Erythrite Throne is one of those amazing bands that has the gift of seamlessly combining multiple genres of music into a singular platform to convey a sound like no other. In this case, the genres of Dungeon Synth and Black Metal are the dominant art forms that take center stage and their merger leaves the sound of Erythrite Throne undeniably, and unmistakably one-of-a-kind. However, on this very special Hallows Eve release called ‘Ghost Stories’, the harsh black metal tones are vacated, in place of symphony sickness that is sure to mesmerize and soothe the angriest of night spirits.
Conjuring up ghostly spirits, “Devil’s Night” seems like a fitting album opener as the soothing keyboard sounds fool the listener into a trance-like state before the somber dirges (of the remainder of the album) take over and evoke the essence of evil that only come out on this particular eve. “Decaying Burial Grounds” is an excellent symphonic piece with catchy melodic hooks and fluid low-end bass keys that provide a stable platform for eliciting frightful pleasures from beyond the grave. The beginning of “The Dhampyre’s Tomb” would be a great intro for a black metal album, but when the lush keyboard kicks in, it’s reminiscent of a song taken from an 80’s horror film soundtrack. Elements of this song are very dark and grim but the standout arrangement make it deceitfully beautiful. “Shriek Of The Witch” exhibit elements of classic dungeon synth in the way the lead off keyboard style and patterns are played. It is combined perfectly with the back end track to create a tasty treat to ward of the ghoulish entities. My favorite track on the album, “A Dance In The Cemetery Fog” combines elements of dungeon synth, symphonic keys, twisted & macabre sounding instrumentation, and simple keyboard arrangements to create a grave worthy track of haunts and frights. The albums final number, “Tale Of The Lonely Ghost” is another exemplary track that incorporates a drum beat and multiple, haunting melody tracks that are sewn together to form contorted dirge that are sure to please all of the ghastly beings of the underworld.
Erythrite Throne definitely have the upper hand when it comes to releasing Dungeon Black Metal. Even though some releases do not contain the sounds of harsh vocals or guitars, they contain the symphonic elements of the lighter side of black metal, thus remaining classified in the same genre of music. ‘Ghost Stories’ is no exception to that, as beautiful keyboard arrangements and lush-type synths take the lead on this special Halloween album release. I recommend listening to this with the lights turned off, under the natural light of a single burning candle and be willing to communicate with the afterlife, as this album can be used as the perfect medium. This superlative album can be downloaded at the link below.
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For my second Halloween review, I’ll be checking out the latest from Solus Woods entitled, ‘All Hallows’. Just released several days ago, Solus Woods dives into the spooky sounds of the scariest night of the year and replenishes our senses with the shrills of horror films from yesteryear; and when I say yesteryear, I’m talking mid to late 80’s slasher flicks. Although these five tracks total at just under ten minutes, they pack quite a punch and would make for the perfect background noise while handing out candy to the trick o’ treaters that think their approach to your front door will scare you.
Lead off track, “A Lonesome Ghoul Rises From The Grave” could have easily been written as the into track for the Day Of The Dead soundtrack, as it conjure up the undead with its haunting ambient tones and mesmerizing keyboard arrangement. “The Death Omen Of A Radiant Boy” drones with the hiss and crackle of an old record, while celestial soundscapes resinate with power. The sounds of an eerie music box provide a sense of dread and torment and the scare factor is real. “In The House, A Sad Ghost Reflects On Life” contains bleak soundscapes, a discordant piano provision, and a grandfather clock that signifies that time is up for the lost souls that are held captive in the afterlife. “Wendigo” is an alluring ambient-style piece with lush soundscapes and contain a touch of special effects at the end to keep the arrangement interesting. The final track, “Beyond The Threshold, The Fiend Lurks” would be the perfect piece to play during the ending credits of a movie that contained a horrific ending. Although minimalistic with scorching synthesized tones, the sound is quite evil and the abrupt ending will leave you wanting more to listen to.
Solus Woods continues to outdo previous albums with each new one that is released. From the quality of writing, construction of the songs and overall product production, Solus Woods is quickly becoming one of my go-to bands for not only dungeon synth, but for dark ambient recordings as well. I highly recommend checking out and supporting this magnificent artist and downloading not only ‘All Hallows’, but the entire back catalog as well.
Please Like/Follow my blog so that you’ll get first hand updates every time I post a review. Thanks for visiting the Dungeon. While your at it, please check out my friends podcast called “The Opinionated Optimist” at one of the links below, where he reviews anything and everything. He will be releasing a special Halloween Podcast as well.
The time is upon us in which we annually celebrate Allhallowtide – the remembrance of the dead – otherwise known as Halloween. In the modern day, Halloween is celebrated by trick-or-treating, carving pumpkins, visiting haunted houses or attending costume parties. However, some of us prefer to press play on some of the recently released dungeon synth and/or dark ambient releases that pay tribute to this dull and chilling festive day. If you’re seeking something hair raising to listen to that will satisfy your taste of both the DS and DA genre’s, look no further than ‘Halloween Manifesto’ by Rhäzüns. A collection of two previously released EP’s, the first half is more in the dark ambient realm, whereas the second half dives into dungeon synth – the perfect combination for the types of music my website was designed for.
Album opener, “Brume” quickly manifests into a haunting soundscape as if you are floating seamlessly in the vacuum of space and then are suddenly thrusted through a dark nebula and sucked in a voracious black hole. The grim echoes of the keyboards ring from ear to ear as background noises cause a panic throughout the track. “Mire” contains classic instrument sounds as if they were peeled from an Alfred Hitchcock movie soundtrack. the ambient tones provide the perfect backdrop to combine all of the arrangements happening in this track and it makes for one creepy dirge. “Gale” contains more of an industrial ambient sound as harsh textural undertones contribute to the eerie expression of multiple droning sounds, which results in a terrifying elegy. “I” is the first dungeon synth track on the album and has both grim and upbeat parts, as well as constant drum rolls to make for a very entertaining piece. “II” contains some bizarre voice-like sounds, mixed with some off-kilter keyboard arrangements to provide more of a variety of tunes on the second half of the album. “III” is a simple keyboard arrangement played over and over again with various soundscapes and drum beats playing in the background. However, this is very affective, as it’s one of the most melodic and accessible tracks on the album. “IV” has an awesome cathedral-style keyboard part in the beginning that is complimented by a dungeon synth keyboard melody. Although it’s one of the shorter songs on the album, it’s one of my favorites and I find myself playing this one over and over again. “V” is very well written and could easily be used in a fantasy or science fiction movie soundtrack. From the steady drum beats to the various keyboard arrangements and the low-end bass pattern, there is a lot happening in this song and may take multiple listens for the listener to comprehend what all is going on. “VI” is another masterfully written piece as it contains a flute-like sound and a simple drum beat with a soft sounding guitar melody that can barely be heard. This is another stand-out track for me, as groove and riff in this song make it seem like something being played at a war dance or a festival before a great battle is about to take place.
Rhäzüns have released something very special in ‘Halloween Manifesto’ as it covers several genres of music that I love and is dedicated to on of my favorite holidays of the year. Wether you’re a fan of dark ambient or dungeon synth, I’m pretty sure that you’ll love this album as it meshes the two genres near perfectly. Show your support for this excellent artist and album and download it from the link below.
I would also like to give a special shout out to Waclaw Traier and Droned Artworks for designing and painting this wonderful album artwork. He is also the mastermind behind the artwork of The Dungeon In Deep Space and I cannot recommend his art enough. Not only are his paintings fantastic, but he is a true professional to deal with and I’m also happy to call him my friend! Check out his work at the link below.
Please Like/Follow my blog so that you’ll get first hand updates every time I post a review. Thanks for visiting the Dungeon. While your at it, please check out my friends podcast called “The Opinionated Optimist” at one of the links below, where he reviews anything and everything. He will be releasing a special Halloween Podcast as well.
In terms of great battles that are held in ancient fantasy lands from far, far away, there is nothing better than a good dungeon synth release to provide the soundtrack for its ethereal existence. For our protagonist in this story, a wild adventure awaits and music provided by Mausoleum Wanderer is just what is needed to motivate him for suitable action. On debut album, ‘Kabal of the Ashuvrahqt’Aild: A Rasataalian Adventure’, the listener is treated not only with the sounds of traditional dungeon synth tunes, but also battle hymns that span more than just the DS genre that are worthy of multiple listens. Although the beautiful album cover depicts a lone warrior on a hilltop in a mystical land, standing his ground in the face of adversity, he is prepared for battle, and Mausoleum Wanderer is leading the way.
On the album opener, “On A Certain Day, Under A Certain Sign”, an incoming rain shower drifts over the land as haunting – but subtle – keyboard melodies provide a light in the darkness and crash into an introduction filled with battle-like drum patterns and fantastic thematics. “Peer Through The Sage’s Eyeless Sockets” begins with an Egyptian- like keyboard arrangement and then morphs into an upbeat, island-like tune due to the use of the conga drum sounds. This works rather well with the dungeon synth sounds that compliment them. At about the halfway mark, the song goes into more of an ambient (and cinematic) feel, and then soon winds down with just a single keyboard track playing. On “Glades Betwixt Sleep And Wake”, the sounds of supernatural keys come to the forefront and paint a vivid picture of what’s to come once the battle commences. At this time, there is peace, but it’s only temporary, as the protagonist prepares his garrison for war. Up next is “Halls Scarred By Defiled Magicka” and if the album has its climactic battle-track, this is it. Soaring synthesized drums are in sequence with the rest of the arrangement as the adventure of infiltration has occurred. “Hymn’s Of Eaba’a, The Unsatiated Corruption” is a superb mix of dungeon synth tones but played in an ambient-style setting. Although this is a minimalistic track, it depicts the devastating outcome of the battle that has taken place. Next up is “A Debate Of Spell And Blade” and with its heavy cinematic overtones, sounds like a harsh victory song, yet with more battle left to play out. This is one of my favorite tracks on the album and could easily be used as a black metal intro/outro track. The final track, “Wealth Beyond Measure”, features a lovely acoustic guitar sound accompanied by lush keyboard soundscapes. More than an outro, this song signifies a new beginning to a new adventure.
Mausoleum Wanderer’s debut is a brilliant dungeon synth album full of cinematic elements, a touch of ambient, and multiple instrument sounds from around the world. The element of story telling, from the album art, song titles, and music in general are incredible and I can see many more adventures for the protagonist in this story coming soon. I highly recommend this if you’re into fantasy synth or cinematic score, so please click on the link below and support this outstanding artist.
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Imagine being a noble king, in charge of a great kingdom where everyone prospers and respects your loyalty and commitment to the common people. Well, almost everyone. A small group of rebellious outcasts decided to thwart the king of his throne and forced him into complete exile. After a very ceremonious – but fabricated – funeral, the kingdom fell under new rule. However, a loyalist of the king realized the betrayal and set out to find the exiled king to help him exact vengeance and regain the kingdom that was wrongfully taken from him. Welcome to the world of Count Shirintsu and prepare to be bedazzled on the debut album, ‘Welcome Home, Count Shirintsu’, that tells the tale of his courageous, yet vengeful homecoming. To provide multiple musical perspectives of this wondrous adventure, a Dark Mix was released in June and then a Light Mix was released in August. I will examine both of these releases and prepare a viewpoint on how they relate to Count Shirintsu’s monumental homecoming.
The first of the two mix albums that were released was the Dark Mix, and the album opener, “Welcome Home, Count Shirintsu” starts with a ceremonious ambient tone with howling winds in the background. As additional keys crescendo in the mix, oriental style patterns are revealed before a short video game audio sequence is brought into the mix, adding an extra touch of creativity. Samples of samurai-like battle cries can be heard throughout, as Count Shirintsu himself, prepares for battle to reclaim his kingdom. “Fire Of Thinking” starts with a fiery field recording, layered with a haunting keyboard melody that signifies the dawn of battle. As this calm-before-the-storm piece reaches a close, Count Shirintsu is ready and motivated to finally lead his people once again. “Kyoden” is a track named after the loyal friend that learned of the evil wrong doings of Count Shirintsu, tracked him down and helped him on his quest for retribution. Although a short track, it serves as an introduction to this essential character to the story and contains some evening time field recordings with a short keyboard piece blended in. “Akashiga Castle” is a more traditional Dungeon Synth style recording with some excellent, stand-out arrangements embedded in the middle. I imagine it’s night time and Count Shirintsu and Kyoden have now entered the kingdom and have plans to overtake the castle and the cruel occupants that inhabit it. “Exile” begins with a grim ambient tone and is soon followed by an eerie keyboard provision, where the tone fades in and out with the pre-adjusted volume. Count Shirintsu is now recollecting the past where he was wrongfully exiled and it provides much motivation to continue his mission of restoring newfound peace throughout the kingdom, one again being under his rule. The final track on the album, “Restoration” can be summed up as the soundtrack for the impending battle to oust the wrongdoers of the kingdom. A simple drum track provides a smooth pace for this picturesque traditional Dungeon Synth track as Count Shirintsu once again takes the throne of his kingdom. The final few minutes of the track provide a beautiful ambient soundscape that resembles peace throughout the commonwealth.
For the Light Mix of the album, we have the same great story and the same excellent songs but some of the keyboard parts throughout the album have been brought to the light (sort of speak), by enriching the sound and providing an extra layer of energy to enhance the sound quality. This is most noticeable on songs such as “Fire Of Thinking”, “Kyoden” and “Akashiga Castle”. That’s not to say that every track hasn’t benefitted from the updated sound edit, but these are the most distinct as far as the value of production is concerned.
‘Welcome Home, Count Shirintsu’ (both mixes) is a grandiose album full of audio surprises that range from tradition and modern dungeon synth to ambient soundscapes, enriched with a plethora of sounds – including 8-bit video game jingles. This album also has a wonderful storyline that I hope will continue on proceeding albums. Show your support for Count Shirintsu and download one of these (or both) amazing albums at the link below.
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The Merriam-Webster dictionary defines the word dungeon as “a dark usually underground prison or vault.” In essence, Dungeon Synth is music that we’ve portrayed (or imagined) to be played in these catacombs of evil, that have have become the eternal holding pits for the many adversaries of the kings court. In the modern age of Dungeon Synth, subject matter has transcended the depths of the ancient medieval kingdom and have taken on many contemporary forms. From drifting in endless space, to modern history atrocities, the ever expanding means to tell a story with this wonderful music style continues to amaze and grow with renewed excitement with each release. That brings us to Blue-Ghost, a modern spin on classic DS that tackles the unique subject matter of WWII Naval conflicts. ‘Coral Sea’ is a particular collection of short, depressive hymns that take over the imagination and puts the listener at the helm of these doomed WWII vessels, where the sailors roam the decks and prepare for battle. In a way, not knowing their impending fate, these war vessels could be considered modern day dungeons – a fitting description for the music that portrays the action that lay ahead.
The opening track, “Prologue – Before Battle Of The Coral Sea” is a melancholic introduction that takes us back to 1942 with its scratchy undertone and dual layer keyboard sound. The perfect introduction as the fleet prepares for battle. “5th Carrier Division” has some very sea worthy sound recordings, depicting live rounds being fired, and single-engine planes flying overhead. The spooky keys are very dungeon synth worthy and equally portray devastation on this oceanic battlefield. “Auspicious Phoenix” is a chilling piece that sets a grim tone as if all has been lost and man-overboard has been called out by the ships captain in order to save lives before the imminent sinking of the ship. This is my favorite track on the album and truly defines what this project is all about in the short span of just over two minutes. The next track, “Auspicious Crane” is a harsher track that starts with an alarm sound – a warning of sorts – depicting another inevitable attack. Destruction is all around and there is no escaping the enemy. Suddenly the warning sound stops, but does the battle continue? “Lady Lex” is another short track, written to pay homage to the USS Lexington, which was damaged heavily in battle by a Japanese carrier attack. The keys in this track are beautifully harmonized and tasteful without being overbearing. “The Fighting Lady” again features some seaworthy field recordings and portray an image of the Lady Lex standing her ground and fighting off the enemy to the best of her ability. I love how the keys are mixed loud, giving an echoing affect, providing a damaging sound just as in the battle scene that it’s portraying. The albums final track, “Epilogue – Coral Sea”, exquisitely sums up the five day battle known as the Battle of the Coral Sea, in which both sides lay claim to victory. Although another short track, it powerfully suggests peace and harmony through destruction.
Although ‘Coral Sea’ has only seven tracks, and about eleven minutes of music, this is an excellent debut release from Blue-Ghost. With the admiral music and astonishingly matching field recordings, this is a well thought out conceptual release that is perfect in many ways. I hope that Blue-Ghost continues with these types of releases, concentrating on historical subject matter, as it is very unique and affective. Please show your support for this artist by downloading ‘Coral Sea’ at the link below.
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It’s been quite the year for Eldest Gate Records. They’ve released multiple, exemplary albums by Wayfarer & Inoriand and have launched their publishing company, Eldest Gate Books. Earlier this month, they swiftly commenced book sales by releasing ‘Three Eerie Tales Of Vampires’, the first volume of the Bibliotheca Obscuris series. Here at The Dungeon In Deep Space, I’ve had the pleasure of reviewing recent albums by Wayfarer and Inoriand and both are absolute forerunners in the Dungeon Synth genre! With the brand new release of ‘Misty Morning’ by Wayfarer, I’ve had the honor of communicating with the man behind the project to catch insight of the driving force behind this and his many other projects, including the brilliant startup of Eldest Gate Books.
1. First of all, thank you very much for the interview opportunity and for also being the first interview session on The Dungeon In Deep Space site. Wayfarer has been quite busy this year with releasing three brilliant recordings on Eldest Gates Records. What influences you to record such beguiling material?
First, I thank you, for the opportunity! I think it can be said, that I am a newcomer to the DS revival scene, but that doesn’t mean that I have only recently discovered the genre. Back in the early 2000s my friend and I were big fans of such music as Mortiis or his numerous side-projects, the prison albums of Varg Vikernes or his mystical synth tracks on Burzum albums, such as Rundgang Um Die Tranzendentale Säule Der Singularität or Tomhet. We have recorded our own materials in this style and shared it with each other and was very proud of them! But never knew anybody else, who were into this kind of music. We didn’t even have a name for the genre, so we called it “you-know-that-burzumish-dark-ambient-stuff”. And then one day, years later, I happened to find a blog on the Internet, found the name Dungeon Synth and then the Facebook group and suddenly I saw that we are not alone with our love for this kind of music! Here I found many great artists who influenced me, but the one I remember the most from the beginning was Ancient Boreal Forest. Also, I was a big-time RPG enthusiast all my life, mostly a DM as I’m kind of a creator type. And reading, of course, many-many books since I learned how to read! Fantasy, horror, classics, etc. Those things together, mixed with my passion for experimenting become what is Wayfarer today (or my many side-projects).
2. In my recent review of the ‘Ata Amutar’ release, I’ve described the overall texture of your music as “icy cold Dungeon Synth”. Do you feel that is a fair assessment? Also, did you intentionally set out for Wayfarer to become this dark entity in the Dungeon Synth community?
Yes, I think that’s a good description. I tend to see the beauty in darker things. Being dark, melancholic, occasionally atonal or dissonant makes a good way for me to get those listeners more involved, who are interested in this kind of experience. Also, I think the less receptacle the music for the first listening, the more it makes the listener think about it. Dungeon Synth is a great genre because every artist can find themselves in it some ways. Some artists are looking for that medieval feeling, some of them are more fantasy oriented. For me, it’s all about the atmosphere, world-building and to bring the listener into this world and let them make up their own stories in it while they listen to the music.
3. Typically, DS songs are short and to the point, whereas Wayfarer songs tend to be long. For me, this is an advantage for the listener as it challenges the imagination for what story each track may entail. Do you have a particular mindset prior to recording Wayfarer songs or are they improvised?
Most of the time both. Sometimes I start with something improvised and build the track from there, other times it’s the other way around. Improvisation is fun and lets you set your mind free. I also love long tracks that take the listener on a journey and I make music that I would like to listen to. I consider Wayfarer tracks as a kind of landscape painting with sounds. I don’t want to tell a story with them, that’s up to the listener’s imagination.
4. ‘Misty Morning’ is such a calming album title but the music is bleak and dark. What is your own story behind this recording?
I wouldn’t consider it dark, maybe a bit melancholic. Being alone and focusing your thoughts inwards to your self is what I think this album is about. But for someone else, I think it can be a dark tone. I like to believe that it’s not the music that creates the emotions it’s just the medium that brings them to the surface. If that’s true, then something dark and unnerving for someone in a certain moment can be calming or meditative for someone else or even the same person when in another mindset.
5. What can you tell me about your recording studio and the equipment that you use?
I may be unpopular with this, but I have to admit that I use VSTs nearly all of the time. It’s a budget issue on one hand, but VSTs also make me able to experiment with nearly any kind of sounds or tones.
6. For your VST’s, do you have any favorite plugins that you use on a regular basis?
I try out many VSTs and always looking for something new and interesting, but there are a few that I use in nearly all of my projects. One of them is SQ8L, which is modeled after Ensoniq’s SQ80 and it is a wonderful plugin to use! It’s the basis of the characteristic sound of Inoriand, but I use it on nearly all of my albums. The other one I’d like to mention is Dexed, modeled on the Yamaha DX7. It is a real monster! I use it all the time, especially for Wayfarer.
7. Do you also do any field recordings for your albums?
Sometimes I use field recordings, but no, I do not record them myself, I use royalty-free resources from the web.
8. I’d like to shift topics and talk about some of the other projects you are involved in, specifically Eallnulf and Abyssu. These projects are very experimental, yet very relevant to the DS scene, how hard/easy is it to maintain the balance between Wayfarer and your projects that have harsher tones?
It’s easier than you think! As I said, I love experimenting and sometimes these materials are such different from the tone of my main projects that I just start up a new one. I love to keep my stuff somewhat coherent.
9. Do you plan to release any more albums under those pseudonyms?
Maybe. They are not finished officially.
10. Do you have any other projects that you record under?
Yes, some of them are well-kept secrets, while others are known in the community, like Inoriand, La Morte Amoureuse or Zungarak.
11. I suspected that you were behind the Inoriand project just wasn’t quite sure. I also reviewed ‘Silence’ earlier for my site and must say – for me – it’s my DS album of the year. Since you do a lot of improvisations, at what point do you realize, this is a Wayfarer project or an Inoriand project (or some other)?
Wow, thanks! Usually when I start composing I already have an idea in my mind and that already connects the music to one of my projects. Improvisation doesn’t mean being completely random, but letting your creativity wander freely within a certain set of boundaries. Be it a theme, a scale, an emotion, a leitmotif etc., these rules separate improvisation from pure chaos! But I have to admit sometimes things go out of hands or take unexpected turns. That’s the point, where new projects are born.
12. Recently, Eldest Gate Records has ventured into the realm of book publishing and has established Eldest Gate Books. Can you talk a little bit about the decision to add books to the Eldest Gate media market?
As I wrote in the foreword to the book and also mentioned it earlier, we are avid fans of reading. Publishing a book ourselves is a long-time dream come true. We started working on it at the beginning of this year and took a lot of time to get everything together, as we aren’t experienced in the field and had to learn many things, because – as with everything else Eldest Gate produces – we wanted to do ourselves everything we are capable of. Learning about publishing, typesetting, cover design, printing services, copyright law etc. was a long journey, but a real fun all the way!
13. I already love the direction of Victorian Era vampire tales for the first book offering. Do you already have an idea of future releases?
We have a whole series planned out; the Bibliotheca Obscuris and we are already working on the next volume. I hope that people will love these books. We wanted something that isn’t only enjoyable to read, but also a joy to take into your hands or show-off to others, something that is collectable and looks really great when put on the bookshelf. In the future there may be other series, maybe a fantasy-themed, we will see!
14. Will Eldest Gate books be open to providing publishing opportunities for up-and-coming authors in this genre?
I hope so, in the future! We achieved to learn a lot in the past few months about publishing, but there’s still more we need to get through. But there are many creative and talented members of this community and if somebody reaches out to us to publish his or her novel or to help with self-publishing, we would be more than happy to help.
15. Is the idea to stick with physical books or is there a possibility of providing e-books for the Eldest Gate book catalogue in the future?
E-books are cool, but we wanted a real, physical book, that you can hold in your hand. For this series, we aren’t planning e-books, mainly because these stories are in the public domain and already available on the Internet. But if we happen to publish an original work someday, there will definitely be an e-book edition!
16. I really appreciate your time for this interview opportunity; do you have any final words for your fans in the DS community?
The only thing I can think of is “Thank you, all!”. This community is incredible.
Dungeon Synth provides a great escape from the real world. Most of the time we can look at an album cover, match it with the song titles andembed ourselves in an imaginary world full of endless adventures and possibilities. Whereas a good book drags you into its catacombs through its imaginative talks, a lyric-less musical endeavor has to be more thought provoking, as it pulls onyour senses and emotions in order to create character, time, and place. Fortunately, for the captivating release by Faery Ring, ‘The Urchin Prince: A Century Of Dust, Vol. 1′, the cassette release comes with a twelve page story book that whimsically takes you to the coast of Bellspall, where the Pallor family rules the Pale Crag. It is here we learn the tale of the tragic beginnings of the Urchin Prince and his eventual, unnecessary fight to take the castle. I’msure that subsequent volumes will continuethis wonderful story and we’ll eventually learn if the Prince will become King.
Musically, ‘The Urchin Prince’ masterfully combines old school Dungeon Synth and grim, neo-classical instrumentation, as if it’s being provided as the soundtrack to a modern-day horror film. Album opener, “Saltmouth”, is a short piece that describesthe horrors that take place during the birth of the Urchin Prince. The music is very dark and begrudgingly evil. “Grim Enceinte, The Old Gaoler” sets the tone of complete obscurity as the infant Prince is rescued from the sea and brought to his new safe haven, even thoughits almost as gloomy as stranded life at sea. “Dust, The Urchin Prince“, contains mesmerizing musical crescendos as the Prince comes of age and sets out on his own to reclaim what is rightfully his. “The Uncherished Parlours”, contains more of a Dungeon Synth vibe whichperfectlydescribes the hidden place that the Urchin Prince finds that is filled withcenturies old swords and rottingtomes. “Bellwether, Herald Of The Long Slumber” is my favorite track on the album as it beautifullycombinescinematic film score, classical arrangements and an overall medieval vibe of betrayal and misfortune. “The Starless Stargarden” is another well-played DS track that emphasizes the power of black magick and the darkness it bringsin the end. Much like the spell that was cast on the Stargarden, this track soon fades into nothingness. “Mauveine, The Daughter Of The Comfortless King” has a very uplifting, fantasy synth sound to it, showing anotherastonishing musicaldirection for this album. “Prolix II, The Comfortless King” contains a very alluring keyboard melody that comes into play as the cymbals crash with the climax of the song. The albums final track, “Lemures” not only musically describes the confrontation of the Urchin Prince, but also serves as the ending credits for this volume of work. The end is almost a dark ambient piece with ghostly violin riffs being played until it fades out, as to say this story will be continued in the very near future.
‘The Urchin Prince: A Century Of Dust, Vol. 1′ is an enthralling tale of sadness, betrayal & revenge, in which our protagonist rises from the ashes of near death to reclaim the family wealth he never knew was his. Although, this musical adventure is just twenty two minutes long, there is so much going on that will keep you entertained beyond any time limit or restriction. I cannot waitfor the next volumes of this story to be released so that I can find out what the future hold for the UrchinPrinceand the Pale Crag. Please show your support for Faery Ring and Gondolin Records by purchasing this wonderful release at the link below.
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Dungeon Synth has once again escaped the clutches of medieval times and have thwarted to a more modern era, where non-traditional themes become the predominate factor for setting the tone of the music. Solus Woods have succeeded in conceptualizing two extended play albums that tell haunting stories of a sailor lost at sea and of the obscure entities that prowl deep in the forest, while musically pushing the boundaries of post-Dungeon Synth. Whereas traditional Dungeon Synth is heavily influenced by Medieval Times, fantasy-based beings, and Dungeons & Dragons type role-based games, post-Dungeon Synth maintains the aesthetics of the music, but the themes can revolve around a myriad of events that are not that far fetched from our current every day lives.
The first of these two albums, ‘The Sea’ tells the tale of a sailor lost at sea and his self-reflection on life as his fate draws near. The opening track, “The Sea”, sets a minimalistic and eerie tone, as we can only expect that our protagonist awaits his trails at sea. “Celestial Star Map” is an eccentric number that can be easily used as a haunting backdrop in a movie soundtrack. Instead, it has a creepy reverse effect as the sailor is probably adrift at sea due to misguided navigation and he soon realizes that he may be in trouble. “The Calm Before…” doesn’t necessarily refer to the current of the sea, but the state of mind of the sailor as the imminent danger he will soon be in has him in a state of shock. The music in this track combines both a smooth, acoustic passage, with a harsh undertone, rendering a perfect environment for what is about to take place. “…The Storm” is a short track that represents the initial destruction of the devastation that will put the sailor in the predicament that he is slated to be in. Dark, bellowing tones that present a bleak and abrupt ending couldn’t have been played out any better. “Below The Surface” is a chilling track with bloodcurdling soundscapes that finally find the sailor in that moment where he is scared for his life and with nowhere to run and hide. At the climax of the story, “The Kraken” comes face-to-face with the sailor and reeks havoc on his beloved vessel. The music weaves in and out like a radiant light, but provides a depressive backdrop for this gruesome and lonely story. “Taking On Water. The Sinking Ship” contains sparse instrumentation and lush soundscapes that unfortunately, find our sailor defeated, stranded at sea and barely hanging on for dear life. “Adrift, Alone” uses horrifying sounds and frightening synthesized tones to describe the sailor as he is hanging on to a piece of driftwood, barely above the surface of the water. His life flashes before his eyes as he contemplates his demise. “The Shore” uses long, drawn out notes, to resemble the great distance that the sailor must travel in order to finally find safety. As darkness bridges to daybreak, there is no shore in site and the sailor must continue to travel, and survive another day. “The Sea (Reprise)” ends just as the story begins, with uncertainty. Although the melody is the same as the opening track, the dynamics of music has changed to represent another day. Although this is a short album, it tells a massive tale that leaves a huge opening to the imagination. Only with the backing of post-Dungeon Synth does this creative combination work out so well. ‘The Sea’ is a culmination of creative art and imaginative story telling at its best.
The second album in this review is ‘Ritualistic Swamp Magick’, a near thirteen minute revelation into the trepidation of isolated cults & religions and terrifying beasts that skulk deep in the woods. Sounding as if it could have been lifted from an 80’s horror movie soundtrack, “Rustic Swamp Magick” contains a ghostly backdrop, with memorable soundscapes that are distinctively eerie and discordant. I can imagine being deep in the woods and coming across a small church, where everyone is dressed the same and worshipping a deity that cannot be found in any book. As you stumble in the church by accident, everyone turns to look at you as if you’re the next offering – a sacrifice – to their supreme idol. As you rush out and escape in an unorthodox pattern through the forest, you get the sense you’re being hunted by a pack of unexplainable creatures. Although containing just a singular track, ‘Ritualistic Swamp Magick’ is another valiant effort by Solus Woods.
Despite being fairly new to the Dungeon Synth genre, Solus Woods is already excelling as a formidable artist, especially in the post-Dungeon Synth sub-genre. From the mature tone of the music to the gritty production, Solus Woods is already ahead of the game in several aspects. If this pace can be maintained, I’m sure many more surprises will be released in the very near future. Show your support for this excellent up and coming artist and click on the link below to check out his material. You won’t be disappointed.
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As Dungeon Synth continues to gain notoriety and its musical variety expands into many complex sub-genres, there are some artists that maintain the traditional path of thy medieval biddings by conjuring minimalistic enchantments that are sorrowful, yet enthralling to hear. Over the course of three albums in just the span of a few months, Dungeontroll has painted a hypnotizing picture of beguiling anthems that not only stretch the limits of the imaginations, but allows the listeners to close their eyes and enter a fantasy world like no other. On ‘Labyrinth Of The Golden Princess’, we are drawn to a guarded crypt in a captivating, yet forbidden forest where our Siren awaits to be rescued from an entangled curse in which she is proscribed from ever leaving.
The opening track, “The Sleeping Crypt” is a somber piece, describing the depressive mood of the golden princess as she forever awaits her rescue or demise. “A Long Forgotten Kingdom” has a nice drum track to go along with the ethereal tones of the keyboards. The orchestrations add an additional layer that provides an element of surprise to the story, and a sense of uncertainty for the golden princess. “Weaving A Web Of Gold” is a light, relaxing piece in which I imagine the princess conducting one final act of self glorification – leaving her mark – by creating a golden, magical web. Even though the music is very mournful, it’s an accepting time for the golden princess as she prepares to leave the enchanted world behind. Next up is, “An Unspoken Oath”, which is sort of a continuation track in the storyline of the final moments of the princess. “The Lonely Paladin Of Uzohr” contains some very beautiful orchestral movements and some background choir-like sounds to signal the end of the golden princess. Although her life is no longer, her legacy lives on in the crypt through the mystical golden web that was spun prior to her disappearance. The final track, “Requiem For The Golden Princess” provides a solemn dirge for her final resting place with some very harrowing, yet detailed synth movements that have a melodic approach to a regretful ending.
On ‘Labyrinth Of The Golden Princess’, Dungeontroll examines the elaborate departure of this fantastical being through beautiful, soulful Dungeon Synth sounds that are true to the old school DS vibe and without being too radical. I love the record player sound effect that can be heard in each track that gives it that nostalgic feel, adding to the mystique of the ancient times detailed in this recording. This is one of the more fascinating DS albums that has been released this year and I highly recommend this to both seasoned fans of the genre as well as those people that want to experience something new and exciting. Show your support for this truly amazing artist and download the album from the link below. There is also a link if you’re interested in a physical tape purchase.
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Dungeon Synth & Dark Ambient Reviews!! 