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.
Over the past few years, Arbadax has become one of my favorite Dungeon Synth artist. With each release bringing an amazing venture down a dark realm filled with fantasy-based themes and intriguing musical intonations, Arbadax excels at releasing consistent music that is bound to connect the listener to a fascinating, Medieval world. I recently had an opportunity to talk to Arbadax about his wonderful discography of Dungeon Synth greatness, where the inspiration came from and the direction for future releases. Please enjoy this interview with the prodigious Arbadax!
1. Thank you very much for taking the time to answer a few questions about the Arbadax Dungeon Synth project. How did you first get introduced to dungeon synth as a genre?
Thank you and the friends at The Dungeon in Deep Space for the interest you’ve shown! For years, I was unaware of the existence of the genre itself, even though I knew about artists more closely tied to the metal scene, like Burzum, Mortiis, Summoning… The real discovery happened during the COVID lockdown, when I was stuck at home due to restrictions, spending time playing music, listening to music, and working on building my small home studio. The memories are already blurred by the passage of time, but the first DS record that struck me straight to the heart was Hole Dweller’s ‘Flies the Coop’. From there, a whole new world opened up for me to explore. At the same time, I also regretted not discovering this genre earlier, because who knows, maybe I would have started making this music much sooner… But perhaps the time wasn’t right yet.
2. Do you see Dungeon Synth as a subgenre of ambient, black metal, or something else?
More or less, we all know how it originated; its roots run deep in black metal, but after so many years, I think we need to give DS the proper dignity it deserves, as far as I’m concerned, it’s a genre in its own right. What I found when I approached this world was a mature and grown-up scene, still confined to the underground and the limbo of amateur musicians, but in my view, it’s absolutely right to define it as its own genre.
3. Who are some of your musical influences, both within and outside of Dungeon Synth?
I was born a metalhead, and I still am one. I’m currently a bassist in a band called Heavenfall, and I used to play in an epic metal band, Holy Martyr, so my main influences are the entire hard ‘n’ heavy world, mostly classic, hard rock, epic metal, thrash metal, and to a lesser extent, other metal genres as well. To complement that, I’d also mention classic rock from the last century. I’ve also always listened to instrumental compositions, especially soundtracks, classical music, and some of the most famous musicians who made electronic music popular, like Jarre, Vangelis, and I’d also like to mention the Italian Franco Battiato, who experimented with synths in the early 70s. Recently, with my interest in DS, I’ve also gotten into other electronic genres, like ambient or synthwave, for example. On my YouTube channel, I’ve published a few synthwave-oriented songs, which I usually do between albums to take a break from the DS atmosphere and reset my mind.
4. When it comes to thematic expression, Arbadax has released some amazing albums in the realm of Medieval fantasy. What role does fantasy, mythology, or history play in your music, if any?
Clearly, my love for fantasy is evident in my storytelling, which focuses on the character of ‘Arbadax.’ More generally, I’ve always been passionate about the fantastic in a broad sense, and also about the mysterious. I’m deeply fascinated by the world of the occult, even though this fascination is in constant conflict with my rational side. This attraction to the fantastic and the mysterious is a very human, primal component, but then there’s the adult me, an engineer no less, with years of scientific studies behind me, who says, ‘Hey, you know all of this is nonsense, right?’ This also ties into my passion for ancient and modern history, its mysteries, its conspiracies, its horrors… the epic and the mythology. It’s all connected. In the end, fantasy is nothing more than the story of humans living in a world truly shaped by their mythology, beliefs, and folklore. I’m fascinated by the bestiaries of various cultures, and sometimes I’m amazed by how imagination can conjure up such incredible creatures with extraordinary powers and strength. It would be fun to live in such a world, and that’s why I enjoy talking about it. When I created the two more medieval-oriented albums, I was undecided about starting a separate project under a different name. But in the end, I continued as Arbadax and incorporated “The Bard’s Tales” and “The First King” into Arbadax’s storytelling, as if they were tales of the mythology and past history of the island of Ankmar.
5. What do you think makes Dungeon Synth so unique compared to other ambient or electronic genres?
What sets it apart is a raw sadness and a gritty darkness that I don’t see in other genres. For example, ambient music is relaxing, and synthwave music is usually cheerful, with positive or ‘comfy’ vibes, as they say nowadays. But when you listen to DS music, you’re catapulted into a sonic dimension that takes you to other levels. Even comfy synth, which might not have that sad and dark note, transports you into a world where the musician wants to guide you (and I could mention Hole Dweller again in this regard). Perhaps this is also a characteristic of the genre: the listener lets the musician guide them into their world. A song title or even a brief bit of storytelling is enough to make it work. This is obviously what I’m trying to do as well.
6. Dungeon Synth often evokes the essence of nostalgia. How do you capture that feeling in your music?
Musically speaking, I like to write pieces that sound sad, and to do this, I usually rely on minor modes, technically speaking. However, it doesn’t mean that if I write melancholic-sounding pieces, I’m feeling that way myself. In fact, sometimes it’s the opposite—the music, as I write it, brings out certain emotions. It’s an equal exchange with what I’m creating.
7. How important was it to capture that on your first album, ‘A Sad Story Of Blood And Love’?
This was the first album; we were in the middle of the COVID era, locked inside for months, and in the album, I conveyed this sense of sadness, abandonment, and melancholy. The compositions were very minimalist and stripped down, and it naturally made me think of something terrible like war and a story of passion ending in blood. Then maybe there’s something personal as well, who knows?
8. Do you prefer your tracks to have more of a lo-fi or raw sound, or do you focus on more polished production?
So, this also seems to be quite a debate among DS fans, right? Probably, if I could afford it, I would go to a studio to work with a sound engineer or producer to get the best out of the tracks. But perhaps, at that point, it wouldn’t be DS anymore; it would become something else, because everything would be wrapped in a nice layer of sound, with bright dynamics and clear, well-balanced tones. I try to do the same on my own, on a smaller scale, often without consulting anyone. What comes out in the end is 100% mine, but I’d definitely be very curious to hear one of my albums professionally produced at a high level.
9. Your third album, ‘The Land Of Ankmar’ shows an incline in musical growth. Do you feel as if your comfort level in the genre was getting better at this point?
Let’s say I really started to enjoy myself. There was a period when I spent almost all of my free time writing music, recording, and jotting down ideas. I still have about a hundred riffs recorded on classical guitar, waiting to be developed. During that time, I also invented an alphabet that would be the alphabet of Ankmar and laid the foundations for its language. I was completely immersed in inspiration from all angles. It was also a period when I started studying piano and became interested in the basics of mastering and mixing techniques, but I eventually stopped due to lack of time. This project also marked a break from my previous work because it doesn’t represent the typical ‘journey’ theme of fantasy stories, but simply a description of my imaginary land, Ankmar, which is partially connected to Sardinia, where I was born. For example, ‘The Ruins of Karahal’ refers to the ancient name of the city of Cagliari, which was called Karalis in Latin. Or the sound of the sea in ‘The Grand Sea’ was recorded on a beach in Sardinia.
10. Your seventh album, ‘Lost’ is one of my favorites by you. The music is as relaxing as it is imposing. How do you balance simplicity and complexity in your music?
It is said that life requires balance, but man is not perfect and is in an eternal struggle to find balance in everything he does, in every emotion, and in every relationship. Sometimes genius is found in a person’s imbalance and madness, but I don’t think that’s the case for me because I’m a fairly rational person. Therefore, in my music, balance is still given by the sensations I feel. Often, I find myself adding instruments and overlapping harmonic lines in a compositional high, but then when I listen back the next day, I start to remove things, bringing the piece back to its simplicity and keeping only the parts that still sound good to me and that don’t alter the essence of the piece.Or it can just as easily happen the opposite, meaning that a piece that started off simple can then develop in an incredible and unexpected way. You know, sometimes when I listen back to my old tracks, I find that I absolutely don’t remember how I came to develop them in that specific way.
11. Do you incorporate live instruments into your recordings, or is it all digital/synth-based?
First of all, you should know that I’m not very good at playing the piano or keyboard. I usually write pieces on guitar or bass, then I take everything into MIDI and from there, I develop the piece by adding and removing until I feel it’s complete. So, it was inevitable that sooner or later, I would reach the point of adding something different, especially because I often feel the need to find new sounds. In ‘The Land of Ankmar,’ for the first time, I used an acoustic guitar, while in ‘Winds of War,’ I recorded bass and electric guitar with my Fender Precision and an Ibanez guitar. At that time, I was in an ‘epic metal’ phase; if I remember correctly, the war in Ukraine had just broken out or was about to break out, and I was angry. Subsequently, in my other works, I sporadically used the acoustic guitar, especially in the two projects with medieval sounds. I always think that sooner or later, I’ll make another album in the style of ‘Winds of War,’ with bass and electric guitar, because I had a lot of fun making it!
12. On your eighth album, ‘The First King’, there is again, another shift in musical focus as the tracks seem more melancholic yet more developed and powerful. How has your sound evolved since you first recording?
I had a lot of fun creating many harmonic lines on this album. There are some long and intricate pieces, with key changes and varying themes. This is definitely something I didn’t do in my earlier works, which may have been more repetitive, but you know, it also depends a lot on the mood and the types of sounds I use. With medieval orchestrations, there’s actually a lot of space in the mix to create many harmonies, while using fat pads like in ‘LOST,’ which occupy a lot of space in the frequencies, there’s much less room to develop harmonies. In any case, I like to frequently change the type of sound and song development, as I did with the latest album.
13. Your latest album, ‘The Necromancer’s Swamp’, is a short collection of fun tunes that are very eclectic. What was your vision with this album?
Originally, the tracks were created with the intention of doing something different from everything I had done before, and I started working on this album convinced that I would integrate it into the storytelling of the island of Ankmar. Then I was contacted by the label HDK to write five pieces to be published on a cassette alongside three other musicians, and so the composition took a different turn to follow the storytelling of the short narrative provided by HDK. I slightly modified the pieces by adding sounds and noises and replacing the percussion with pads that, in my opinion, give that eclectic touch you mentioned. Those tracks seemed perfect to me for telling a story of black magic and necromancy.
14. Do you see Dungeon Synth as a form of escapism for yourself? What do you hope that your listeners get out of your music?
Certainly, yes! I think all forms of art are like that. It starts with passion, and then when you delve into the art, you discover that it can also be a great way to unload your problems or transfer them into it. In a broader sense, there’s also the fulfillment that creating something of your own gives you, like when I made the physical copies of the cassettes, taking care of the artwork, the recording, and the preparation of the cassettes myself.
15. Can we expect any new releases from Arbadax this year? Do you plan to incorporate exciting new directions or experiments?
At the moment, I’m working again for HDK, this time for a full release, although I’m not sure when it will be ready, because in the coming months, I will also need to enter the studio with my band. Recently, I have actually slowed down my production pace, so we’ll see. I have a lot of ideas in my head that I would like to explore sooner or later… I’m always thinking about starting a project exclusively focused on historical themes, as well as the science fiction that I love so much, with sounds that are, how should I say, more ‘spatial’? Finally, I’m also considering making an album completely based on guitar and bass… We’ll see; at the moment, I’m not sure what I’ll do first or if I’ll be able to do everything.
16. I really appreciate you taking the time to answer these questions. Do you have any final thoughts for those that will be reading this?
I hope I haven’t bored you too much! I invite those who don’t know me to check out some of my work on my channels. Arbadax awaits you in the city of Ankmar, in the land of Ankmar, to share a drink together at the Boar’s Inn. But send a messenger first, because I might be too busy studying a new spell, and I would be sad not to meet you! Remember to support music and your favorite artists, stay in peace but fight for your well-being.
Things have been rather slow this year for The Dungeon In Deep Space, as a multitude of life changes have consumed my time. That’s not to say that I’ve not been keeping up with one of my favorite genres of music, as it’s been the constant element that has provided a sense of sanity in my life. As things start to dwindle down (personally), I’m excited to resume my writing activities and “blog” about the releases that have left an impact on my life this year thus far. I’d like to start with the amazing album by Sokol Keep called ‘Underkeep – The Adventure’, a forty three minute excursion through the depths of Medieval gloom and maniacal contumacy. Sokol Keep doesn’t forge alone, as a troupe of Dungeon Synth artists add to the adventure in courageous fashion.
The album commences with the powerful, “Enter The Keep (w/Atlantean Sword)”. As if returning from a gruesome battle, it starts with the sounds of muddied (or bloodied) warriors returning to their kingdom and into the realms of much needed safety. A cold ambient texture plays in the background as a spoken word narrative reiterates victory. Bombastic Dungeon Synth cords play loud and proud as this dainty little anthem is the perfect way to start this album. “The Sokol Keep Crypts (w/Crypt Mage)” starts with a gloomy soundscape, followed by ghoulish ambient textures. A looping, off-rhythm beat adds to the sinister vibe of the song while haunting noises and whispers plague the remainder of the track. “The Guardians (w/Blood Tower)” is a soothing intonation that fusses deep chords with elongated synths. Eldritch sounds create a layer of uneasy mysticism and the quality of the track continues to emulate something from a horror movie film score. “Room By Room, Passage By Passage (w/Hérétique Du Nord)” resembles more of a deep space ambient track, with hollow, reverberated synths, showcasing a vessel crossing a forbidden void. About halfway through the track, synths build in layers, producing a climactic ending for a tumultuous quest. “Fear The Dungeon (Encounter) (w/Balin)” is a unique undertaking as the sound turns to more of a synthwave vibe. The pace of this track is hectic and full of angst as the clashing tones of looping percussion and ghostly soundscapes ultimately collide. “The Door Lies Beyond (Onto Underkeep) (w/Sylfvr)” is a heartwarming tracks with whimsical keys and pounding percussive elements. The synth leads are serene and the near-inaudible narrations add a sense of mystery to the narrative. Flute-like keys, soon takeover in a gloriously led effort to bring tranquility back to the keep. “Into The Underdark of Underkeep (w/Robe Of Eyes)” is one of my favorite tracks on the album, as the bell-like sounds at the the into create a realm of ritualistic expanse. Flowing keys bridge the gap of obscure haunts and melancholic dreams, while lush production efforts creates a dreamy vision of days past. “The Forges Of Sokol Keep (w/Sombre Arcane & Khand)” is another introspective track with icy cold ambient textures and lo-fi percussion loops. However, about halfway through, animated instrumentation creates sort of an interlude before breaking into a grandiose moment that is nearly breathtaking. “No Further | Last Battle (In Underkeep) (w/Warlock Corpse)” is a battle ready track that exudes aggression and confrontation. Galloping percussion, war cries and deep synth tones lead the charge in this effort and the output is a spectacular song that should be used in preparation for battle. “Emergence | See The Light (w/KletTtermax)” is a short, retrospective offering with lush melodies and looping hisses that create almost a superannuated sound. The final track on the album is “Victorious? (w/Atlantean Sword)”. Complete with a short, spoken word intro, gleaming synth chops and grand soundscapes, this track represents the ultimate finale with an abbreviated anthem, followed by the maniacal laugh and weathered field recordings. Such a defiant way to end this conceptual masterpiece.
I’d first like to say, that I’m glad to be back, writing reviews on the music that I love and that firmly creates a sense of inner peace within. That being said, I’m really excited to write about one of my favorite Dungeon Synth offerings of the year so far, ‘Underkeep – The Adventure’ by Sokol Keep. Featuring an impressive group of Dungeon Synth artists, adding their individualistic ideas to every track, there is not a dull moment throughout. From haunting soundscapes, gloomy ambience and top tier Dungeon Synth moments, this is an amazing effort by an artist that has had a minimal output of albums throughout the years. I can’t recommend this one enough so please check out the link below and support this incredible artist and album.
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In 2021, I reviewed the amazing album by Logan Mccurter called, ‘Primitive Baptist & The Oldest Time Traveler In The World’ and what I discovered was an alluring blend of Dungeon Synth and Ambient music. This album brought a fresh prospective to both synth-based genres and I was eager to hear more. Fast forward to 2024, and we have the same compelling music but now under the moniker, Wøzard. Curious to find out more about this artist and the motivation behind the music, I reached out to Wøzard for an interview opportunity, which was quickly obliged. What I found was a down-to-earth musician with a solid approach to songwriting, with quite the comical side to boot. I hope you enjoy this interview as much as I had putting it together.
1. In really appreciate your time in order to discuss your music projects. Before we get into the meat of things, tell us what music means to you and how it led to you commencing your own musical endeavors.
Howdy! And thank you for having me. This is SUCH a heavy question to start with haha but I think its an important foundation to any artist. I was born into a very musically inclined family.
MY grandfather, aka: “The last western hero” and my grandmother formed a Country Western Christian Gospel group called “The Cox Family” (not that one…the other one) in the 80’s, which also featured my Mother and my Aunt. They performed all over America and had a residency show in Branson Missouri until the late 90s. All this to say when I was born in 1999 I was surrounded by musicians.
HOWEVER~ When my mother got pregnant at age 16/17. While I was incubating, they used to play pink Floyd to me through her stomach with headphones. I was literally raised in a sonic WOMB.
And I think this parts important. My father and his side of the family, are all bikers, my dads a metal head / tattoo artist. And I was always drawn to the alt life style artistically and sonically. So when I picked up guitar at age 5 or whatever I wasn’t banging out christ tunes, I was playing whatever alternative underground bla bla I could get my hands on. My inspirations range from the likes of Daniel Johnston, Mort Garson, Neutral Milk hotel, Bruce Haack, The Protomen, My Bloody Valentine, Sleep, Yob, Mastadon, Brian Eno, Hiroshi Yoshimura, Asobi Seksu, and MANY many other artist that I wear close to my chest.
For me, Making music is as automatic as breathing, it’s ingrained in the pulse of our hearts. Music as we refer to it is the one thing that truly binds us as a species. Humanity from dust till dust, separated by time and space, has and will have a musical culture that transcends language. Humans are many things, granted. But we are ALL musicians. We are all songbirds. We are all storytellers.
Ok…ill get off this mighty tall soapbox now.
2. In 2019, you started releasing albums under your own name but then shifted everything under the Wøzard moniker. What brought about this change?
No I didn’t, who told you that? You’re lying. Its ALWAYS been Wøzard…
No you’re totally right I did go by my name for a while. To be honest I never intended to become an electronic musician. Or even a dungeon synth artist (if you can even call me that) My earliest work (which I’ve scrubbed from existence) was an amateurish acoustic singer songwriter EP. That was mostly inspired by my being a teenage dirtbag, my love of Daniel Johnston, and an unhealthy serving of Midwest-ish pop punk.
my “Debut” EP from 2019 titled “may I admire you again someday” (a reference to pretty in pink) was a synth pop concept about an astronaut who is selected for an experimental program called “MIAYAS” which will launch him into the mind of another person to discover the truth therein, but before his mission can even begin, his ship crashes into the lucid mud. Now lost and trapped inside this OTHER mind, slowly losing all sense of self as he experiences the subconscious. Until he reaches the bridge of memories. And finds out he’s not trapped in someone else’s mind. He is trapped inside his own. And upon this realization. He wakes up, in the very chair that sent him on this adventure. But its not the end…its the beginning. An ouroboros loop, doomed to wake up in the very chair that stars this mission and to be launched right back in… it’s also a live theatrical stage production. Which you can hear in the album with people clapping, the curtains raising, footsteps on the hard wood floor of the stage. And the track intermission (Which is a play on Enter, Mission)
With all that in mind. I decided in 2020 after becoming enamored by dungeon synth to try my hand at that. And once I had a few projects under my belt. I realized that my name was weirdly to broad. I found the electronic ambient hill I wanted to die on. But felt my government name was not the energy for that world. So I changed it to Wøzard!
Wøzard by the way is a reference to the Mort Garson record “The Wozard of Iz” which is a fantastically cynical retelling of the wizard of oz set in 1960’s hippie culture. And the slash in the ø comes from my name. Løgan!
I feel like my brand is sorta obtuse, mystical, otherworldly, contemplative, and wonky. So I felt Wøzard fit that bill.
3. Wøzard is not your typical Dungeon Synth project, as it incorporates so many other aesthetics of electronic music. Is this what you set out to achieve from the very beginning?
The idea of “what even is the music I make” has been floating around for a while I think. While my works are not deeply known within the broader scene. I have had many refer to it as “progressive dungeon synth” which is flattering! I never meant to progress anything. In fact, many of my go-to inspirations for where I achieve my sound is Moog music from the 60’s, 70’s and 80’s. With a healthy does of ambient electronic scenes like lowercase, Japanese ambient synth form the early 80s, some Berlin school, and THEN dungeon synth, also the word “achieve” is funny here because I don’t know if I truly ever meant to do anything of the sorts. My LP “primitive baptist” was my honest attempt at making a dungeon synth record. And it SUPER wasn’t a dungeon synth record. Its something totally and tonally other. But It did accidentally give me an identity. I’m just glad people like my work.
4. In 2020 you released the ‘Primitive Baptist & The Oldest Time Traveler In The World’. First of all, how did you come up with that amazing title?
“Primitive Baptist & The Oldest Time Traveler in the World” was my attempt at giving the listener as many clues as possible to the plot of that record. Which like…duh? But also the plot of this story is VERY convoluted. Which I will get into…if the reader will simply skip to the next question…did…did they skip to the next question?
Why are you still here? The cool juicy plot stuff is on the next question…oh you’re just stubborn is it. I see… There is nothing else to see here reader. I promise, you can move on.
Ok fine. You WANT to stay here and read THIS questions answer. Fine… If you want to waste your time not move on to the much cooler and dare a say “saucer” questions then by all means. I can’t stop you…
Unless…
If you’re being here is in direct response to the nature of my continued presence here. If I were to simply stop existing, and move my metaphorical voice to the next question. You would then be forced by THE HANDS OF GOD HER SELF to read the next question. There in ending my suffering and your absolutely annoying ability to persist here—
5. Please tell us the back story of the album theme, as it’s really intriguing.
—Oh! That worked. Ok then, moving on, finally…
Primitive baptist tells the story of a young boy in the mid-first century CE. In a temple to god. A chapel dweller by nature, he one day finds a secret hatch to a vault below the temple. And here he finds a dusty, old, computer. The kind you’d find in the 80’s. That is still somehow connected to the internet. Likening it to a painting that moves. The young boy discovers that this device allows him to literally physically transcend time and space. So he steps through the painting and becomes the very first (and possibly only) time traveler in the world.
As he travels he discovers many secrets and deep magics, and becomes a being of unyielding knowledge. The hero of his own story. Becoming master over life and the betrayer of death. However, this is a disaster course. That was set in motion by…well… we will get into that soon as well.
6. That was such a great album that I continue to listen to today. What was the process like putting that album together musically?
so wildly enough, this record started as a noise project. Like harsh noise. I listened to merzbo’s “pulse demon” and was like…I can totally do that. (Clearly that was a lie) because as I begun creating the harsh noise tracks I started to linger on the quite moments between passages and this space between was deeply intriguing for me creatively. And with my new found love of dungeon synth on the rise. And my history with ambient works and Moog music. I wanted to create a love letter to the FEELING of dungeon synth without feeling restricted to the walls of its many dungeons. Every track you hear in most of my music is the result of a lot of trial and error, experimentation, lazy quick hacks, and a rather destructive tracking process.
I often will make a midi file and bounce it. Bring it in as a sample, play it two Simi-tones lower so it will artifact and distort. Or like ill record a whole ass song, bounce it. Sample it to a midi. Play it an octave lower. And then play a whole new instrument lead over the top of that. And then bounce THAT and put it into idk PaulxStretch or something. Texture reigns king.
But I do find that I favor a melodic sensibility. Just to ground a piece. So ill pretty routinely load in a flute sample or whatever and just improvise away until something sticky happens. Genuinely everything on these records are mostly improved in real time the whole way through a song. And then I go behind that and check my work. And then ill do all the destructive editing I do. All this to say i have NO idea how i would be able to perform this project live.
7. In 2022 you released a Comfy Synth EP called ‘Save The Forest, Little Flower’. Please tell us how this album came about and to you plan to release anymore that continue this subjected path?
Save The Forest, Little Flower, (my darling EP) was a commissioned work from HDK records for their volume 6 Dungeon Synth Magazine. It was a blast making this because I had NO F*&%KING IDEA how to do comfy synth. Nor did HDK want me to do comfy synth. They simple said “make something” and write a story to go with it. And so…being the aquarian contrarian that I tend to be, I reached into the deepest recesses of my mental vast. And found the clouded memories of my childhood. Sitting in front of an old CRT watching cartoons wrapped up in blankets. Within that hazy memory I listened into that sonic landscape of nostalgia. And thats where the impetus came from for this record. I followed a lot of my tendencies workflow wise but explored a more melodic flow state. And tried my damndest to find sounds that had that sense of AGE on them. I used a lot of tape VST’s and Vinyl Warble plug ins to achieve that effect.
I had coined this “A Little Adventure” because at the time I did plan on making more. But because it takes me forever to get my ideas together that sorta fell through. I was also approached by Phantom Lure Records to turn this into a vinyl…but, they wanted me to add more tracks. And I took to long, so they dropped it. I would love to have this pressed to vinyl at some point. I love this EP.
8. Last year we saw the release of ‘Future Cultist & The Slip Space Micromancy’, which was one of the most brilliantly unique albums of 2023. This album leans more toward ambience and retro soundscapes but still maintains that Dungeon Synth vibe. How did this one come about?
Ok so Future Cultist is a continuation of the story set in the first LP. Its part of a planned trilogy of albums i’ve coined “Monomythica” This album sees our time traveling boy whom stepped through the painting, now within the way future. Old, learned, and dying…Reflecting on the time that has passed him. It is here that he begins to use the planets in a sort of divinatory manor to seek out WHY he was called to this adventure. And he finds the answers. There is a beast beset upon all of existence. Story. The ever growing demon of forward motion through the hero’s journey, but this beast has abandoned this story, and has moved to a new one. In our time. Now.
It is then that our hero realizes what he must do has done many times over. And so he uses deep magics to call upon a ritual of death…filtered though the powers of universal love. And he destroys this narrative line. Travels back in time to his former life. And gifts unto himself the very computer that sent him on his journey. With the clear objective of finding the beast with 1000 faces. And killing it. Once and for all…but like in the next album obviously.
As towards your question, thank you for the kind words! I actually had no idea what to do for this record originally. So when “production” began I sorta was throwing everything at the wall to see what clung on for dear life. I was really getting into 80’s goth and post punk at the time. And wanted to uses instruments that were popular during that time. Lots of Roland VST’s and Juno Reverbs. But I also wanted to chase that high of nostalgia from save the forest. So I tried to find the balance of these two idea in a sorta of soundtrack to a space documentary form the late 70s early 80s. If that makes ANY sense…
9. I noticed that both of your longer albums are thirty three minutes in length? Strange coincidence or is there a back story to that?
the first time that happened was purely accidental. HOWEVER…333 is a number that comes up a lot in my life. And when the albums run time came out to be 33:33 I was like, this is so totally a sign. Right? But then something funny happened. I made the next record without any though or care towards that notion. And it just happened to also end up being 33:33…like on the dot. And I was stunned. Maybe I just have an internal clock that taps out at 33 minute. But this has become the branding for the LP’s now. So I gotta stick to it.
10. One of my favorite tracks from that album is, “The Meaning Of Death Is That It Teaches”. Were you shooting for that horror-themed soundtrack aesthetic?
thank you! I don’t know if I was shooting for ANY aesthetic really. This track was the “thesis” of the record. Much like Primitive Baptist’s “the meaning of life is that it ends” was that records thesis. i find that these LP’s often have the term scary thrown at them. or like… ominous. but i truly have never meant to make it that way. i just find the energy of these records has a lingering darkness that hides in the shadows of its more ethereal melancholy. and that energy definitely comes out from time to time. though unintentionally. Honestly, when making these records i find myself in a stage of experimentation until i stumble upon a creative spark that moves me.
But then i get trapped on this cycle of (damn i now have “the sound” or whatever) but now i have to capture that again on these next few tracks to make a coherent record. So to the question, the reason this one has a vibe change up near the end is i wanted to shock the system of the listener and draw them back in. Ambient music can sometimes scare away new listeners due to it being a more passive form of music. and i feel like my goal has always been to move my listeners into a more active state of engagement within these sonic landscapes.
11. What’s next for Wøzard? Any new releases planned for this year?
I’m currently working on an EP simply titled “Daughter” which weirdly i’ll talk about more in depth here in a few more questions….(foreshadowing)
12. Have you thought about releasing a straight up Dark Ambient/Drone album? If so, would it be under the Wøzard moniker or something different?
I haven’t really put much thought into that to be honest. Earnestly Wøzard is by definition and scope an electronic genre-jumping-ish experiment of texture and scope. i have no qualms with the the idea of releasing a dark drone record and i fear that my works already teeter totter on that particular line already.
13. Have you thought about collaborating with other Dungeon Synth artists? If so, who are some that intrigue you the most?
I so totally have! Thought about it I mean. I would love to work with anyone who would have me. I think collaboration is the life blood of music. And while Dungeon synth can be a sort of loners club, I think some of the best records we have seen have come form colboaritive efforts.
however, my process is sorta catty wompus and i have no idea how a collaborative effort would work…
however part two, (the return of the previous statements) My next project “daughter” IS a collaboration…with myself and my band Fuzzwall.
Fuzzwall is a shoe-gaze, fuzzed out wall of sound, inspired by MBV, Asobi Seksu, Boris, The Melvins, my love of riff landed stoner doom / my inability to escape a pop melody.
I hope to use this EP as a stomping grounds for the sound and texture of what Fuzzwall can do. while giving me the ability to play within that which rings familiar in my process for my project wøzard. i’ll send you a tester track of the opening song “ frequencies within the light” I can’t wait for you to hear it!
14. What are your thoughts on physical releases (Vinyl, Cd, Cassettes, etc..)? How important is physical media to music in general?
i think physical media is beyond important! in an age where our very right to ownership to the media we purchase is all hanging in the delicate balance between corporate capitalistic greed and the world being on fire. I feel its desperately needed now more then ever for us as artist and consumers of art to archive our hearts out with the things we wish to keep in perpetuity.
So the listeners shitty Demo tape. Yeah thats worth more then gold to me. The listeners favorite cartoon that is no longer on streaming, pirate it and put it to VHS. I mean it.
The DIY scene of Dungeon Synth has always blown me away for the simple fact that despite the world and everything going against them. Labels and artist still find a way to sell their music. Its inspiring.
15. Once again, I appreciate your time and insight to all things Wøzard. Any last word/comments for those that will be reading this interview?
Thank you for having me, your last review of my record made my whole year. I can not stress how excited I am to hear your thoughts on my latest LP Future Cultist & The Slip Space Micromancy,
Go follow me on stuff! My instagram is my most active…(barely) and my music is on everything you can find music at. Yes even at the weird local wizard man who sings ancient lores under the bridge by I-20 whom smells of lilac and piss.
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!
Even though 2023 has come to a close and 2024 will most likely bring another hearty dose of Dungeon Synth releases, I’m still enjoying a vast amount of Dungeon Synth albums from last year. There are so many great albums that I didn’t get a chance to review and one of them is ‘Awaiting The Dawn’ by Tir. I figured, what better opportunity to discuss this album than to make it my first official review of 2024. Ever since the release of ‘Mountains’ in 2016, Tir has consistently released top-quality albums that transcend any single musical genre. Fast forward to 2023, we find the release of ‘Awaiting The Dawn’ continuing the cycle of inspirational and cinematic Dungeon Synth music. Containing nine beautiful tracks that showcase tranquil, acoustic guitar compositions and backed by natural field recordings and serene synth textures, you’re definitely in for a treat.
Angelic album opener, “C’est La Fin (Part 1)”, immediately caresses the ears with a soothing acoustic guitar passage, with the backing of layered synths. After a short pause, radiant vocal melodies join in to produce an alluring experience. “Where Shadows Dance (Part 2)” is a short acoustic tune that is more straight forward than the opener and procures a hasty indulgence, especially with the harmonized vocals and abbreviated length. Up next is “The Mists Of The Eternal Meadows”. With more of a neo-classical essence, the layered acoustic guitars are mesmerizing on this tracks. Luminous ambiance can be heard in the background, adding an emotional aspect that can be felt down to your internal core. There are some wonderful nature samples as well, giving this track a heart-felt scenery that represents a particular calmness. “In The Essence Of Dying” begins with the subtle sounds of nature before galloping guitar arrangements sound off in glorious fashion. By the time the synths kick in, this track begins to take shape as a folk anthem for the ages. About halfway through the track, the sound grows dark and a short narration becomes the focus. Eventually, the track gets back to the original melody before coming to a conclusion. “A Letter Hooked To The Cloud” commences with a somber piano piece, which is soon joined by a mournful stringed instrument. Both instruments complement each other in the most lugubrious of ways, as this short piece remains sorrowful until its ending. “Threads Of Time” picks up the pace again with a traditional guitar strum, complimented by engaging synth leads. There are some gothic style vocals that fit into this track very well and the more I listen to it, the more this one becomes my favorite song on the album. At nearly nine and a half minutes, “An Unspoken Lament” is the longest canticle on the album. Beginning with an earnest piano chop, a sonic Medieval soundscape soon develops in a melancholic way. With a variety of alluring instruments, this is one of the most cinematic offerings thus far. Eventually, the electronics give way to dueling guitar strums, adding another exciting aspect to this track. As closure draws near, the guitars fade and soft synth leads provide a smooth ending for this fascinating piece. “The Path Of The Dandelion Seed” is a short guitar tracks that plays a wondrous melody over and over again while a lightly flowing stream and chirping birds furnish the natural ambience. The final track to complete this amazing listening experience is “Farewell Ballad”. Just as the title suggests, this track is a gloomy serenade that encapsulates the crux of the entire album, not only dynamically but spiritually as well. Although the guitars are not as dominate here, they can still be heard and provide a brilliant dynamic to the layers of synth leads.
Although Tir doesn’t release as many albums as his other Dungeon Synth counterparts, the albums in his discography are simply amazing and are of the utmost quality. From instrumentation and songwriting to the excellent production, Tir never misses the mark. ‘Awaiting The Dawn’ is no exception to this as this may be his greatest musical achievement yet. Even though this album was released last April, and I’m just now writing about it nine months later, that should tell you something about its radiant charm. Please click on the link below to check it out.
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This was a very interesting year for Dungeon Synth. There were many fantastic releases from some of my favorite artists, surprising releases from new projects, while other artists fell silent for some reason or another. However, I found solace in a plethora of albums that made an impact on me in various ways. Many of those albums are listed below, in my Top 10 Dungeon Synth releases for 2023. I hope you enjoy this list as much as I do and if you’ve not heard of some of these artists, please check them out and support them in any way possible. Happy readings, Happy New Year and I’m looking forward to another fantastic year in 2024.
Tales under The Oak are back with the fourth installment of amphibia-themed Dungeon Synth music and it’s another constant release in a short, but wonderful discography. Seamlessly blending lush, ambient textures with dreamy synth intonations, ‘The Toad Alchemy’ is a reminder of how vast the Dungeon Synth sound can stretch. Not quite raw and Medieval but nowhere near the Comfy Synth spectrum either, this album takes inspiration from all aspects of Dungeon Synth and delivers the good with impeccable songwriting and production efforts. In a unique twist, the final seventy six minutes or so consists of ‘The Toad Academy Audiobook’, which is a fantastic treat that continues the fantasy appeal of the album itself. Don’t pass up this enchanting adventure.
Elminster is one of my favorite Dungeon Synth artists so it should be of no surprise that at least one of the mighty Elminster albums would appear in my Top 10 list. Although each release this year has been nothing short of amazing, it’s ’Through The Mossy Archway’ that came out on top as my favorite. With only three tracks, this spectacular audio adventure is a hefty thirty nine minutes long. These songs are extremely cinematic and create the perfect Medieval scenario of battle, bloodshed and chaotic resilience. The fifteen minute long “Sword Of The Starry Depths” is probably my all-time favorite Elminster song (at least for now) and the remaining two track do not disappoint at all. Definitely check this out if desiring a Medieval soundtrack to get you through the day.
There is not a single bad album in the Guild Of Lore discography and whether it’s one that’s part of the Winterstead saga, or a one off release that showcases a varied aspect of the project, rest assure that you’re in for a treat with a dose of top-quality Dungeon Synth music. ‘Messummur’ presents nearly eighty minutes of Middle Eastern inspired tunes that instantly transports the listener to a distant Persian land where congested markets and mischief characters create an incredulous society. Music wise, this album has it all – tranquil ambient backgrounds, jubilant synth work and a cacophony of instruments (including percussion) that extends the perplexity of these compositions. Favorite tracks include “Tuskhorn Scar”, “By Night, The River Snake” and “Tomb Of Luus Torat”. However, the good times don’t stop there as the entire album is an epic treat for all fans of electronic music.
Medievalist is a new project by Prometheus Studios and Dark Ambient mastermind, Scorpio V. Although this is not his first foray into the realm of Dungeon Synth (check out Forest Of Yore, Stronghold Guardian & Shogun’s Castle), this one is probably more Medieval centric than the aforementioned projects. Deep, ambient textures and a host of field recordings are prevalent throughout but there are cinematic elements that standout the most that propels this recording into ancient lands of vast kingdoms, harrowing lore and imminent battles. This is best if listened to from start to finish as each track builds off of the previous, creating a dark world where our imagination can construct our own ancient tales and mythos. “The Forgotten Castle”, “Homecoming” and “Knighthorn” are standout tracks that truly represent the output of this astonishing project.
LANDSRAAD, the Dune-inspired synth project, released their third album this year and it’s another impeccable offering. ‘Mark Of The Worm’ delivers nearly an hour of synthwave-induced intonations that are otherworldly to say the least. Although aesthetically appeasing to fans of Dungeon Synth, LANDSRAAD plays more of a classic synth style more akin to 80’s electronic-based movie soundtracks and that’s not a bad thing at all. Building upon layers of introspective synth leads and lavish ambient drones, each track has a unique style that is refreshing and adventurous. Tracks such as “The Prince Of Salusa Secundus” and “The Preacher At Arrakeen” produce a massive wall of sound while delivering somber melodies. This is such a great album that can be listened to over and over again without it growing old and tired. I’m already looking forward to the next effort by this always-consistent project.
It’s about time that Aufhocker made it to my year end list. Always a consistent Dungeon Synth artist, Aufhocker goes without notice (for the most part) and doesn’t seem to get any recognition through the various social media channels. The fact is, Aufhocker has been releasing persistent material since 2017 and doesn’t seem to be slowing down at all. Even though ‘Ascent’ was just recently released, I’ve been playing it almost non-stop and it easily made its way to my Top 10 list. Additionally, this has also become one of my favorite Aufhocker releases as it’s showcases a variety of audial flavors, backed by incredible songwriting. “Obsidian Chronicles”, “Whispers In The Abyss” and “Amidst The Umbral Void” are amongst my favorite tracks and they all have contrasting styles that still blend together very well. That’s the unique aspect of this album as no two song sounds alike, but as a collective whole, they all synchronize very tastefully. If you’ve not checked out this project before, this album would be a great start!
Simon Heath, the mastermind behind the Dark Ambient project Atrium Carceri, as well as the massively influential Cryo Chamber label, has released a new project in the sphere of Dungeon Synth called Mountain Realm. This masterful release, called ‘Grayshadow Ruin’, is thirty three minutes of tasty (and gritty), dungeon-influenced offerings that are equally mesmerizing and ghostly. Featuring a lo-fi production effort, along with the sound of tape hisses, the songs themselves are of top quality and detail an ancient world of hypnotizing chaos and mythical characters. My favorite tracks include “Beyond The Mist”, “Goblin Cave” and “A Lone Wizard Emerges”, while the remainder of the tracks are not that far behind. For this being the first release by this project, I’m impressed and intrigued by the quality of each song and how well this album pays homage to such a wonderful genre of music. Don’t pass this one up and stay tuned for the future offerings from the newly created Cryo Crypt label.
If you ever want to introduce someone new to Dungeon Synth music, I would consider this the ultimate album for making that connection. From the lo-fi production to the completely Medieval sounding compositions, ‘Fortress Of The Black Sentinel’ is the consummate soundtrack for ancient times. Not only are these battle hymns for the weary, but this is the soundtrack for a kingdoms majestic reign of all the lands. With only three tracks, and a playing time of just under thirty five minutes, these offerings are not only majestic, but they yield the sword of Medieval might and honor. “The Battle Of The North Reach” is my favorite track of the three and could easily be a song that represents the entire Dungeon Synth genre.
Like a lucid dream, where everything is in slow motion and mysterious beings speak a voiceless thought, ‘Magelight’ by Fogweaver shines through like a luminous entity of tranquility and mesmerizing audial substance. This is an absolutely sensational album that will captivate the listener with dreamy compositions and emotive arrangements. Every single track on this album is stunningly beautiful and full of effervescent life. Representing the more serene side of Dungeon Synth, this can easily be enjoyed by all as it still contains the traditional genre aesthetics and the synth lead work is simply captivating. Even if you’re not a fan of Dungeon Synth but are still into electronic music, I can’t recommend this album enough. Fogweaver is a very consistent project and after hearing this new album, there is no doubt that it was completed with a massive amount of heart and soul.
1. Erythrite Throne – Wrath And Anguish Of The Black Wyrm
Erythrite Throne is my all-time favorite Dungeon Synth artist and I consider it one of the GOAT projects of the genre. So, it shouldn’t come to a surprise that at least one Erythrite Throne release will make it to my Top 10 list. The questions is, which one. Sometimes this is more difficult than coming up with a top 10 list in general, but this year that wasn’t a problem. ‘Wrath And Anguish Of The Black Wyrm’ is not only my favorite Erythrite Throne album of the year, but it’s my top pick for Dungeon Synth album of the year for 2023. The six tracks contained within maintain that tradition Erythrite Throne sound while expanding on genre aesthetics such as an enlightened classical palette, compositional integrity, enchanting synth leads and even a touch of Black Metal-style vocalizations throughout. My favorite tracks include “Forgotten Spirits Feast On Dragon’s Flesh” and “We Slumber Deep Within Realms Of Vampyric Wisdom”, as they showcase all of the characteristics mentioned above and so much more. Make sure you check this one out for a masterful Dungeon Synth treat.
We have finally reached our favorite holiday of the year – Allhallows Eve, or Halloween as it’s referred to in modern times. For the youngsters, the festivities are completed by dressing up as their favorite characters and obtaining as much candy as possible while Trick o’ Treating! However, for others, it’s the perfect opportunity to embrace the darkness and dwell in all things maniacal and evil! Whether it’s watching your favorite horror series or getting an ear full of brooding music, there is no other day quite like this. My favorite thing to do is to have a dark music marathon of new and old music, no matter the genre. If you’re like me, there is never a shortage of music to listen to but if you’re down for checking out something new, I’ve compiled a set of summary reviews for seven new releases that are bound to get you into a dark, atmospheric mood. I hope you enjoy these recommendations and please support all of these artists and the labels that provide a platform for their ominous craft.
1. Halloween Scene – Issue No. 1-The Graveyard Manor
If you’re not spending Halloween with the sounds of spooky intent, then unfortunately you’ll not get to experience the full effects of the most ghostly night of the year. Thankfully, we have ‘Issue No. 1 – The Graveyard Manor’ by Halloween Scene to supplement our sinister audial needs. Over an hours worth of grim incantations of darkened ambience, this recording is just what we need to provide the eerie atmosphere for this special night. Whether it’s the ominous textures of “An Old & Gloomy Road”, “The Haunted Manor” and “An Eerie Secret Passage”, or the discordant soundscapes presented in “A Safe Room To Escape?” and “Cadavers Unearthed For Fiendish Reasons”, there is an uncanny presence though out that magnifies the intensity of this horror-filled evening. I hope that Halloween Scene continues to release these seasonal recordings, as it sets the mood perfectly.
Onasander never fails to deliver the darkness and on the latest outing, ‘Eltanin’, we find a heavily drone-induced recording with the expansive elements of deep space ambience. Delivered in a soothing arrangement of flowing, broad textures, there is an ominous presence on each track that creates an unhinged barrier of menacing darkness. Tracks such as “Acrid” and “Council Of War” generate a dreamy scenario of comprehensive modulations akin to drifting in a celestial dimension, while “Ancient Nightsky” and “Outer Primitives” produce a range of eccentric soundscapes that may provoke a sense of fear. At any rate, this six track offering by Onasander is not only another amazing recording in his consistent discography, but it has a persistent sound direction that easily aligns with the theme of Hallows Eve.
Some Dark Ambient recordings are not meant for the squeamish; and by squeamish I mean those that are adversely triggered by haunting timbres and disturbing soundscapes. ‘A Place Of Warmth And Tears’ by Dev-I-Ant is a resounding journey through the macabre via unhinged, nightmarish textures and ominous field recordings. There is a frightful presence throughout this album that will send chills down your spine and may give your nightmares a nightmare. At almost seventy minutes in length, there is no escaping these terrifying modulations as they continuously elicit a sense of dread and provide jolts of disarray without any notice. Whether it’s Halloween or not, this is how Dark Ambient was intended to be played. If you think you’re ready for this menacing journey, then test the waters with tracks such as, “Carriage Of The Fox” and “The Room Of Despair”. These are prime examples of how disquieting this album is.
4. Erythrite Throne – Forever At The Mercy Of Thy Abhorrent Cruelty
Erythrite Throne has never released anything short of amazing. After all, in my opinion, Erythrite Throne is the G.O.A.T. of modern Dungeon Synth. On ‘Forever At The Mercy Of Thy Abhorrent Cruelty’, Wyrm constructs six tracks of Medieval enchantment, with powerful orchestrations and somber emotions that are compelled to bring out a sense of ensorcelled sorrow. It’s inevitably special when you can produce a sound of lugubrious intent and captivating beauty at the same time. At just under an hour, these six long players succeed in setting a gloomy mood and maintaining it for the duration of the recording. Not only is Erythrite Throne a treat to experience all year round, it’s uniquely amazing to experience it during the Season Of The Witch as well, as it magnifies the intensity of the darkness and all of the evil it brings with it.
Skuggkonungen, an adept purveyor in the realms of Dark Ambient and Dungeon Synth music, presents his latest recording of minimalistic ambient music called, ‘Skördetid’. As if endlessly adrift in a vivid, hallucinating dream, these six modulations are crafted with enlightened intent. The electronic spectrum is a hallowed spectacle on this recording as each track presents a variety of soundscapes and modulations that flow seamlessly into the next, offering a unique, emotional experience along the way. Whether it’s the cold, disturbing drones of “Den Sista Frosten” or the retro soundscapes of “Vilan”, this amazing album has something to offer for all fans of ambient music. As Halloween festivities present a fabric for chaos and unhinged enjoyment, ‘Skördetid’ can be listened to for winding down from all of the abrupt discord that may have played out previously. Needless to say, this is a beautifully ominous album that can be enjoyed at anytime!
When it comes to ambient improvisations, Mora-Tau is one of the best in the business. ‘Music For Ghosts’ is no exception as it showcases a sense of disharmonic nostalgia in the form of three epic tracks. At seventy two minutes long, there is plenty of room to balance haunting atmospherics with audible storytelling. Just in time for Halloween, this album can be used a a backdrop for those bleak moments that are to be expected during this dark, festive season. With layers of dissonant synth leads, there is a particular grimness that lurks around every corner and nothing is as it seems while churning through these long players. At just over twenty one minutes, the lead off track, “The Water Dripping From The Veins Of A Leaf” is the shortest on the album, but sets an ominous mood for what’s left to come. The albums title track (and fitting closer for this amazing recording) is twenty six minutes of sporadic modulations that complete the soulful journey that only Mora-Tau can present so eloquently.
7. Various Artists (Dustopian Frequencies) – Ghost Stories
In true Halloween fashion, Dustopian Frequencies presents ‘Ghost Stories’ a collection of tracks from four artists that go above and beyond the confines of basic presentation, by manifesting audial renditions of their favorite hauntings. With each song being around ten minutes in length, there is an endless space for translating these stories into magnificent audial performances that maintain the same level of impact. From Dark Ambient and Hauntology to Industrialized trance pieces, each convey a story or horror in their own unique way. My favorite amongst these transmissions is “Dullahan” by Everyday Dust. This whirlwind of a performance is a sonic journey through various modulations and sound sequences that are not only mesmerizing but paint a picture of a dystopian time where perpetual escapism becomes the norm and defeat by death exists at all costs. Each of the remaining tracks are high-level outings that demands the listeners attention with the utmost reward hanging in the balance.
I continue to be amazed by the vast amount of electronic artists that exhibit a level of creativity that transcends a single genre. I know this is something that happens more often than none, but to find an artist that excels in this variety of creativity is wonderfully compelling. Since last year, I’ve been following the works of Dragon-Orb and often find myself completely absorbed in his innovative prowess – specifically when it comes to what genre will be the focal point of each release. Whether it’s Dungeon Synth, Crypt Hop or Ambient, Dragon-Orb has a musical gift that keeps on giving with each new album. I recently had the opportunity to chat with the mastermind behind this project, gaining a good insight on the intricacies that circulate around the being known as Dragon-Orb. I’m happy to share this interview here so please enjoy and support this gifted talent that is dedicated to making some killer electronic synth tunes.
1. Thank you for taking the time to answer a few questions for The Dungeon In Deep Space. You’ve been putting out music for a few years now but for those that are not familiar, how would you summarize the musical vision of Dragon-Orb?
I started this wanting to try and make fantasy music. I can’t exactly remember how I came across the genre of dungeon synth but I believe it was from black metal and fantasy music and I loved the whole vibe of it and thus I wanted to try create my own. In life I was feeling down and low but I said you know what I want to try do this genre, I want to make something that brings some value and maybe that was me trying to give myself that feeling. It took me some months to try make the sound and figure it out but then I finally found my so called sound with a track I made called The Heavens and from there I just kept at it, learning to do better melody’s and learning layering and what vsi felt right with another, what reverbs worked, delays and so on and so on. The musical vision for me was to create fantasy worlds with dungeon synth, I wanted to tell a story through sound and as amateur as I am with no theory education I managed to create that vibe. From there I’ve kept at it and learned better ways to mix, produce and better ways to present but I consider myself an amateur at everything. I’ve done 2 tracks for a video game called Doodle Taxi and I’d be glad to make music for other things but the goal is generally for me to create, I like the fact I can express myself through music and I can try different things and genres to be creative. I also like the idea of my music helping people in a positive way through my fantasy music for that fantasy feel, my ambience to help people chill, meditate and some of my ambience has a fantasy feel or my spiritual hip hop poetry to help people be inspired or think on a deeper level. The goal of Dragon-Orb is to create art and in general an outlet for me to be creative and for others who like my stuff to listen to. There is some things I would like to do on a grander scale however I want it to impress people and it will be magical so I won’t get into it but there is vision for Dragon-Orb and its just to be creative and if good opportunities occur and I can collaborate great but I’m also content with creating for the sake of creating also.
2. To me, you blend the influences of hip hop and grime with Dungeon Synth aesthetics. Which genre came first for you and how did you decide to fuse everything together?
Dungeon synth to me was first when I started doing this Journey and then I decided to express myself vocally as spiritual, conscious rap inspires me and seldom do the masses hear it and like every smaller genre now you come across it on the internet and it opened my mind. You may get the odd meaningful mainstream song now and then but most is made for club rotation and indie artists are smaller but are more free than say a major who has a job to speak what someone else has wrote or a tailored image. I think with rap beats its not really sometimes a melody or professional musician on the beat that brings people as rap beats are quite simplified and sometimes they aren’t but feel simplified, it is a genre to me of a vibe and you don’t have to be a fully trained musician to do it because it can be a rhythm. Generally I just don’t care what others may think to an extent and I just make whatever I feel sounds good beat wise from a synth, sitar, so on and in my opinion to be creative you generally have to just be your self, sure you can be inspired by people or a genre but don’t try be exactly like the top mainstream artists and be you unless you want to make just party music then all the best with it. Some people say my beats are unique and my style of writing, expression but I’m just being myself and don’t conform to a sound everyone may be chasing or style. Most casual listeners of music who don’t want to create who are listening to the top 10 or whatever chart wise are probably not into the art of writing or expression as a artist actually is or writer.
3. Your first album, ‘Optimistic’ came out in April of 2021. Looking back on that album now, did you achieve the musical endeavor that you set out to do or did that progress over time?
I would say it has progressed over time but for that time I achieved my endeavour. I didn’t know how to I guess properly mix back then, I’m still an amateur at it and my computer back then couldn’t handle much. Mixing wise was basic, I wasn’t sure how to make my voice more impactful on some stuff hence the second take vocals being overlaid on some tracks and sometimes that was experimenting with the sound also but for that moment in time it felt good that I done it and I expressed myself and looking back it’s still an alright quite raw album. Senses I felt was much more of a step up
4. Correct me if I’m wrong but ‘Ancestral Wolf’ is one of your first all Dungeon Synth album. Who/what were some of your influences for this lighthearted and majestic recording?
Passing Moments was my first album and Ancestral Wolf was my second. Ancestral Wolf was dedicated to my fathers dog who sadly passed away and he was the inspiration, it’s also dedicated to our pets ancestors and that can apply to anyone with a dog who wants to think of its ancient lineage. The comfy synth Archives has been very good to me and has helped me a great deal and a lot of artists there have dedicated albums to deceased pets. But yeah a family pet was my inspiration and its ancestors.
5. I’ve really enjoyed the ‘Passing Moments’ album and the mix of Medieval Dungeon Synth and Ambient textures is just fascinating to listen to. Do you have a particular theme in mind when recording all Dungeon Synth albums such as this one?
This was when I was figuring out how to do melody, maybe I used a little to much harp, not so much a theme but like aspects of a world from its seasons, places, adventure hence the dwarves sneaking around dragons gold track, that was inspired by the hobbit film. I generally try and create a story with my music but often the title comes after the songs completion and my track titles can say where we are in the story.
6. In July of 2021 you released the amazing ‘Communicating Harmony’, which finds you submerging into Dark Ambient territories. Was releasing a Dark Ambient album a part of the Dragon-Orb mystique? Do you plan to release more Dark Ambient albums?
I most certainly will, I like to create ambient as well so yes most definitely. My last Dark Ambient album was Dark Dreams. I definitely want to venture into that ghostly ambient world again. I enjoy making dungeon synth fantasy music but I also like to try express myself or just in general be a creative and try different genres also. Not really a mystique though, I just wanted to try create atmospheres
7. The album, ‘The Reunion: Mitakuye Oyasin was a very intriguing release. How did this collaboration come about?
It was another rapper called Eternal Turbulence who reached out to me and also a artist called Truthseekah, he wanted me to produce it though and mix it so I thought cool it may be a fun thing to do and I can say I have a collaboration album. I guess we are 3 artists on a spiritual journey and translating our thoughts into song.
8. Have you thought about releasing an album that contains Hip Hop, Dungeon Synth and Dark Ambient?
I’ve just done on a project now that has dark ambient and rap called Ghost where it follows a ghost in a ghost story on the other side and it’s a concept album however the lyrics can relate to real life also
I maybe might venture into the dungeon synth world with hip hop but I like my Dungeon Synth to have that Medieval and fantasy world type feel.
9. What are some of your own indicators for what type genre album you release? Do you get quick hits of inspiration for one genre vice the other?
I find it’s best to just go with the flow, normally I don’t plan things that much I just go with the feeling of what do I want to create today but I want to do some Synth wave, dark wave kinda stuff next so maybe that will be a plan and different direction as I wouldn’t mind doing vocals but more of a gothic style I’d say as well as a possible just instrumental synth wave release.
10. For your hip hop recordings, what is your lyrical vision? Do you write lyrics naturally for whatever comes to mind or are you influenced by world events?
I write naturally what comes to mind, sometimes its just appears there in my head and I write it fast like the whole vision just appears in my mind instantly at random moments and I have to write it down or I will say I want to write something today so I will then try craft the thought
11. What type of equipment do you use for recording? For your Ambient albums do you record your own field recordings?
I’ve been going out recording sounds in nature now yes, generally I just use my phone to record in nature and try not to breath heavily haha. Sometimes I will record myself walking, all sorts really. People who do music that doesn’t really require instruments perhaps should record themselves and learn how to lower pitches, Paul stretch and stuff as you can make some unique sounds with the most simplest of things including your own voice.
Generally if it’s studio recordings I use a microphone and an audio box interface.
12. What are the plans for Dragon-Orb for the remainder of the year? Do you plan to beach out into other forms of music?
Yeah I will probably be venturing into the Synthwave style a little more but for those that like the Dungeon Synth Fantasy stuff I will be venturing into that yes so something could be out by winter at least, maybe earlier.
13. I really appreciate your time! Do you have any final words for those that will be reading this interview?
Thanks to you first and foremost for this interview and to everyone who’s been on this journey with me.
What do you get when you combine the whimsical aesthetics of Dungeon Synth with an amphibian-themed agenda? You get the quirky natured Frog Concert and their diabolical but idiosyncratic release called, ‘Slumbering Sounds Of The Frog Fellowship’. Featuring eleven peculiar tracks delivered in a span of twenty minutes, this is a quick and satisfying audial incursion that emits a soothing tone amongst an aggregated plethora of noises and nuances. Never one to stray away from obscure music, I find this dainty little album entertaining and refreshing.
Commencing with a short intro called, “The Green Downstream From A Hyperdimensional Now” a retro havoc is created that is reminiscent of a classic cartoon. Just as it begins to catch your attention, it briskly fades into the second track, “In Boreal Pose”. Featuring the sounds of nature and haunting organs, it exudes an alluring feel but quickly diminishes before you know it, abruptly leading into the next track, “Fate Fortune And Flies”. With a more upbeat rhythm, it reminds me of a video game anthem with its harmonious synths and overall psychedelic vibe. “Serenade At The Bug Banquet” is another unorthodox offering that contains noise oddities and blaring synths with a grimly retrospective production feel to it. “The Croak Of Life Is But A Kiss” is my favorite track on the album and is more of a traditional sounding Dungeon Synth track with layers of Medieval synths and looping hisses in the background. “Beyond The Paddock” is another majestic offering that aligns with the same delivery of the previous track. There is an all-embracing synthwave feel to this one and the touch of evening time, naturalistic soundscapes adds an eerie feeling. “Toad Antigua” has more of an abrasive sound due to the loud synth mix and sporadic field recordings. However, even though this is a short track, it produces quite a memorable punch. “A Walk On The Water” starts with a hissing sound and then a whimsical synth chop begins to play, sounding much like a looping soundtrack on a Disney ride. Various frog sounds and croaks can be heard in the background as the amphibious theme continues in gleeful fashion. “Birds Of Tragedy” kicks things off with a droning, space ambient sound with celestial soundscapes that is just under a minute long. This is another favorite of mine and it also had major potential to turn into an elongated Dark Ambient masterpiece. “A Dive In The Current” is another light-hearted adventure that finds a contentious synth lead played aggressively atop of a soft, naturalistic field recording. There are small bits of layering here but the real winner is the lead synth chop that plays effortlessly throughout the entire track. The final track on the album is amply titled, “Frogs From Heaven”. At nearly three and a half minute long, it’s the longest song on the album and probably the most ambitious one as well. Wonderfully arranged, this mesmerizing composition sounds like a classical piece played by a synth soloist at an orchestra concert, as the flow of this song is very engaging and it never slows down for its duration. This is an excellent way to end the album and it will leave you wanting more.
The bottom line is, Frog Concert delivers the goods and ‘Slumbering Sounds Of The Frog Fellowship’ sounds better with each listen. Although I wish some of the tracks were a little longer, this project has blooming potential and the wide array of electronic music influences are apparent on every track. I particularly enjoyed the heavy use of soundscapes, samples and field recordings and it added to the overall appeal of this molten journey through swamps and amphibious stomping grounds. Please check out this wonderful little album by clicking on the link below.
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