Blue-Ghost Reminisce The Atrocities Of WWII Naval Conflicts With ‘Coral Sea’ Debut

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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Eyre Transmissions I: Interview with Eldest Gate Records recording artist, Wayfarer

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.


Bonus Content:

The Wayfarer wants you to enjoy his latest release, ‘Misty Morning’ so please redeem one of these download codes @





















Faery Ring Delivers A Neo-Classical Dungeon Synth Masterpiece with ‘The Urchin Prince: A Century Of Dust, Vol. 1’

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 and embed 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 on your 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’m sure that subsequent volumes will continue this 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 describes the 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 though its 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 which perfectly describes the hidden place that the Urchin Prince finds that is filled with centuries old swords and rotting tomes. “Bellwether, Herald Of The Long Slumber” is my favorite track on the album as it beautifully combines cinematic 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 brings in 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 another astonishing musical direction 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 wait for the next volumes of this story to be released so that I can find out what the future hold for the Urchin Prince and 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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Solus Woods Provides A Double Dose Of Solitude and Obscurity With Two Conceptual EP Releases

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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‘Labyrinth Of The Golden Princess’ Is Dungeontroll’s Powerful New Collection Of Lugubrious Hymns

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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Immateriæ Forges Through Medieval Times Via Mystical Deep Space Portal

Usually when listening to a good Dungeon Synth album, we can imagine being taken back to a distant, medieval time when knights battled for the glory of the king, the forest was an enchanted place of mystical beings, and the inhuman population crowded the dungeons below. However, with the recent release of ‘Leere’ by Immateriæ, Dungeon Synth has safely weathered the elements of deep space and produced a four track – nearly thirty minutes – of cosmic synth that epitomizes the reason why I named this blog, The Dungeon In Deep Space in the first place.

Album opener, “Through Dark Matter And Misty Thoughts” starts off slow and then the DS style synthesizers materialize, adding multiple layers and provide a wonderful melody to this otherwise, gloomy track. For a track that seemingly has a lot going on, it’s also very minimalistic – an approach that works rather well. The second song is the eight and a half minute long “Awakening Of The Psyché.” This track showcases a great mix of reverb synths mixed with space ambient tones. The overall vibe of this song will leave the listener with a sense of loneliness and isolation, but also with a vision of clear direction and accomplishment. “Reaching Beyond The Old Sites” fades in with the same music as the outro of the previous song and continues the journey through the cosmos as our protagonist ventures past distances not previously known by man. This ten minute long track replenishes the mind in a more positive direction even though there is no end in sight for this endless voyage. The final track, “Distant Stars In Elder Memory” is a short track that is full of layered synths to signify a possible ending of some sort in this epic adventure.

Although this is a relatively short album, these four tracks are extremely well put together and the ambiance of the production is amazing. I’m really hoping that Immateriæ is going to provide a follow up release soon in the same vein as ‘Leere’ because it’s something new, fresh, and exactly what the Dungeon Synth Community needs right now. Please support this artist and click on the link below to download this amazing album!

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The ‘Path Through The Realm’ Is more Adventurous At The Direction Of Haxan Dreams

Blazing a path of more than just through a realm, Haxan Dreams has created a soundtrack that could accompany any adventure, whether it be through an enchanted forest, an icy cold winter storm, or the grim hollowness of a desolate mountain trail. The music on ‘Path Through The Realm’ is simply stunning and is more or less a cinematic dungeon synth masterpiece. However, this album is so much more than that. As I listen to these arrangements over and over again, I’m quickly reminded of a time when these musical preparations greatly existed as intros, outros, and the occasional filler tune on many black metal albums from the late 80’s and early 90’s.

Album opener, “The Realm” has some great dungeon synth keyboard parts that are accented by low-pitched (and barely audible) spoke word narrations. “Mountain Passage” has a very old-school vibe to it as well as some nice classical arrangements embedded within. The backing ambient track would also be amazing to listen to on its own. “Forest Of Idran” is the first song on the album that has that classic black metal intro vibe to it. The arrangements of the instrumentation is so compelling and dark, as if the composer is writing of a journey to be met with demise. Continuing on with the elements of black metal misery type intro’s, “Love And The Abyss” starts off melancholic but counters that emotion in the end with uplifting keyboard melodies. “Battle Of Twin Mountains” is an ideal spiritual piece that includes some tribal beats and bells. Just as the title suggests, this track seems as if there is an engagement in battle that takes place in the mountainside. “Dance Of The Coven” contains some tribal vocal elements that work well with the crescendo of the music. It’s almost as if a tribe of mountaineers have claimed victory in battle and are then displaying their ritual dance to claim praise to their high lord. Album closer, “To Dwell In Darkness” is an eleven minute long opus that shows a return to the elements of true old school dungeon synth and provides the final gateway to cross into the realm as set forth at the beginning of the album.

Haxan Dreams has created a very mature dungeon synth recording that mixes several elements of other musical genres and ventures into tribal beats with narrations and chanting patterns. Of all of the great DS albums that have been released this year, ‘Path Through The Realm’ is turning out to be one of my favorites so far. Support this wonderful album that is out now on Dungeon Deep Records by clicking the link below.