If you’ve been listening to Dungeon Synth longer than five seconds, then you should be familiar with one of the most consistently active artist in the genre, Erythrite Throne. Delivering a unique brand of vampyric Dungeon Synth that is not only unmatched, but irrefutably the work of one of the most talented synth musicians in the business. Here with another dose of Hallows Eve inspired tunes called ‘Witch Tales’, Erythrite Throne continues to stay at the pinnacle of the genre with another persistent release.
“Blood Of The Black Goat” is a beautiful album opener, with somber synth melodies, radiant background tones that help stabilize the sincerity of the track, and retro-synth leads that are as luminous as they are gloomy. “Consumed By Eternal Night” continues the magical synth arrangements that we’ve come to love from Erythrite Throne, and every layer wondrously fuses together to produce an amazing moment. “Essence Of The Pale Moon” commences with a single, opaque keyboard intro and then tiers of ambience begin to build around it and eventually take over as the main melody. “Carved Upon Holy Skin” begins with distant, high-pitched keyboard modulations and from there, the song slowly builds into a masterpiece, adding layers of keyboards with various effects, fusing them all together in a ghoulish arrangement. At about the halfway mark, a cleaver drum beat is introduced to take this track to all new evil heights. “Bathing In The Blood Of Innocence” creeps in like a mythical fairy tale and even includes a whimsical keyboard chop that is fascinating and memorable. In perfect Erythrite Throne fashion, layers of keyboards build, creating a dynamic wall-of-sound, and then it fades out as if it were just a prelude to something greater to come. The final track on the album is the epic, “Into The Ritualistic Chambers Of Night”. This song epitomizes the vampyric Dungeon Synth sound and include haunting keyboard melodies, massive drum beats and malevolent, blackened vocals. What a perfect track to represent this season and to also close out this amazing album.
It’s no secret that Erythrite Throne is one of my favorite Dungeon Synth artist and I’ll admit that I am probably a little biased, but it’s hard not to be, especially when these albums are absolute gems and are consistently being released when you least expect it. ‘Witch Tales’ is no exception, as it contains all of the elements that make Erythrite Throne the artist that we’ve all come to love. Although this is a shorter, twenty minute long release, the material is still amazing and will be on my playlist rotation for quite sometime. Please continue the support for Erythrite Throne and download this amazing album at the link below.
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Dungeon Synth sure has come a long way, especially over the last few years. Not only has it grown immensely in popularity but it has garnered a slew of new sub-genres in which artists can hone their craft to a setting more suitable for them. After all, the harsh tones of Medieval-themed synth music – typically meant to motivate and inspire bloodshed and battle as war rages on between ancient kingdoms or mythical creatures – is quite different from the tranquility of music that makes you feel all warm and snuggly inside. Now enter Moss Golem, the insidious new-ish project by Davey Sasahara created to be the antipode to one of Dungeon Synth’s most popular (and ever growing) sub-genre’s, Comfy Synth. Although releasing a debut EP in February called ‘The House That Granda Built’, the March release of ‘The Woods Of Galdura’ sees a full release of idiosyncratic Dungeon Synth tunes with menacing black metal vocals that are sure to turn heads and provide plenty of discomfort. Well, if that’s the case, then mission accomplished!
The perfect example of all of the aforementioned, is the lead off track, “I”. Beginning with the soothing textures of layered synths in an intimate setting to provide the feeling of relaxation and comfort, Moss Golem reels the listener in to a false world. After a few minutes, this cushy setting fades out into a moment of silence. Slowly, bizarre and jovial synths emerge with harsh, black metal vocals, defying the cozy setting depicted in the first half of the track. “II” continues the menacing escapade as a brief ambient moment is met with evil vocals and turbulent horn effects. Pounding bass pulses contribute to the heinous intonations as Moss Golem continue to push the boundaries of synth music. On “III”, grim synths pave the way to enlightenment, just to be decimated once again by bitter vocals. This time, the music is almost dirge-like, while the vocals are like a cry out of pain and suffering. The fantasy synth sounds of “IV” are abruptly cut short, as the bewildering vocals once again shine a darkening light and prove the mordancy of Moss Golem’s existence. The grandiose elements of “V” are persistent with the classic aspects of a cinematic black metal interlude that has stood the test of time. However, instead of leading into a blazing black metal riff, Moss Golem leads the listener down a path of mortifying Dungeon Synth like no other. The melodic keys on “VI” are memorable and picturesque of a harmonious time, however when the vocals start, oblivion sets in and a dark reality is soon realized. “VII” begins with a retro, synth wave vibe and is soon joined with elements of forest synth effects and of course, the harsh vocals. Rich piano textures and rigid cries begin the contingent track, “VIII”. Beautiful orchestrations are added about halfway through for a more euphonious effect. Track “IX” has to be my favorite on this album for several reason. First, I appreciate the industrial soundscapes in the beginning to show a different side of the Moss Golem sound. The synths are arranged in a canorous pattern that also makes this an enjoyable listen. Lastly, the Crypt Hop elements toward the end are insane! Not just in the beats, but also with the fact that the heavily distorted black metal rap, just feels so right. “X” is an excellent track as well, as it’s ironically fitting. It closes the album just as it started, calm and soothing, even after listening to nine tracks of exasperating Dungeon Synth.
Moss Golem have released two outstanding albums this year and both have succeeded in confronting the culture of desiring to have a title to fit into a certain category. ‘The Woods Of Galdura’ kills any trends previous built upon the Dungeon Synth genre and dares to be categorized in a single style. If you’re a fan of Dungeon Synth and Black Metal and are curious about the meshing of genres, then look no further than Moss Golem and the latest effort, ‘The Woods Of Galdura’. Click on the link below and download this exceptional album and support this innovative artist!
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If you’re a fan of Dungeon Synth, then you are well aware of the many talented artists that contribute a steady amount of music for our listening pleasure. One artist that I consider a linchpin of the community is none other than Erythrite Throne. Releasing some of the most consistent blackened Dungeon Synth there is, Erythrite Throne continues to challenge the listener in diving into a medieval world of dark imagery, vampires, and lust for malevolence. With a distinctive sound and style that is unmatched by any other artist, Erythrite Throne is constantly progressing and improving with each release. I recently had the pleasure of interviewing Erythrite Throne main man, Davey Sasahara, to talk about his Dungeon Synth endeavors, Serpents Sword Records and anything in between.
1. First of all, thanks for taking the time to respond to this interview. I have to ask, where do you find the time to write the massive amounts of music that you do?
It’s pretty much the only thing I do with my free time haha. It’s something that I enjoy doing a lot so I write music as often as I can, I also have pretty bad ADHD, so this is something that helps me sit down and work on my concentration.
2. How many projects have you released music under?
Right now, I have 16 active projects, but I have a lot of projects I’ve stopped working on completely and there’s not much of a trace of them on the web. All together I’ve released music under maybe 30 or projects of varying musical styles.
3. When you are writing new music, do you go into it with a specific project in mind or do you improvise and let the music guide your path?
I usually improvise everything and just feel it but there a few times that I sit down with the intention of making music for a specific project.
4. Take us back to before you started releasing Dungeon Synth. We’re you involved with music from other genres?
I was! I was in a hardcore band as well as doing a few projects by myself. I was making some gothic electronic stuff, some vapourware, some trap. I like to experiment with music a lot.
5. What influenced you to start writing Dungeon Synth?
I’ve actually been making this type of music since around 2014, I just had no idea it was called Dungeon Synth, so I was just calling it gothic music haha. Actually, the first Voslaarum album Forgotten Vale is a compilation of stuff I made around 2014-2016, some of it is actually still on YouTube under a different name.
6. I know this year you were slated to play live at the Northeast Dungeon Siege and due to the COVID-19 outbreak it was modified as an online festival (via Twitch). How was it preparing to play live online?
It was good, it was my first time streaming so it took me a bit to figure it out, but I had a lot of help from my friends in the community and I think it turned out great. All those people put a lot into making NEDS happen and I appreciate them so much, it was a great time and I was honoured to play!
7. I highly anticipated seeing your set and thoroughly enjoyed it. Did that inspire you to want to play more live gigs in the future?
100%! I would like to play many more live shows in the future.
8. It seems like Erythrite Throne is the “mothership” of all your projects. Is that the case?
It absolutely is. I played around with a lot of other projects and musical styles before I landed here, it has a very special place in my heart.
9. Some of your earlier Erythrite Throne works contains a good bit of Black Metal (Instrumentation & vocals) whereas the more current material is mostly synth based. Was there a plan to make Erythrite Throne a more metal based project at some point?
Erythrite Throne was always made to infuse Dungeon Synth and Black Metal, I never want to choose between the two because I love them both so much. Which direction I take an album really just depends on how I’m feeling in that moment.
10. One of my favorite projects of yours is Abholos. Although I can hear traces of Erythrite Throne in Abholos, the sound is more ethereal, and the texture is of a primitive nature. What influenced you to start this project?
The first Abholos demo was actually supposed to be an Erythrite Throne album based on the work of Lovecraft, but it just felt different from Erythrite Throne, so I created Abholos which still has my kind of sound, but I try to make it it’s own entity.
11. Do you have more Abholos albums planned for this year?
I absolutely do!
12. Another newer project that I absolutely love is Moss Golem. Initially “mislabeled” a Comfy Synth album, it’s actually like a synth-based black metal project. Did you create this project to defy the sub-genre stereotypes that seem to exist these days?
I did. It was pretty much a fuck you to what you think something is or has to be called. MOSS GOLEM is a really important project to me..
13. One of your less talked about projects is Vokaron – which I think is an amazing project that leans toward the Crypt Hop genre. How did this project come about and do you plan to continue it?
I actually made this album for my partner when he was recovering from surgery. He likes to sing so I made him this album to sing with well he was at home getting better with nothing else really to do. I do plan to drop at least one more Vokaron album!
14. Other than the projects that I’ve mentioned, what are some of the other ones that are near and dear to you, and why?
I can’t really choose one honestly. All of them are important to me in one way or another and I try to put a lot into each one.
15. Tell us a little about Serpents Sword Records?
I created Serpent’s Sword so I could have one spot for all my projects and tapes under one banner. I figured it was better than having 20 different Bandcamp pages.
16. Other than physical cassette releases, are there any plans to expand the merchandise (t-shirts, patches, stickers, hats, etc.) store for Serpents Swords Records?
Absolutely. I’ve already had patches done for Erythrite Throne, but I’d love to get shirts and stickers done for that and a few of the other projects on Serpent’s Sword.
17. Have you toyed with the idea of releasing other artists material on Serpents Sword Records?
I have and I actually will be releasing some other artists music in the near future starting with a very special release for a good friend of mine! More info will come soon for that.
18. I really appreciate you taking the time to answer these questions, as well all of your contributions to the Dungeon Synth community. Do you have any final thought you’d like to share with anyone reading this?
I appreciate you taking the time to interview me and listen to my music; it really means a lot to me! I want to thank all the amazing friends I’ve made in the Dungeon Synth community and all the people who listen to and support my music, it really means more to me than I can describe. I’m excited to continue working on music for you all!
Synthesized orchestrations have been infused with black metal for decades now, creating a sub-genre of technical and theatrical metal known as symphonic black metal. Now, I’ll be the first to admit that with the exception of a few bands, this sub-genre hasn’t really been my thing. However, after a renewed interest in dungeon synth and winter synth, I’ve come to appreciate the genre more than ever. That brings me to Moon And Azure Shadow, a one-man Black Metal project that mightily imbues the dungeon, winter, and medieval synth style into his unique brand of gothic infused black metal. The result is an incredible album of epic song lengths and robust symphonic pleasure known as ‘Age Of Darkness And Frost’. Consisting of three lengthy tracks that contain a hefty dose of black metal with a wide variety of other sounds, and four tracks of classical synth-style compositions, ‘Age Of Darkness And Frost’ is a surprisingly exceptional album that is sure to make a few “Top 10” list for 2019.
The breathtaking album opener, “Across Dark Landscapes” makes it grand entrance with an enormous symphonic auditory effect. There are so many imposing sounds on this track, it almost as if it could be used for an expeditious sequence in a movie. The cinematic quality is incredible and hearing this, I imagine a group of nomadic travelers, traversing a snowy mountain summit in search of a new place to secure as their home. As the climax of the music winds down, a beautiful piano melody can be heard, taking us to the end of this triumphant song. The next track – and first long track on the album – is the title track, “Age Of Darkness And Frost”. At almost nine minutes long, this wondrous endeavor features elements of medieval synth, gothic sounds, and very impressive symphonic black metal. Starting with another cinematic opening, it soon embraces the sound of a slow-tempo gothic anthem. The black metal-style vocals kick in and take this track to new heights. After a short melodic interlude, heavier & faster black metal rhythms take center stage and even include a section of blast beats over a canorous guitar and keyboard riff. The following track, “Black Winged Gates Of Destiny Descend” is another short respite between longer tracks but it’s no filler by any means. Theatrically, this song is monstrous and contains some chilling keyboard tones that are equally catchy. “Abyssic Lunar Tower” is the longest track on the album at seventeen and a half minutes long. The opening keyboard riff is like an addictive dirge that has a considerable sound and is soon joined by a sequenced drum beat that really sounds incredible. After a few minutes, an acoustic guitar plays a simple riff before an early-era Emperor-style Black metal riff unloads in the audial senses and makes this track even more pummeling. The riff at the six minute and twenty second mark is one of the best I’ve heard in many years and is one of the most brutal sounds on the album. At around the eleven minute mark, the song winds down to an eerie winter synth sound with a thunderstorm soundscape augmenting the ambient space in the background. A slower black metal riff soon takes over and plays out to the end of this majestic track. Next is “Through The Channelling Of Souls”, and with its medieval synth sound, provides a powerful statement with regards to the elements of nature and the darkness that conceives it. At almost eleven minutes long, “Unholy Vanquishing” begins with a ceremonious keyboard track, as if a group of warriors are preparing for a long battle in the icy cold north. Soon after, a gothic-like Black metal riff takes over and has a wonderful – but sorrowful – sound, like early Hecate Enthroned songs. This track also features some mighty voice narrations, adding yet another great element to this album. The last couple of minutes of this song is a great mix of slow-tempo black metal and dungeon synth and the vocals once again shine throughout. The final track, “Passage Through Time And Cold” features an excellent piano arrangement with some symphonic keys to add additional layers. The tone throughout this track is very melancholic and ghostly and is the perfect way to end such an amazing album. The last couple of minutes turns into an ambient soundscape with a scene of a snowy ridge and a traveler making his way to a nearby destination.
Listening to ‘Age Of Darkness And Frost’ has turned out to be such a pleasurable experience. Within a few months, I’ve gone from never hearing of Moon And Azure Shadow to including this album on my Top 10 metal albums of 2019. Even though this is a black metal album, there is enough medieval and dungeon/winter synth elements on it to be featured on The Dungeon In Deep Space site. Beside, there is a high possibility that if you’re even reading this, you’re a fan of both genres anyway. That being said, I highly recommend checking out ‘Age Of Darkness And Frost’ by clicking on the link below.
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Dungeon Synth & Dark Ambient Reviews!! 