The Nebula Breviary – A Voyage Through The Black Hole With Strange Mono Records

If your seeking a label that incorporates a menagerie of artists from different backgrounds with a broad sense of musical direction, then look no further than Strange Mono Records. Releasing everything from Dungeon Synth and Ambient to Dream Pop and Extreme Metal, Strange Mono knows no boundaries and has safely provided a home for such artists since 2021. Since I’m always seeking the most obscure forms of music around, it’s no wonder that Strange Mono has resonated with me since the beginning. In order to pay homage to this amazing little label, I decided to write a few summary reviews on ten of their latest releases. These albums are all over the place but equally enjoyable – at least to these ears. Enjoy reading these reviews and please consider listening to and downloading some or all of these fantastic recordings.

1. Forge Of Tears – Softly In This Vale Of Tears

What’s more excruciating than a razor burn filled with rubbing alcohol and sealed with a gob of crazy glue? Probably two long form tracks of chaotic noise terror by way of Forge of Chains. With no compassion for delicate, tender moments, ‘Softly In This Vale Of Tears’ is thirty minutes of intense discord that is as addictive as it is disturbing. With an unrelenting wall of modulated audial pungency, Forge Of Tears produces a mesmerizing soundscape for a pallet of maniacal indulgence, not letting up from start to finish and only adjusting the molecular structure of things between tracks. At first you may be in disarray by the abrupt jolt of power but you’ll soon find yourself drawn into a world of corrupt audial sequences. This is a magnificent release on many levels.

https://strangemono.bandcamp.com/album/softly-in-this-vale-of-tears

2. Grey Windowpane – Ice The World

‘Ice The World’ presents nearly seventy minutes of abstract noise intrusion by way of ambient subtleties, haunting voice recordings and an array of soundscape to catapult this recording to its own unique design. As if being dragged through a vast world of distinct cultures and influences, Grey Windowpane finds a way to gratify all of the senses with a massive kaleidoscope of musical happenings. Presented in four elongated pieces, each track extends a sonic adventure of various themes but ultimate create a fabric of likeness and audial intimacy due to its compelling modulated bonding. This amazing album is the result of obscurity becoming an acceptable criterion of musical bliss.

https://strangemono.bandcamp.com/album/grey-windowpane-ice-the-world

3. Thecia – My Sojourn Among The Torturers

Now on to something more abrasive, as Thecia emits an angered, repugnant blend of distorted guitars, thick drum beats and destructive vocals in their brand of unrelenting Death Metal. ‘My Sojourn Among The Torturers’ presents three tracks of ripping metal that fuses Black and Death Metal with a tinge of classic Heavy Metal riffing. This mixing is both loudly askew and causticly raw – the only way to listen to metal in my opinion. The songwriting is incredible and they are perfectly lengthened to maintain headbanging integrity without becoming dry and sparse. I’m definitely looking forward to hearing more from this prominent act.

https://strangemono.bandcamp.com/album/my-sojourn-among-the-torturers

4. Jonathan Patrick – Open Heart EP

Jonathan Patrick gives us an abridged taste of Americana on his soulful new EP, ‘Open Heart’. Featuring two tracks of heartwarming guitar compositions, I can imagine listening to these out in an early morning Midwest setting, where the Dawn of the sun of slightly obscured by thick fog and towering, natural forestry. These tracks sound new and refreshing while providing a proper callback to acoustic classic rock sounds from the 70’s and 80’s. Two tracks just isn’t enough and my hope is that the next Jonathan Patrick release has at least five hundred tracks on it. All jokes aside, this is simply incredible!

https://strangemono.bandcamp.com/album/open-heart-ep

5. Webb Chapel – Speeding

Webb Chapel presents the unparalleled offering, ‘Speeding’, a lo-fi collection of alternative rock arrangements with obvious influences from synthwave, dark pop and electronica genres. This album sounds as if it could have literally been released in 1984. Even with the gnarled production, this entire albums is an addictive listen with impeccable songwriting and masterful musicianship. I could listen to these tracks over and over again without getting bored and as they say, the louder the better! This is a fantastic release that certainly deserves top tier recognition.

https://strangemono.bandcamp.com/album/speeding

6. Clang Quartet – A Slow Death For The Peacemaker

I’ve only recently crossed paths with the musical endeavors of Clang Quartet, but it’s certainly been a pleasant experience getting to know the output of this artist, the values that he represents and the impactful delivery of the chaotic noise that is consistently presented. On ‘A Slow Death For The Peacemaker’, harsh noises are more conservative and are augmented by spoken word segments and bits of contemporary instrumental parts. That doesn’t mean that there isn’t a sense of pandemonium, because this albums is a breakout achievement for the Noise Ambient genre. In between the more serene parts we can still find a massive wall of industrialized chaos that is hypnotizing as it is war piercing. This is a captivating album that has earned its praise, but demands so much more!

https://strangemono.bandcamp.com/album/a-slow-death-for-the-peacemaker

7. Idiot Mambo – Flamingo In Limbo

‘Flamingo In Limbo’ is a lighthearted soundtrack of summer rock & pop with a passion for shoegaze and low fidelity tones of the late 80’s. With whimsical instrumentation and jocular lyrics, this is a fun album that can be played and enjoyed on just about any occasion. Adding to the dynamics of these tracks are glitchy samples, hissing loops and slightly distorted melodies that all come clashing together in solid harmony. There are eleven tracks on this album and every single one of them portrays a slightly altered style, but at the same time, is very much an Idiot Mambo manifestation. Whether you need a vibe for a steamy summer drive, or some background music on a gloomy, rainy afternoon, ‘Flamingo In Limbo’ is a sure recommendation in order to facilitate an enlightened mood.

https://strangemono.bandcamp.com/album/flamingo-in-limbo

8. Ruah – Ruwa

Strange Mono continues to hit it out of the park with their consistent picks of amazing talent and Ruah is no exception. On ‘Ruwa’, Ruah continues to explore an array of genres to compliment the stellar vocal arrangements contained within. At times, they tread down the Darkwave path with gothic influences and undertones, while on some tracks, they emit a heavy Swans influence with repetitive music play and looping vocal deliveries. No matter what they’ve intended to explore, each track is an alluring endeavor that stands on its own while delivering an arcane composition with ominous intent. This album is totally captivating and it’s hypnotic effects will leave a lasting impression on the listener, while demanding repeated listens. Perfect for fans of The Swans, Vaura or 80’s Darkwave!

https://strangemono.bandcamp.com/album/ruah-ruwa

9. Ixian – Collective Indiscipline

What do you get when you combine harsh noise with Grindcore and Black Metal aesthetics? You get what’s known as unruly, dystopian cybergrind. As if just having one extreme genre wasn’t enough, Ixian goes all out on the pummeling new EP, ‘Collective Indiscipline’. As deranged as it may sound, there is actually a sense of atmospheric control amongst these tracks, as they provide an overwhelming sense of ominous disarray. Discordant tones and hyperactive drum beats create an onslaught of droll modulations. Although it’s only nineteen minutes in length, a back-to-back listen of all five tracks will have you perspiring an illusive sudor, while your brain continues to scramble in a desperate exodus of audial release. This is a very intriguing album and I would recommend this to fans of all forms of extreme music.

https://strangemono.bandcamp.com/album/collective-indiscipline

10. Fugue State – Subtlety’s Dead

Fugue State presents an upbeat, grungy depiction of old-school punk rock. With reverberated vocals (reminiscent of early Les Claypool), fuzzy guitar tones and audial hisses all over the place, ‘Subtlety’s Dead’ is a proper call back to a time when music was routinely presented in raw form to represent the most jubilant crowds of fractious souls. Even at just sixteen minutes in length, there is enough output here to satisfy the tortured umbra that resides in all of us. This makes for a great driving album, especially when blasting it at loud volumes. Can’t wait to hear more from Fugue State in the near future.

https://strangemono.bandcamp.com/album/subtletys-dead

Links:

BC: https://strangemono.bandcamp.com

Instagram: https://instagram.com/strange_mono?igshid=MmJiY2I4NDBkZg==

Merch: https://strangemono.bigcartel.com

Twitter: https://twitter.com/strangemono?s=21&t=XJy864ZhViZB0VAW0YrwBw

Hours Of Worship Presents A Multi-Genre Mashup On The Retrospective ‘Death & Dying, Vol. I’ Album

As I continue my lifelong descent into the abysmal territories of obscure music, I never cease to be amazed at the gems that perpetually cross my path. Despite the genre, if it goes against the grain of normalcy and wide-spread acceptance, there’s a good chance that it will resonate with me in the most appreciative of ways. An artist that I recently came across, continues that endeavor with their multi-genre blend of darkened modulations. Hours Of Worship successfully integrate the likes of Darkwave, Goth, Shoegaze, Dungeon Synth and just about everything in between and beyond. On their latest endeavor, ‘Death & Dying, Vol. I’, we find an obscure journey through dismal happiness and bleak soundscapes. Containing six tracks of melancholic, lo-fi entanglements, it’s safe to say that the listener will be transported to a retrospective era where dark music matched the atmosphere of more contemplative times.

From the very first note of a somber piano chop, to the vibrant ambience that soon ensures, “Loyal To Misery” immediately takes us back to a gothic landscape where the color gray was as vibrant as the sun and surrounding activities seemed to take shape in slow motion. As this scenery evolves, haunting vocals begin to croon while dreamy instrumentations build a lethargic wall of sound. Although completely bleak, there is something peaceful about this track that will sooth even the darkest of souls. “Forgotten Like The Cross” commences with a Dungeon Synth vibe as ominous keys play elongated notes, while synth leads emit a Medieval vibe. Monotonous vocals add another layer of dreariness and it seems purposefully mixed lower than some of the instrumental parts, extending the eerie expulsions of the overall sound. However, during the chorus, the vocals stand out with a full on gothic-style onslaught. “Smoke Yourself To Sleep” is a more traditionally arranged piece with an alluring amount of harmony. The addition of celestial ambience and deep synth grumbles produces a unique sound, making this one of the standout tracks on the album. A guitar riff can be slightly heard amongst the other instruments but plays a relevant part in the overall delivery of this amazing song. “Blood On Stone” slows things down a bit with its sludgy tempo and discordant harmonies. A lot of focus is put on the vocals, include the heavy reverberations during the chorus sections. This track would be the perfect example of a Darkwave ballad due to its slow, soulful arrangement, combined with the ghastly, harmonizing vocals. “Torn Like Lace” forges ahead in this underground path to renaissance-like emotions with a surprisingly uplifting melody arrangement mixed with impassioned vocals that range between deep, guttural narrations to near falsetto croonings. The medieval, battle-like drum fills near the end is a welcomed edition to this already serene track. The final song on the album is “The Eggs Of Melancholy”. At just over seven minutes, this is the longest offering on the album and it superbly brings this prodigious album to a close with Black Metal-styled screams, reverberated instrumentations, and a slow, galloping tempo that allows everything to come together in unison. Synth leads stand out as they deliver loud, grandiose modulations during the chorus parts. The vocals are mostly sung with deep resonance while an assortment of instruments deliver a minimalistic landscape of darkness and passion for retrospective surroundings. As the song draws to an end, it takes a dark turn to a more evil vibe and then suddenly concludes at sinister depths.

Hours Of Worship have only been around a few years but I believe they’ve found their niche in the Darkwave genre. They’ve also managed to challenge the norm by including other genres such as Dungeon Synth, Synthwave and Shoegaze to name a few. On their latest offering, ‘Death & Dying, Vol.I’, they continue to showcase their musical talent while expanding their catalog of consistent releases. Even if you’re new to this project, this album is the perfect introduction to what they have to offer. Click on the link below to check out this bewildering album and support the blissful existence of Hours Of Worship.

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Links:

https://hoursofworship.bandcamp.com/album/death-dying-vol-i

Dreadwood Prophecies Shines Ghostly Bright On Mystifying Debut, ‘Shadow Realm: A Dungeon Synth Mixtape’

It’s such a refreshing experience when, out of the blue, a new artist is introduced to the scene and hits it out the park on their debut release. ‘Shadow Realm: A Dungeon Synth Mixtape’ is the album in question by the searing duo known as Dreadwood Prophecies. Donning skeletal masks and cloaks of black, this team emits a compulsory sound of synth wizardry and includes a variety of genres to produce their own unique Dungeon Synth experience. Over the course of ten riveting tracks, we get to encounter fantastical realms of nostalgia through lo-fi synth effects and mesmerizing songwriting. At just thirty six minutes in length, this short album packs quite a punch with an assortment of tones, styles and memorable songs.

Catapulting us into a sphere of dark enchantment is the vivacious album opener, “The Evil Wizard Is Ruining The Town With His Bullsh*t”. Quirky song title aside, this is a momentous beginning with fantasy synth vibes and angelic keys, albeit amongst obscure harmonies and nostalgic tones. Up next is the ominously textured, “The Great Unraveling”. As if it were accompanying an enthralling dream, these peculiar sounds transcend the lo-fi production qualities with its flow into other territories such as Berlin School and synthwave. At just over two and a half minutes, this short intonation delivers a wondrous endeavor of anxious cadences and memorable melodies. “The Wonderer” commences with a fast paced synth chop and melodic, acoustic guitar tones. The first of my top three favorite tracks on the album, this one is on another level with its shifting choice of melodies and masterful songwriting. As each section continues to build each time around, you can’t help but to succumb to a world of psychedelic mischief and dreamy horizons. “Somber Longing” is a steady Dungeon Synth offering that achieves a bleak ambience through heartfelt harmonies and serene instrumentation. The overall alluring tone is mesmerizing and continuously draws the listener in with its hypnotic arrangement. The second of my top three tracks is “Into The Abyss”. Beginning with a funereal, celestial tone, a beat slowly forms, creating a haunting atmosphere. Soothing keys come into play and are again joined by a steady drum beat. Various degrees of synth effects add to the mix as drum patterns come and go with surprising effect. As darkness continues to enshroud, this track never ceases to build, adding an array of synths that are addictive and demand repeated listens. “Swamp Journey” presents a snug little canticle that is part whimsical and part quixotic with a sound that glistens with pleasant inflection. Natural sounds in the background elicit a peaceful environment, rich with enjoyment and elation. “Lost Echoes” is another fascinating experience that evokes a melancholic tone with jubilant percussive parts and spiritualistic ambience that supremely fills the background space. Mollifying synth leads produce a mournful fervor with its rhythmic patterns and enchanting harmonies. The third of of my top three tracks is “Dark Ritual”. The layers of music has a hypnotizing effect due to the combination of sonic bass textures and assortment of synth leads. In between, the experience of elongated keys creates a soothing balance that properly fuses all of these elements into a single, massively sounding song. “Patient Montage” is an introspective creation that combines soft guitar strums with resilient synth leads, producing an enigmatic track that is enriched with colorful modulations and exquisite tones that clear and bright. The fitting, final track on the album is, “Death Of A King”. The initial riff is like a Medieval epilogue, emitting a sense of reprieve with its upbeat – almost comfy synth-esque – arrangement and alluring vibe that concludes with a refreshing sensibility.

Dreadwood Prophecies are an amazing project that embodies all that Dungeon Synth has to offer. Eagerly willing to take chances on a cluster of sounds and styles, they’ve easily come up with a unique approach that they can call their own. Whether it’s Medieval influenced or ventures into synthwave or Berlin School, ‘Shadow Realms: A Dungeon Synth Mixtape’ is a refreshing experience with endless replay value. If you’ve not heard this album yet, you’re missing out on one of the genres album of the year contenders. Click on the link below and prepare to enter an audial realm that demands to be experienced.

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Links:

https://dreadwoodprophecies.bandcamp.com/album/shadow-realms-a-dungeon-synth-mixtape

Eyre Transmissions XXIII: Interview With Esteemed Dungeon Synth Artist, Willow Tea

The music of Willow Tea is undeniable. Easily identified by its soft, nostalgic sound, mesmerizing ambience and a sincere offering of Dungeon Synth vibes that are fit for almost any occasion. With a consistently growing catalog, as well as ventures into other realms under various project names, Willow Tea is one of the genres most revered artists. Being one of my favorite synth acts, it was inevitable for me to set aside some time to talk to the entity behind the craft and get some insight on the project, humble beginnings and what the future has to hold. Please enjoy this interview with the one-and-only, Willow Tea!

1. Thanks for this interview opportunity! I want to start off by saying that I’m such a fan of your music and the fact that you represent multiple genres is simply amazing. What drove you toward playing synth/electronic music?

Thank you for having me, I appreciate it.

Electronic music has been a part of my life for as long as I remember. Some of my earliest favourite musicians were New Order, Erasure, and Transvision Vamp, all of whom used electronic instruments to varying degrees. In the mid 90s I became interested in making music because most of the bands I liked at the time made it seem so accessible. The first time I actually made music with a computer was in 1999, making sounds with non-instruments and pasting them messily into a very basic audio editing program on my dad’s work computer. At the time I was listening to a lot of dark ambient and noise music (e.g. Brighter Death Now, raison d’etre) so what I was making naturally leaned that way. I dabbled a bit over the years but the results were pretty directionless and really just an outlet. It wasn’t until the last few years that I had the tools and skill to put together the things I’d been wanting to all along.

2. I believe my first venture into your music was with ‘The Iris River’ release. That was such an amazing little album and although it’s considered Dungeon Synth, to me it’s more like Dark Fantasy Synth with ambient undertones. Is this the style your ultimate trying to achieve with The Willow Tea?

I always felt like Willow Tea generally sits a bit awkwardly under the dungeon synth tag, though it shares a lot of the general DNA. My original intention was to make comfy synth but I sort of missed and ended up somewhere else. A lot of Willow Tea takes inspiration from fantasy films and stories, nature, and folklore, without being too deeply indebted to them – I’m not trying to soundtrack these things, but respond to them and reflect their moods or the impressions they left on me. Which is a roundabout way of saying that dark fantasy synth is a description I like and fits well.

https://willowtea.bandcamp.com/album/the-iris-river

3. Late last year, you released ‘Home’ and I have to tell you that dynamically, that album is soundtrack worthy. There are so many grand moments on that album and it’s not as dark as previous efforts. What was your songwriting approach to this one?

Home was loosely inspired by (or as above, a response to) a pair of movies I’d watched: The Witch and Hagazussa. These are quite atmospheric, quiet, dark stories and I really felt a strong urge to write something that fit with them without being an attempt to write something like an alternate soundtrack.

I definitely wanted it to feel a bit more dynamic than some of my previous releases; I felt like I was running out of steam with Willow Tea and wanted to do something a bit more ambitious and challenging for myself. More contrasts, more depths, unsettling but hopeful, and trying to do something that was intentionally structured as an album, rather than just a handful of sad songs. It’s probably my favourite stand-alone Willow Tea, and I am glad people seemed to respond positively to it.

https://willowtea.bandcamp.com/album/home

4. Earlier this year you released a split album (under the Nebelkrähe moniker) with Thalmar. I love that raw, grainy Dungeon Ambient mixture that both artists displayed on this release. How did this collaboration come about and will there be anymore releases by these two artists in the future?

I am really glad you like Nebelkrähe. With this, I really wanted to attempt something that sat somewhere between some artists I really admire: Nibelung, raison d’etre, Cad Goddeu, and Woodland Spells in particular. Artists who really use depth and time to great effect. I’ve been listening to Nibelung a lot recently and their works feels so wide, like watching a grainy old film at a theatre. It’s been a nice challenge, trying to write music that has space to breathe and develop through small changes and variation, rather than something more straightforwardly melodic.

Colin approached me at the end of last year about working on a split, and it felt like a good opportunity to try out something less melodic and more atmospheric, more drone-ish, more grainy. It took me a few months to get moving, but when it did it all came together really quick and I feel like our tracks really compliment each other well. We haven’t discussed it yet, but I would like to do another one with Colin at some point.

https://ithildintapeproduction.bandcamp.com/album/aestraeus

5. Do you have any other collaborative efforts in the works with other artists?

I do have a few more splits coming up: one with Woodland Spells which will come up on Windkey at some point, another one with Gray Friar as Woods Of Sith Cala, and another one still in-progress but coming along nicely. They’re all quite different and I’m excited for them all.

6. You are so good at creating atmospherics in your music. Have you ever considered creating a straight up Dark Ambient album?

I used to make a lot more noisy dark ambient music, I think I got quite good at building a canvas but it always felt like it was missing something; I saw it like scaffolding or a framework, and I got to a point where I felt like I just wasn’t getting what I wanted from it. Nebelkrähe is a swing towards something more dark ambient, though it’s not quite there. My tastes and influences are constantly shifting, so maybe I’ll end up with something more purely atmospheric in the future.

7. When you’re not spending time making music as The Willow Tea, what other projects are you involved in?

Mostly it’s the broad umbrella of Woods Of Sith Cala where I spend much of my time, but creatively I have slowed down a lot because of life reasons. Nebelkrähe will probably be something I put more focus on, and last week I did a pair of droney, ambient pieces under the title Northwest Passage that I plan to develop further.

8. Do you have any physical releases (cassette or CD) planned for any of your projects this year?

Fiadh Productions just released a tape of Ancient Mariner, a noisy thing loosely based on the Coleridge poem, which I am pretty excited about. A couple of other split tape releases will surface in the next couple of months too. We may see the Nebelkrähe-Thalmar split get a tape release, we’ll see how that one pans out.

https://fiadh.bandcamp.com/album/ancient-mariner

9. When I listen to your music I hear a variety of tones and effects. What is your setup like for recording and do you prefer analog or VST’s?

My setup is really quite basic: I have an ageing Macbook with Garageband and a handful of VSTs, and Audacity for admin and editing – though I am starting to use FL Studio on my desktop PC to explore different ways of working and some instruments and tools that aren’t available for Mac. On the hardware side, I have a small midi keyboard and a few other basic home keyboards and instruments which I am using a lot more in combination with some guitar effect pedals. My handheld Tascam recorder has been getting a lot of work recently for field recordings and sourcing atmospheres.

Overall I try to keep it fairly basic and rely on tools and instruments that I am already familiar with.

10. When you’re not spending time with your own music, who are some artists that you enjoy listening to (any genre)?

I have been on a real lofi kick recently, so things like Jötgrimm, Lochdraoidh, Woodland Spells. Recently I’ve been really into Aura Merlin, The Divine Accolade, Sjöhäxan, Ithildin’s Herbarium series, Elyvilon, Wych Elm, and Spectral Sorrow. Aside from dungeon synth, I have recently been listening a lot to Joy Division’s Closer, The Legendary Pink Dots’ The Tower, and Six Organs Of Admittance’s Luminous Night.

11. That being said, who are some of your main influences for getting started in music in the first place?

It’s an ever shifting feast in terms of who I am feeling inspired or influenced by. The ones that are always there and have been for a long time are Joy Division, Einstürzende Neubauten, PJ Harvey, raison d’etre, Nine Inch Nails, Alice In Chains, those are the artists who really made me want to make music. The artists who really made me want to make my own dungeon synth music were Fogweaver and Apoxupon, and I still feel strongly influenced by their music and the wider dungeon synth community.

12. Going back to the music of The Willow Tree and specifically with the album ‘A Drowning’, I get the impression that there is an underlying story for the buildup of these tracks? In can almost imagine a lone wanderer slowing transcending vast landscapes on an impossible journey. Did you have a story in mind when writing this album?

You’re actually quite close to where I was when making A Drowning. I sometimes have an idea of a narrative or theme or concept, A Drowning was one where I imagined a silent film about a trapper being lost in a blizzard in the highlands of Tasmania, and I just went with that image in my head. I like to set a scene or a landscape and just let it develop without getting too deep into telling a story. But I also like to leave space for others to engage with and respond to it.

https://willowtea.bandcamp.com/album/a-drowning

13. What are some of your own albums that you like to go back and revisit from time to time?

I don’t revisit many of them too often, to be honest. After something is finished and before I release it, I will listen to it obsessively to make sure I’m happy with it, but once they are out there, I am sort of moving on to the next thing I want to make. I put on Dimmerweld by Fjaeldmark from time to time because I like the atmosphere, as well as the split I did recently with Wych Elm.

14. Do you ever draw inspiration from any of your previous works?

Sort of. There’s always a process of learning and developing and building on previous work, I’d never want to stand still in that regard. You keep on moving and further honing your skills and craft. sometimes I’ve spun off new projects inspired by moments or new iterations of something I did previously.

15. I’m really appreciate you taking the time to do this interview for The Dungeon In Deep Space. Do you have any final thought for those that will be reading this?

Thanks for the interview, and keep doing your amazing work. And to the dear dungeon synth community: keep being weird and creative and prolific and kind. You’re wonderful.

Links:

https://linktr.ee/thewillowtea?fbclid=PAAaan3FBBmSO5V1Wya7oNGS3OyCDA59PWwpf2eWKZ7YpWeSVUdZbxxPk7W_8

Abandoned Graves Solicits Posturing Sounds From Various Electronic Genres On The Blazing Dungeon Synth Full-Length Debut, ‘Salvation’

When it comes to Dungeon Synth music, it’s almost as if it’s an “open source” genre of musical incantations. Meaning that almost any form of musical styles can mesh and blend with the basic aesthetics of Dungeon Synth without taking away its original intent. That’s why I love artists that put their own spin on the genre, providing a fresh atmosphere for all to enjoy. One artist in particular that travels down this path is Abandoned Graves. With the release of their first full length album, various electronic genres are explored and seamlessly mesh with the traditional foundations of Dungeon Synth music. The results of this is ‘Salvation’, a thirty eight minute journey into the abysmal infrastructure of electronic music that is gripping and transcendental, to say the least.

Poignant album opener, “Spring’s Lament” commences with a corrosive modulation that wavers viciously before fading into a minimalist tone with a lethargic echo effect. This tonal delivery begins the slow dive into Dungeon Synth madness and the sky becomes the limit at this point. Suddenly, a quirky, chip tune sound develops into a fun but menacing anthem. As this short track fades out into oblivion, the darkened textures of “The Dreamer” start to unfold. The deep, atmospheric drones are met with sporadic synthwave modulations that gradually expands into an electronic escapade through various styles. However, this eclectic fusion of expression coalesces into a grandiose offering that is upbeat and surprisingly accessible. Up next is the melodramatic offering, “The Board”. As the somber intonations start up, the dreamy synth effects evolve into a chaotic piece with heavily modulated synths and harrowing background ambience. As if descending into a nightmare, a blend of mesmerizing tones take this song down a darker path than the precious ones. Almost dipping into noisecore, it ultimately subsides into a peaceful Dungeon Synth canticle of harmonizing effort. “The Tower” doesn’t waste any time meshing various tones in a hauntingly beautiful harmony that finds a blend of warm ambience and light-hearted synth chops. However, that all soon comes to an end as we begin to hear pulsating drum beats and deep ambient drones, as a sinister atmosphere comes about. Industrial samples and radiant textures expose a multitude of horrors before -once again – morphing into a Berlin School styled synthwave anthem. This is definitely my favorite track on the album and my only wish was that this song was a little longer. The title track, “Salvation”, starts with an orient-styled effect but sparingly incorporates more sounds to create an amusing jingle that provides a soulful gateway to the next track. With “First Grave”, we get to experience natural sounds of nocturnal essence with the slight howl of crashing waves. Ambient textures begin to build into a tumultuous affair with looping drones and obscure effects. As this song evaporates into an audial radiance, we once again get to experience a shift in styles as the twists begin to unfold. Jolting modulations and bombastic Medieval cadences begin to consume the airwaves and vast layers become a musical fortress to these ears. The final track on the album, “The Crypt”, is a full on ambient nightmare, complete with ghoulish drones and creepy sound effects throughout. At just over seven minutes long, a lot is crammed into this bleak offering. Even with all of the malevolent effects, there is a sense of calming throughout that seems more minimalistic than chaotic. That being said, this is a cold, desolate way to close this impressive album and one that will stay in my playlist rotation for sometime to come.

Abandoned Graves has presented a fine experience with the multi-genre offering, ‘Salvation’. Although firmly staying rooted in Dungeon Synth, the Keep gates have swung wide open for the inclusion of an assortment of electronic music styles. That being said, there is a lot to take in on this recording and there is never a dull moment throughout. If an eccentric fusion of music is your thing, then I highly recommend checking out this monumental album. Please click on the link below to begin your listening experience with Abandoned Graves.

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Links:

https://abandonedgraves.bandcamp.com/album/salvation

Pathworn Pilgrim Perpetuates Cinematic Elegance On The Exceptional Fantasy Synth Offering, ‘Breath & Bellows Of The Old Kingdom’

Pathworn Pilgrim, the dynamic offspring of Guild Of Lore mastermind, debuted in 2021 with the fascinating ‘Beauty Of The Bitter Coast’. Overflowing with sonic Medieval dirges, the thirty five minute long effort was a great start, especially coming from the already legendary Guild Of Lore Camp. Now, just over a year later, Pathworn Pilgrim have ascended from the keep with an exquisite collection of Dungeon Synth anthems that entertains for the better part of seventy minutes. Better production, excellent blend of instrumentation and songwriting beyond comprehension proves that Pathworn Pilgrim is not just a side project, but a valuable mainstay in this community. Twelve tracks that flow from upbeat canticles to darkened soundscapes provide a vast soundscape for any type of Medieval adventure.

It’s obvious from the very first note, Pathworn Pilgrim has set out to paint a vivid and ancient landscape built on melancholic atmospheres and dismal times. “Untamed & Unforgiven” does an excellent job of setting a mood of Medieval candor while displaying an uncanny approach to symphonic synth music. An excellent blend of Dungeon Synth vibes and orchestral ambience, this track perpetuates a theme that will continually be painted over the course of fourteen tracks. “Breath & Bellows Of The Old Kingdom” commences with dark, whispering drones and naturalistic soundscapes in the background. However, the mood changes to a lighter atmosphere as somber synth leads create a heart-warming environment of peace and tranquility. “The Pilgrims Path II” is a groovy little piece that will have you bobbing your head in unison with the crisp and joyous intonations that build in layers throughout the track. Brisk percussions and amplifying tones create an inspiring mood that can be enjoyed at all levels. “Against The Mighty Jeralls” is my favorite track on the album as it uniquely combines dark, ambient tones with soothing field recordings and mighty orchestrations. This track could easily fit in on any fantasy-adventure movie soundtrack. “The Fells Of Falkreath” is another Dungeon Folk inspired track with stringed effects and a percussive cadence taken right from a Medieval songbook. The imperfections on the flute sounds solidifies the organic balance of this song and it’s another one of my favorites. “From Rift To Reach” focuses on long, drawn out notes instead of faster synth rhythms. This creates a brooding and dreamy atmosphere with amicable intent. “Echoes Of The Dwemer” contains some sinister sound effects right from the start, portraying an ominous vibe and setting a darker tone for the album. As the orchestration elements kick in, the notes are lower and deeper than on previous tracks, invoking bleak atmospherics of sinister subject manner. “Throat Of The World” begins with clean synth tones, almost gothic-like in delivery. As the crisp, synth leads commence, a trance-like effect comes into focus and the soft, ambient textures in the background are amazing. “The Frozen Flora, Fain The Fauna” is a bleak, ethereal piece that transcends time and space with an inevitable destiny of abysmal obscurity. The ambient tones are at times depressive and the assorted effects presents a theme of coldness and disarray. Picking things back up a notch and moving toward an enlightened direction, “Of Hearth & Mead” is the track that will get your blood flowing again. Clean stringed effects and a bombastic beat are at the heart of this buoyant canticle and overall, it has a New Age feel to it. “Snowfall Upon The Pale” is a chilling ambient piece with a huge cinematic production. At times, this sways toward a space ambient piece but then dives back into the vast hole of theatric tones with an audial approach to magnificent soundscapes. “A Hush The Holds Over” continues with the theatrical theme and further enhances the sound of the previous track. As if moving in slow motion or meditating in the early morning air, this composition loiters in the fray of hibernating effects, giving the listener an endless space for contemplating majestic realities. “The Road To Sovngarde” begins with a choir effect, producing a sense of positive light and unheralded energy. As if providing the audible conclusion to a climactic battle, this song envelops victory and valor at the highest sense. The final track on this magnum opus is the impudent “Honor & Strength”. Instead of adding beats to layers of synth tones, this piece commences with an enigmatic beat that provides a backbone for building an array of synth effects that firmly engages the pulsating rhythms. This is one of the most intriguing songs on the album and although it’s different from proceeding tracks, it fits in perfectly and closes out this mammoth recording in dignified fashion.

This Guild Of Lore side project is a musical endeavor that is more a secondary outing; it’s a statement of theatrical and Medieval values that wanders down a completely different path, bringing forth a renewed sense of being and modern synth transparency. Although this is just the sophomore release from this musical entity, it’s a seasoned spectacle of synth greatness with alluring arrangements and beautiful songwriting. I see limitless potential with Pathworn Pilgrim and ‘Breath & Bellows Of The Old Kingdom’ is a huge step toward toward not only Dungeon Synth greatness, but overall grandeur in electronic music in general. Please support this amazing album by listening and downloading from the link below.

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Links:

https://pathwornpilgrim.bandcamp.com/album/breath-bellows-of-the-old-kingdom

The Nebula Breviary – A Voyage Through The Black Hole With Taste Of Beer Records

I have lots of fun writing about my favorite labels in The Nebula Breviary column. Originally I intended for it to be a one-off publishing but due to the growth in the Dark Ambient and Dungeon Synth genres over the past few years, I plan to keep at it in order to showcase some of my favorites of both genres. For this particular publishing, I will feature ten exiting albums from the Taste Of Beer Records label. This up and coming label has produced a lot of exciting albums in both digital and physical formats and they continually deliver music from the tavern that surely appeals to an ever growing fan base. Thanks for reading this and I hope you enjoy these albums as much as I have.

1. Goblin Mage – Charms & Devilry

‘Charms & Devilry’ is an absorbing journey through enchanted forests, where mystical entities become your guide for captivating adventures. Minimalistic and soothing, these eight tracks present a light-hearted effort that elicits tones of mystic landscapes and rhythmic modulations that are part whimsical and part daring. Tracks such as “Strange Magick” and “Goblin Town” stand out as studious anthems that are memorable and truly representative of album as a whole. Recommended for fans of buoyant sounds and jaunty Dungeon Synth dirges.

https://tasteofbeerrecords.bandcamp.com/album/charms-devilry

2. Helmet – Vanitas

The Medieval times were not always filled with gory battles and drama amongst royalty. When I think of the more ostentatious times, this is exactly the music that I envision being played. Relaxing melodies and soothing orchestrations are at the center of these simple, yet uniquely composed songs. With an eloquent tone that is reminiscent of lenitive landscapes and soft, breezy forests, ‘Vanitas’ is an entertaining effort that truly symbolizes the fulfilling life beyond the Keep and beyond the realms of battle. This will be a Dungeon Synth classic in the years to come.

https://tasteofbeerrecords.bandcamp.com/album/vanitas

3. Vouivre – The Father Of Dragons-Glaurung

Talking about a beautiful cinematic effort, ‘The Father of Dragons-Glaurung’ could easily be a soundtrack to a Medieval-inspired action movie. This robust album features four long-players that produce a theatric blend of Dungeon Synth intonations and intoxicating orchestrations. Beautiful produced, one could easily create their own feudal adventure, as these tracks weave through dark landscapes and harrowing Middle Ages creativity. Epic, to say the least, Vouivre has provided the ultimate audial accompaniment that certainly does this genre proud. You definitely don’t want to sleep on this one.

https://tasteofbeerrecords.bandcamp.com/album/the-father-of-dragons-glaurung

4. Mushrooms – Between The Moss And The Sky

‘Between The Moss And The Sky’ is a dainty little offering that resides in the Comfy Synth realm and it provides a playful antidote for the ears. I can imagine a rainforest in recovery, after the harshness of an autumn storm, where the raindrops faintly evaporate and the ground gives way to natural fungal growth. Content with its beautiful surroundings and exotic location off the hidden path, these tracks expand upon natures gift to mankind and the alluring endeavors that continue to evolve. Simple rhythms and dreamy synth leads will leave the listener mesmerized and wanting more.

https://tasteofbeerrecords.bandcamp.com/album/between-the-moss-and-the-sky

5. Assorted Potions & Deep Gnome – Threadmage’s Curious Encounter With The Fae Folk

This is probably one of my favorite Comfy Synth albums of the last few years. Not entirely whimsical, these consoling canticles have a particular enchanting tone that takes a somberly approach on its delivery, instead of being outright quirky. To make it even better, there are a couple of cover songs that are mouthwatering takes on a few Cheryl Crow and Enya classics. If you enjoy the more consoling side of Dungeon Synth, then be sure to check out this amazing project and album.

https://tasteofbeerrecords.bandcamp.com/album/threadmages-curious-encounter-with-the-fae-folk

6. Anadûnê – Durin, Father Of Dwarves

From the Elminster camp, Anadûnê presents a sharper, more focused effort that is dark, menacing and at times gothic in tone. The four long-players that make up ‘Durin, Father Of Dwarves’ are a true calling to the traditional Dungeon Synth sound and comes complete with rhythmic percussive elements and layers of intoxicating instrumentation. This is a journey that demands to be revisited time and time again, and is one for the ages. Listening to tracks like ‘The Hammer Of Aulë” and “I Wander Alone” gets me exited for endless Medieval endeavors and all of the imaginative tales that come with it. I’m a big fan of this project and recommend this to all of the daring souls that wish to embark on mystifying musical adventures.

https://tasteofbeerrecords.bandcamp.com/album/durin-father-of-dwarves

7. Elminster & Meadow Grove – Winds Of Mages

Two of Dungeon Synth’s most prominent artists, Elminster & Meadow Grove have teamed up to present one of the ultimate collaboration projects of the genre. Two uniquely crafted artists, very distinct sounds and impeccable song writing on one mammoth of an album. ‘Winds Of Mages’ soars high and delivers a bold blend of darkness, magic and obscure electronic synths. Coherent modulations exude a capricious path of synth madness and haunting tales that need no narrative for understanding. As each track transparently flows into the next, it’s apparent that this is a high-scale output that needs a follow-up album (hint, hint). Another highly recommended album that is sure to get plenty of playing time in the foreseeable future.

https://tasteofbeerrecords.bandcamp.com/album/winds-of-mages

8. The Toadstool Elf – The Toadstool Elf

‘The Toadstool Elf’ is a quaint, Comfy Synth offering that wondrously flows like a symphonic soundtrack of a mystical domain. With only five tracks and twenty two minute of playing time, there are heaps of entertaining, musical sections contained within to satisfy your whimsical needs. Boasting a dream-like production effort, there is a visible haze to these tracks, as if daydreaming of peaceful times, deep in a hidden forest of elves, mythical creatures and colorful landscapes. This is a serene album with enough harmonious sections to pique your interest.

https://tasteofbeerrecords.bandcamp.com/album/the-toadstool-elf

9. Forlorn Swordsman – Old School Lo-Fi Dungeon Music

When it comes to Dungeon Synth – well music In general – I tend to resonate the most with lo-fi offerings that are raw, organic and in some cases, relatable to my emotional state. That being said, Forlorn Swordsman is right up my alley. Producing an hour long blend of Dungeon Synth and Comfy Synth, ‘Old School Lo-Fi Dungeon Music’ is not only aptly named, but in a sense, a completely dark & eerie experience. These tracks are not flimsily thrown together at all, as they are masterfully orchestrated with bits of melody and chaos – all at the same time. Standout tracks include “Cross The Sorrowfields”, “Dreams Of Old Times” and “Made Free By The Blade”. I hate that I missed out on the cassette version of this, as it would have sounded perfect on my old shoebox cassette player. At any rate, this is an exquisite release and it doesn’t get more lo-fi than this.

https://tasteofbeerrecords.bandcamp.com/album/old-school-lo-fi-dungeon-music

10. Onfang – Audible Mending

‘Audible Mending’ is a unique Comfy Synth offering that features dreamy vocal performances, tranquil synth effects and a song called “The Last Narwhal”. How can you not like an album that feature a song about the rare, Arctic sea creature? Containing six electrifying songs, they each stand out in their own way and envelop all of the traditional Dungeon Synth aesthetics. Haunting and whimsical, this album produces an array of emotions that extends beyond Medieval realms and encapsulating forests while allowing the listen to sink into their own imagination. Another great release from Taste Of Beer Records!

Links:

https://tasteofbeerrecords.bandcamp.com

https://instagram.com/tasteofbeerrecords?igshid=NDk5N2NlZjQ=

Psyclopean Conceives A Psychedelic Soundtrack For Realms Of The Unknown On ‘Nostalgiamancer’

As one of the harbingers of Psychedelic Dungeon Synth music, Psyclopean has developed a passion for producing an ominous blend of nostalgic Dungeon Synth and curious musical obscurities that paints a cinematic landscape of futuristic remembrance. On the projects latest album, ‘Nostalgiamancer’, Psyclopean reaches deep within the psyche of wistful modulations to deliver an album worth being called a soundtrack for pneumatic endeavors. Over an hours worth of retentive musical excursions (including two epic-sized tracks), this album is one meditate to, as well as to exercise one’s own thought patterns for eternal cleansing.

The album opener, “Hypnosynchromystical Transfiguration” is nearly sixteen and a half minutes of transcending electronic music that is exactly what’s needed to commence this hypnotizing journey. Beginning with retrospective synth effects and a short spoken-word narrative, this track quickly sets a tone for magical and enchanting adventures. Hisses, crackles and pops are some familiar production tactics to give this a nostalgic vibe and thoughts of yesteryear primarily consume the listeners thoughts. Soon after, psychedelic sequences take over and thicken the overall sound, inputting a dreamy sense of melody in the process. As one part flows into the next, we are presented with an arrange of instrumentation, such as acoustic guitar and trance-like percussive elements. As the song seamlessly continues, each phase flows perfectly into the next, allowing the listeners to create their own adventures that match the serene harmonies within. From faster cadence sections to whimsical compositions and exerting in between, this track is such a majestic offering. Up next is “The Uncanny Valley”. At just under four minutes in length, this is one of the shorter songs. However, where it falls short in playing time, it’s made up for in the masterful melodies and impressive use of tracking to make the most out of the lead sections. Beginning with a war-like pounding of the drums, this song transparently molds into several influences before closing in a sea of spacey bliss. “A Walk Among The Ruins” is probably one of the most beautiful songs in Psyclopean’s entire discography. A soothing synth melody continuously plays in the background while haunting orchestrations flow higher in the mix. Creating a landscape of melancholic passion, it’s hard not to elicit an emotional response. Toward the end, clean synth leads breathe new life into the song, as if one is in a deep meditative state or whisked away in a territory of astral projection, where distant stars slowly move closer within reach. “Noble Sons Of Celephais” is more of a Dungeon Synth track in the traditional synth, relying on bold Medieval incantations rather than vivid visions of the imagination. The mesmerizing synth leads mesh well with the background ambience and occasional percussive spots, as there are some massive theatric moments during this five minute masterpiece. “Life Is A Weird Fiction (Which We Narrate To Ourselves)” is the ultimate reputation of what this album stands for and is pretty much an adventure within the adventure. With a playing time of nearly twenty six minutes, there is a lot to uncover in this relic of a story. As the tape hisses commence, so do the dreamy synth leads that are reminiscent of classic symthwave effects. Various electronic patterns are synchronized in a way that shouldn’t work, but this song quickly comes together as a unified musical wonder. There are a lot of ambient patterns, as well as Berlin School sequences that are audible throughout, and it’s all arranged so sensationally, that it’s hard to tell when the various sections of this song begin and end. The assorted tones and effects represent an arrangement of colors and shapes that are dominate visuals for this audial escapade. As the shapes and colors bend and shift, the music takes shape in hypnotic fashion, ensuring that nothing else is interfering with this sonic journey. The final song on the album is “Court Of The Somber Queen” and it introduces some actual singing, slightly distorted by wavy effects. Another short piece, this is a very appealing way to close out this psychedelic experience. Complete with soothing synths and acoustic guitar passages, I get the sense that this is the song that awakens the soul and brings a sense of reality back to the listener.

Psyclopean continues to outdo previous efforts with something bolder, more creative and enjoyable than the last. As a big fan of Psyclopean’s back catalog, I can proudly say, this is the strongest effort yet from this project. From epic song lengths to a variety of tones and effects, ‘Nostalgiamancer’ is the ultimate listening experience for those that enjoy a bit of variety in your Dungeon Synth music. Head on over to the link below and down this album and don’t forget to experience the back catalog as well. This year is already starting off with a bang, thanks to enchanted albums like this one.

Please Like/Follow my blog so that you’ll get first hand updates every time I post a review. Thanks for visiting the Dungeon!!

Links:

https://altrusiangrace.bandcamp.com/album/nostalgiamancer

Eyre Transmissions XXI: Interview With Multifaceted Dungeon Synth Producer, Skuggkonungen

The first time I heard Skuggkonungen, it was an instant gratification to these ears. A masterful blend of my favorite musical genres to include Dungeon Synth, Dark Ambient and Berlin School, this kindred fusion of Medieval resolve produces an output of top notch synth music that is really impressive and warming to listen to. I recently had the opportunity to communicate with the entity behind the project and found a humble, yet engaging dude that loves making music. Heres what he had to say:

1. I really appreciate this interview opportunity and Happy New Year to you. How’s 2023 going so far?

Likewise! Thank you! So far it´s going pretty good! Me and my wife spent New years eve in a cabin in the countryside with some friends. How was yours?

2. It was time we’ll spent with family, thanks for asking. I’m always interested in learning about an artists beginnings. How did you learn of Dungeon Synth and what made you want to play this style of music?

I was always kind of aware of it. I heard about Mortiis when i was a young ultra-TRVE teenage metalhead, but i was not at all interested in electronic music at that point, it was far later that i “noticed” DS. I got really interested in it in 2019/2020 when i was dming a lot of fantasy ttrpgs, it was the perfect music to have in the background, or just when writing or just chilling out. I´ve played in punk and metal bands since i was 13 and later “discovered” electronic music, and started making it myself when i was 16-17. I was drawn to the aspect of making music yourself without other people, not needing to compromise which im sure that everyone who has ever been in a band will know all about.
I think what drew me to try and make it myself was just experimentation. That´s how i usually learn how to do things, by trying out a specific genre, or technique like: “Hmm i wonder if i could make a techno track, let´s try”. One of the things that drew me towards it was the sense of DIY, especially the culture of releasing on tapes. I have a unhealthy obsession with cassette tapes haha.

3. Your first album, ‘Det Glömda Landet’ has a lot of Dark Ambient textures. Is that another genre of music that influenced your brand of Dungeon Synth?

I´m a bit ashamed to say that i have ZERO experience with dark ambient haha. I´ve surely enjoyed some dark ambient artists/bands but I could not tell you like a single band/artist name im afraid! Det glömda landet was as you probably know inspired by a ttrpg campaign I ran for my wife and some friends, so I was mostly trying to capture the feeling of that setting (which is so amazing, please check out Forbidden lands) and the vibe of the characters.

https://skuggkonungen.bandcamp.com/album/det-gl-mda-landet

4. Where you going for a particular theme with this collection of songs?

The campaign that we played focused a lot on an ancient demon slowly gaining power in the region that the players were in, so I tried to capture that vibe of impennding doom. Two of the players were Orcs belonging to basically a death cult so that was a theme I tried to incorporate as well. I wanted to make a tribute to the campaign and to my players, something that they could listen to and remember those game sessions.

5. On ‘Västmarken’, I notice a shift in ethereal soundscapes, was this in an attempt to expand your overall sound?

I actually wrote most of Västmarken before Det glömda landet, but I remember trying to make something more ambient and not so melody driven. I have a modular synth that I remember using a lot on those sessions. Im a very lazy musician and I try to be very cautious of just doing the same thing over and over again, so I try and make music in very different ways and I think Västmarken is a perfect example of that, just trying a different approach.

https://skuggkonungen.bandcamp.com/album/v-stmarken

6. I love how dreamy this album sounds and it seems to embody a particular celestial spirit. What is the meaning of this album for you?

I recorded most of Västmarken in the late summer of 2021, and I remember playing a lot of Skyrim and Stardew Valley on my switch at that time and I definetly think that influenced the sound of it! I think it reflects on that period of late summer, autumn is slowly creeping in, in sweden the late summer and early autumn is kind of a very somber, or bittersweet time. It gets very dark and cold, but in the same time it´s very beautiful. I enjoy that time very much and i wanted to capture that feeling i think.

7. My introduction to this project was the amazing release, ‘Månens Vidunderliga Kraft’ and again, it shifts toward a very minimalistic vibe. What was the influence for this recording?

Månens vidunderliga kraft was the first Skuggkonungen music I ever recorded actually! I sent it off to a couple of labels, I was expecting rejection but hopefully someone would give me some constructive feedback so I was kind of amazed when Voices of the Ainur wanted to release it! So I think the minimalism of it was mostly due to me not knowing how to write “Dungeon synth”! The phrase “Månens vidunderliga kraft” was something that came to me when I was working night shifts at my job. It translates roughly to: “The wondrous power of the moon”, I thought there was something powerful about that sentence. It´s like an incantation in a way, or a warning. Beware the wondrous power of the moon. I always like to start with something in that vein when I start a new project, a phrase, word or vibe that will go on throughout all the album.

https://skuggkonungen.bandcamp.com/album/m-nens-vidunderliga-kraft

8. The title track for that album has such enlightening harmonies. What instruments did you use to record that song?

Thank you! I´m pretty sure the main melody is a electric piano patch on my Korg volca FM, I also used an access virus TI Snow for the pad, and the Korg Minilogue for other chords and melodies. The Minilogue in particular is one of those synths that I’ve used on all Skuggkonungen releases.

9. As you may know, ‘Dar Skuggor Aldrig Bleknar’ was included in my Top 10 Dungeon Synth albums of 2022. What does the title mean (In English) and what was your focus for these icy cold songs?

And I’m so thankful for that! I was kind of amazed when I saw it! Där Skuggor aldrig bleknar translates (roughly) to: Where shadows never pales”. The concept was sort of a place where the veil between the living and the dead were very thin, a place where shadows never pales, where no one is ever truly gone or there. The inspiration for that actually came from the Lucio Fulci movie “The Beyond”, I wont spoil it but if you´ve seen it, you´ll know…It also came from negative experiences with my last job. My line of work can be very hard emotionally and I really felt like a lot of the anxiety and dread that I was carrying around went into that album.

https://skuggkonungen.bandcamp.com/album/d-r-skuggor-aldrig-bleknar

10. The title track has a Berlin School influence – which is one of my favorite synth styles. Could you see yourself doing a Berlin School-styled project?

It´s one of my favorite styles as well! I think I’m leaning pretty heavily into Berlin school, sometimes I think to myself that I’m not even a “Dungeon synth artist” anymore haha. But I love that most people in this scene is actually very cool with artists expanding and experimenting with other genres inside the DS “sphere” if you will.

11. Your latest album, ‘Analoga Ritualer’ has a heavy use of Berlin School sequences but the base music form is almost like a return to your earlier albums. How did this album come together?

I think that it´s a combination of me listening to a lot of tangerine dream and trying to experimenting and trying to refine my own sound. It´s hard to define your own voice in a way, and that was something i was definetly aware of when making that album, and that reflects in the name: “Analogue rituals”, I’m trying to conjure up my own music. I usually write my music in “Manic episodes”. No Skuggkonungen album has taken more than two weeks to write and record. I wanted to capture that in that particular album.

https://skuggkonungen.bandcamp.com/album/analoga-ritualer

12. Of all the albums you’ve released, which is your favorite?

Im very fond of Det glömda landet. Mostly because of the memories attached to it. But all of my releases has a sentimental value for me.

13. How has the feedback been from your fans on the output of these albums?

I’m not sure actually haha. I love getting feedback but I suffer from intense shyness and a pretty bad self-confidence so I get kind of embarrassed when people compliment my music. Dont get me wrong: I’m very proud of my music and the success I’ve had but i always kind of feel like one of these days people are going to go: “Wait a minute, his music is shit”. This is a very swedish way of seeing things haha. We have something called “Jantelagen” which is a swedish mentality of: “Dont think you´re better than anyone”. It´s kind of hardwired into almost all swedes. A perfect example of this is this: Everytime I send music to a label I think: “They are probably going to reject me and tell me not to quit my day job”. On the flipside it kind of keeps you humble I guess.

14. What are your recording plans for 2023 and are there any additional surprises in store for us?

I’m becoming a Father in March so I’m not sure how music I will actually be able to make but I got a lot of music done that I’m looking to sign! I got a very special release with a “big” label in the pipeline but im not sure how much I can talk about it, so i´ll leave it at that haha. Im very interested in working with some labels I’ve released with in the past so hopefully that will work out! At the moment I’m gearing up to record a full-on Berlin school EP based upon the concept of Ancient astronauts and Erich Von Dänikens interesting (but full of bullshit takes) book “Chariot of the gods”. I’ve also played around a lot with my old gameboy so I have a lot of “chiptune Dungeon synth” that I don’t know what to do with haha. AND as a last surprise..: I recently started working on a follow-up or sequel if you will to Det glömda landet, based on the new West marches style Forbidden lands campaign I’m running!

15. Again, I appreciate the opportunity for this Interview and most of all, the wonderful music. Do you have any final words for those that may be reading this interview?

Thank you for the opportunity to be interviewed and for supporting my music, I really appreciate it alot! Keep buying tapes and if you want to support my music directly be sure to check out my bandcamp. And thank you to all the nice people who are saying nice things about my music!

Skuggkonungen Links:

BC: https://skuggkonungen.bandcamp.com/music

Instagram: https://instagram.com/skuggkonungen?igshid=NDk5N2NlZjQ=

Ten Of Swords Adjures Medieval Resonance On The Ominous, ‘You Were Once Far But Now You Are Close’

This has been an amazing year for the Dungeon Synth community as we’ve seen (and heard) more releases than ever, been exposed to a plethora of new artists and have witnessed many of the seasoned acts that we know and love release some of their best material to date. Amongst those artists is the newcomer, Ten Of Swords. Although Ten Of Swords has only been around a little over a year, there is already a huge catalog of memorable albums to check out. For my last review of 2022, I’ll be writing about ‘You Were Once Far But Now You Are Close’. Although not the latest album (as there has been at least nine addition releases since this offering from March), it was my introduction to this project so I thought it would be a good idea to write about my first impression.

Album opener, “Night Of The Worm Moon Festival” slowly creeps in with a cavernous effect on the synth leads. As the music comes into focus, a percussive cadence is fused in, creating a battle-like rhythm. There is a tinge of discordance to this track and it’s bound to put the listener into a mood full of Medieval crusades and bloodshed victories. “Raiding The Wizard’s Wine Cellar” is a festive piece with inimical harmonies and consoling textures. There is a twangy effect with the main keys and the off-kilter soundscapes that happen throughout adds a bit of dark color to this otherwise convivial song. “A Spinning Dance Of Ancient And Forbidden Pagan Rhythms” is an upbeat offering that immediately offers a sanguine groove on top of ancient Middle Eastern patterns. Production wise, it sounds very distant and dreamy which adds to its mystique. “Who Would Have Though There Would Be A Dungeon Here?”, is a seventeen and a half minute affair into a dark atmosphere that features reverberated ambience in the beginning and builds into so much more from there. Staticky keys and dark pulses come into play as this brooding track begins to take shape. There are spots of whimsical synths as well as heavily modulated key tones that sounds downright menacing. As the track continues to unfold, it becomes apparent that the various sections are akin to walking down an ominous path in a dark forest and encountering the unexpected along the way. Even with an extended playing time, this spectacular track is over before you know it. “Den Of The Fallen” commences with the tolling of bells, that ring out in angst while a dark, dismal groove builds around it. The effects used on the keys here is extremely thick, as if someone is plucking the lower notes of a piano wire. Toward the end, distorted ambience comes into play, adding layers of grim textures, before simplifying into the opening chops of the tracks. This is a really cool song that is probably my favorite on the album. The final song is, “The Day After The Worm Moon Festival” and although the composition is quite jovial, in delivery it’s rather quixotic and portentous. Again, the production ensures a distant tone, allowing for the audial space to be consumed by droning thoughts and mystifying clarity. Another excellent track to close out this isolated year astonishing album.

Ten Of Swords is a pretty unique project with a one-of-a-kind sound that is firmly rooted in the Dungeon Synth genre. With a quickly growing catalog of anomalous albums, this act is definitely one to watch for in the near future. ‘You Were Once Far But Now You Are Close’ is an entertaining album that offers a variety of tones and styles that are quick to grow on. The longer songs allow for a complete meditative experience, as these tracks are somewhat trance-like in transmission. I highly recommend this album if you’re into the more obscure side of Dungeon Synth.

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Links:

https://tenofswords.bandcamp.com/album/you-were-once-far-but-now-you-are-close