Xerxes The Dark is one of the most consistent artists of the Dark Ambient genre. Not necessarily when it comes to the Dark Ambient sound in the traditional sense, but with the unheralded impression of incorporating new ideas and tactics that indicates an endless realm of musical opportunity. With a string of highly influential albums that thrusts the Dark Ambient maestro into elegiac territories such as industrial, noise, fusion and metal, ‘The Rise Of AI’ just may be his most enigmatic release yet. With a futuristic story and theme that is not so far off from reality, this album thins the comfort zone of ambient music with a thrust into chaotic bleakness. Think about the hostile take over of bio-engineered humanoids in ‘Blade Runner’ with the invasion of indestructible alien robotics of ‘Terminator’ and then mix it with the technological destruction of ‘Black Mirror’ and you’ll have a sense of what the flow of ‘The Rise Of AI’ is all about. Let’s take a dive into this amazing recording.
Bold album opener, “The Rise Of AI” makes a critical statement for the flow and direction of the album. Slowly building into an industrial nightmare, this track more resembles Godflesh than dark ambience. From the steady cadence of drum machines and solid bass lines to a variety of voice samples and guttural transmissions, this track properly prepares the listener for the destruction that will soon follow. The nightmare continues with “Nuclear Winter”. Starting with eerie drones and haunting whispers, it quickly turns into an emergent, industrial anthem with muddy and distorted vocals. Guitar tones hint on melody but that quickly fades into a realm of bleak discomfort. “Take (No) Shelters” emits more dark ambience than previous tracks and is accommodated by stark samples and mechanized soundscapes. More vocal narration are heavily modulated and are right inline with the horrowing story that continues to unravel. “Synthetic Consciousness” is a full on Dark Ambient endeavor with a Space Ambient vibe, complete with celestial soundscapes and dark timbre that rapidly expands beyond the outer reaches of the universe. Malevolent machine nuances continue the harsh undertones of robotic supremacy. “Cyborg Soldiers” embodies an industrial sound with looping noises and drum beats, while a gritty vocal line chants in disdain. “Signaling The Alien Machine” marks a return to the Dark Ambient domain with a plethora of discordant noises and background echoes. As the drones increase in volume, muffled communications depict a scenery of imminent hostility. This calm before the storm approach creates a sense of anxiety and wonder, while complete AI take over is close at hand. “Simulating The New World” is a cinematic adventure that combines a barrage of industrial beats, melodic arrangements and and glitchy rhythms that flow together seamlessly. Portions of this track stimulate a warm sensation, as if there are light moments amongst the chaos that appear to be fathomable. “Interpret X11-01-10” is a short track that depicts communicative transmissions between AI and distant worlds. Soothing drones in the background allow this effort to be audible but untranslatable, as the evil machines prepare their next move for impending takeover. “Domination Of Humanoids” begins like a sneak attack with small, subtle noises as if being surrounded by unidentified beings. With a slow crescendo, industrial drum beats and bilious vocals elicit a constructive output that wages the war between AI and mankind. Like a battle cry of the ages, this track becomes a statement of dominance and leads the mission of AI acquisition. “Accessing Cosmic Memory” is a desolate ambient track that contains wavering drones, empty soundscapes and a looping pattern that signifies a positive communication efforts between the AI and their end goal. This expressive intonation creates a cessation of offensive strikes while vast information is being absorbed for future use. “Meeting Space Tribes” once again delivers a stark vocal arrangement with looping, industrial passages, while layers of drones produce a grandiose sound. The vocals spew a ton of pain and anger throughout and combined with the music, present a chilling, glacial landscape. “Intergalactic Empire” showcases a new side of the story as well as a new sound for XTD. With a melodic approach to Sy-Fi soundscapes, this track is industrial, yet light-hearted and probably one of the most accessible songs on the album. Complete with drum beats, bass lines and samples, this style is a welcome addition to the album as a whole and actually fits in quite well. Next up is “Holographic Wormhole Drive”. Not only is this the coolest song title ever, it’s also the closest this album comes to the traditional XTD sound. This is Dark Ambient in its truest form, with deep drones, creepy soundscapes and an overall menacing essence. There are several pitch shifts in this track that enhance the listening entertainment value, as well as present multiple sides to this gloomy effort. The final track of this epic album is the summarizing, “Gateway To The Unknown”. This is another scorching Dark Ambient masterpiece that includes some insane trip-hop beats and intense soundscape and noises. This ends the album in dominating fashion, just as the AI has systematically overtaken human kind, in this bewildering conceptual masterpiece.
I continue to be amazed by the many faces and directions of XTD. It’s safe to say that I never have any idea of the direction of each album, but pursue in amazement at how impressive each outting is. Whether it’s the established arrangement of Dark Ambient mainstays, drudging Noise Ambient, Industrial Ambient, or a conglomeration of the aforementioned, rest assured that the entertaining value (and listening experience) will be extremely high. ‘The Rise Of AI’ is right up there with the best that XTD has to offer and I highly recommend this for those that love an eclectic blend of electronic music styles. Please click the link below to download this incredible album and also check out the XTD back catalog while you’re there.
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From the distant reaches of the macrocosm, I bring you another planetary offering of Dark Ambient summary reviews. This batch of Celestial Ephemerides offers a copious selection of mystical performances that surges deep in the spheres of dimly lit voids. From noise and ritualistic to supernatural soundscapes and haunting field recordings, this is the most impressive gathering of Dark Ambient albums I’ve had the pleasure of reviewing in a while. Hope you enjoy!
1. Pillars Of Golden Misery – ‘Riders Of Misfortune’
‘Riders Of Misfortune’ is a majestic blend of discordant algorithms and resounding clamor in this abrasive but enjoyable offering. Served on a tumultuous platter of indignant ambience, this recording is not for the faint of heart or those with sensitive hearing. Piercing effects and elongated droning produce a disquieting pulse of audial horror that is as punishing as it is enthralling. Highly recommended for fans of harsh noise, glitch and transfixing avant-garde.
‘Modular Performances’ is such a fitting title for this massive collection of ambient tunes from VSSP. Innovative, tranquil, dreamy and calming are other adjectives that also accurately describe this seventy three minute offering that traverses the drone, space ambient and dark ambient genres. One thing that is predominant on this recording is the real sense of melody in each track. The emotional feeling is almost heartbreaking and sorrowful but extremely compelling to listen to. Highly recommended for background music on a cold, rainy day or while relaxing with the intent to cleanse the mind of negative thoughts.
To these ears, this is one of the most complete Drone Ambient recordings I’ve heard in a long time. Aside from a few other artists, Sana Obruent is quickly becoming my go-to artist for epic drone excursions due to the prominent foray into meditative resonance. Minimalistic & simple, yet effective and powerful, ‘Aftoktonia’ is over one hundred minutes of reflective musings that brings together powerful drones and circadian effects that is as relaxing as it is strident. This is one of my favorite Ambient albums of 2022 and probably will remain that way for many years to follow.
4. Underwater Sleep Orchestra – ‘The Night And Other Sunken Dreams’
Underwater Sleep Orchestra, the new, brooding collaboration between Cities Last Broadcast and God Body Disconnect is a seventy eight minute magnum opus of polarizing dark ambient music. From hypnotizing drones to warm soundscapes, this is a project that I cannot wait to hear more from. These songs are lethargic and melodic and are a bit different from the typical dark ambient setting. You can definitely hear the input of each artist as they bring their signature sound to this musical alliance. Can’t recommend this one enough, especially if you’re looking for something to listen to while drifting off to never never land.
It’s not often we get a fascinating album with trumpet and glockenspiel performances, but here we are. ‘Phantasiai’ is a spellbinding album of bleak expression with chilling vocals and dreamy production. Cyclic Law continues to recruit the finest artist that are ready to deliver the best of their craft. Thankfully we have Leila Abdul-Rauf to continue the flow and this album fits in with a long list of stellar releases.
The concept of improvisation by O Saala Sakraal is a must listen and ‘Heven’ is one of those albums that will draw the listener in based on the sheer amazement of the unknown. Although only 21 minutes long, this collection of spontaneous incantations is both ritualistic and engaging. Soothing vocal parts with sinister narrations coalesce with haunting atmospherics to provide a post-apocalyptic feel without sounding dilapidated. I can’t wait to hear more from this artist and thanks again to Cyclic Law for continuing to release amazing albums like this.
‘Dilogia’ is another prime example of hypnotic ambience that builds in layers to achieve a fusion of synthwave and dark ambient excellence. Warm, harmonizing drones go through an assembly of thickening tones and modulated soundscapes to produce emotion canticles that represent an exceptional blend of retro and futuristic synth virtue. Also from the Cyclic Law label, it’s no wonder why this album made it into the lineup as it sounds fresh, inviting and completely divergent.
There is nothing more soothing than the blissful sounds of crystal bowls, harmonizing with natural soundscapes. Yuko Nakai excels in this area with a splendid three-track EP, ‘Me, And The Waters’. Fusing the sound of crashing ocean waves with extended hums of crystal bowls, beautifully arranged songs of scenic allure expel a magnitude of harrowing sequences that lure the listener in with unimaginable power. My only wish is that this album was about an hour long in order to fully appreciate its hypnotizing effect. Highly recommended for a deep, meditative experience.
Gdanian is a new edition to the Cryo Chamber label lineup and upon initial listen, I can confirm that it’s the perfect label to release an album as alluring as this one. An oceanic-themed outing, ‘Submersion’ pulls no punches with including aquatic soundscapes and sub-surface atmospherics. Beautifully produced, each track immerses the listener into a vast world of unexplored adventure. With the feeling of unimaginable depth, there is no choice but to sit back and soak in (no pun intended) the bleak soundscapes and minimalistic drones. An amazing recording that should not be overlooked.
Lētum presents a cinematic nightmare of an album with ‘Tue Face Of Live And Death’. A conglomerate of disturbing samples and soundscapes backed by malevolent drones and pads. Horrifying vocal sequences are enough to to disrupt your sleeping pattern and send you down a vortex of enraged evil and madness. Coupled with theatric production values, this is a highly professional offering from one of Dark Ambient’s independent achievers. Recommended for Dark Ambient fans that don’t mind being on edge during a whole albums worth of menacing intonations.
Over the years, the Cryo Chamber label has become my go-to label for top-quality, cinematic Dark Ambient music. Not only that, the label has introduced me to – what would become – some of my favorite artists of the genre. One of those artists is Ager Sonus. One thing that sets Ager Sonus apart is the inclusion of ancient mythological themes for each album and contrasting musical sounds that present a deep dive into the theme at hand. On latest album, ‘Niflheim’, Ager Sonus incorporates hoary deities and recollections similar to that of Norse mythology and civilizations. This alone creates a dynamic atmosphere that is supremely backed up theatrical ambient pieces, telling an age-old tale through superior musical expression.
Starting the album off in a tribalistic fashion is “Going North”. After a brief descent into dark modulations, a rhythmic beat begins and a variety of instrumentations treat us to a theatrical composition that depicts the beginnings of uncharted civilizations. Concluding with a jarring ambient section, this track sets a high mark for what will follow. “Murky Waters” introduces an array of field recordings and soundscapes that thwart this mystical journey into undiscovered realms. Synth leads create a chamber of wonder as it produces a visually bleak setting. Haunting vocal patterns and percussive moments broaden the scope of this intense recording. “Bonfire Stories” takes us back to ancient times of Viking warriors and the fight for land and heritage. This song creates such a magnificent image of natural landscapes and dark times of an age-old civilization with its pulsating beat and emotionally charged instrumentation. “Tundra” commences with a dark ambient vibe and slowly incorporates a mid-tempo, pulsating beat with Middle-Eastern influenced arrangements. I can imagine this song playing while venturing through a narrow alley with a multitude of people selling goods and pacing relentlessly as if there is no where in particular to visit. There is a sense of tense atmospherics as some sort of evil may be lurking around every corner. “Decay” has a beautiful new age vibe as a slower drum beat sets a steady cadence for alluring melodies and soundscapes. As crows let out harsh, modulated caws in the background, a sense of tranquility plays on through elegant tones. “Ghosts Of Battles Past” is one of the more darker tracks on the album, as bleak drones and sinister vocal patterns are featured. The flute-like leads produce a harrowing moment as serene charm and cold decay begin to fuse for a mesmerizing output. “Dreamland” continues the pace and aura of previous tracks with industrialized samples and a huge reverberated sound that produces a huge space for maximum audial control and imagination. Toward the middle of the track, an assembly of resonance – previously heard – slowly make their way into the mix and the outcome is simply amazing and addictive to listen to. This is without a doubt, one of my favorite tracks on the album. The final track, “Journey’s End”, supremely summarizes this spectacular album with evocative drones, natural field recordings and pounding beats that are more bombastic and destructive than they are rhythmic. However, it showcases the abrupt ending that was expected on this ancient expedition. The drones intensify and build in layers as this is probably the most traditional sounding Dark Ambient track on the album. Nevertheless, it’s such a soothing way to end an excursion that is full of triumphs, struggles and alluring engagement.
Ager Sonus never ceases to amaze me with his brand of cinematic Dark Ambient music. Whereas many of his albums are rooted and themed in existing ancient cultures, this album – in my opinion – is more inline with the beginning of times and how certain ancient cultures began. This is yet another amazing album from one of my favorite Cryo Chamber label artists and I highly recommend checking out ‘Niflheim’ if your itching for a wondrous audial adventure into ancient civilizations.
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If you’ve been a fan of Dungeon Synth for longer than two minutes, then you should be familiar with the name Erang and all of the glory that has been brought to the genre by way of an extended catalog of influential albums. With a successful foray into the many folds of synth music, there is no doubt that Erang is a progenitor of a unique style of Medieval summonings. Voyaging beyond the confines of Dungeon Synth, Erang is heralded for creating many exclusive endeavors that bridge the gap between Dungeon Synth, Synthwave and Black Metal – just to name a few. Celebrating the 10th anniversary of the release of ‘Tome I’, the artist behind this crowning craft has allowed me to borrow some of his time to discuss his music, achievements and emotional declarations behind all things Erang.
1. Thank you very much for taking the time for this interview and congratulations on 10 majestic years of Dungeon Synth ventures. Take us back to 2012 and tell us at what point Dungeon Synth became a creative focus.
Thanks for your words, glad to be there. Well, to tell you when DS became a creative focus we need to go back a bit further, in 2011, when I stumbled upon the Dungeon Synth blog. Prior to that I discovered some Ambient tracks from Black Metal project in the documentary « Until the Light Takes Us ». I fell immediatly in love with that sound. It was like if I found what I was looking for and I immediately stopped it to check online if I found similar stuffs. That’s how I ended up on the DS blog and the work of Lord Lovidicus… and it all clicked together: there was no turning back after that. Dungeon Synth til I die.
2. The Dungeon Synth genre didn’t flourish back then as it does today, so what were some of the processes for which you promoted your craft?
“Didn’t flourish” is a light word, as it was pretty desert in 2011 and 2012. I’m not sure the word “promote” fit well because of that. There was no facebook group, no board, no youtube channel, so I just posted in some Ambient or Metal group, or in the forum of Encyclopedia Metallum. There might still be some old posts from me from 2012… it was mostly on forums : RPG forums or Fantasy forums.
3. Erang truly transcends the Dungeon Synth genre by composing in other realms of synth music. Has this always been a vision for this project?
The only vision behind Erang is to stay true to my Imagination and inner feelings, no matter the musical genre. Of course Dungeon Synth is at the core of it because of the involvement I had in the revival of the genre back then. But I’ll never be afraid to mix it with many other influences or thematic if I feel it in my guts. Like with my prior album PRISONNIER DU RÊVE : I knew the theme was too french and too obscure for a broader audience but, at that time, I needed to do it because it had a really personal resonnance toward my past and childhood.
4. Who are some of your greatest influences for creating this kind of music.
That is absolutely impossible to say because it changes on each album and even on each track… It is always a very large mix of so many things. And lots of them are not musical but come from movies, books, cartoons… that and, of course, my own personal history and things from my past…
5. Did you have a musical career prior to forming Erang back in 2011/2012?
I don’t (and never will) consider what I’m doing as a “career”. I make music because I have to, I need to, it’s like the air I breathe. Without it I would be dead and empty, I have no choice.
I’ve been making music since I was 14, I guess, but just for myself. My first real musical connection with the outside world was with my first Erang album, Tome I, in 2012.
6. Let’s talk about ‘Tome I’ (2012). Was there an overall concept for this album? To me the music flows just like a storyline or script for a movie.
The concept was simple : I told myself to stop trying to make art or something modern or innovative or I don’t know what… I told myself : make music like you used to draw when you were a little child. Without thinking about the outside world, just alone in your bedroom, lying on the ground with papers and markers. Without thinking about technics or what is right or wrong… Just make something straight from you heart. I thought about movies or books that were important for me as a Kid and named the songs after that… And after that first album, I understood who I was for the first time and things have never been the same since then.
7. That album has truly stood the test of time, as those songs still sound really fresh. What made the songs on that album so resilient in a genre that has sprouted in a vast way in the past few years.
Thanks ! Well, that’s hard for me to say… I guess the most well placed to say it (if it’s true) are the people who enjoy it.
8. ‘Tome II’ as also released in 2012 but there is a noticeable growth in song compositions. What influenced this growth spurt in such a short amount of time?
From my point of view, the first 4 albums are really linked together and from the same vein, hence the « Tomes » names. So I wouldnt say there are a real difference in compositions or sounds from my point of view. It was really me toying with the Dungeon Synth basics… They really are a whole together. Things started to change with the album just after these : « Another World, Another Time ». That’s why I named it like the first track of « Tome I ». Because it was a rebirth for me. If you noticed, that’s why the 4 albums just after the fourth first Tomes, are all named after a track from the respective previous Tomes.
9. One of my favorite albums by Erang is ‘Within The Land Of My Imagination I Am The Only God’ (2014). This album was so full of Medieval substance that in my opinion, it’s a true structure of the Dungeon Synth genre. In your opinion, what makes this album so audibly different?
I guess this one is an important one in my discography. I think that, mainly, it was different in scope : 17 tracks was a big thing to put out for me back then. And the title of the album is also an important and strong statement for me. When I knew it was named like this, I remember thinking that I really had to put out something worth this title. I hope I didn’t failed. Because that sentence ‘Within The Land Of My Imagination I Am The Only God’ is really something at the ground of my personality and the world of Erang.
10. On 2016’s ‘Anti Future’, you ventured into the synthwave/darkwave and the results were a highly addictive album. What was the mindset behind its creative concept? Do you plan to produce anymore albums of this nature?
Well I already produce SONGS of SCARS which was the direct inheritor of ANTI FUTURE. I really wanted to make something in that vein for a long time. Being a child from the late 80’s, the synth sounds from that era were really a cradle for me. In advertising, in TV shows, etc. it was full of synth everywhere because back then that sound sounded « new » and was also way cheaper to produce rather than a full orchestra (mainly for TV or B movies). I was also a huge fan of John Carpenter and, if you listen closely to this album, it is not synthwave like the ones you find the most (which is more « outrun » in the vein of the movie « Drive » you know) my two albums are really more in the vein of horror b movies or science fiction movies from back then, Stephen King’s TV adaptations.
So as I said, I was really into that sound for a long time and what achieved to give me the impulse of doing it was the first album of new material from John Carpenter : Lost Tales. I loved this album and decided to give it a shot myself.
11. Now let’s fast forward to 2020’s ‘Imagination Never Fails’. Again, this was a multi-genre masterpiece that flows like a soundtrack or a large-scale production. What was it like to create this magnum opus? How do you pull off these tracks in a live setting?
Thanks again for such compliment, I’m humbled. Concerning live, I’ll never play live. Or maybe if I do it one day it would be under very specific circumstances which I still can’t figure now. Because it could kill a part of the mystery that is, to me, the most important thing. I once read a reply from Summoning in that same vein… so, no live setting. And concerning the creation of this album it was a pure bliss. More than one time you struggle while creating an album. You’re full of doubt, hesitation, etc. but not this time. Mainly because it was my ‘comeback’ after pretty much 2 years of silence. So I was really inspired and, when I announced it I had such an incredible and overwhelming feedback from the community that it get my heart pumping to deliver it.
12. Recently you release 5 amazing EP’s. All have different sounds and a variety of focuses. How did this endeavor come about and how did you come up with the entity known as The Land of 5 Seasons?
The creation of the Land of the Five Seasons was an organic process if I could say so… it slowly came together albums after albums and when I drew the map of it. For this specific set of 5 EP’s I really wanted to make something different because of the 10 years anniversary. But on the other hand, as it was a marking point anniversary, I also wanted to make something as an ode to the genre you know? That’s how I ended up with that concept of mixing my own Land of the Five Seasons with 5 different (and even more) flavors of Dungeon Synth : from old school to ambient, from cinematic to new age, with also the black metal influences, etc.
13. What are some of your favorite Erang albums and why?
That’s truly impossible for me to say. Each album is a snapshot from a moment of my life and means something really strong and personal to me.
14. What is your opinion on the current state of Dungeon Synth and the sub-genres that have spawned from it over the past few years.
I find it very alive, diverse and full of creativity. So many great things to discover and navigate through. Very inspiring !
15. Who are some of the modern Dungeon Synth artists that you admire on a creative level?
There are too many to names… I will start with some french acts if you don’t mind : Silu de Mordomoire, Elixir, Arathgoth, Arsule, Weress or Descort… Also some already famous names but there are well known for a reason : Fogweaver, Hole Dweller, all the works by Adam Matlock… Recently I’ve been amazed by ‘A Lantern Swathed’ by Erreth-Akbe : a great piece of art. Also I really enjoyed ‘Arda’s Herbarium Vol. 1’ by Ithildin, very diverse and charming… Really, people just have to browse through bandcamp to discover hidden treasures.
16. What are your musical plans for the remainder of 2022?
Many things and surprises will come in 2022. Some great physical releases with awesome labels but also few unexpected things here and there… you’ll see !
17. I really appreciate you taking the time to answer a few questions. Do you have any final words for those that may be reading this interview?
Thanks to you for the interview! I just want to say that without Erang, I wouldn’t be there… life wouldn’t have the same meaning to me… and if the Kingdom of Erang is there, it is also because of all the people who follow and support this fragile weird and obscure music since ten years now… Thanks to all of them for what they are doing, it means more than they imagine.
I truly enjoy the bleakest of Dark Ambient albums. As with any other genre, there are times for a particular taste that maximizes the power of connection between music and the listener. One of my favorite sub-genres of Dark Ambient is Drone. Sure there are some similarities between Drone and say, Industrial Ambient but it has some differences as well. Instead of harsh tones and mechanized discordance, there is a reticent, more ominous sound that allows for the utmost space for meditation and a dream-like state for potential out-of-body experiences. One artist that majestically captures these types of moments is Sonologyst. The latest album, ‘Interdimensional’ is a top-rate experience in eerie modulations and dismal tones that are equally creepy as they are thought provoking. These six tracks create a dynamic world of gray, scenic prowess and a cold atmosphere that blurs the line between dark and light.
Haunting lead off track, “Ad Astra” slowly comes into picture, like a group of propelled planes slowly flying overhead, destined for a doomed mission. As soundscapes fuse this modulated terror, a complex scenario builds despite the minimalistic tones. The various sounds create a revolving intonation that builds and collapses, causing terrifying moments of anxiety and angst. The relentless chaos doesn’t let up, even as the track fades into oblivion. “Interdimensional Beings” immediately sets a lethargic pace with low-end rumbles and spots of synth notes that blend in chaotic discord. As this nightmare settles in, the tonal quality increases and expands to include random sound bytes and unhinged effects. As it nears the final moments, celestial tones produce a nostalgic effect, which shows a complete balance between disorder and minimalist aptitude. At just over four minutes long, “Paraphysical Phenomenon” is not only the shortest track on the album, but probably the most adventurous one as well. Beautiful synth melodies clash with spacious drones and the result is a mesmerizing blend of sonic tranquility that gives the illusion of endless travel beyond the deepest corridors of space. Going from the shortest song to the longest, ‘Through Memories And Galaxies” is a near fifteen minute ride through muffled voids and spacey vacuums and exudes a supremely addictive host for traveling through blissful territories of the mind. Barely audible vocal narrations and lengthy drones complete this lengthy effort that goes from dreamy modulations to terrifying screeches. “Multiverses” commences with some of the darkest drones presented on this collection of songs. Unparalleled soundscapes hint at a celestial vibe while the overall tone continues to thicken throughout. There are moments of psychedelic sound play that emphasizes a tumultuous moment in time. Complete with very eerie undertones, this is one of my favorite tracks on the album. The last track on the album is “God-Level Traveller” and it begins with very demented droning sound until a peculiar instance comes into play, altering the scaled synth notes at a slow pace. The natural hissing in the background adds a dreamy essence while minimalistic noise continues to gather, creating an abrasive tone that is quite quixotic. This is certainly an impactful statement to end this very dark and brooding musical collective.
Sonologyst exquisitely bridges the gap between several sub-genres of Dark Ambient music while producing elite electronic euphoria. ‘Interdimensional’ is masterclass in drone music that branches out with a plethora of haunting soundscapes and production tactics. The end result is an amazing album that is surly to stand the test of time. Don’t sleep on this album, as I highly recommend it for those that expect an esoteric and ominous audial output. Check it out at the link below and support this prodigious artist and the addictive music he produces.
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The coldness of industrial music has a particular haunting effect that emits emotional angst, rebellion and sometimes fear. The influence of an industrial-themed environment is the essence for blazing energy across multiple genres of music. Boasting an apocalyptic setting or ventures in dystopian wastelands, Industrial music is a tantalizing hybrid of music and machine, joining forces to lay the foundation of corrupt manufacturing lineage. In the realm of Dark Ambient, industrialized influences play a crucial role on one of the genres most harsh sounding sub-forms. Ideal Father grasps that ideology and doesn’t hold back with delivering a savage performance in ‘Paradice Death’. Nine tracks of grinding decay is all that it takes to create a despondent world of barbarous and strident modulations to help desensitize the traumatic situations of futuristic environments.
The dissonant lead off track, “A Mind In Evil Ruin” pulls no punches as it crashes in like a video game character warping to a desolate world, right in the middle of scenic terror. Haunting, reverberated drones drift in like a sandstorm on a reluctant desert town, unable to flee the grasp of demise in any direction. A variety of effects set a creepy vibe as the wall of noise surrounds you in every direction with no viable means of escape. “In Paradice Death” commences with a supernatural narration that sounds like a menacing black metal styled vocal with an echo effect that is made for ruining all positive thoughts. A squall of ear-piercing synths and soundscapes project an even darker world of hatred and corruption while inaudible voices and screams can be heard throughout, cementing this nightmarish vision of disturbing results. “Blood Torrent” begins with heavily distorted tones that are reminiscent of the distant buzz of mechanical infrastructures running on autopilot and out of control. Various disturbances echo from left to right, as if you’re being stalked by a maniacal being. “Crepuscular Soul” emits a muffled, underwater sound that loops uncontrollably while discordant tones and buzzes build around it. This track also offers clean and clear synth passages that are just as poignant as the other, darker tones set forth on this album. It’s almost as if it’s playing a bizarre scale that is melodic in nature but instead discharges an accord of sadistic intent. “Tongue Mosaic” is one of the shorter songs in this brooding collection, but it’s intermittent spikes of tonal despair, set on top of a sustained drone, presents a harrowing look at nightmarish entities in the void of nothingness. “Crosshair Mantra” starts with a doom-laden drone with heavy modulated breathing sounds that soon fuse with vociferous synth shrills and gruesome effects. The field recordings in this track display a scene of horror and ferocious resolve toward the end of existence. Life forms become scarce as mechanical objects rebel and conquer in pre-programmed unison. “Wall Of Crying Eyes” is a minimalistic piece with divergent drones that sway in and out of audial captivity, while mechanical noises meander aimlessly in search of their next victim. Sonic and celestial modulations depict a retrospective vibe while the tonal distortion of assorted soundscapes create a sense of abandonment and isolation. The massively distorted take off of “Nobody Will Know” is a severe reminder of a condemned society and the point of no return to normalcy and conventional existence. As this dynamic increases in layers, the sound thickens into a spiteful wall of harmonized noise and it’s deafening quality becomes even more mesmerizing as it continues to play out. The final track on the album is “Dream Slurja”. Signaling the end of existence for living organisms, this minimalistic piece represents the true dawn of industrial power and it’s agonizing takeover of humanity. With a deficient dose of harsh effects, this is one of the more peaceful efforts in this collection but none less terrifying than the rest of the album. Hints of stifled vocals and discrete field recordings are antagonizing reminder of the strength of industrial components and the new mechanical civilization that will forever remain a dark spectacle of potent energy.
Ideal Father just may be my new go-to artist for when I desire the hasty sounds of industrial ambience. With only a few albums in circulation, ‘Paradice Death’ has proven to be a jolting experience in the harsher side of Dark Ambient music. This sound and style isn’t for everyone but for the unique audience that lives for this experience, then look no further than Ideal Father. Please show your support by checking out this album at the link below.
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If the thought of legendary creatures don’t get the creative juices flowing, I don’t know what does. The chimerical energy that is produced by such entities is not only astounding, but it creates a boundless spectacle for imaginative tales of nefarious beings and settings. Missouri-based electronic musician, Fugue In Sea, uses these obscure entities to an advantage by creating an unconventional soundtrack for their existence. ‘Py-A-Saw’ is a five track excursion that demonstrates the agility of music and how it can translate to a vicarious world of ingenious resolve. From Dark Ambient tones to hypnotic and industrialized sequences, this is twenty eight minutes of unprecedented and ritualistic storytelling.
“The Bird That Devours Men (Theme)” is the insanely crafted lead off track that commences with obscure sound bits and eclectic drones that drift slowly like frozen air flow over a daunting mountain peak. The bizarre sound effects carry on in a chaotic commotion as if frantically trying to communicate with other entities in an unfamiliar tone. Suddenly, the clamor resends into a particular calmness before fading into oblivion. “Attack Along The Mississippi” begins with a tribal-like cadence, as layers of peculiar effects rapidly ascend with stunning creativity. More communicative reverberations begin their sequence as an industrial screech comes bellowing in with menacing fortitude. Heavily distorted guitar shrills create a trance-like instance as this ritualistic track comes full circle. “Cave Of Bones” begins with a mix of ethereal soundscapes as somber drones quietly come into play. Constant, pulsating beats create an agonizing experience of bleakness while aggressive key’s emphasize an ambiguous setting for unknowingness. “The Return; Ouatoga’s Ambush; Aftermath” introduces and dark, industrial-type aggression with loud frequency screeches, heavy modulations and the sensation of an icy cold wasteland. A durable beat instills a harmonic essence of mechanized allurement for most of the track, but fades into a space ambient offering that is completely meditative. The final track on the album is “The Bird That Devours Men (reprise)”. This frigid offering continues with the space ambient theme by creating a droning void of eclectic sounds and effects that throttle the listener to a desolate demise. This ends the album on a very eerie note (literally) and you’ll immediately want to listen to this mythical experience all over again.
‘Py-A-Saw’ is a well put together, well thought out ambient adventure. Although just an EP, there is a ton of adventure and sonic madness that is typically experienced on a much longer dark ambient album. Fugues In Sea has the dexterity to incorporate many aspects of electronic music to create a symphony of auditory compositions that are unique and captivating. ‘Py-A-Saw’ is just another notch in the belt for hopefully a long career in Dark Ambient creativity for Fugue In Sea. Please check this album out at the link below and support this exceptional artist.
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I was first introduced to the wonderful world of Mora-Tau by way of his 2020 album, ‘The Light Of the Winter’. Something about it was very nostalgic…very haunting. Upon further probe into his Bandcamp page, I discovered an alluring and eclectic cosmos of improvisational recordings that are addictive and more importantly conceptualized based on a specific theme – particularly around horror, nightmares, worlds end and retrospective subject matter. Needless to say, Mora-Tau has become one of my favorite Dark Ambient producers and I couldn’t wait to have a conversation with him to find out what makes this project so unique and special. Hope you enjoy this interview.
1. Thank you very much for this interview opportunity. Mora-Tau has a rather short recording history but has left quite an impression on my. How did this project start for you?
As you pointed out, I only started publishing my work around 2009. I was born in 1959 and I will be 63 this year, so it’s not a long career.
For about 10 years, from the age of 15, I listened exclusively to progressive rock. I now listen to a wide range of music genres, including jazz, avant-garde music and club music, but most of it came through progressive rock. Even punk rock.
The most influential artists at that time were Pink Floyd, Yes, Genesis, Jethro Tull, Mike Oldfield, Steve Hillage, Gong, Popol Vuh and of course King Crimson. Well, this is a very conventional list.
I started working under the name ‘mora-tau’ around 2008. I had been creating music before that. But I was satisfied with just playing them for my friends. I didn’t do any live performances. I had no formal musical education, so I’m not very good at playing an instrument. So I couldn’t even imagine the day when I would be playing in front of other people.
In 2008 or 2009, I discovered the music publishing website jamendo.com. By registering on that site, I was finally ready to release my music to the outside world. It was then that I named myself ‘mora-tau’. The name comes from my favourite 1950s horror film The Zombies of Mora-Tau (with my favourite actress Allison Hayes playing the bad girl, who turns into a zombie at the end).
Around the same time, an acquaintance invited me to perform at his shop (which was a bookshop) for almost the first time in my life. That was a lot of fun! And that was the start of my live career.
I consider myself ambient music, drone music and experimental music at the moment. I feel that these three genres are often balanced and mixed in one piece.
It was only after 2000 that I started to listen to this music seriously, in other words systematically and consciously. Before that, I was looking for my own music, imitating what I had heard. So it wasn’t until I started performing live that I got the style of music I was aiming for.
The first music that made a big impact on me was Eliane Radigue, a pioneer of electronic music who manipulated an ARP2500. I found the drone music she produced to be very simple, but with immense depth.
Another hero of mine is Morton Feldman. When I met Feldman, who produced very long, very slow music (sometimes over five hours of music), that music melded with Tangerine Dream, Harmonia and Eliane Radigue in my mind and became a big part of my own style It has given me suggestions.
This is ‘the origin of mora-tau’.
Wow, it’s a very long answer! I’m sorry.
2. I’ve noticed that on the liner notes of many of your recordings on Bandcamp your work mainly consists of improvisations. Do you typically have a plan of what you are going to play before recording or is it completely improvised?
I record almost all of my compositions as completely improvised performances. On very rare occasions I may write a musical score, but it is a sketch for memory.
However, in the last few years, I have often decided on a scale only at the beginning of a performance. Especially for live performances, I always decide on just the scale. Sometimes I move on to another scale during the performance, and sometimes I just finish it. The reason why I decide on it is simple. I don’t want to make a mistake in front of the audience :-).
Recorded performances are edited using DAW software. Sometimes it is just the same thing as played, with a few tweaks. In most cases, however, editing is essential. Balancing between tracks, noise reduction, sound quality adjustment, etc. are always done. The song is then cut into several parts. Sometimes I’ll delete parts, sometimes I’ll change the order, and sometimes I’ll layer completely different tracks that were previously unreleased. Sometimes I create a piece by layering several tracks that were recorded at completely different times and have different tempos, tunes and tonalities.
Once I have finished recording, I change my mind and think: ‘This is all just material’. And in the editing process, I emphasise an improvisational sensibility. I rarely work in advance. My style is as improvisational in the editing as it is in the performance itself.
3. You have quite a few live recordings from Bar Lynch (in Utsunomiya, Japan). How do you prepare for those sessions and how is the audience response to your work?
Lynch is a very small bar in a narrow alleyway; it overflows when 20 people arrive. The sound system for live shows uses the shop’s audio system. Otherwise, artists bring their own amplifiers.
I always have about three synthesisers available, with the necessary effectors connected to them, and record them on a mixer/recorder, a ZOOM R-16. The output from that is then input into Lynch audio.
So the sound quality is by no means top-notch. But because my recordings do not go through the shop audio, I can guarantee the same quality as studio work. Many of my customers listen to me while they chat. No, they are not listening? But some of them listen intently, clap seriously and ask questions after the performance. Yes, about one person every six months.
My turnout is very low, only a few people at most gigs. Sometimes there is only the master. On those occasions, I play around with phrases and developments that I think the master will enjoy. Of course, I never play to the extent that the whole structure collapses, though.
4. I lived in Japan for almost 24 years and really loved the music scene however, my only electronic concert experience was seeing Merzbow live in Tokyo a few times. How is the Electronic/Ambient scene in Japan these days?
Sorry, I actually don’t know anything about the music scene in Japan. I live in Utsunomiya-City, which is 100 km north of Tokyo. The famous Shinkansen bullet train will take you to Tokyo station in an hour, but I rarely go outside my area. I’m like Rapunzel living in a tower.
I keep up to date with new music through streaming services such as Spotify, YouTube and CD shopping, but so far I haven’t found the Japanese scene to be very interesting.
5. You’ve made several recordings for International labels such as Church Of Noisy Goat (Brazil) and Kalamine Records (France). How did those endeavors come about?
Both labels approached me through them. I never approached them myself. I think they liked something about the music I was making and invited me.
6. Do you plan to release anymore albums with those labels, and possibly others?
Neither of the two labels has a specific release schedule. I send my work to them about four times a year. Then I ask them, “If you like it, will you release it?” I have never had anyone say “No”.
I will continue to regular releases, where possible. However, there is no fixed schedule. If invited by another label, I’ll see what they’re up to and think about it. Of course, my basic attitude is “anyone, anytime, is OK”.
7. As for your music style and influence, how much of it is influenced by Japanese culture, folklore and spiritual meaning?
The deepest part of the psyche must be inseparably influenced by it. For example, many of the phrases I play unconsciously have a Japanese melody.
But it’s rarely conscious. Before making track, I watch a film or read books, looking for something to inspire me. If I’m inspired by something Japanese then I’m strongly influenced by it. I’ve never been aware of any other influences beyond that.
Of course, consciously or not, ‘Japan’ is firmly rooted in me. When I improvise, I am very conscious of this. Such as when I play the ‘Japanese phrases’ I mentioned earlier. Perhaps I am imprinting ‘Japan’ more deeply in my mind through improvisation.
8. One of my favorite albums by you is called ‘Swirl’. It has a very retrospective and minimalistic vibe to it. What was it like to record this album and what is the meaning behind this amazing music?
Thank you very much. I like that album very much too.
At that time, I was thinking of putting my impressions of the B-Movies of the 50’s to music. The theme is “guidelines for music production” for me. The light of the lighthouse. A guide to the completion of the work.
This is the case with most of my work. I say to myself ‘Let’s start to make music inspired by “The Thing”! ‘. But when done, it can be The Thing, but it can also be “Quatermass Xperiment”, or “Frankenstein”, or “Twenty Thousand Leagues Under the Seas”. You must have been disgusted at how lazy it was.
Shortly before making ‘Swirl’ I bought an analogue synthesizer with a sequencer. And I wanted to use it to make endless music. That’s how I started with my technical interests.
It’s all about how to combine different approaches: adjusting parameters to make small changes, changing effects in real time, using delays to layer sounds from other equipment. “Swirl” is the result of this research into how different approaches can be combined to create long ambient pieces of music. It’s the honest answer. I’m sorry if I’ve disappointed you.
9. There is another album called ‘Still Here’. In my opinion, this is one of your darkest recordings. What was the main focus behind this album?
This one, contrary to ‘Swirl’, was made with technology I already had at my disposal.
First, there was ‘Story’, which I wrote in the liner notes. How can I live in a world where the world has disappeared and no one can hear me? This was expanded upon in Still Here.
At the same time, I was obsessed at the time with the image of a ‘world on the brink of destruction’ as depicted by J.G. Ballard. I felt that I was living in a terrible world, in a time when I was trapped. To express this, I partly used contemporary musical techniques such as atonal and whole-tone scales. I think these techniques also promote darkness.
10. One of your latest albums is called ‘Brave New World’. However, in the liner notes, you state, “There is No New World Anywhere”. How does that tie in to the music on the album and what is the meaning behind this recording.
Mmm… When write it like that, it seems to express a deep philosophy. But there’s a bit of deception there.
It started from my own feeling that “there’s nothing new in this album. Every part of it is a repetition of what I’ve done before”.
Of course, I don’t always try new things in all my work. I think it’s fine to use only familiar techniques of expression, if the resulting work is emotional. That’s why I can write “There is no ‘new world’ anywhere.” It’s a self-deprecating joke!
The music for the album was done, I thought “This album is GOOD!”. But I couldn’t think of a title. At first I thought of “fragment of memories”, but then I thought it sounded like the title my past albums. After a few days of deliberation, I decided on the current title as a kind of compromise.
11. I’m really interested to learn about the equipment you use for recording? Can you please share your setup to the fans?
The main equipment is listed below. This is where we choose and combine the equipment for our gigs.
Analog Synth: Moog Sub Phatty Arturia minibrute Behringer Crave Pico System Erica Synth
Effector: Delay BOSS DD-20 GIGA DELAY tc electronic Flashback2 JOYO D-SEED II
Reverb BOSS Digital Reverb RV-5 Behringer RV600 Reverb Machine
Looper BOSS Loop Station RC-3 tc electronic DITTO X4 Looper
Multi Effector ZOOM G2
12. Other than Bar Lynch, do you play live gigs at other venues?
Yes. Since last year I have been playing at ‘Igno…. . book plus’ (an antiquarian bookshop) every three months or so. There are also a few live music venues where can play. All of them are in Utsunomiya city.
13. Do you plan to release any physical media of any of your albums or will you stick with digital releases?
I actually released a CD a few years ago under the title “the old village”. 300 copies were made and over 200 are still unsold. I don’t think releasing any more CDs. It’s too costly. I would like to release a cassette tape.
14. I’m always looking forward to hearing new music from you. What do you have planned for releases in 2022?
Thank you very much. In 2022 I’m aiming to release an album every month, hopefully one that You will like.
15. Thanks again for your time and for sharing your musical journey. Do you have any final thought for those that will read this interview?
I was born in 1959, so I don’t think I’ll have another ten years to be an active musician. Nevertheless, I don’t want to stop playing music and I hope to go deeper into it. If you don’t mind, I would be very happy if you could stay with me for a while longer.
It’s almost mind numbing to see how great the Dark Ambient genre has not only grown, but expanded in sound. It seems as if harsh noise and industrial ambience is coming more into existence and coupling with the bleak intonations of Dark Ambient soundscapes and drones. The albums in this list represent change, growth and also homage to the influences of modern day Dark Ambient music. I hope you enjoy these summary reviews as much as I did putting them together.
1. The Owl – Beyond The Vastness Of Infinity
The Owl specialized in noise terror and monstrous modulations that are presented in a controlled chaos offering. ‘Beyond The Vastness Of Infinity’ is an improvised endeavor that plays on the decline of normalcy and the abruptness of ataxia. Rigid guitar tones set against the strident sounds of industrialized soundscapes and eerie narrations set a precedence of tonal despondency. As mesmerizing as it is turbulent, this albums is just another gem in the vast The Owl discography.
Multi-talented, multi-genre artist Aleksis Tristan Shaw, once again dabbles in the world of Dark Ambient music with the twisted oblation, ‘Loud Nothing’. Combining the forces of demented horror sounds, spacious soundscapes and drifting drones, this is a compelling story of electronic proportions. Elongated drones provide a hypnotic state while supernatural subtleties and sequences keep the listener from completely going under with hints of smoldering tension. At times, spacey, and other times downright grim, this recording is a full offering of Dark Ambient amusement and is fascinating to say the least.
‘Zwolf Bagatellen’ is an exercise in harsh frequency delivery and the chaotic amplification of audial discord. Consisting of twelve tracks of white noise, with belligerent modulations, this is a test of determination and surviving the true grit of noise ambience. Filled with abrupt soundscapes and extreme reverberation, this album is a massive overdose of music that is meant to overtake the sense and infiltrate the mind. Listen at your own risk but prepare to be amazed at the indulgence of extreme electronic music.
‘Drone Islands – Volume I /II / III’ is a massive collection of ambient magnificence, containing beautiful audial offerings from an array of artists. This album combines the work of all Drone Island releases to include, ‘Land Rising’, ‘The Lost Maps’ and ‘Stellar’. Some of the biggest names in the Dark Ambient community lend their services to this recording such as Ashtoreth, Kammarheit, BlackWeald, Taphephobia, Alphaxone and Infinexhuma. These types of collective albums are a real treat, as you get a cluster of unique musical achievements in a single album. This is an exemplary collection that must be heard.
‘Illusion’ is an assemblage of beguiling drones with cinematic-like production. Although starting out with a light ambient vibe, the mood swiftly changes on track two, “Untold Mind” and a belligerent tone is thrusted into this space ambient endeavor. These songs sequentially crescendo into a mammoth-like sound and slowly fade out into oblivion before shifting to the next moment of surprising moments. There are moments that are influenced by the Warhammer 40k sound, while the majority of the album is like a dark space excursion. This is an excellent album that fits right in with some of the top names in the genre.
Pavor Nocturnus specializes in flowing light drones that are delivered in an obscure pallet of ominous soundscapes, torturous industrial sounds and peaceful samples and field recordings. All fused together, this is an eerily harmonious endeavor that will be pleasing to fans of multiple Dark Ambient sub-genres. ‘Bosch’ is eclectic blend of soulful modulations that don’t have a particular flow (from track to track), but works very well in the overarching concept of the album. This is an amazing recording that I cannot recommend enough.
Sij & Textere Oris is one of the most fascinating Dark Ambient collaborations on the Cryo Chamber label roster. Although only having released two albums on the giant label, they are both top quality endeavors that are unique in their own way. On latest effort, ‘Reflections At The Sea’, soothing drones are met with enchanting vocal melodies and theatrical reverberations that produces a theatrical-like sound. From piano chops to random sound effects, this album is put together magnificently and will warrant multiple listens. This is definitely one not to miss.
In my opinion, Melanohelios doesn’t put out music often enough. There is something very addictive with Melanohelios albums and I can’t quite put my finger on it. However, I can say that what you’ll get with each album is an exclusive listening experience – one just as good as the next. On ‘The Durance Machine’, there are two tracks of mind-melding drone work that lasts the better part of thirty six minutes. While listening, you’ll find yourself drifting between peaceful experiences and terrifying moments that flow together with extreme transparency. This is another alluring album from such a reclusive entity.
Dark tones and blistering keys set the backdrop for this escapade of quality electronic tracks. With a plethora of samples and soundscapes, this short album is a cacophony of aggressive moment and angst-filled resilience. The genius aspect of this album is the malevolence hidden in the peaceful details – like a field of beautiful flowers in the dead of winter. Even with just twenty minutes of playing time, this five track album is a beast to contend with and will surely please all fans of Dark Ambient music.
If you’re a fan of Dark Ambient music, you should at least be aware of the haunting entity known as Northumbria. With a list of unrivaled albums on the Cryo Chamber label, the stringed duo often ventures out independently and continues to produce quality ambience. On 2021’s ‘Isolering’, we’re presented with four ominous tracks containing nearly seventy five minutes worth of mesmerizing intonations. These extended efforts take the listener down a blackened path and instill a relentless blend of lethargic tones and reverberated modulations that are simply paralyzing. In my opinion, this is one of their best efforts and the mood that it sets is quite compelling.
Logically speaking, big things come in small packages. That’s the first thing that comes to mind after listening to Maronian Athenaeum’s fascinating album, ‘The Fall Of Svælinørg’. Two tracks of uncompromising Dungeon Synth with a playing time of nearly thirty two minutes. Going in to this without knowing what to expect, it’s easy to assume that there may be a lot of build up between active moments, as well as a lot of backing ambience to set a particular mood. However, upon the initial listen, I was quite impressed – blown away actually – at the variety of music and how the various parts fuse together seamlessly to express a fascinating Medieval story.
The first track, “The Great Stand Of King Svænim”, proceeds in a dreamy, theatrical way as the opening sequence showcases an inspiring Synth melody that emits a tone of melancholic unease and sadness. The heavy reverb gives it a grande sound while soothing melodies compliment it with graceful harmony. Bits of percussion are slowly induced to form an ebullient cadence around the heart of the track. After a brief moment of field recordings, the track blasts into overdrive with a soundtrack-like refrain that is sure to get the blood pumping. Staying true to traditional Dungeon Synth characteristics, a mournful synth effect creates an atmosphere of anguish and dreariness. As this sixteen minute track continues, other facets of electronic music are interpolated, further expanding upon the normal traditions of a track of this magnitude. From whimsical to bombastic tones, this song provides an extremely magnified listening experience. Thinking that I’ve heard the best of what this album has to offer, the second (and final) track is what really blew me away. “Min-Min’s Reign” is a mesmerizing sixteen minute escapade through an assortment of synth genres that are merged in a magnificent sequence of meticulous song writing. Commencing with the soothing sounds of rain and polarizing sequences, patterns of retrospective synthwave begin to take shape. With a mild tempo and addictive arrangement, it doesn’t take long for the lister to be fully engaged with this masterpiece. Soon after, a complex arrangement of hasty rhythms shows a change in pace and an algorithm of futuristic vibes. I sense a mild Berlin School influence as the keys affix in a looping pattern while the song builds around it. Industrialized effects continue the element of malevolence that are sure to cause moments of anxiety or discomfort. This pattern slowly ascends into an ambient tone, creating a dark space for the remainder of the track. Celestial keys contribute to the bleak, spacious atmosphere with haunting relevance as this daunting song comes to an end.
I am more than impressed with Maronian Athenaeum and the variety of music that is included on ‘The Fall Of Svælinørg’. Using Dungeon Synth elements as the base for these tracks, a multitude of other electronic sounds forge an impressive blend of music that is sure to resonate with fans of a variety of synth genres. These tracks certainly do tell a compelling, mythological story that has no boundaries for self-interpretation. I highly recommend this album to everyone that loves synth music and I can’t wait to hear what this artist has in store for us in the future.
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