Inoriand Returns With Another Winter Synth Extravaganza Aptly Titled, ‘Life Frozen’

It’s been nearly sixteen months since we’ve heard any great tunes from the Eldest Gate Records Bandcamp page. Once thriving with life, as multiple projects routinely released one amazing album after another, those monumental occasions have grown scarce as only Inoriand released a single album in 2020. However, now back from the frozen dead (for lack of a better phrase), Inoriand has returned with a Dark Ambient/Winter Synth masterpiece in a single track called, ‘Life Frozen’. Now, I’m not sure if this is a continuation of winter themed albums, like 2020’s, ‘A World Frozen’, or a bleak double-entendre for how the COVID-19 pandemic has plagued the entire world – perhaps both. At any rate, this near thirty one minute long track is exceptionally written and may be one of my favorite releases under the Inoriand brand.

Although the overall theme for the album is the cold, austere atmospherics of winter, there is a particular warmness that infects this monumental track. It’s as if the harshness of winter is slowly fading and the crystallized water is beginning to thaw, paving the way for a new season. As “Life Frozen” commences with droning keys and a gentle transition between notes, there is an overall vibe of tranquility and quietness that presents the notion of the chilling landscape chronicled in this song, has been a path less traveled for the duration of the winter months. An elegant keyboard melody begins to play at around the three minute mark and remains dominant for the majority of the track. Various soundscapes and effects are also introduced, creating a hypnotizing scene of serenity. At around the ten minute mark, slightly enhanced modulations bring a darker color to the track, representing an extreme isolation from society, as the ice continues to melt at a leisurely pace. At almost the eighteen minute mark, the track shifts gears again, bringing back a version of the original keyboard melody that was so predominant at the beginning. Maintaining a constant drone in the background, this portion of the track is well composed and almost trance-like, as the listener – by this point – will have a great view of an untouched winter landscape that seemingly reaches a utopian state as each second passes. With just six minutes remaining, another slight shift occurs with the addition of haunting effects with the drones becoming a bit louder in the mix. The climax of the track (and winter) has passed and the dawn of a new season is inevitable as the album ends in majestic winter synth fashion.

I’m really pleased that Inoriand has graced us with a new album of exalted, winter synth. One of the great artists of this sub-genre, Inoriand always creates a captivating landscape of musical textures and haunting ambience and it’s so easy to get lost in the compositions that are released. ‘Life Frozen’ is the perfect example of all of these elements working together to form the ultimate platform for a dormant, wintery escape. Eldest Gate Records continues their run of releasing premium music and Inoriand is without a doubt my favorite act from the label. If you’re into winter synth with elements of dark ambience, look no further than ‘Life Frozen’. Continue to support this wonderful label & artist and click on the link below to download this superb album.

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Links:

https://eldestgaterecords.bandcamp.com/album/life-frozen

Humanfobia Fuse Dark Electronic, Dungeon Synth And Avant-Garde On The Impressive ‘Vampiresa’

As I continue my deep dive into music of the obscure, I often find myself enthralled by artists that know limitless boundaries for presenting their craft. Although there have been many instances of genre-bending throughout the years, there are still elements that I find new (and intriguing) that stops me dead in my tracks, enough to warrant my undivided attention. Humanfobia is one of those artists that combines elements of dark electronic, avant-garde, and even Dungeon Synth to create a unique universe of audial sophistication and elegance. On last year’s ‘Vampiresa’ release, six tracks of ambiguous compositions solicit an enigmatic approach to synth music that is powerful and mesmerizing.

Right from the start, “Enchanted Castle” imposes a barrage of symphonic sounds from multiple genres, combining them to form an impressive opening track. Haunting vocals are layered over hefty beats and distorted tones and as a slight tonal shift occurs, the vocals continue to tell its story almost until the final note is played. “Ataúd Solitario” begins with the tolling of a bell and a slight build up of the music. Synths play up and down a scale of notes while a rhythmic drum beat provides a polyrhythmic groove. At the same time, dreamy vocals build and contain various effects to give it a thick, layered sound. Hints of gothic undertones can be heard throughout, as this obscure piece goes through a rotational pattern with the music. “Vampiresa” is a creepy little track that contains some nice Dungeon Synth elements and haunting narrations. There is also a monstrous vocal effect in the background that is downright sinister. The drum beats in this track are pretty cool and show a modest Crypt Hop influence. “Ajos y Cruces” is another Dungeon Synth-heavy track with spacey vocals and an overall Renaissance era vibe to it. “Vampiric Ancient Transmutation” commences with heavy distortion and echo effects that get absorbed into a dark drone, while eccentric vocals begin to make their way into the mix. At the same time, backward narration samples add an alluring feel to this track that is completely devoured by a grim ambiance. The final track on the album is “Ataúd Solitario (Burial Version)”. It begins much like the original version but the drum beats and keys have been replaced with melancholic synths and eerie soundscapes. The vocal performance is still the same, which stands out in both versions of the track.

Humanfobia is a unique and talented entity that has a vision for arcane compositions and seems to feel comfortable at fusing any genre they can to produce quality synth music. ‘Vampiresa’ is a fascinating EP in quite an impressive catalog of releases that I’m still diving into from this artist. If you’re into esoteric music and albums that fuse various genres of music, then I recommend checking out ‘Vampiresa’. Click on the link below and support this artist and check out the large catalog of albums available on their bandcamp page.

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Links:

https://humanfobia-official.bandcamp.com/album/vampiresa-ep-2020

Ambitious And Hypnotizing, Dagmar Gertot Conjures An Enrapturing Improvisational Chronicle Called ‘Os Lacrimale’

I remember my first time experiencing Scott Walker’s ‘The Drift’ album back in 2006. For those that are not familiar, Scott Walker is a singer-songwriter that had a string of avant-garde albums late in his career, which were a heretical change of pace from his pop beginnings. At any rate, ‘The Drift’ (at the time) was one of the most mesmerizing recordings I’ve ever heard, and at times, it was downright terrifying as well. Fast forward to present times, and once again I am feeling the exact emotional state with Dagmar Gertot’s debut album on Cyclic Law, ‘Os Lacrimale’. Eight tracks of vocal and instrumental improvisations that invoke a sentiment of aimless wander and endless nightmares.

The merriment begins with the portentous “Iron Cradle”. Commencing with a single, unbridled note – that seems to be a fusion of a horned and stringed instrument – the vocals suddenly belt out with an inaudible presence, but present heavy Middle Eastern influences with regards to vocal control and technique. This is improvisation at its best, as there is a particular chemistry between the instrumentation and vocalist that will certainly resonate with the audience. Next up is “Non Healing Wound” and although it slowly crescendos out of darkness, a maniacal presence will soon unfold by way of chilling stringed instruments and mesmerizing vocal effects. This one is a slow builder and finds every aspect of the arrangement coming together in a deranged harmonic variance, while the vocal performance creates a segregated instrument that stands out all on its own. “Snake Dance” starts with an operatic-like vocal performance that assembles with layers of odd harmonies. Although just over a minute long, this track packs a powerful punch and truly showcases the talent of Dagmar Gertot. “Delirious” is one of my favorite songs on the album as it is as entertaining as it is mysterious. Vocals are, once again, perfectly layered and in the background, ritualistic instrumentation sets a bleak scene that is soon filled with Oriental influences and haunting soundscapes. “Two-Headed Roe Deer” begins with crackles and hisses of vintage tape loops, while random stringed-instrument screeches and off-key piano notes create a dismal soundtrack for the vocal performance that – at times – wanders off in the distance. “Pyromaniac” emerges as an a cappella track with soft, layered vocals and an underlying track of deep grunts and growls. Without notice, various instruments play in alliance, but with different types arrangements, as if they are out of synchronization and trying to find their way to a unified sound. Toward the end, the vocal patterns become more eccentric, as if anxiously finding a rhythm to latch on to for a continued aural assault. “Nude Metemorph” begins with choir like vocal harmonies being played in a dream state. As the vocals become more eclectic, the dream turns into a nightmare, intensifying the listening experience. The music for this track is down right dreary and the vocals are some of the most chilling to be heard yet. The final track on the album is “Anathema”. Starting with a refreshing vocal harmony of inaudible cadence, random piano keys create an abhorrent atmosphere that is sure to induce a trance-like state (if allowed). At times, it seems as if the vocals and piano are trading off, telling two versions of an intense story that has no words, but one that can be felt through the power of music and emotions.

Dagmar Gertot’s bold statement of vocal and instrumental improvisations on her first album, ‘Os Lacrimale’ is a magnificent listen and widely open for interpretation. Although I mentioned a comparison to the great Avant-garde artist, Scott Walker, in my opening remarks, Dagmar Gertot transcends any single genre or classification and doesn’t deserve to be held back by any barriers. Whether you’re into ambient, experimental, ritualistic sounds Or avant-garde, ‘Os Lacrimale’ will definitely appeal to your musical taste. I highly recommend this unique artist, so please head over to the Cyclic Law Bandcamp page, or click on the link below to download this amazing album.

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Links:

https://cycliclaw.bandcamp.com/album/os-lacrimale

Infinexhuma Amasses A Large-Scale Aural Attack With Intense Soundscapes On ‘Frontier’

When it comes to ominous soundscapes and adventurous Dark Ambient compositions that are filled with terror-induced tones and agonizing drones, Infinexhuma has to be one of the front runners that consistently supplies this huge undertaking. One thing you can always count on with an Infinexhuma album is a grim experience that clinches like a slowly tightening vice grip. On the latest deafening effort, ‘Frontier’, the tones are colder, soundscapes more chilling, and an overall dominating audial ordeal that is more dismal than ever. Also, enlisting the help of other Dark Ambient elite artists such as Blood Box, Neraterræ, and Common Eider, King Eider, together they catapult this deviant journey into multiple realms of chaos. At almost one hour and forty minutes long, this bleak expedition has enough creepy twists and turns to create and angst-filled environment.

The intoxicating album opener, “Converter”, is an all-out onslaught of malevolent sounds, designed to overwhelm the senses and bring forth nightmarish reactions. The haunting drones are propelled to a grueling depth with the help of industrialized soundscapes and a flock of crows, circling in agitation. This ten minutes endeavor does not let up and thoroughly prepares the listener for the next hour and a half. “Orbital (feat. Blood Box)” creeps along at a gradual pace, refining the audial invasion of the first track, and subduing the listener into a catatonic state. Terror-filled screeches and modulations grow louder as the weight of this track becomes even heavier. The next track, “Sword” summons ancient, dark vibes as the mildly distorted drone appends itself to the listeners subconscious. More like a malicious space ambient outing, there are intense ritualistic moments throughout that is reminiscent of a doomed celestial society. Fabricated screams elicit moments of terror as this haunting track beckons the darkest of times. “Sweeper” keeps the nightmare sequence alive with alluring drones and field recordings. As if surviving another dimension, grim manifestations are on full display in eerie fashion. “Heaven March (feat. Neraterræ)” displays signs of solitude and emptiness, as these superior drones have an echo effect, creating a wall of sound that embodies desolation. Sonic soundscapes present a trance-like significance that is addictive to listen too. This is probably one of my favorite tracks on the album. “Position In Flames” is a slow builder but well worth the wait. Light drones and incredulous synths seem far off and blurry at first, but slowly form into a dynamic track full of distorted frequencies and angst. As they start to fade into a warm drone sound, breathing becomes normal and an escape back to reality is in close focus. “Catharsis Of Goodbye is nearly thirteen minutes long and runs the gamut of emotional brain patterns. Beginning with a short, foreign narrative, it fuses into an assembly of sound that takes its time to decimate those that listen. From hollow drones and mechanized soundscapes to retro synthwave distortions, this track contains the elements and checks the blocks for a true dark ambient excursion. Next up is “Deep Runnel (feat. Common Eider, King Eider)” and it’s fascinating resistance of grueling, harsh moments make this one of the most effective tracks on the album. Maintaining a low compulsion for gradual effects, this one builds in anticipation without breaking its lethargic flow. “In The End” is a supernatural spectacle of sound and voice, as they fuse together in a dreamlike state. An interesting addition of EDM synths and monstrous backing tones are a welcomed surprise and I’m sure many listeners will appreciate this branching out to additional genres and will succumb to multiple listenings in one sitting. “Forged” begins as a minimalistic piece but grows into a fierce synthwave crossover song that features beautiful synth leads and darkened drones. There are other obscure sequences that add to this amazing sound, creating a monumental track that easily stands out amongst the others. “Every Door” is discordant offering that is full of twists and turns, including heavily distorted & sequenced vocalizations. Although it starts off semi-peaceful, it morphs into a noise-filled composition that becomes one of the harshest tracks on the album. The final track on the album is “Stormless”. Another stellar feat in space ambience, this enticing arrangement will have the listener drifting off to the far reaches of the bleak, uncharted universe. Although all is safe, you never know what’s lurking around every corner, as this song will have the listener calmly anticipating what the future holds. Such a captivating way to end this preeminent Dark Ambient experience.

I can always count on Infinexhuma to provide the ultimate Dark Ambient experience. Whether it’s cinematic soundscapes, ritualistic tones, harsh noise or space ambience, each album provides a unique platform for transparency with all of these musical forms. ‘Frontier’ is no different, as it challenges the listener to open the mind to fully embrace all of these magnificent compositions. If you’ve not heard this colossal recording yet, please visit the link below and experience one of the best Dark Ambient recordings out right now.

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Links:

https://infinexhuma.bandcamp.com/album/frontier

Eighth Tower Records unveils companion book for ‘The Black Stone – Music For Lovecraftian Summonings’

The Black Stone – Stories For Lovecraftian Summonings

In January of this year, Eighth Tower records released another groundbreaking album of Dark Ambient resonance that featured the best-of-the-best artist of the genre. Some of them are amongst my favorite and include Mombi Yuleman, Alphaxone, Ashtoreth, NEW RISEN THRONE and Moloch Conspiracy to name a few. All of these artist successfully constructed Lovecraftian-themed tracks of fascinating darkness and a sonic exploratory of unmatched mythical subject matter. Fast forward a few months and we find another innovative event for Eighth Tower Records in the form of their first-ever book release. A companion to ‘The Black Stone’ album, it is entitled, ‘The Black Stone – Stories For Lovecraftian Summonings’ and features twenty seven tales of horror inspired by H.P. Lovecraft and his Cthulhu Mythos.

Here is some additional information about the book and writers, as found on the Eighth Tower Records Bandcamp page:

Featuring: Ramsey Campbell, Brian M Sammons, Glynn Owen Barrass, Lucy A. Snyder, E.A. Black, Chris Kelso, Andrew Coulthard, Stephen Mark Rainey, Kevin Lewis, Richard A. Scott, Russell Smeaton, John Buja, Made in DNA, David Agranoff, Pete Rawlik, Brian C. Short, Michael Housel, John Chadwick, David Voyles, Konstantine Paradias, Edward Morris, Parry Milton, Phil Breach, Garrett Cook, Andrew Freudenberg, Love Kolle, Sarah Walker.

Curated by Raffaele Pezzella
Cover illustration by John Chadwick
Editing by Parry Milton

https://eighthtowerrecords.bandcamp.com/merch/the-black-stone-stories-for-lovecraftian-summonings-book-cd
https://eighthtowerrecords.bandcamp.com/album/the-black-stone-music-for-lovecraftian-summonings

Grab a copy of this book before it’s sold out and if you’ve not heard the amazing album that was released back in January, do yourself a favor a download that one right away for a stunning audial experience.

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Links:

https://eighthtowerrecords.bandcamp.com/music

https://unexplainedsoundsgroup.bandcamp.com

Cryo Chamber Label’s Seventh Lovecraftian Collaboration, ‘Yig’, Is The Most Versatile Offering In The Series Yet

Since 2014, the Cryo Chamber label has embarked on an annual endeavor that epitomizes the meaning of artist collaboration. Paying tribute to world renowned author – and creator of the Cthulhu Mythos – H.P. Lovecraft, these musical ventures have proven time and time again to be epically daring and adventurous beyond the realm of typical artistry participation. Consisting of mainly album-length tracks, these Lovecraftian collaborations find the gathering of current Cryo Chamber artists, alumni of the label, and additional artists that are some of the best in the business. As each album culminates an evolution of sound and dynamics, they also improve with more sophistication and a variation of modular potency. The seventh (and latest) album in the series, ‘Yig’, consists of two songs that are around seventy minutes in length each and the transparency of these arrangements make it the most accessible and auditory one yet.

“Yig 1” wastes no time in creating a cinematic ambience, as mystifying soundscapes and fearless drones find a balance between sinister accord and Middle Eastern vibes. Percussive elements of a tribal nature begin to create a ritualistic groove that challenges the senses which results in being caught between darkness and a theatrical emotive state. As the percussion slowly fades, it gives way to deep, peaceful drones that succeed in delegating mental prowess to the subconscious. Various field recordings and effects paint an eerie scene, but this is just the beginning. At the twelve and a half minute mark, electronic beats add a rhythmic cadence that is downright sinister, but it is also a well designed section for this track as it adds an authentic layout to the ominous subject matter. One of my favorite sections of this track starts at around the twenty eight minute mark. Up to this point, the output has been mostly dark and malevolent in nature, but here there is a particular calmness that is a perfect inclusion. Layers of vibrant drones create a spacey vibe while keeping it melancholic at the same time. It’s so easy to get lost in this section as it’s so dreamy and introspective. If you’ve not done so up to this point, you’ll want to close your eyes and soak in the fantasy world that is being created. This section carries on for about seven minutes or so before traversing into darker territories again. At around the forty seven and a half minute mark, another important section of this track is introduced. Commencing with a good mix of field recordings, it is soon joined by West Asian instrumentation and some wicked vocalizations that are barely audible. After a few more very powerful sections of this track, we finally make it to the last few minutes, which ends in the same fashion as it started – unique field recordings and beautiful instrumentations that provide the cinematic finale to this grandiose piece. “Yig 2” is another impressive feat of legendary proportions. Starting with dark, desolate drones and apocalyptic soundscapes, the beginning sets a ravaging pace of systematic annihilation for the next seventy minutes. At around six and a half minutes, spacious drones meander in slow motion while a calming effect pierce through its dense layers. The looping effect creates an arcane sensation and the trance-like results are mind blowing. Another impressive section begins at around nineteen minutes in. As one section transparently fades into the next, this one has soaring guitar and piano leads with almost a dark noir sound. I could listen to a whole album of this stuff. Well played and just enough distortion on the percussive parts to change things up a bit, this is one of my favorite parts on the whole album. Starting at around the thirty two minute mark is probably one of the most essential sections on the album, as it really provides that nostalgic Lovecraftian vibe of horror and fascination for darkness. The bombastic drum beats combines with various drones and soundscapes create a menagerie of sound that is addictive and suggestive of the subject matter. Ominous and explosive black ambience is captured at around fifty two minutes in, as elements of industrialized drones begin to take over. The sound continues to grow darker and more perilous as a sense of anxiety begins to mount. However after a few minutes, that is counteracted by soft, soothing drones that successfully develop into an emotional journey for the final few minutes of this monumental album.

One of the most impressive aspects of the ‘Yig’ collaboration is how over twenty artists from all over the world, supply a version of their craft for this themed story with absolutely no opacity between parts. We’re talking two, seventy plus minutes tracks of some of the best arranged Dark Ambient material that has been produced recently. That extraordinary effort has made ‘Yig’ one of my favorites amongst the Cryo Chamber Lovecraft Collaboration series. If you’ve not heard this yet, I highly recommend checking it out by clicking on the link below.

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Links:

https://cryochamber.bandcamp.com/album/yig

Eyre Transmissions X: Interview With Dark Ambient, Dungeon Synth & Metal composer, Scorpio V

Scorpio V is one of the most accomplished musicians in the synth world. The multi-genre specialist has achieved insurmountable triumph in most of the projects that he’s released. From Dark Ambient mainstay, Metatron Omega to the amazing Dungeon Synth act, Stronghold Guardian, Scorpio V utilizes his musical dexterity to create synth music of another level. I recently had the opportunity to find out a little more about his prodigious projects, musical background and what’s to come in the near future. I hope you enjoy this interview with one of the best in the business.

1. First of all, thank you for taking the time to answer a few questions about your amazing projects. What is your background (musically) and have you always played synth-based music?

My pleasure. I don’t have a formal musical or some other “artistic” background. I’ve just always found myself having the need to either reproduce what I see (by drawing it) and hear, or to create something new based upon what I’ve been presented with. I was always the type of person who cannot just passively listen to music – I had to get involved in the process of making it. As for the musicianship itself, my early beginnings were with keyboards. Although I’ve grown up listening to metal and held great esteem for electric guitar as an instrument, it was only after I’ve dabbled with keyboards, synths and industrial/ambient music that I’ve started also playing the guitar. So, yes, one can say that synths, sound programming and sound design were, and still are, my main niche.

2. The albums on your Prometheus Studio Bandcamp page range from metal, dungeon synth, dark ambient, and various other synth projects. What usually sets the tone for the style of album that is released at any particular time?

There are absolutely no rules for me when it comes to creating something, although as one may have noticed, what I create can mainly be defined by atmospheric, lush, dark or sometimes “grandiose” spectre of experience. I just get the inspiration for something and start channeling the energies. If I should pinpoint what exactly influences the process, it is my life and experiences, my imagination and philosophy. Other than that, it could be the stuff I listen to, literature I read, sometimes a game whose lore or atmosphere I find immersive (although I very rarely actually play them). Same goes for a movie, especially soundtrack and visuals (LotR being a great example here).

3. My first introduction to your music was the Metatron Omega project – which releases music via the Cryo Chamber label. That is by far, one of my favorite Dark Ambient projects of all time. What inspired you to write such monumental arrangements for this project?

Metatron Omega is a story for itself, as is Paleowolf. The main inspiration for creating Metatron Omega was mainly philosophical, coming from the spiritually oriented literature (and readings about the inner workings of some historically important secret societes). I think that on some level, I had the need to create a kind of a “soundtrack” for myself while studying those topics and wandering through my own path of self-discovery. Through the landscape of sound, I’ve channeled what I was experiencing while searching for something greater than myself. I also listen to a lot of church music, litanies, gregorian chants, orthodox russian and Byzantine monastic music, therefore creating ambiental music with those elements has been a natural process.

4. ‘Evangelikon’ was my Dark Ambient album of the year for 2019 and I’ve since been hoping for more Metatron Omega releases. Do you have any plans this year for that project?

Yes, there’s a new album in preparation since the beginning of the year. A few things that happened in the meantime slowed it down. I can’t say for sure if it’s going to be this year, but I’m holding a place in my mind to get back to it.

5. After Metatron Omega, I soon discovered you were behind the projects on the Prometheus Studios Bandcamp page and spent a lot of time deep-diving into those projects like Gaetir The Mountainkeeper and Paleowolf. Although those are Dark Ambient projects as well, they are so very different from each other. Can you talk about how each of those projects came about?

Paleowolf’s story is a big one, I’m not sure if summing it up in a sentence or two would do the justice to the journey I went on with that project. For the sake of this interview, let’s say that I was always interest in prehistory (human or not), and shamanism drew my attention in my teenage years. All these years listening to Mongolian throat singing and shamanic overtone singing, and then one night of immersive myself in Syven’s “Aikantaite” the energies collided into something beyond me. So, put all this together and Paleowolf was born. And it all came spontaneous, natural to me, I had little to ponder about. Gaetir the Mountainkeeper begun somewhat differently, as a way to channel my imagination and journey with Norse mythology, put through my own emotional lense. I felt the need to take my own part in creating the atmosphere for the mythos and nature of the North. Although I can’t say why exactly I “chose” to manifest it in the style I’ve chosen.

https://gaetirthemountainkeeper.bandcamp.com/album/vetrarlj-s

6. Another project that I love – and one that helped solidify my love for modern Dungeon Synth – is Stronghold Guardian. Are you a big fan of that genre as well, and who are some of the artist that you looked to for musical direction for that project?

Dungeon synth followed me since my early plunge into the water of Black metal (as, I suppose, happened with majority of people in DS circles). Of course, in those time I didn’t know that if you put synths and black metal vocals together you call that a ‘dungeon synth’. I always went for the dark atmosphere – using synths and other instruments than electric guitar proved to work very well in achieving this kind of atmosphere. I actually begun finding synths, strings, drones to work much “better” than guitars when it comes to delivering something a lot more immersive. As for the influences, Summoning has been, and still is, one of my favorite projects and influences in a couple of my creations.

7. You recently released a new album under that moniker – ‘Castlelord’ – which is a rework/remastering of earlier material, to include metal guitars. How did this creation come about?

I just wanted to hear how Stronghold Guardian material would sound with electric guitars added. Seriously. And since I was satisfied with the outcome, I’ve decided to share it with the rest of the world.

https://strongholdguardian.bandcamp.com/album/castlelord

8. On some of the tracks, I sense an early Graveland influence. Did any of the mid 90’s Viking Black Metal bands/albums inspire any of these reworks?

Viking black didn’t have much of an influence on Stronghold Guardian. I listen to a lot of different genres and styles so most often than not, I’m not aware of the actual inspiration. When I think about it now, perhaps some clean vocal parts may have come from Limbonic Art’s “In Abhorrence Dementia”. That album also had a magnificent synth work. Fantastic album overall and certainly another influence.

9. One project that has really grown on me is Nebulon. It’s a great project but the ‘Across The Solar Tides’ album was on another level. It had more of a Berlin School/early Tangerine Dream influence. Was that the direction intended?

Sure, Nebulon is definitely following the trails set by ’70-’80 German-French electronics and Berlin School. Early Tangerine Dream and Klaus Schulze’s solo works too. Let’s also not forget early Vangelis (his synth work) and the masterpieces of Jim Kirkwood, such as “Middle Earth” and “Souls that Dance on The Edge of the Sword”, “Nightshade in Eden”, etc. Nebulon somewhat tried to merge all these into a different gestalt and drown it in the sea of lush cosmic, interstellar ambient with its own complex narrative.

https://nebulonambient.bandcamp.com/album/across-the-solar-tides

10. You recently released two albums [edit: a third album had been released by the time of this publishing] under the Monasterium Imperi name. These are the perfect albums to listen to, especially while waiting for more Metatron Omega, but what makes these projects so different?

The way I see it, the major difference is in the structure of the tracks and type of chanting. Metatron Omega is using heavy and masssive church choirs, most often processed in a droning/brooding manner in the midst of the ‘wide’ atmosphere and heavy dark ambient drones; while Monasterium Imperi keeps things a bit ‘simpler’ and more focused, using structured solo chants upon melodic strings. And of course, there’s a great difference in thematic. Metatron Omega deals with spiritually-oriented philosophy of our world and Universe, a journey of self-discovery, while Monasterium Imperi leads us into the fantasy-inspired Cathedral-worlds spread throughout the Galactic Empire set into an alternative universe, in a far future.

https://monasteriumimperi.bandcamp.com/album/chants-of-liberation

11. What process do you use for recording the amazing Gregorian chants?

It depends where I want them and what I try to achieve. Some are sung by me, some are sampled, and something is a work of the VSTs.

12. One of your more serene (and popular) projects is Forest of Yore. How hard is it to go from bleak and ominous sounds to a more somber and tranquil sound without losing the Scorpio V identity?

For me not ‘hard’ at all. I’m very close to Nature, I’ve spent great deal of time in forests since I was young (and still striving to spend even more time). Forests are one of my main inspirations, not just for musicianship but for my life conduct, philosophy and spirituality. A forest can provide both ‘dark’ and ‘light’ contexts and evoke an entire spectrum of emotions. So, as much as I’m awed by the darkness and mystery of it, the forest also evokes a feeling of blissfulness, a kind of aural peace that surrounds you while you make your way through the unknown path, and into the distance of the trees. Forest of Yore is a soundscape for just this tranquil ambiance far away from the rush of modern society.

https://forestofyore.bandcamp.com/album/mythical-woodlands

13. You have a couple of older projects (Temple of Gnosis & Grailknight) that haven’t produced any new material in a few years. Do you have any plans to keep this projects going?

I don’t have precise plans for some of my projects, such as those two mentioned. I’ve created something out of a ‘need’ to create and that’s it. I usually don’t have a ‘yearly plan’ of what I’m going to do, not to mention a plan to create this or that album. So, we’ll see.

14. There are a few other projects that I love, but didn’t ask about specifically such as Orkforge & Shogun’s Castle. Can we expect new releases from these projects as well.

I think you can, because I’ve already worked on some material with Shogun’s Castle. Still, I have to get into the mental spaces for both projects in order to properly think about hows and whats.

https://shogunscastle.bandcamp.com/album/the-ancient-arts-of-self-discipline

15. These days, cassettes are making a comeback – especially in the Dungeon Synth scene. Do you plan to continue cassette releases for some of your projects? How about a second run of cassettes for the Shogun’s Castle project?

Indeed, cassettes have (again) come a massive hit these days. It’s just amazing to see so many people involved in it and being interested in a pretty much overly outdated medium compared to the technology of this day and age. So, yes, I’ve thought about continuing to put out cassettes for other projects, and perhaps a re-release of some of Shogun’s Castle albums.

16. I really appreciate the time that you’ve take to answer these questions. Do you have any final thought or comments for your fans that may be reading this interview?

You’re welcome and thank you for your interest in my work. Actually, the interview was quite comprehensive thanks to your questions, so I’m satisfied in leaving it as it is.

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:

Bandcamp: https://prometheusstudio.bandcamp.com

Facebook: https://www.facebook.com/prometheusstudio.official

YouTube: https://www.youtube.com/channel/UCttFYkVyUGHWsopvkRZgJbg

Patreon: https://www.patreon.com/prometheusstudio

Guan Yin Video Premiere For “Repentance II”

In May of 2020, I reviewed an extremely diverse and unique collaboration album released on Akashic Envoy Records called ‘Apostils Against Hegemony, Vol. I: Transitive Properties’. Although that album contained thirty three extraordinary tracks, I detailed ten of them that stood out the most. Amongst those standout tracks was “Evocation I” by Guan Yin. The ritualistic essence laid a foundation for bleak drones, discordant vocals and black ambience and left me wanting more. The time has finally come for a new track and I’m extremely excited to present the video for “Repentance II”. It’s everything that I expected it to be and so much more. I hope you enjoy this song as much as I do and please visit the links at the bottom of the page.

Information from the artist/label:

Guan Yin: a ritual ambient project from multi-instrumentalist Cicatrix (Nodus Tollens, Chernozem – they/them)) and vocalist Espi Kvlt (Seas of Winter, Apricitas, Nehushtan – they/he).

In much the same way that the duo’s other collaboration Exsanguinated Shade doesn’t fit neatly within the parameters of a single genre, Guan Yin doesn’t approach ritual ambient in the traditional way. For starters, there are no occult themes in the duo’s music – Espi Kvlt is a practicing Buddhist, and all of their lyrics come from Buddhist texts. From a musical perspective, Cicatrix draws as much inspiration from power electronics artists like Prurient and Theologian as they do from the ritualistic sounds of Corona Barathri or Emme Ya.

For the dark and frequently harrowing half of their split with cinematic ambient duo Sun Through Eyelids, Espi Kvlt took their lyrics from the Platform Sutra of the Sixth Patriarch, specifically the section on Repentance. They chose that particular text because they were struggling with a mistake they made around the same time the duo were working on the split, and when dealing with serious life issues, the way they tend to overcome the pain and suffering from said issues is by making music. By focusing on the Repentance section of the Platform Sutra of the Sixth Patriarch, they were able to heal through singing the words and forgive themselves for said mistake. While no amount of repentance can ever truly eliminate the pain caused to another, it can serve to spread good will into the world and bring loving-kindness to any beings we have wronged.

The Sun Through Eyelids/Guan Yin split will be available on cassette from Acepahle Winter Productions on March 19. Limited to 50 copies on metallic silver shells. Preorders launch on March 5.

Links:

https://guanyin.bandcamp.com

https://acephalewinter.bandcamp.com

https://sunthrougheyelids.bandcamp.com

Vandalorum Surpasses All Expectations On The Extremely Diverse ‘Maewyn’

Vandalorum is an artist that needs no introduction, especially if you’ve followed the Dungeon Synth genre for the past couple of years. Quickly establishing himself as one of the premier acts in the community, Vandalorum has persistently released a number of exceptional albums, garnering a huge following amongst musicians and fans alike. Vandalorum is also no stranger to The Dungeon In Deep Space either, as I reviewed the 2019 album, ‘Flagellum Dei’. That album erupted with enormous Medieval anthems and made me an instant supporter. Although I didn’t get the chance to review the massive follow-up release, ‘Mesopotamian Death Cult’, it was also a work of art that surpassed its predecessor. That leads us to the latest release called ‘Maewyn’, the gallant story of the life of St. Patrick; from the trials and tribulations of his actions with bringing Christianity to Ireland to his lasting impression on history and story telling throughout the ages.

Jubilant album opener, “A Saint Lays Claim To The Souls Of The Irish” is light and vibrant and immediately presents colorful layers of energetic electronic music that transcends Dungeon Synth. The warm drum patterns and vigorous synth leads catapult this track down a genre-less path and exposes it to boundless sources of musical universal acclaim. From the very first note of “Rise Of The Fomorians”, I realized that this album was going to be special and once again eclipse its predecessors. After a short keyboard intro, a drum beat fuses with expansive synths and showcases a groove that is completely mesmerizing. Traditional Dungeon Synth keyboard effects have a few spots that are commendable and gives it a bit of flare and variety, but the real winner is the choir-like vocals and the bombastic drum fills. I can’t get enough of this track and it may be my favorite one on the album. Next up is the short, symphonic piece,“Moraltach”. Although at just under a minute and a half long, it plays an important role by continuing this voiceless story and shows just how powerful good music really is. “Children Of Lir” continues the passion set forth in the previous tracks and offers even more melody as layers of synth effects meld together to form a memorable composition. However, once the drum beats are engaged, this Crypt Hop track soars to chilling new heights. Retro synthwave vibes with a touch of reverb keeps it old-school while maintaining a modern appeal. “Enslaved By Celtic Raiders” takes us back to a more traditional Dungeon Synth style, but powerful percussive parts and soaring guitar leads makes this one of the most ambitious compositions yet. The synth break in the middle – complimented with natural sounding field recordings – is beyond extraordinary and it completely exudes tons of emotions. “Exodus Of The Tuatha De Danann” commences with an immaculate piano lead that builds up to a serene duet with a soaring synth. As other instruments are betrothed, you can sense a maniacal presence taking over as this early-dawn, synthwave track soars beyond the stratosphere. “Cu Chullain” is another musically diverse piece, as it begins with a peaceful and somber intonation. As various instruments assemble to form a harmonious arrangement, the track ascends to new heights as black metal vocals are introduced at the same time the drum beats come in to play. “The Nymph Of The Forest Of Neri” is an elegant cantata that has some of the best melodic moments on the album and the brisk drum beats are a welcomed treat. “The Cave Where He Saw Hell” takes us back to a more traditional Dungeon Synth sound, specifically in the layered synth effects. However, this one would easily classify as a Crypt Hop track as well, especially when the smooth beats start up at various times. There is a velvety shine throughout this emotional song and it serves as a spiritual uplifting guide, as this magnificent album comes to a close. The final track on the album is the near ten minute long, “A Prayer In The Fields, and God Answered”. Not rushing a single thing, it begins with a simplistic synth drone, with layered leads filling in with some lush details that sound very emotional. This structure remains throughout the track, although the synth effects change style a few times to maintain a curious introspective. This song is so mellow & beautiful and provides the perfect ending to this amazing album that has provided so much variety.

This is one of those albums that can be listened to from start to finish without ever skipping over any tracks. I can’t think of a single song on ‘Maewyn’ that I would skip during a play through. Since it contains so much diversity on every track, I wouldn’t want to miss any of the intricate details contained within because at any given time, any of these tracks could easily become my favorite song on the album. The vast improvements in musicianship and songwriting over the past three albums or so is just unreal and Vandalorum should be proud of such an amazing accomplishment. Please show your support for one of the genre’s best and download ‘Maewyn’ from the link below.

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

Links:

https://vandalorum.bandcamp.com/album/maewyn

Randal Collier-Ford Ventures Down A Dark, Ritualistic Path on ‘Advent’

If you’re in the market for Dark Ambient that is loaded with substance and distinction, then look no further than Randal Collier-Ford. His unmistakable sound hangs in the balance between desolate drones and ritualistic terror. Somewhere amidst that rudimentary structure, frays of industrial modulations, sonic soundscapes and transcendental field recordings integrate seamlessly to present his signature take on Dark Ambient madness. However, on his latest effort, ‘Advent’, we find a broader approach to the songwriting venture, presenting a more melodic and cinematic sound than ever before. Ranging from effervescent orchestrations to tonal black ambience, ‘Advent’ is the Randal Collier-Ford album I’ve been waiting to hear for a very long time.

The opening track is the near twenty minute long juggernaut, “Beckoning Absurd Shapes”. It begins as expected – bleak, desolate soundscapes with a calm-before-the-storm approach. The drones ascend like low, howling winds and the sound of horns that resembles an early warning alarm enacts in the distance. Disturbing vibes continue to play out, creating an environment of angst and dread. Prolonged stringed arrangements add a slight gothic presence with a noir sediment. Ritualistic undertones in the form of dark, inaudible chants add a necessary layer of power and sonic presence to this track as it continues to ebb and flow with its audible storyline. The last half of this track is inundated with ghastly drones, beautiful stringed compositions and a variety of field recordings that will keep the listener engaged in this visionary conquest. The next track is “Eyes Of The Temple (feat. Northumbria)”. Northumbria – known for their textured guitar and bass recordings – adds a gripping layer of coldness that embodies the true essence of minimalistic ambience. The musical combination of these artists establishes a dreadful world of chaos and darkness that builds into a massive wall of sound. The star attraction in this track is the grandiose guitar reverb. It creates a sound so hollow and disturbing that it’s bound to create nightmarish effects. The final track on the album is the twelve minute long “The Second Wound”. Commencing with powerful drones of a destructive nature, this song slowly ascends into a world of desolate visions. A sultry piano arrangement leads into a tribal drum line of war-like proportions. Enormous soundscapes and industrialized summonings bring forth a climactic ending as the drones fade between the bombastic percussive parts. The track finally comes to a close, as the drums dissolve, leaving synth pads to create a fulfilling ending.

Randal Collier-Ford never disappoints, and has always delivered amazing results on his previous albums. However, with ‘Advent’, he’s stepped up his game and has conveyed his best performance yet. The epic track lengths make the difference for me, as they allow for the atmospherics to captivate the mind and dominate the emotional state. The Cryo Chamber label continues their effortless run of outstanding releases that continue to pioneer the Dark Ambient genre and ‘Advent’ embodies that streak completely. I highly recommend checking this one out so click on the link below and download this amazing album.

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://cryochamber.bandcamp.com/album/advent