunch of attempts to get somewhere. In this particular case it all started with a sound design session, which means, i just get some sound source and try to destroy it with a variety of effects, modulations and what not, all while recording it. Then a resampling comes into play, where I pick the parts that I like the most and do another bunch of processing and mangling and modulations and what not. The process continues till I arrive at something that feels particularly close to what I have in mind, or if not I may restart it from scratch. In this case I had a bunch of “best picks” from one of such sessions, that sounded quite mechanical to me. At that time I already had an idea of a space inside the Mothership that would be some sort of a factory or a refinery unit, so all these things pretty much started falling into their places after some time spent arranging and playing with moods and melodies. In other tracks I sometimes start with melodies instead, and continue developing ideas with more focus on melodies, but resampling and sound design usually still find there way in.

For the second question, I tend to have an idea first and at least try to lead the sound that way (it doesn’t always work tho and sometimes music just starts living on its own, which isn’t bad either)

11. Most recently, you released a collaboration album with Drifting In Silence called ‘Simulation’. How did this partnership come about?

Derrick has found me on facebook and IG some time after ‘Slowly Drown In Static’ was released. at that point I haven’t heard his music yet, we had some chats about music in general, he’s just a cool human being who happens to have a similar taste in music. At some point we started discussing the possibility of a collaborative release, and yeah he had some amazing ideas and so he was more like leading the way and we started working on it (slowly, with some breaks at least on my end due to IRL stuff and having several other projects ongoing at the same time – bad time management skill, simply put).

https://driftinginsilence.bandcamp.com/album/simulation

12. Musically, both Drifting In Silence and Tineidae are sonically different, yet the combination of these projects work quite well. How did the two of you collaborate on the actual song building?

As I mentioned, Derrick had some really good ideas, and some jams and drones recorded in his studio – those were a starting point. Some tracks were in my opinion pretty much ready, so i probably added just a bit of flavor, and others we worked on different layers, sometimes adding sometimes taking out things, or even splitting and rearranging some of the longer tracks giving them different feel and texture. There was quite a bit of experimentation and trusting the gut feeling so to speak on my end, but i feel like for the most part those experiments turned out pretty good.

13. Do you have any plans to collaborate with other artists in the future?

I love collaborations, really, often to the point that I start too many and have hard time finishing any of those in a timely manner. And so this year several of those came out and some yet to come out at the end of this year, and there are still several ongoing and I can’t wait to share more info about those when they’re more fleshed out.

14. Speaking of collaborations, I just realized that you took part in last years’ annual Cryo Chamber Lovecraft release, ‘Dagon’. What was that experience like?

The whole collab is akin to a big brainstorm process, but in musical terms – all artists have some ideas and generate sounds and drones that are fitting the narrative or overall atmosphere,and then those are used as building blocks to form a bigger picture. It’s a pretty cool opportunity, esp. for a more sound-design-driven approach (as not everything has to be a drone or a melody), and you get a chance to focus on the fine details of each sound as much as you want to. Also limited sound pool lets you find different ways for implementing creative decisions as some of the sounds may be out of your “comfort zone” and you have to figure out how to make it work the way you want it to.

15. When not creating music yourself, who are some other artists (any genre) that you enjoy listening to?

Without a specific order or priority: Access to Arasaka, Sole Massif, 0 0 0, Belief Defect, X1-Y2, LORN, Cresil, REZZ, Tzafu, Swarm Intelligence, Maenad Veyl, Swarm Intelligence, Braden Koksal, Filmmaker, Jim Kimchi, meii, Prox.Bleep, Carpenter Brut, Sierra, Restive Plaggona, Pact Infernal, Godspeed You! Black Emperor and stuff in that vein.

16. If not done so already, are there plans to bring Tineidae to a live setting?

Likely the other way around (at least for now) 🙂 Back in the days of Tympanik Audio, I had some live shows and performances here and there. Currently with all the stuff happening IRL I doubt I’ll be able to properly prepare for live events, so instead i’d rather focus on production more and stream the process for anyone finding any helpful info in it.

17. Again, I truly appreciate your time and most of all, the fantastic music that you produce. Do you have any final thought for your fans or anyone else that may be reading this article?

Thank you so much for the questions, and you’re very kind. Stay true to yourself, put the most effort into what makes you feel complete or fulfilled, make your dreams into goals and plan on how to realistically achieve them (if possible of course), and most importantly try to keep your physical and mental health in check. Cheers!

Links:

Bandcamp: https://tineidae.bandcamp.com

Instagram: https://instagram.com/71ne1dae?igshid=YmMyMTA2M2Y=

Twitter: https://twitter.com/tineidae_music?s=21&t=Hx6EUIQZatjekYSjrQhWCw

Interstellar Space – All Hallows’ Eve Extravaganza 2022

For some reason, trees seem to be synonymous with all things spooky and evil. Whether it’s a darkened forest in a horror movie, or the ruffling of leaves in an evening breeze that has us looking over our shoulders for something creepy, trees create a space of frightening imagination with limitless potential for purpose. For Halloween, trees portray a gruesome shadow in the night that causes goosebumps and chills when not expected. Remember the tree in the original Poltergeist film? They also create a blockade for hiding behind so that you can jump out and scare your friends while trick or treating. Whatever the case may be, trees serve more of a purpose than the ecology for their existence. Like trees, music provides the same escape by enticing an imaginative spark for which you can escape from reality. That’s exactly the case for these twelve chilling albums. They are the soundtrack for the season and so much more. Please enjoy these summary reviews and show your support for these artists by downloading their killer albums. Happy Halloween!! 🎃

1. Lamp & Dagger – This Tape Is Haunted Too!

Lamp & Dagger is back with their second spooktacular collaboration, featuring a handful of ominous artists that aim to frighten your very existence. From Sombre Arcane’s psychedelic massacre to a modicum of Dark Ambient soundscapes from The Night Keep that feature morbid field recordings and samples. FVRFVR offers a chip tune spectacle that is part crypt hop and part nostalgic cinema. Whispering Mirror offers a droning canticle full of gruesome modulations, while Halm conjures up some disgusting field recordings to create a gruesome scene of terror. The final track by Spectral Manse proposes a climactic ending with eerie narrations, malevolent haunts and lots of dark melody that penetrates deep in the psyche, proving that the sequel is just as damning as the original offer. I’ll never get enough of these compilations so I’m already looking forward to Halloween 2023.

https://lampanddagger.bandcamp.com/album/this-tape-is-haunted-too

2. Guild Of Lore – Night Of Halloween

Dungeon synth stalwart, Guild Of Lore, steps beyond the realm of Winterstead, leaving behind the Medieval intonations to embrace a world of 80’s-influenced synthwave with elements of cinematic horror. The results are a fascinating blend of B-horror movie anthems full of ghoulish field recordings, theatrical samples and rhythmic patterns that scream the elements of classic horror film soundtracks. “Lurking In The Shadows” is a prime example of ample beats, darkwave undertones, and retrospective synths, while “The Festivities” is done in the style of a skit, with spooky narrations, haunting screams and bleak atmospherics. This is an album that’s not just enjoyable during All Hallows’ Eve, but can provide eerie entertainment throughout the year, and for many years to come.

https://guildoflore.bandcamp.com/album/night-of-halloween

FABLEHAVEN: “None who enter will leave unchanged. Trespassers will be turned to stone.” – Brandon Mull

3. Erythrite Throne – A Shade Of Melancholy In The Shadow Of Death

If your not listening to Erythrite Throne on All Hallows’ Eve, then you’re either very much afraid or have already been bitten by a post-apocalyptic zombie. In the case of the latter, perhaps ‘A Shade Of Melancholy In The Shadows Of Death’ has become the perpetual soundscape for your existence. Expertly fusing classical synth tones and the occasional blasts of tasty percussion, this is another magnum opus from the master of Dungeon Synth music. Just as the title suggests, this album is a bit more lugubrious than other Erythrite Throne albums, but that’s what makes this project so special. Especially on Halloween, this is some classically creepy music to enjoy on this malevolent night.

https://serpentsswordrecords.bandcamp.com/album/a-shade-of-melancholy-in-the-shadow-of-death

4. Aleksis Tristan Shaw – Crooked Teeth

The ever so cleaver Aleksis Tristan Shaw once again keeps us on our toes with a musical endeavor that defies genre categorization but is presented just in time for Halloween. These three tracks showcase beautiful, yet twisted piano melodies with a dreamy, atmospheric production. Just as the album cover suggests, I can only imagine a blurry figure sitting behind the ivories and playing these dirges to conjure up the spirits of ancient past, allowing them to provide frights once again. Although each track is different, they each have a thematic element that maintains a dark but elegant mood. A full album of these ghastly sounds would be awesome as well.

https://aleksistristanshaw.bandcamp.com/album/crooked-teeth

“No one who loves the woods stays on the path.” – Millie Florence

5. Wodenwyrd – The Teutoburg Massacre

Wodenwyrd presents a rather unique recording as a short narrative is read over obscure backing tracks that fusses Dungeon Synth, Dark Ambient and synthwave. Read over a series of Acts (seven in all), the story summarizes the first battle between German forces and the Roman Empire around 9 AD. As compelling as the story is, the music fits perfectly and produces a brooding gray background for a malevolent narrative. There are three stand alone tracks that serve as an intro, intermission and outro and they explore more nostalgic territories such as 80’s cinema and dreamy effects. In all, this is a fantastic album and I wouldn’t mind having a series of recordings in this style.

https://wodenwyrd.bandcamp.com/album/the-teutoburg-massacre

6. Born From Pain – Begotten (1989)

Just in time for Halloween, Born From Pain delivers another compelling motion picture re-score. This time, 1989’s horror/fantasy film, ‘Begotten’, becomes the object of creativity as the quest for Dark Ambient obscurity reigns supreme. Over seventy two minutes of ethereal order becomes the pallet for rediscovering this film in a more sinister light. The film itself, is supremely bleak and a boldly obscure statement for cinema at the time of its release. If your a fan of cult filmmaker, Maya Deren, then you’ll have a good understanding of this film. As for the music, Born From Pain masterfully captures that essence with gloomy soundscapes and haunting effects that will lead to nightmarish outcomes in itself. Another fascinating adventure that I can’t recommend enough.

https://bornfrompainbm.bandcamp.com/album/begotten-rescore

“When you go into a forest, anything can happen” – David Farr

7. Scott Lawlor – The Livestream Series, Volume V

Scott Lawlor, the king of spatial Drone music and a jack-of-all-trades Ambient musician that never stops working and has enough released material to create the soundtrack to your very existence for years on end. On Halloween of last year, he produced a five hour livestream special that will be digitally released on Halloween this year. Spanning eleven tracks, this colossal of an album, flows like a never ending experiment through celestial voids and dark passages, as enigmatic effects combine with baneful textures to create the realm you’ve always dared to travel through. Each track presents a malefic journey through dark regions of the subconscious, bringing a terrorized reality to the forefront of the mind. Good luck getting through all five hours of this but enjoy the breathtaking adventure along the way.

8. Orcchasm – OrcChasm!

Orcchasm is truly unique experience, as we encounter a variety of musical intonations during this thirty one minute endeavor. From creepy ambience and whimsical synths to bazaar arrangements and nonstop frills, this is a musical adventure that is equally enjoyable and fulfilling. From grandiose, Medieval incantations to light, flute fills, you never know what direction the music is headed. However, hold on to your witches hat and broomsticks because this is a venture that won’t want to miss. Each track flows seamlessly into the next, showcasing a story of dark dungeons and numerous escapades. “Groping For Wild Hogs In The Dark Paphian Abyss” is my favorite track and it truly represents the musical prowess of this album as a whole. Don’t pass up on this warm journey into the wildly unknown.

https://orcchasm.bandcamp.com/album/orcchasm

“The forest was not dark, because darkness has nothing to do with the forest – the forest is made of life, of light – but the trees moved with wind and subtle creatures.” – Lauren Geoff

9. Pumpkin Witch – The Return Of The Pumpkin Witch

It’s been a few years since we’ve heard from Halloween favorite, Pumpkin Witch. However, after finally rising from the Orange tomb of seasonal vegetation, they’ve returned with their most enigmatic spectacle to date, ‘The Return Of The Pumpkin Witch’. Eleven spooky anthems that provide an audial bludgeoning for almost forty four minutes, these progressive haunts are just what the doctor (or vampire or serial killer) has ordered to infiltrate your Halloween playlists. From distorted, doom-laden guitar tones and retrospective drum beats to hair raising electro sequences and synthwave tactics, this is the album that checks all the blocks for horrifying entertainment. Tape hisses and reverberated production efforts create a sinister ambiance that drives the mail in the coffin (no pun intended) for this masterful recording.

https://pumpkinwitch.bandcamp.com/album/the-return-of-the-pumpkin-witch

10. Ammothea – My God Is The Moon

Ammothea, the ambient-infused post metal project by Glacial Anatomy, is truly a riveting encounter that satisfies the pallet of those that enjoy the multi-genre experience. Soft, careening vocals, doom metal riffing and dreamy production yields a hypnotic effect, so that you can sit back, close your eyes and indulge in your own trip. These five tracks disperse almost sixty four minutes of playing time but, it’s over before you know it due to being completely lost in the mix of these alluring intonations. “Depth” and “My God Is The Moon” are standout tracks that incorporate a more upbeat approach without diverting away from the haunting gray that the entire album discharges. This is an extremely impressive release and I’m already looking forward to more from this artist.

https://syrupmooserecords.bandcamp.com/album/my-god-is-the-moon

11. Whöreplay – Whöreplay

A good dark wave tune goes hand in hand with the Halloween season, given its close ties to Gothic romanticism, vampires and grim landscapes. It also has provided bleak, atmospheric backdrops for scenes in classic horror films such as ‘Silence Of The Lambs’. This two track spectacle from newcomer, Whöreplay, fits right in with all of the aforementioned. Although only five minutes long, the artists wastes no time setting the listener on a collision course with haunting electronics, reverberated vocals, and a dreamy production. These tracks slice through like a jagged dagger, leaving a spot of coagulated blood for the creatures of the night to feast on.

https://whoreplay.bandcamp.com/track/misery

12. Unsheathed Glory/Ozeregroth – Nights Shadow Darkening

There is no better time to come together for delivering a darkened dungeon synth experience than Halloween. Unsheathed Glory and Ozeregroth combine their talents of Medieval summonings to render a five track split album, culminating in twenty four minutes of effortless canticles set to the gloomiest night of the year. Not only does each artist produce two tracks of their own, but they collaborate on the daunting self title track. Although each artist delivers contrasting tones, they mesh together very well and and flow transparently with ominous accord. This is one of my favorite Dungeon Synth collaborations of the year and I hope these artist get together again in the future, to produce more music like this.

https://unsheathedglory.bandcamp.com/album/nights-shadow-darkening

Additional forest photos courtesy of Carlton Whittle Photography. Please follow him on IG:

https://instagram.com/a_window_with_a_view?utm_medium=copy_link

The main article image is a unique creation from the WOMBO Dream APP.

The Nebula Breviary – A Voyage Through The Black Hole With Kalamine Records

Kalamine Records has been delivering stunning releases on its Bandcamp page since 2019. The online label from Bordeaux, France specializes in Dark Ambient, Noise, Experimental music as well as a vast array of obscure genres that migrate well off the beaten path. Producing top quality material on a regular basis, it’s difficult for me to schedule these albums for a normal review as I simply don’t have the time. However, with the introduction of this column last month and the multitude of spectacular albums that Kalamine Records have put out as of late, the timing was right for me to pick ten of these albums for summary reviews. I hope you enjoy this article and please check out Kalamine Records at the links below.

1. Mono Hideout – True Lord

‘True Lord’ is a thirty three minute session of adversarial ambience that depicts a dystopian atmosphere of chaos and evil. Although these tracks are shorter than the typical Dark Ambient intonation, the urgency of soundscape buildup and dismal drones fuel a fire of angst-laden heresy that are compelling as much as they are effective at providing huge, atmospheric settings. From celestial & spirited pieces like “Harpocrates” to sinister and minimalistic drones of “The Snake Himself”, Mono Hideout has fabricated a world of dark malevolence.

https://kalaminerecords.bandcamp.com/album/true-lord

2. Helecho Experimentar – OU.. OU.. Sintaxis

Helecho Experimentar combines ominous sound effects, samples and controlled noise on the brilliant release, ‘OU… OU… Sintaxis’. Commencing with a thirty six minute opus that forges a tumultuous passage through layers of obscure musical stanzas, this album presents a relentless impression of restrained noises and hasty modulations. Truly a unique recording, this will soon become an addictive listen as the effort to notice additional peculiarities throughout, are inevitable.

https://kalaminerecords.bandcamp.com/album/ou-ou-sintaxis

3. Mora-Tau – The Five Sutra

Mora-Tau has quickly become one of my favorite Dark Ambient composers and his ever-growing catalog of consistently great recordings is something to be proud of. ‘The Five Sutra’ is another paradigm of esoteric compositions that slowly portrays a story of tragedy through elongated drones, repetitive synth manipulations and a deep venture into angst-filled arrangements. This collection of retrospective anthems provide almost two hours of listening pleasure, allowing the listener enough time to mediate in its thought-provoking sound.

https://kalaminerecords.bandcamp.com/album/the-five-sutra

4. Eijra Woon – Leïla

‘Leïla’ is a compelling offering of Dark Ambient, drone, noise, glitch and a touch of EDM, all wrapped up in a audial adventure that is both seductive and thought provoking. Haunting samples and various spots of vocalizations complete this mesmerizing collection of sonic objects that will leave the listener in a relaxed state at times, as well as emitting bouts of angst during other times. These twelve tracks ebb and flow into various emotive states and the harrowing soundtrack that ensues, is sonically unparalleled. Upon completion of this sixty five minute opus, the listener may become paralyzed with emotional shock and drenched in sweat from sheer survival of the audial jolt that took place.

https://kalaminerecords.bandcamp.com/album/le-la

5. HEL – Innocently Wicked

HEL incorporates a plethora of vocal manipulations to establish a baseline of obscure ambient for showcasing a provocative blend of harmonizing textures and meaningful poetry. This anomalous recording also includes a variety of field recordings and effects to round out this massively peculiar effort. Taking a cappella to extreme realms, HEL emits an uncompromising take on enigmatic, yet experimental music. Highly recommended for those that are brave enough to indulge in uncompromising reaches into evanescent realms.

https://kalaminerecords.bandcamp.com/album/innocently-wicked

6. Christian Fiesel – Barren Land

‘Barren Land’ sounds like a dismal exploration into mystical territories during the cultivation of 70’s or 80’s progressive-influenced synthwave. Vast wastelands are brought to light with soothing orchestrations and mesmerizing drones, as tranquil modulations produce a landscape of effervescent bliss and slow-moving sequences. This one hour long track is a lot to consume, but is equally rewarding and ominous sections fuse together in a single instance, as if wandering various rooms in a mansion, searching for clues to a portentous and puzzling storyline. One thing that remains constant throughout is the vibrant drones that seem peaceful and resonant.

https://kalaminerecords.bandcamp.com/album/barren-land

7. Philippe Simon – Amarante

‘Amarante’ is a colossal offering of minimalistic Dark Ambience that stretches beyond the imagination and pushes the boundaries of atmospheric synth music. At almost eighty minutes in length, these seven tracks produce a transient environment of electronic music that combine Berlin School, drone, space ambient and quirky effects with resilient results. As these long players unwind, a deluge of celestial textures tell a haunting story of abandonment and foreboding solitary confinement. These songs are equally soothing and enthralling to say the least and once you begin this epic journey, it’s hard to stop. Enjoy this sonic masterpiece and the reward is well worth the endurance.

https://kalaminerecords.bandcamp.com/album/amarante

8. Wasatch Front – I Walked Up Stairs

‘I Walked Up Stairs’ showcases a fascinating blend of Dark Ambient, industrialized soundscapes and contained noise. This is not one to relax to or have on as background music. Wasatch Front demands your full attention to the oblivion contained within these five tracks to fathom a true understanding of the audial depth that they collectively offer. Each track takes a grueling approach to the intricacies of obscurity as the listener ascends a staircase into the unknown. As the music breeches the subconscious, a perilous adventure awaits. However, be forewarned; what goes up, must come down.

https://kalaminerecords.bandcamp.com/album/i-walked-up-stairs

9. Hostile Surgery – Into A Cold Light

‘Into A Cold Night’ contains six protracted anthems that extend to almost eighty minutes of playing time. These masterful drones mirror a creativity of malevolent proportions as they represent a barrage of hostile actions that can only be portrayed in nightmares. From deafening modulations to wavering sound effects, there is a certain demise that becomes paramount when indulging in its menacing grasp. Although each of these tracks produce a unique listening experience, the results for all of them is the same- dark, brooding ambience with rugged atmospherics that will leave the listener is a gloomier state than before listening to this massive recording.

https://kalaminerecords.bandcamp.com/album/into-a-cold-light

10. Glamourie – Imaginal Stage

‘Imaginal Stage’ may just be one of my favorite recordings from Kalamine Records. It combines dark and light ambient with a touch of acoustic folk music and even some forest synth and there is so much variation on this album, it’s hard to grasp within a few listens. However, upon multiple listens, you’ll begin to experience a decaying, yet soothing journey into assorted realms of audial reassurance. On the downloadable version of this album, each track is combined with a beautiful, mystical painting that truly represents the soundscape that affectionately makes its way through the speakers (or headphones). This is such a delightful album and I highly recommend this for those that need a peaceful, meditative source to accompany them in their life excursions.

https://kalaminerecords.bandcamp.com/album/imaginal-stage

Website: https://KalamineRecords.com

The King Of Gregorian Mantra’s, Metatron Omega, Is Back With Another Superior Performance With ‘ISIH’

Scorpio V, the driving force behind Prometheus Studio, is back with a new album from his flagship project, Metatron Omega. One of the few acts that produces Dark Ambient music that centers around Gregorian Chants, this Warhammer 40k-themed entity magnificently fuses soothing dark choir vocalizations with minimalistic, bleak ambience, resulting in an enthralling musical experience. In what may be his most sophisticated outing yet, ‘ISIH’ is the full experience of moody, ritualistic anthems that provide a grim landscape for ancient monasteries.

Right off the bat, title track “ISIH” secures a somber atmosphere with soothing Gregorian chants and effervescent ambient tones that flow like a transparent wave of breathless energy through high mountain ranges and cold, desolate valleys. The mood turn dark, as the ambience descends into the depths of bleakness with distant chants that are more sporadic than often. However, perfectly reverberated, it emits a trance-like feeling and subdues the listener with boundless bliss. “Megalosthronos” just may be my favorite Metatron Omega track ever. Commencing with a consoling drone, a tribal-like percussive element is soon embedded, tracing back to the likes of Paleowolf – where ancient civilizations meet theatrical ambience. Once the haunting chants are fused in, it creates a level of intensity and spirit that are completely unmatched. I certainly enjoy this direction that Metatron Omega has included in its repertoire of musical genius. “Imperium Novum” bleeds minimalistic ambience and the electronic-induced vocalizations are at times terrifying and more often mind-numbing. There are sci-fi elements in the narrative inclusions, as if an alien invasion has intercepted a communication transmission from an ancient culture. The weaving chants are mesmerizing and will leave the listener wanting more. “Arhontes” begins with an enthralling wind-like nuisance with the sounds of distant howls and screams. As the droning effort intensified, so does the angst of anticipation for where this track is headed. Chants of desperation are heard in sporadic patterns and when the depth of emotion finally fades, we are left with a calming path of destruction lead by deep, guttural chants and ritualistic ambience with a repressed ferocity and celestial intent. “Vyachnost” is another spectacular track that offers a rhythmic, drum track and the solar sounds continuously build throughout. Industrialized soundscapes and peculiar effects reflect a futuristic energy that is humbly met with ancient chants and warm synth patterns. There is a break toward the end where it morphs into a deep space ambient piece before returning to true Metatron Omega fashion. Vocalizations echo the synth modulations and are barely audible. However, it creates a type of discordance that is completely tranquillizing. “Blagoslovenie” is a return to form that can be heard on the likes of ‘Illuminatio’. The Gregorian chants are prevalent throughout and provide an immense ride into dark, enchanted territories. The deep drones are alarming at times and the moments of near silence – in particular – can be frightening. However, about halfway through, drums begin to fill the air with substantial cadence and synthwave elements are also introduced, as this song begins to take shape like the soundtrack for a Medieval battle. The final track on this monstrous album is “L.U.X.”. Commencing with looping chants and reverberated effects, this track isn’t as desolate as those that preceded it. The ringing of the church bells signifies the coming to an end of a ceremonial event, while the rest of the track continues to press forward with heroic expression. As the end nears, an incessant drone continues the pace as the all-to-familiar chants become softer and more distant.

Positioned in my Top 5 favorite Dark Ambient artist list, Metatron Omega continues to produce impressive albums that remain in line with its own ritualistic thematic expression, while supremely adding new elements and surprises that expand the boundaries of listening intent. ‘ISIH’ is no exception, as it’s probably Metatron Omega’s most expressive album to date. Including dark and light ambient elements and fusing percussion is a welcomed experience and I hope more of this type will be released in the future. If you can’t get enough Metatron Omega, make sure to also check out some of the other side projects in this same vein. Monasterium Imperi has everything you know and love about Metatron Omega but is less cinematic, while offering a deeper dive into the Warhammer 40k sound. Then there is Eshaton, which is an extremely raw and abrasive version that is gritty and relentless and at times has a Dungeon Synth vibe. At any rate, it’s easy to get lost in the realm of Metatron Omega and ‘ISIH’ is a magnificent album that truly represents this artist and craft. Click on the link below to download this album and enjoy the journey that it holds.

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Links:

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

https://prometheusstudio.bandcamp.com

Conducive Produces An Immense Image Of Controlled Turbulence On ‘Global Makeshift Wounds’

Like all other genres of music, Dark Ambient comes in all shapes and sizes (figuratively speaking). A variety of sub-genres keeps this obscure pallet of music interesting and unique – to say the least. One of my favorite offsprings of Dark Ambient, is Drone. I know what you’re thinking; isn’t Drone and Dark Ambient the same? Should it be in a separate category all together? In my opinion, yes, it should be separate because there are subtleties and intricate nuances that render them differently. Drone is more experimental, minimalistic and sometimes, hard to tolerate (by those that aren’t quite familiar with this style of music). However, there is beauty amongst the controlled chaos of Drone music and it’s contents are entirely open for interpretation. As for me, I love listening to Drone music while working, reading and when I need something in the background to help me concentrate. One up and coming artist that has caught my attention is Conducive, and with their debut album, Global Makeshift Wounds, out now on Veinte 33 Records, I’m happy to report that is some of the most trance-inducing Drone music I’ve heard in a while.

This forty minute turbulent broadcast is cleft into two parts. Separately, they stand on their own as narrative transmissions that detail a dark, scenic reality that plays into the senses and provides the essence of real-world chaos. However, together, they fuse a building chronological that portrays a dismal landscape of time, brutal machinery and the inconspicuous element that spews “we are not in control.” On the surface, “Global Makeshift Wounds #1” begins with the every day sounds of a hurried life, perpetuating that we have a certain control of our destiny. However, underneath, esoteric droning commences, setting into motion a controlled, chaotic modulation of tempestuous energy of impending doom. As the volume of this monstrous effort escalates above the existence of all other natural sounds, a peculiar comfort begins to exist, taking over the listeners ability to grasp the humbleness of existence. As we continue to sink into this eclectic drone, small subtleties begin to emit imperfections with the machinery, causing angst and misguided nervousness. There is nothing that can be done, other than to give in to the systematic noise and become one with the grueling soundscapes. Just as you begin to get use to this setup, we get a semi-abrupt ending, providing a well deserved break from the pandemonium. It’s mind-blowing how this didn’t feel like twenty minutes at all. “Global Makeshift Wound #2” commences with audial samples of people moving about as if it’s part of their daily routine. Like there is no care in the world or fears of what’s to come, the calming pattern of their ordinary commotion is soon to be preempted by another dose of overworked machinery that has been put through the rigors of systematic stress and pressed beyond their capabilities with no regard for its malevolent impact of failure. By the five minute mark of this track, the exhaustive industrialism materializes in full spectrum, drowning out the majority of the quotidian annoyances. There is a magnificent power that is portrayed by these layers of drones that contributes to the overall mesmerizing output of this track, achieving a substantial audial radiance in the process. At around the eleven minute mark, a tranquillizing dose of white noises are mixed in and duplicated about a minute later, producing a menacing buzz that can be a bit terrifying for those that are not use to this kind of ambient projection. At around fifteen minutes in, all hell begins to break loose, as the machines struggle to maintain form, creating a disruptive audial flow In frequency and initiating an reprehensible cacophony of destruction. At the end of the track, the machinery gives in its catastrophic demise, diminishing all sound abruptly.

This year is shaping up to the the breakout year for Drone music. As one of the more minimalistic elements of the Dark Ambient community, Drone music is on the rise and more releases of this kind are piquing my interest more than ever. Conducive is an amazing artist that can now be added to that list and ‘Global Makeshift Wounds’ is bound to make an impact. For a debut release, this album covers a lot of ground, in particular with the audial arrangements and the exceptional production. I highly recommend checking out this album and you can support the artist by downloading it from the link below.

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Links:

https://veinte33records.bandcamp.com/album/global-makeshift-wounds

https://conducivemusic.bandcamp.com/releases