The Lonely Bell have been consistently releasing some of the most ethereal ambient music for the past few years. Marked by minimalistic and emotional characteristics, each contribution offers a unique setting that is immediately accessible and relatable. That being said, several recent releases continue to provide the essence of the aforementioned but also venture out into new realms of modern apropos subject matters. Both ‘Found Footage’ and ‘Time Lost’ offer a mixture of haunting settings and eerie modulations that are otherworldly yet serene. With these albums, be prepared to be whisked away to a dark world with hypnotizing effects.
Found Footage (Oct 2025)
‘Found Footage’ consists of a single, thirty five minute track that pays homage to the found footage film genre. Expressing and sharing the same sentiments discovered through the cameras eye, this track plays out in an adventurous way through wandering drones, subtle environmental noises and the occasional field recording that parallels the subject matter at hand. This songs plays to an innate vision of unscripted exploration, improvisational motive and a quest for understanding. Hints of melodic keys in the background are equivalent to the wonders of an unknown cessation and the endeavor to reach that plateau. The soothing soundscapes produce a meditative space for recollection and the necessary capacity for a true cleansing of the mind. As the song progresses toward its ending, the music becomes more emphatic as a certain closure draws near. This is such a peaceful recording that emphasizes the need for abeyance through the succession of realistic immersion of events as discovered by others.
‘Time Lost’ is an ambient adventure of the soul that is a must listen. Right from the opening note of “One Wish”, an ethereal vibe sets the tone for another emotional offering – something we can always expect from The Lonely Bell. Delicate drones will entrance the listener into an abrogating energy that is constructed in a way that will galvanize the psyche into complete chaos or delicate peace. Each track represents a sacred element of recollection that only the listener can construct into its own unique understanding. Tracks like, “Elsewhere” and “Dance Of Dead Leaves” lead with melodic impressions that produce a consoling feeling of euphoria. However, tracks like “The Old Bridge” sways to the opposite end of the spectrum with dark, brooding atmospherics that will alienate all positive perspectives. The title track, “Time Lost” is a true representation of the overall objective of achieving sentimental triumph. Looping textures and enlightened drones cast a warm light on a descending darkness, expanding upon an open space for diverse and introspective logic. At the end of the album, one will achieve a decisive cleansing of one’s inner self, leaving an impression of remarkable ambition.
The Lonely Bell continue to release absorbing albums that create a vast void of either liminal atmospheres or turbulent compunction. ‘Found Footage’ and ‘Time Lost’ are just two amazing examples of this, while extending an audial consistence of deep ambience and palpable soundscapes. I highly recommend these albums to those that dwell in self recollection or need emotional absolution. Check out these albums, as well as The Lonely Bell’s back catalog and be prepared for immeasurable contentment.
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I’ve been following Desolation Plains for several years now and it’s safe to say that with each album release there is an implicit layer of musical growth as well as an expanded improvement with regards to musical composition. On the latest album, ‘Celestial Sorcery’, there is a profound range of audial eloquence that I’ve not heard in a long time. These tracks flow seamlessly as if a spacial void was vastly penetrated by composite modulations destined for distant stars. This album as a whole is like one massive meditative simulation that draws the listener in without hesitation and then proceeds on a spectral trip down a medieval – yet futuristic – passage of infinite dreams and illustrious oblations. Without a single debacle across these eight tracks, Desolation Plain presents thirty two minutes of fascinating canticles that gratifying and completely mesmerizing.
Dreamy album opener, “Altar Of Eltanin (Prelude)” gets things going with an enthralling sequence of lush keys and dark ambient hums. A soft cadence kicks in and layers of sonic synths collaborate in victorious fashion. “Astral Draconic Worship” begins with somber modulations that could easily place the listener in a hypnotic state. Radiant tones and beats follow almost immediately, creating an enchanted space for Medieval doings. Synth leads dominate the track and imply a battle-ready environment and a quest for ascendancy. The excitement continues as “Forgotten Shards of Thuban” spews forth a retrospective groove that could have easily been a part of the Stranger Things musical universe. Synth leads sound heavily reverberated, producing a thick atmosphere of electronic greatness. Next up is the powerful, “Rising Tides Of Eternity”. This track rages with melody and ethereal vibes that create a calming ambience that is a joy to soak in and listen to. Clean synth leads merge seamlessly with the backing sounds generating a smooth montage of tones that is instantly enjoyable. “Neon Druids Of Gamma Draconis” is a whimsical piece that introduces capricious loops, elongated cords, and rhythmic percussion patterns that come together harmoniously! Some of the reverberated tones are stringent and truly represent the emotional context of Medieval times. “Moonstone Dagger Rituals” reminds me of Cosmic Terror-era Varkana and that’s not a bad thing. As a matter of fact, that’s one of my favorite Dungeon Synth albums of all time. The lush key tones, echoing keys and sonic soundscapes complete this amazing track. This is probably my favorite track on the album and sort of summarizes the whole musical concept of the entire outing. “Creatures Of Moonlight” has a very nostalgic tone of late 90’s, early 2000’s synth music. The pensive instrumentation is very refined in style and everything mixes extremely well through the song. The final track is the eerily somber, “Star Magic Ascension”. There is a strong melancholic vibe that creates a pleasant context for this musical journey finale. The backing percussive elements are different but mesh well with the overall atmosphere of the track. This is a fitting way to end this immersive experience full of meandering electronic transmissions and vast soundscapes.
Desolation Plains is one of those projects that gets better and better with each release. With already a strong discography of six releases, the sky is the limit for this incredible act. From the songwriting and instrumentation to the excellent production effort, ‘Celestial Sorcery’ is already a top contender for my “Best of 2026” list. I know there is still a lot of time left in this year but I continually come back to this album on a regular basis. I highly recommend this if you’ve not already checked it out. Definitely check out the rest of the discography as well.
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When it comes to Dark Ambient music, long form tracks (and albums) almost immediately grab my attention. There is something about tracks with epic lengths that pique my interest as they allow for meditative expansion, curiosity arousal, and the ultimate setting for imaginative story telling. One artist that is dependable in that area is BlackWeald from Hungary. Extensive song lengths are a normal endeavor for this project, as well as delivering massive albums. ‘666 Minutes In Hell’ from 2021 clocks in at over 11 hours and ‘The Fermi Exhibit’ is over 5 hours long. If these don’t serve as a audial storyboard platform for your senses, I’m not sure what will. In addition to that, the artist Old Crypt (also from Hungary) has over 20 releases – mostly consisting of single tracks that are around (or over) the 1 hour mark. When the two projects are combined, the result is the massive ‘Ahtola’ album – 3 tracks with over 3 hours of imposing drones that will surely captivate the senses. In Finnish mythology, Ahtola is an underwater sea castle and home of Ahti, the god of the sea. Musically, these tracks serve as a soundtrack for an allegorical voyage of discovery of the unknown and the dreadful encounters along the way. A voyage to expose this apocryphal location for the sake of possible existence. Played at full length, without breaks, will submerge the listener into this passage that will ultimately prove there will never be another contingent expedition of this nature ever again.
At just under one hour and fifteen minutes, lead off track “Ahtola”, is a mammoth of an album opener. Commencing with a vaporous drone that complements hollow sounding synths, as if they were recorded in a distant vessel that is slowly disappearing in the darkness of thick fog, these sounds emit a particular radiance that is certainly fitting for the theme of this album. At about five minutes in, grim effects begin to take shape, promoting a dreadful presence of something supernatural. As the search for Ahtola continues, the minimalistic vibe of this track continues to expand slowly and effectively, like an impenetrable darkness full of looming shadows. Pulsating percussive elements begin to form, like a welcoming committee from an ancient, uncivilized tribe. At just over the sixteen minute mark, a thunderous modulated drone all but drowns out the previous audial dialogue. As we approach the halfway point, the glow of ominous drones and effects completely overpower all mental faculties and continue to immerse the listener into an unexplored world of aquatic dreariness. As we continue on to the final minutes, it’s clear that this track has successfully laid out the scope and mission of the remainder of the album and their is no escaping the overall sinister tone of the subject matter. “Ahtola, Sunken Ruins” is an eighty one minute voyage into the prodigious world of maritime obscurity. Heavily reverberated tones – akin to space ambient tidings – emit a feeling of pure relaxation, but with a sense of harrowing dread lurking close by. The sounds of distant thunder adds a sense of foreboding naturism and space water droplets offset that with an ataractic sensation of mild unrest. Throughout this long player, menacing drones rotate through various octaves to complement the assorted elements that coincide with fantastical tale that radiates through this entire album. Additionally, various beastly noises declare a lurking presence that is downright evil. Even though this track has an enormous time span, the introspective experience that is validated throughout is well worth it. Even though the final track, “Ahtola, Desolate Sanctum” is the shortest song on the album, it still clocks in at a hefty forty six minutes. As if this is the grand finale of the Ahtola expedition, aggressive tones begin almost immediately and elude to an imminent danger that can only be expressed with bleak audial vision. As this song weaves through elements of obscure synth pads and assorted soundscape, the feeling of apprehensive emotions take shape and this dark realm is taken to a whole new level of apocalyptic dread. As we approach the end of this huge, phonic undertaking, a distinct closure is presented during the albums final minutes. Cogent drones are met with flowing accuracy and then are ultimately matched with an unexpected guitar riff, depicting a haunting conclusion to this immense sea-worthy adventure.
The best aspects of BlackWeald and Old Crypt collide on this colossal Dark Ambient offering that will definitely appeal to listeners of minimalistic, epic-sized ambient music. It’s extremely easy to get lost in these three tracks and the value of the listening experience is well worth it. ‘Ahtola’ is a mythical story worth telling and this droning musical format is optimal for its portrayal. Both BlackWeald and Old Crypt are artists worth checking out and the quality of their discographies are excessively satisfying. Be sure to add ‘Ahtola’ to your list of albums to check out and support these projects at the links below.
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The amount of releases put out by Altrusian Grace Media is incessant. From full audio books covering a myriad of subjects and esoteric music collections to ominous dark ambient recordings from the distinguished project, Psyclopean, the assortment of output is sure to grab anyone and everyone’s attention. In addition to all that, patrons are graced with a number of exclusive releases for those that join the Starry Wisdom Cult. One of the latest audial offerings is, ‘Into A New Dark Age’ by Psyclopean, a dismal single track that spans almost thirty minutes, and presents a nightmarish spectacle of retro synth impressions with Berlin School sequences and foreboding drones.
Opening with a cold, dark drone sound that slowly fades in, presenting an anxious catapult into unknown sounds and mythical panorama. Layers of Berlin School progression and soothing synth chops begin to play with ethereal results, drawing the listener into an extended realm of endless audial possibilities. As if playing on a loop, this section has a hypnotizing effect and then slowly fades out to a tranquilizing drone. At around the six minute mark, an eerie spoken word bit is summoned, followed by a harmonized chant passage. This is soon accompanied by a thumping bass effect and continues on for a few minutes, emitting a grandiose and ritualistic effect. Soon after, a retrospective acoustic guitar melody begins to play a smooth riff and is backed by a synth lead that takes us back to a 70’s progressive rock synth tone. This segment presents a heavily reverberated soundscape that is sonically monumental. At around thirteen minutes in, heavy industrial effects emanate a dystopian theme of chaos and darkness. Hollowed drones and elongated synths take over and allow for an echoed synth lead to pervade through. This slowly crevasses into a more somber piece but with a melodic synth tone of mythical proportions. At just under the nineteen minute mark, space ambient drones become the dominant texture with immense, planetary elements. The last five minutes of the track returns to a retrospective synth sounds, removing the sense of claustrophobic sensations and abrupt panic. Instead, alleviating synth patterns provides an elegant yet caliginous desire. Haunting chants and spoken word bits return to close out the track as if concluding a reverent journey through space, time and harrowing mythos.
‘Into A New Dark Age’ is the 22nd official release from Psyclopean and the audial luster still shines through with nostalgic ambient precision while exuding modern soundscape elements that submits the listener into ravishing sonic realms. Having one epic-length track – especially in the ambient genre – is the perfect environment for the listener to escape reality and embed themselves into the track and experience the music as intended. Just in case the music doesn’t fully satisfy that reality withdrawal, check out the full length video below and experience the visual representation of this magnum opus. Psyclopean remains consistent with delivering immersive electronic music and ‘Into A New Dark Age’ just may be one of the projects best releases yet. Highly recommended for fans of space ambient and ritualistic drones.
Psyclopean – Into A New Dark Age
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After a lengthy hiatus, I’m finally back in the Dungeon (in Deep Space, of course) and ready to provide my analysis and opinion on the great genres of Dungeon Synth, Dark Ambient and anything in between. For my first post-hiatus offering, I’d like to spotlight the ‘Shrouded’ trilogy by Everyday Dust. Focusing on minimalistic soundscapes and audial designs that are reminiscent of retro adventures and blissful morning decadence, Everyday Dust transcends the typical Dark Ambient outing with a fresh take on sound manipulations, solid use of loops and a combination of musical ideas that extends beyond a single genre. Below, I will summarize my thoughts of each album and hope that you’ll check them out as well.
Shrouded I (2023)
The 2023 release that began this amazing trilogy, set the tone right away with retrospective variations and haunting melodies that cultivate a rich tonal texture of relaxing soundscapes. “Broken Wings” is a pleasant album opener that provides a virtual backdrop of an avant-garde soundtrack for a utopian, yet visionary audial design. Continuing with “Evensong”, Everyday Dust sways to a dissonant realm of exotic rhythms and reverberated loops. This creates a blissful adventure through lethargic dreams and peaceful endeavors. Skipping over to “Distant Lanterns”, we find a more spacial approach with looming drones and cosmic intonations. The final track, “Solus” is a jovial offering that encapsulates the overall vibe of the album. Definitely ending on a high note, ‘Shrouded’ sets the stage for two follow-up albums that do not disappoint.
‘Shrouded II’ begins with the nostalgic, “Who Built The Chimes?”. Audial hisses and looping cracks present a lo-fi setting for the deluge of sounds that are contained within. “Horns Sound As The Haar Surrounds” continues with the grungy production sounds but with more of a minimalist radiance. Various sounds and cryptic noises radiate throughout this crack, producing an eerie offering that easily captivates the listener. “The Jackalope Whisperer” is the darkest track on the album with its bleak atmospherics and demented sound bites. At just under 15 minutes in length, this canticle plays on the psyche with a variety of emotional changes and hypnotizing, yet protracted modulations. The final track, “Thorns”, delivers a nefarious experience with malevolent tones, ominous atmosphere and despondent pitch changes. Although it continues the same sentiments as the first album, it’s delivered with a darker, deeper prospective.
In 2025, Everyday Dust delivered the final installment of the harrowing trilogy with ‘Shrouded III’. Immediately commencing with the dystopian thriller, “Make No Bones”, it explores the outer realms of space ambience with planetary clamor and peaceful drones. “Sentinel” follows with the sounds of tape hisses in the background with heavily reverberated synths, producing a striated track full of turbulent intentions. “Heresy” is another dismal offering with its glooming, apocalyptic resonance that mimics what one may hear during a grueling nightmare. With the time span of just over 12 minutes, this effort creates an uneasy adventure that cannot be avoided. The final track on the album (and of the trilogy), is the maniacal, “Smokescreen”. As with the case with any finale, incandescent modulations pulsate with dreadful intensional, producing an all-encompassing array of looping timber with somber soundscapes that conclude this obscure yet magnificent trilogy of recordings.
Spanning three years, the ‘Shrouded’ trilogy, presents a fantastic audial adventure that is both retrospective and modern. As with the old “create-your-own-adventure” books of decades past, these albums allow the listener to dwell deep into their own minds to construct a voyage that can be both unique and audacious. Everyday Dust have gone above and beyond with these recordings and have produced something very special that will definitely stand the test of time. Each of these albums deserve repeated listens and new elements are sure to be gained every time someone connects with these songs.
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When it comes to Dark Ambient music, the name Onasander should come up when discussing the modern chieftains of the genre. With a consistent amount of captivating releases as a stand-alone producer, as well as a consistent contributor to many other releases, this is an artist that must not go overlooked (or unheard). With a new magnificent album (‘Dawn Metrics’) just released yesterday on the mighty Winter-Light label, Onasander is out to prove that his unique brand of dark, audial visions are as good as they come. I recently had the opportunity to interview the mastermind behind this great project and learn what the driving force behind his reign of terror is. Hope you enjoy this as much as I did putting it all together!
1. Thanks for taking some time out of your schedule for this interview. You’ve been busy this year with some amazing releases. Let’s start with ‘Under Unknown Stars’ released on Dark Odyssey Records. How did that album come about?
The idea for “Under…” came from my passion for Alien movies, not just the original quadrilogy but also the prequels. I thought of creating a space horror story using the sound of Onasander. I’m quite satisfied with the result.
2. With the space theme of this album, were there certain techniques you relied on to create suck a dark, immersive atmosphere?
In my opinion, the use of synths like the ASM Hydrasynth and the Waldorf Iridium, in combination with various software, made all the difference.
3. How do you know when a track has been completed and it’s time to move on to the next one?
Usually, my work sessions are short. If a track works, I stop working on it and let it sit for a few days. Then I come back to listen to it.
4. Congrats on your collaboration release with Alphaxone, ‘Futuristic Dereliction’, out now on Cryo Chamber. How was this experience working with one of the (other) greats of the Dark Ambient genre?
Mehdi is a great musician, perhaps the greatest in space dark ambient currently around. You can learn so much from him, and every time you listen to one of his elaborations, you’re literally blown away.
5. This album has such a broad sound that covers a large realm of the soundscape spectrum. What was the focus of the music on this release?
A dystopian vision of the future that touched on different genres and different sonic contaminations (like cyberpunk, for example); I think it’s very common in more modern dark ambient.
6. Whose idea was it to incorporate the Berlin School sequences on the track, “Time Fracture”?
Honestly, it was Mehdi’s great idea. In that wonderful track, I contributed by giving depth with the drones in the background.
7. Another release from earlier this year was the collaborative powerhouse, ‘Animic Atmospheres’, featuring yourself, Ashtoreth and Gydja. How did this creation come about?
The idea for Animic Atmospheres came entirely from me as a big fan of theosophy and anthroposophy, especially the works of Rudolf Steiner. I then chose some musician friends who were very close to an “esoteric” sound and definitely of a very high level.
8. There are some really dark tones on this album, dare I say ritualistic even. What inspired the bleak, tonal passages throughout this recording?
Definitely the idea of the relationship between man and the cosmos, theorized by the father of anthroposophy. We are nothing but “a thought that is thought” by unknown cosmic entities…
9. Throughout your recording career, what role has sound improvisation play?
It has played a predominant role. And it still does. I don’t consider myself a musician but a lover of sounds that I use to express what I have inside.
10. Do you already have a good plan, or set of ideas ready to go before you begin recording each album?
Sometimes it can be a book you’ve read; other times, a movie. Suggestions can come from literature, philosophy, or cinema. Very rarely do they come from other listening experiences.
11. Are there any specific synths or sound processors that are essential to your sound?
Yes, I use several synths like the ASM Hydrasynth, the Waldorf Iridium, the Moog Subharmonicon, Korg Modwave and several SOMA instruments.
12. How do you balance darkness with musicality in your compositions?
For me it’s pretty simple, since my idea of sound is essentially based on dark atmospheres.
13. How does your background or personal experiences help shape your music?
Very little, I would say. My personal experiences are quite distant from my idea of music.
14. With each recording, is there a specific story you’re trying to tell with your music?
For some records, I would say yes, like for “Under Unknown Stars,” for example. For others, they are just philosophical concepts put to music (“Cosmic Extinction”).
15. Is there a particular artist that influenced your passion for Dark Ambient music?
There are so many artists that I love but if I had to choose just one, I would say without a doubt Collapsar.
16. What are some things you hope to achieve with future projects or albums?
I hope to improve the sound I have in mind more and more; that is, to give a sound to the darkest aspects of the cosmos.
17. How important is performing Dark Ambient music in a live setting? Is this something that is a priority for you?
I don’t find it that important but I would love to play live.
18. What can we expect to hear from Onasander in the years to come?
Currently in my mind there are two orientations: that of “Under Unknown Stars” and that of “Cosmic Extinction”. My future sound starts from these two albums that I adore.
19. I really appreciate you taking the time to answer a few questions for The Dungeon In Deep Space. Are there any final words for those that will be reading this publishing?
I want to thank The Dungeon In Deep Space (this name is beautiful!) for hosting me and all those who have supported and continue to support Onasander and the side projects. Thank you very much!
It’s that time of year again, our favorite holiday is upon us. Of course, I’m talking about Halloween, and The Dungeon In Deep Space is back for the sixth installment of the All Hallows’ Eve Extravaganza. In a continued effort to bring you a few summary reviews of this years’ audial frights, I have selected five new releases that will do Halloween proud. Each of these recordings would make the perfect companion to you Hallows’ Eve scares. I hope you will enjoy these as much as I have and please support these amazing artists, as they continue to bring the best in dark music excellence!
1. Halloween Scene – The Last Trick Or Treater
Halloween Scene, the spooky, seasonal side project of Guild of Lore, is back for a second nightmarish installment of creepy soundscapes. Playing more like a soundtrack to a 80’s horror flick, ‘The Last Trick Or Treater’ comes packed with evil haunts and retrospective modulations. Each track precisely elicits a sense of fear as an anomalous entity stalks trick o’ treaters on All Hallows Eve. Some of the more terrifying tracks include, “Bad Things Between Backyards”, “Something In The Mist On Reaper Road” and “This Long And Frightful Night”. At nearly one hour in length, this is the perfect companion piece to your ghoulish encounters on Halloween. My favorite song on the album has to be “Show’s Over”. With its retro electronica vibe and tasteful usage of Berlin School sequences, it screams 80’s B-movie horror. Halloween Scene certainly knows how to create an audial encounter for the most menacing nights of the year and I’m here for it.
Just in time for Halloween, the ever-so-reliable (and consistent) force of nature known as Erythrite Throne has unleashed ‘Strigoic Myths’, a five track excursion through the darkest points of your imagination. From the seasonally-themed logo to the solid color album backdrop, you know the darkened season is upon us when Erythrite Throne graces us with this combo. As for the music, it’s everything that you’d expect from one of the Godfathers of Dungeon Synth; desolate synths, impending beats and a slab of melancholic darkness that would prepare even the ghoulish of entities for All Hallows’ Eve. The best example of this comes by way of the second track, “Tenebrous Whispers From The Night’s Fog”. Commencing with a looping, mesmerizing beat, Medieval incantations soon follow by way of haunting, modulated synths. As the song intensifies, periods of melodic wonder increases, thwarting this track into the catacombs of great bleakness. We can always count on Erythrite Throne to deliver the goods and this album is a stark example as such.
Mombi Yuleman, the distributor of all things dark electronica is back with a collection of Dark Ambient soundscapes, previously released on various collaboration albums. ‘Tales Of Lost Transmissions’ is the first of a two part series that focuses on the assemblage of early recordings and rarities and it’s just in time for Halloween. Producing a Sonic range of material from Dark Ambient to Psytrance and Synthwave, this material of a culmination of Dark Ambient tracks that emit an eerie resonance while paying homage to 80’s horror soundtracks. So far, my favorite track is “Ominous Hazards” with its completely retro vibe, thunderous synth pad arrangement and electrifying Berlin School sequences. Another favorite is “The Madness Of Alhazred”, as it absorbs classic B-horror movies aesthetics and adds a modern Dark Ambient twist – complete with haunting vocal samples and spooky narrations. This would be a great album to play loudly while handing out candy to the costumed humanoids. When you’re done playing this one, queue up the second album in this series, ‘Tales From A Darkened Corridor’, you won’t regret it.
Hours Of Worship is back with their multi-genre offering, ‘Death & Dying Vol. II’. Aggregating facets of Dungeon Synth, Gothic and Darkwave, Hours of Worship is making a bold audial statement that is equally fascinating as it is addicting. With a dreamy production and retrospective sound mix, the six tracks contained within compels the listener through a surreal journey of darkness and dismal proportions. Most of the tracks are hypnotically lethargic, like a slow emotional decay while offering a few upbeat songs that continue to be melancholic at the same time. Standout tracks include “Derelict And Ruined” and “Opaline Ashes”, while “Shattered In Aspect” is reminiscent of a track that could have been a part of The Silence Of The Lambs soundtrack – which isn’t a bad thing because that’s one of the greatest psychological thrillers of all time. In summary, I can’t recommend this masterpiece enough. If you love the musical aesthetics of the aforementioned genres, then definitely do not pass on this release.
Born From Pain is an unusual entity that resides on the outside of a variety of dark electronic genres. The project also has the dismal vision of rescoring classic film score to a more modern, gloomy output. This Halloween we are presented with a Dark Ambient rendering of the 1932 film, Vampyr. Consisting of four, foreboding modulations that intertwine possessed tape loops and ghastly soundscapes, this is a droning experience that exhibits an angst filled void where there is no escape. The final track on the album, ‘Here, In Seclusion’ is a near fifty three minute long journey through the macabre, where desolate ruins provide the abhorrent landscape for a one-way trip to hell. The lo-fi production also adds a layer of dread, enhancing the repulsive nature of this audial dive to deep, distant voids. Born From Pain never fails to deliver and the projects vision of extreme musical obscurity makes this a promising album.
Chances are, if you’re reading this, you’re already familiar with the music and fantastical tales of Guild of Lore, but if not, you’re missing out on one of the most revered acts in the genre. Not only is the music consistently outstanding, but the conceptual worlds and landscapes paint a picture of Medieval admiration and enchantment. As if that was not enough, Lamp & Dagger was created and offers a assortment of hand crafted candles, with mystical scents to match a variety of darkened realms. I recently had an opportunity to interview the mastermind behind Guild of Lore to discuss the magnificent force that drives these projects (and several others) to their peak consummation.
1. What an honor it is to have this interview with the great Guild of Lore! How have things been going for you lately?
Things have been going swiftly. Last year was a crazy roller coaster for me, both in my personal life and in music. Felt like a constant mixed bag of good and bad, which I won’t get into. But I say “swiftly” because it felt and continues to feel like time is just moving too fast for my liking. Which I suppose comes with the fact that I’m approaching 50. I am planning on relocating to another state this year, so I imagine that won’t be changing anytime soon. All in all, doing alright.
2. Take us back to the inception of this project. How did you come up with the idea for Guild of Lore and what influenced the name?
Seems like ages ago. I had been working on another project over the Summer of 2018 and was pretty frustrated with it after a couple of months. I kept beating it, twisting and turning it and pulling my hair out trying to get something out of it. To the point that every time I’d try to work on it, I was just making it worse. So somewhere in October, I finally chose to drop it completely, archive it and work on something totally different. That particular end of the year was a cold one. A lot of rain, lots of snow in the mountains and grey and foggy days. Pair that with playing through Skyrim for an umpteenth time and listening to a lot of neo-folk and dark ambient stuff and I had the necessary ingredients for what was to become GOL. Which led me to writing Winterstead and writing differently than I had been in the past. Really taking in my surrounding atmosphere and channeling the type of feelings that Winter can bring. I allowed myself to write freely without expectation, being more influenced by these images of places I had drawn up. I was making a lot of the art at the same time I was recording. As far as the name.. It took a while to fall into place. I probably had 50 different names I was playing with, not one of which I can remember. But both the words Guild and Lore were peppered in there and if I remember right, I looked at them all one night and saw those two words together and it just locked in. I knew that I was building a world which would be rich with lore and thus the Guild was born to record such lore and stories.
3. You’ve created quite a few albums that are in the Winterstead realm. First of all, what a fascinating and creative world it is. How did this concept come about?
As I said, it all came about simultaneously during the Fall and Winter of 2018. I was writing its background and short stories while writing the music and drawing the art all together. I have a deep love for these two seasons, so they played a big part. But Winterstead quickly grew on its own. To the point that I would sit back a lot of times and ask myself where this or that came from. It would just develop itself. I think that’s when I first realized that this world was much much bigger and that the territories of Winterstead were just one massive part of that world.
4. The first Guild of Lore album, ‘Winterstead’ came out in 2018. Did you have any Dungeon Synth projects going on before this?
No I didn’t. I mentioned earlier that prior to writing Winterstead, I had been working on an album from a different project. That was for my project called Breather1, which ironically, I had created years prior as a means to take a break or “breather” away from whatever project I might be working on at the time. And honestly I don’t even remember what I was working on in early 2018 that steered me to work on a B1 album. But I do find it very peculiar that the Breather1 album that I was working on to get away from some other project ended up frustrating me enough to put it down to create an entirely new project out of thin air. Perhaps divine intervention? Perhaps the intense effects of the elements. Whatever it was, it helped give birth to my first Dungeon Synth project. A point of interest for those curious. The B1 album that I was working on at that time would later end up being Studies From The Outer Worlds. Which I went back to and completely deconstructed and rebuilt at the beginning of 2020.
5. Musically, Guild of Lore has a vast instrumental sound. Do you use a mix of electronic and acoustic instruments?
Yes. But for the most part the majority of it is electronic. I have a lot of acoustic instruments that I am partial to within my DAW. However, on the analog side I’m a bit of a percussion junkie. So there are percussive instruments throughout the discography that have been recorded direct and to analog tape. A lot of which I have sampled as well and integrated into my workstation. Ideally, I would love to own all of the acoustic instruments that I use physically such as the dulcimers and lutes etc. But limited space and life realities have kept those dreams at bay for now. Hopefully the new Guild headquarters will have plenty of space to accommodate new instruments.
6. My introduction to Guild of Lore was the 2019 release, ‘Autumn Massacre’. This is still one of my favorite Dungeon Synth releases. What was the journey of this album about?
Well, my love for Halloween and the Autumnal season played a huge part. And I had already been chomping at the bit to introduce a part of the world that had all of the fantastic things that Autumn brings. Much the same way Winterstead was written, Autumn Macabre took shape quickly and really wrote itself. I took a lot of inspiration from my childhood growing up in Visalia, my home town. Which ended up translating pretty heavily to both the music and the artwork. Foggy cornfields and pumpkin patches. Groves of oaks and walnuts. A countryside filled with mystery and decrepit graveyards unattended all while a sense of foreboding darkness lingers on the edge of sight. The foothills at the base of the Sierras used to be prime for exploring and finding relics and ruins, even if they weren’t that old. Imagination can take you to many wondrous places. The journey, to answer your question, was just that. A romp through all of these places I’d imagined over so many years. Some dark and frightening. Some not so much, but those came out more on Bohollow.
7. Is the ‘Autumn Bohollow’ release a continuation of this concept? If so, do you have any future releases that will continue this story?
It is. Over the course of writing these albums, it became very clear to me that there were ongoing stories happening in different locations of the world which would lead to multiple albums just based in those locations. Some even overlapping and converging like the way Bohollow ends for instance. Calling for a return to Winterstead, which we have now done and laid the groundwork for yet another Winterstead album to continue that part of the story. However, when concerning the Autumnal lands, the story is far from over. In 2022 I began writing the 3rd Autumn album, which I had very briefly teased at releasing that year. I quickly retracted that idea though. I was approximately 16 tracks deep with a written story that was growing bigger and bigger everyday. I knew there was no way it was going to be ready by October. So I made the decision to throw a curveball into my discography and switched gears to write Night of Halloween. After releasing the Portals albums, I figured why not go through a portal to 1988 USA and put out a Halloween synthwave album? Do some spooky tongue in cheek narrative and give it a 4/4 beat. It was a fun one to make indeed! All the while, I continued to write the 3rd Autumn album and the story kept growing. When I first started, I had a lot of plans to have a full narrative with multiple characters and dialog. And that may still happen, but I’m not too sure, the story is already beyond that of short story length. As I continue to write it, I find myself considering releasing it as a printed book. Which I have long wanted to publish a GOL book as it is, so this may very well be the first to come as it were. The album would obviously need to come at the same time, so as you can imagine it’s a rather large undertaking. I dare say, more so than any other album I’ve written.
8. Tell us how you got involved with The Spine of Night project. The music and the movie were both incredible. How rewarding was this project to do and complete?
I was contacted by Philip in late 2019 after he had listened to Autumn Macabre. He asked if I would be interested in writing a piece for a film that he was working on. Sent a few details about the movie and what he was looking for and I in turn said yes of course. I was excited to work on a soundtrack for film, however the timing of the offer came when I was organizing Dungeon Siege West and preparing to fly to Seattle. You could say my plate at that time was pretty well stacked. Regardless though, I managed to work on the music for Spine of Night even while doing DSW. Which I believe I completed in January or February of 2020. I ended up recording seven tracks for the film, four of which were used. I really enjoyed writing for film and the experience was invaluable. It honestly made me want to find a producer to do some GOL work. Maybe a GOL movie or a series? You never know.
9. Do you know if there will be a Part II for this as well?
That I do not know, I suppose it’s possible. I’m sure a lot of people would love to see more of that world, myself included.
10. The latest Guild of Lore album, ‘Return To Winterstead’ was a surprise Christmas drop. First of all, THANK YOU! What made you revisit the Winterstead theme?
I knew early on that there would be a return to Winterlands and Bohollow is meant to segue into that return. As I mentioned previously, this album was to lay the groundwork for another, exposing some new locations and to give the listener a welcome back into the snow. But as we know from the journey in Bohollow, all is not well in Winterstead. The Macabre has grown and spread to the snowy land and has given reason for a call to arms. The album was written much in the same style as the original was. Winterstead has always felt more stripped down and organic to me. I opted to use minimal field recordings and used the soundscapes as interludes so that it was more focused on the acoustic songs for the return. These to me tell the stories of this land and help to paint a vivid picture for the listener.
11. I’d like to talk a bit about your Lamp & Dagger label. What a unique concept to not only release some of your other musical projects, but your very own candles as well. How did this endeavor come about?
I am a candle fanatic which has led me to spending a lot of money on them over the years. At one point I stopped and thought, it’s got to be cheaper just to make my own. From there, I fell head first down the rabbit hole. Started ordering supplies and learned how to make them by trial and error. This and the label all sort of came together at the same time. Friends Fen Walker, Sombre Arcane, Shrouded Gate, FVRFVR and Halm had all been artists that I enjoyed, who in talking with had expressed interest in releasing physical material on the label. And I wanted to corral my DS projects under its umbrella as well, keeping with the same level of physical releases that I had been doing with GOL. Pairing the candles with physical releases was something I’d been wanting to do as a form of further immersion for the listener. Having the artwork, the music and the scent of the places they’d travel you to helped to accomplish this. Brendan Elliot became a big part of this as well. His artwork is hands down some of my most favorite out there and the paintings he has done for L&D definitely help to create fantastic places for the listener to visit.
12. I’m also a fan of your Pathworn Pilgrim project and it’s showcases a different creative space than Guild of Lore. How did this project come about?
Pathworn was created simply out of my love for The Elder Scrolls. My introduction into that universe was through Morrowind years ago, and has long been a favorite place to revisit. Equally, Cyrodiil and Skyrim both get revisited often each year. Pathworn acts as a means of tribute to these places and looks to expand even further on the musical aspects, giving the listener yet another perspective therein. It’s a project that has been received well within the community and that I very much enjoy working on. Many have asked whether there will be an Oblivion based album, to which I will answer, yes.
13. The Lamp & Dagger “Halloween” releases were incredible too but last year, you created a separate page for Halloween Scene. Why wasn’t that one release on Lamp & Dagger.
I loved This Tape Is Haunted one and too. Aptly named by my friend Brenden, who was loosely putting a spin on the old “This Magazine is Haunted.” The artists on those compilations did phenomenal work and I really enjoyed putting it all together. But this past year I had to come to a decision on whether I was going to continue with it or not and ultimately chose not to. The story for those two albums was pretty straight forward. Making your way to a haunted house as well as the surrounding areas and then actually exploring the inside of the haunted house. It seemed proper to leave the two at that. Though as I have said before, I love Halloween and I love Halloween music. Especially the old sound FX cassettes from days long gone. I used to love collecting those in the 80’s no matter how cheeseball they were, I’d have a bunch lined up for listening throughout October. So came Halloween Scene, which is essentially an extension of the idea that started with This Tape Is Haunted. The project intends to be an audio magazine of sorts with one release per year during the witching season.
14. Will you continue to release annual Halloween albums?
I fully intend to!
15. In 2022, you released a Dark Noir/Dark Jazz album under the moniker, Radio Roadhouse that loosely pays tribute to Twin Peaks. How did this come about and will there be any more releases?
I have long been a fan of the work David Lynch does. But beyond anything he has done, Twin Peaks remains my all time favorite. Before the grand invention of the internet and streaming services, I used to have a marathon once a year where I would just soak up all the Twin Peaks I could. These days, with it readily accessible, I find I go back even more. I watched a lot that year as well as the previous, which ultimately led to me wanting to do a tribute. I’m a big fan of all things jazz and I love the moods that jazz noir can set. Obviously Angelo Badalamenti was a huge influence in that sector, Bohren too as well as my old friend Manet. I really just wanted to expand on some of the things that I loved most about this place. Everything from the campy cheese to the down right dark and scary. And before I knew it, I had an album. Which I quickly had to put a lid on, because it was growing way too fast in track count. Originally it was meant to be a one and done project, but I’m not so sure now. The desire to do more jazz and jazz noir comes and goes often with me. And it has a tendency to leak into other projects a lot. You can find it especially in B1 and even GOL.. So I may end up going back to Radio Roadhouse just to fulfill that need and expand more on some Twin Peaks ideas.
16. I can’t end this interview without mentioning Breather 1 – the dystopian-based, chillwave/synthwave projects with a handful of amazing releases. What brought about this project?
Breather1 was originally intended as an escape for me. Something to switch gears and get away from other projects I might be working on. I learned that it was good for me to have multiple projects to bounce between so that I would encounter less writer’s block and tunnel vision. It was also my excuse to do sci-fi/space music, something that at first I didn’t have to take too seriously. That began to change after the Outer Worlds album when it really started to develop a more synthwave/cyberpunk direction. With no intention of putting it into a box of course, the project still remains loose to me, without boundaries. But it has become pretty evident in direction.
17. I absolutely loved ‘The Noodle Bar’ and am hoping that ‘The Sushi Bar’ will be a future follow-up (LOL). Do you have plans to continue this synthwave endeavor?
I think it’s inevitable that the project is going to continue down this path. I like the material and the world that it’s sitting in right now. And I have often thought about doing a follow up to Noodle Bar, perhaps another mystery that takes place in this dystopian city. But we shall see.. I also would like to expand further into another Drive album, which is something I really enjoy working on. I like solo drives at night with minimalistic, repetitive almost drone synth music playing. I used to do that a lot. Go find some roads on the outskirts of town and just get lost driving. It’s good therapy and helps to clear the headspace.
18. What are your musical plans for 2024? Do you have any physical releases (cassettes, CD’s, etc.) planed as well?
Yeah, this year is going to be very busy for me. Firstly, preparing to relocate to the state of Texas will be a pretty big venture. My wife and I have spent the past year working on this and even spent some time there last Spring to scout locations. It will surely be an adventure with our three dogs, five cats and the possibility of even bringing along a couple of strays that we take care of. I know it’s not the most ideal place for someone who is a Fall/Winter lover and is used to having access to a massive mountain range. But as they say, change is good and opens new doors. And with the recent surge of DS artists and live shows happening in TX, I’m really feeling optimistic about the move. This is obviously going to directly affect everything I do from L&D to writing music. I’m hoping that once settled I can get back to work on both as I am way behind on physical releases. And I get asked a lot about that. There are plans to release the albums that I have done over the past year physically. When it will happen and in what capacity I just don’t know yet, which I imagine is just as frustrating to fans as it is to me. But rest assured, these things are constantly on my radar.
19. I really appreciate your time and most of all your music and friendship! Do you have any final thoughts for those that may be reading this interview?
I would very much like to express my eternal gratitude to all of the folks out there who continue to listen to and support what I do. None of this work would exist without them. So a very big thank you to all of you. And a huge thank you to the dungeon in deep space for everything that it has done and for having me here for this interview. This site has been an instrumental place for getting the word out on dungeon synth and dark ambient that people might not otherwise know about. Much respect to you for that! I am looking forward to this new year and to all the new adventures that it brings!
This was another fantastic year for Dark Ambient music. Not only were there many releases from well-known artists, but there were many great releases from up and coming artists as well. That being said, I was a fan of so many Dark Ambient albums this year, that it was almost impossible to come up with a Top 10. I could have easily had a Top 100 but it would have taken me forever to compile and write about each of them. After much thought (and a few changes along the way), I’m happy with this Top 10 list and hope you enjoy it as well. If some chance you’ve not heard any of these projects, I highly recommend them. Happy readings, Happy New Year and I already can’t wait for 2024!
10. Monasterium Imperi – Sanctium Choir Collection
Scorpio V has released four extremely impressive albums under the Monasterium Imperi moniker this year but ‘Sanctium Choir Collection’ is the grandest of them all. Over two hours of bleak, Gregorian chants over haunting drones is exactly what I love about this project and ‘Sanctium Choir Collection’ delivers in a monumental way. In all honesty, I wish this album was about four hours long but the seven epic tracks contained within will do just fine. Perfect for meditation, background noise or sleep music, I can’t recommend this one enough. Even though it’s only been out about a week, it definitely deserves a spot on my year end list. Don’t sleep on this one!
Infinexhuma released ‘Denown’ back in March and it’s been one of my go-to Dark Ambient albums ever since. Featuring a murky blend of industrial noises and immeasurable drones, this album almost has a ritualistic essence to it. This intense collection of colossal modulations is – at times – downright terrifying. There are bits of sinister vocalizations that will have you checking the perimeters for evil entities and I wouldn’t recommend this to fall asleep to, unless you desire the most extreme forms of nightmares in existence. Highly recommended for fans of more extreme forms of Dark Ambient music.
Scorpio V’s second entry in this year end list is for his bellwether project, Metatron Omega. Released on the mammoth Cryo Chamber label, ‘Kataphasis’ continues a long string of Metatron Omega albums that emphasizes Dark Choir chants and haunting ambient textures. In addition to the elongated droning modulations, there are some beautifully melodies throughout that adds another dimension to this imposing offering. Chances are, if you’re reading this article, then you’re already aware of this massive project and the consistent vibes of the six releases available on the Cryo Chamber label Bandcamp site; but if you’re not familiar with Metatron Omega, I highly recommend ‘Kataphasis’ as a starting point.
Dev-I-Ant is another amazing project that has a pretty consistent catalog of sinister offerings. From the opening modulations of ‘A Place Of Warmth And Tears’, I knew this album was going to be a malevolent journey into the depths of darkness. From terrifying soundscapes throughout and the horror-like theme that spews from every track, there is no way that I could leave this masterpiece off of my year end list. If your aim is to be aghast while experiencing Dark Ambient music, then look no further than this album and be prepared for a frightful encounter.
Sonologyst excels at releasing masterful Dark Ambient albums that build upon isolationism through elongated drones and minimalist haunts. On the projects latest effort, ‘Shortwave Spectrum’, the intonations go above and beyond than ever before. Featuring over ninety minutes of ghastly sequences that are reminiscent of sounds that may be heard at an abandoned communication station, these tracks provide the full experience of abandonment and psychotic terror. Although not as ominous as other releases in my collection of Top 10 releases, there is an everlasting presence of dread that has an equivalent effect. If nominal Dark Ambience is your thing, then the works of Sonologyst will be right up your alley and ‘Shortwave Spectrum’ would be the perfect starting point for diving into this eerie style.
The third and final entry for this Top 10 list by Scorpio V is the enthralling, latest chapter of raw, Gregorian Chants by Eshaton called, ‘Pneumos’. Consisting of a single, thirty four minute track, ‘Pneumos’ builds upon coarse production efforts, grainy synth modulations and persistent dark choir effects to deliver an ancient – almost Medieval – sound that is consistently bleak but with an emotive posture. As Scorpio V continues to expand his unique sound fit for a fantastical universe, Eshaton is quickly becoming my favorite project out of all of his endeavors. Even fans of Dungeon Synth will become drawn to this effort and appreciate this massive sound for what it is – dismal and introspective.
I continue to be astonished by the consistent output from Blackweald. Not only are the albums filled with dreadful, Dark Ambient soundscapes, but the theme choices and album length are a huge undertaking as well. ‘The Fermi Exhibit’ is over five hours of unhinged, maniacal ambient music that contains bits of Space Ambient, Ritualistic tones, industrial Ambient and Isolationism all wrapped up in a single release. Additionally, the use of field recordings and demonic effects are prevalent throughout, making this a true Dark Ambient masterpiece. My favorite track is the one hour, forty four minute long “Vast Emptiness”, as it is a Space Ambient showcase that goes from nominal tones to penetrating horror and the listener gets to experience the dark unknowns of doomed space travels. Don’t pass on this immaculate offering.
Stars Without Light is a completely new listening experience for me and I was immediately hooked when listening to ‘Beneath And Before’. Even though this is the first album from this project, it’s easy to identify that the music contained within is the product of a veteran Dark Ambient musician. From crisp drones to apocalyptic soundscapes, this is for certain, one of the darkest offerings in my Top 10 list. At times, it borders into complete noise terror with complacent Industrialism, with a surprising ritualistic twist, and other times it sways through chaotic soundscapes that are equivalent to vicious nightmares. Even though this offering is just under thirty six minutes, you’ll feel completely drained of any comforts upon the first listen. This is a brilliant release that must be heard by all fans of Dark Ambient music.
If you’re not familiar with the Planetary series by Ruptured World, then you’re probably living under a rock or are not familiar with Ambient music in the first place. All jokes aside, This series – which consists of four releases – is an enthralling experience that has a complete story narration that is just as exhilarating as the music. In the latest installment, ‘Xenoplanetary’, Ruptured World goes all out to provide one of the best listening experiences ever recorded and – in my opinion – the best chapter of the Planetary series. The music, which is completely captivating and full of trance-induced emotions, plays on loop until the listener is completely entrapped. Then, the haunting narrations of Alistair Rennie will send you spiting into an otherworldly experience like no other. Tracks like “The Cruel Darkness” and “The Daze Of Foreboding” are so good, they’ve remained on repeat since the album was released in January.
God Body Disconnect is one of the most consistent artist on the Cryo Chamber label and whereas his albums has mostly a dystopian feel to them, I find myself drawn in by the simple (and sparse) narrations that provide a huge amount to expression to each release. However, ‘The Weight Of Regression’ is a monumental achievement in multiple ways and this seventy six minute endeavor is my favorite Dark Ambient album of 2023. Not only are the dreamy synths still present throughout, but the addition of percussion instruments provides a Dark Noir texture which ultimately emits a potent sound that is highly addictive. “Remnants Of A Soldier” is almost like a Post-Rock track that hypnotizes for over eleven minutes, while “Dosed And Dreaming” is one of the most calming experiences on the entire album. All in all, there is a lot of variety on this album that gives it the ability to remain fresh and relevant for a long time to come.
As I continue to explore the depths of Ambient music, I often find myself amazed at the talent that is out there. Daily, I dig through the trenches of Bandcamp, in search of something new and innovative. Other times, it’s chance encounters on social media that brings in the amazement. My introduction to Anser Flare was the latter. Where as a lot of Ambient and Dark Ambient music slowly builds in layers, creating songs of epic lengths, Anser Flare takes a more modest approach, creating celestial incantations that are shorter and often times more lively. I recently had the opportunity to have a discussion with the artist known as Anser Flare (now simply known as Anser), to find out what this project is all about. Hope you enjoy this interview and please check out the fascinating works of Anser!
1. Thank you for taking the time to answer a few questions for The Dungeon In Deep Space. Let’s start with the origins of Anser Flare. How did this project come about?
I was originally interested in doing something more minimal than my old project Madrigals. It made sense to keep the styles separate as in July ’22 I was in the middle of recording a DS split.
2. Your first release was ‘Gnosis’ back in September of 2022. I find a lot of musical influences on this recording and it transcends the thresholds of just Dark Ambient. Who were some of your influences at this time?
Gnosis was heavily inspired by Aphex Twin, Kraftwerk, Prurient, and some of my dark ambient collaborators on Umbra Vulgaris such as Sylvanum and Narbaiz. Gnosis was about a young man who leaves Earth after it’s rendered mostly uninhabitable by a meteor. There is a full story but lately I’ve paid less attention to shaping the narrative.
3. After the ‘Gnosis’ release, you had a track on the ‘Falling From A Star’ collaboration. Can you talk a little about that project and how it came about with the other artists?
This split was fairly spontaneous. Aradias Kingdom and Fenrir both expressed interest in a “space ambient” split after they had original tracks on UVR’s “Shades of Dark Ambient V2”. My comfort zone leans more to the “pure dark ambient” side with less percussion or overt DS.
4. In June of 2023, you released ‘The Ethereal Hours’, which is another stellar musical journey that branches outside of the ambient genre more than ever. What led to the inclusion of these elements?
Thank you for your kind words! I have always been a big fan of 80s electronic, its revival with outrun/retrowave, and needed to step out of the comfort zone and make something pop fans might like. “Can You See Heaven” came about in trying to channel the 80s. As well as hearing The Weeknd in every shop for over a year and needing to get those songs out of my head!
5. I really dig the track, “Space Habitation” as it perfectly sums up the discordant and sonic journey for this album. What’s the story behind this 8+ minute track and is this longest song you’ve produced to date?
Space Habitation is the longest track across all my projects so far, yes. At this point in the story, the main character has left earth for good and lives permanently on a space station closer to Mars.
6. In October of 2023, you released the ‘Apostate’ album and it’s more of a Dark Ambient adventure, filled with a good amount of celestial drones. What influenced the soundscapes on this album?
“Apostate” was influenced a lot by Mortiis and Burzum, but without high fantasy reference points. Where the previous album was more extroverted, I tried to create a very subdued, solitary feeling. It also basically ignored the story written so far.
7. In my opinion, the track “Reincarnate” is some of your best work and has a minimalistic quality that can easily be built upon. What’s the chances of releasing more works of this nature?
Very high. One of the Logic synths “Haunted Castle” from that song makes its way onto each release at least once.
8. I know that 2023 is coming to a close but do you have any more releases planned for the immediate future?
Nothing immediate. There will be another full-length from Anser in mid 2024.
9. How about collaboration efforts? Is there any more of those in the works?
You might know that I play synths in the Dungeon Synth project “Deabruen”. I consider that a long-standing Anser-Narbaiz collaboration. But no splits planned at the moment. “Ethereal Hours” will also be out on cassette this winter from Fantasy Audio Magazine, and “Apostate” from Umbra Vulgaris on November 17.***
10. I know that for many independent artists, the Bandcamp platform has been extremely reliable (up to this point) but do you release music on any other platforms, including physical releases?
Bandcamp is the main way. All the tapes and CD-R’s of Anser are available through UVR on Bandcamp and Discogs, and for streaming on Spotify, Apple etc.
11. You’ve mentioned Umbra Vulgaris a few times so far. Is this a label that you put together? If so was it intended only for your own projects or was it open to other artists as well?
Yes, UVR was an idea dating back to early 2021 as a way to release my own music on CD or cassette at low cost. There have been multiple people tangentially involved behind the scenes but it’s always been my label. It was open to other artists from Fall 2021, but with an emphasis on split EPs and albums, such as those with Sylvanum, Narbaiz and Frostgard. Full length albums from other artists arrived in 2022 and it became a “proper” label.
12. If I’m not mistaken, the first release on this label was ‘Fallen’ by Madrigals. Can you talk a little bit about this project and is it one that you plan to continue at some point?
That’s right, it was a digipak limited to 100 copies. I still have about a dozen. Madrigals was a melodic dungeon synth project that mostly used ideas I had been holding onto for years, before really becoming aware of DS as an active genre. After realizing a lot of it existed, and people were doing much cooler things with it than me – e.g. any of the other artists on those splits – it lost its magic and Anser became my primary focus. I don’t plan to continue as Madrigals.
13. What’s your opinion on digital releases versus physical releases? How have both formats helped shape Umbra Vulgaris Records?
Digital releases without a physical tend to get unfairly written off. Cassettes have their obvious charm, and CD’s too in my opinion; so they’ll always be part of what I do. As far as the label goes, it would be great to try and grow the digital side – free compilations, e-zines, even considered a podcast. In the current setup, we’re trading and wholesaling off a lot of cassettes to build up an extensive distro selection, which will help support more digital output. The distro is overwhelmingly tapes, so we’ve been pigeonholed as a “tape label” which is probably fair.
14. I really appreciate you taking the time to have this interview session. Do you have any final thoughts for those that may be reading this?
Thank you very much for your questions, and thank you to the readers!
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