Nostalgic Tales Of Horror Told Through Enthralling Dungeon Synth On Mystica Visio’s Massive Debut Self-Titled Album

The Dungeon Synth genre has become an invaluable platform for many artists to harvest various styles of synth music. Most artists are able to maintain a strong foothold with typical genre topics, while venturing out to the far reaches of other subject matters, such as time & space, emotions, and horror. Whereas the majority of the brand resides around Medieval content and RPG-influenced arrangements, some artists extend for endless endeavors in order to orchestrate a different approach to the genre. In some cases, the outcome is a bit obtuse but in other situations, the outcome is magnificent. Case in point, the self-titled debut offering from Mystica Visio is a grim journey down an endless, morbid path that is more psychological thriller than horror. The music is deep, emotional, beautifully desolate and of course, Dungeon Synth! The six tracks contained within this thirty eight minute recording are fascinating and memorable, yet you’ll be watching over your shoulder in frightful anxiety as the tracks move from one to the next.

The maniacal terror begins with “Mystical Visions Of A Dead Past”. With deep, crushing synth effects that paint a vivid scene of solitude and anguish, this is the perfect opening for this sojourn of emptiness. Once the layered, high-pitched keys commit to the mix, the haunting melodies pave the way for an exemplary listening experience like no other. “The Glowing Figure” commences with a peaceful synth arrangement and slowly introduces layers of harrowing effects that take this track down a dark and daunting path. The low-end tone in the background create an ominous drone that extends a symphonic effect, while maintaining a discordant keyboard arrangement throughout. This is a somberly flowing song that maximizes the intent of a dreadful feeling or experience and it certainly succeeds like no other. “The Prophecy Was A Lie” is the closest this album comes to producing a tradition Dungeon Synth sound. The harmony on display in the layered keyboard chops is wondrous and without a doubt, you’ll be humming this restrained melody even after the song is over. Another key element is the beautiful drawn-out synths in the background that tell a story all on its own. Although it fuses perfectly with the synth leads, it would also sound amazing as a stand-alone track of a subdued nature. “Journey Across The Lake Of Lost Souls” contains a bewildering retro synthwave vibe that would be perfect to listen to on a late night (or pre-dawn early morning) drive. Although it doesn’t quite get into full on Berlin School synth mode, there are definitely hints of that style and this seven and a half minute long track seems just too short for the amazing music that is on display here. Up next is the absolutely stunning, “Spell Of Entrapment”. This song has everything that I love in a synth track; it’s dark, full of emotion, tells a wordless story, has a huge retro vibe and is almost eleven and a half minutes long. Genre’s aside, this is possible one of my favorite synth songs of the year (from any genre). There is nothing I can say in this review that will give this song it’s due justice other than, every time I listen to it, I’m mentally removed from my current state of being and taken somewhere that I never remember visiting. What a huge effect from such an amazing song. The final track, “Within These Damp Walls I Found My Home”, end the album on a brooding, yet sincere note. There is depth and pain in the intonations that are played, yet I also hear a lighter side of Mystica Visio at times. It’s obvious this arrangement tells of agony and foreboding of the unknown, yet there is a certain peace with knowing the gruesome outcome. Droning synths pace the musical scales while illustrious keyboard effects take center stage with a lead arrangement that is almost deafening, but necessary for the narrative. This is the perfect track for ending this album as it sums up everything that Mystica Visio is all about.

With one foot firmly planted in Dungeon Synth and the other floating around in various other synth genres, Mystica Visio is one of those special artists that has what it takes to create something unique and special. ‘Mystica Visio’ transcends the genre spectrum and delivers a synth masterpiece and I also consider it one of my Album Of The Year contenders – yes, it’s that good. Don’t let the fact of this being a debut album fool you, as Mystica Visio creator – Gustavo Jobim – is a seasoned, synth veteran and an award winning composer (for his Original Soundtrack for the ‘Os Principiles’ movie soundtrack). If you’ve not had the opportunity to dive into ‘Mystica Visio’ yet, now would be a good time. Please support this astounding album by downloading it from the link below. I’ve also included a link to Gustavo Jobim’s solo works as well, so please give those a listen.

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Links:

https://mysticavisio.bandcamp.com

Solo Works Of Gustavo Jobim:

https://gustavojobim.bandcamp.com

http://www.gustavojobim.com

Coelus Cataclysmus Take Us On A Vexing Adventure That Declines To An Abhorrent Demise On ‘Solus Plaga’

The mysteries of a musical journey can be just as mesmerizing as the theme it is providing a soundtrack for. When a daring story line begins with a typically painless setting and transcends obscurity to end up grim and twisted, there has to be a unique listening experience to go along with it. Coelus Cataclysmus contributes exactly what is desired on the extremely versatile, ‘Solis Plaga’. Adapting to just about every thematic scene imaginable – in this story of cosmic destruction and the inevitable downfall of mankind that soon followed – a diverse mix of genres are fused together to arrange a boundless album of energy and creativity. From traditional dungeon synth, medieval synth & neo-classical, to droning soundscapes and retro-synthwave, ‘Solus Plaga’ generates a hefty forty eight minutes of playing time across nine unique tracks.

“One Last Hike” commences the doomed adventure with lush keyboard tones and traditional dungeon synth effects that drone slowly, but in a harmonious effort. Eerie soundscapes give the feeling of solitude and despair, yet the journey must go on. “Darkening Skies” establishes a beautiful Medieval foundation with its orchestrated effects and sorrowful melodies. High-pitched keyboard leads have an ominous texture, yet mix very well with what all is happening in the background. “Night Eternal Sets” is one of my favorite songs on the album, as it begins to introduce elements of retro-synthwave, contributing to the bleak atmosphere of the story being told on the album. The layers upon layers of somber synths have a dream-like quality and will have you wanting to listen to this one over and over again. “Cataclysm” is where the darkness really begins to seep through, as low-end drones barely penetrate the audible frequency ranges. Suddenly, dungeon synth leads ring out in bizarre desperation as it paints an oblique setting. Toward the end of the track, heavily distorted drones come crashing through to represent the beginning of the end of times. “Chrestomathy Of Dread” is a stand-out track with its anomalous creativity and fusion of both slow and faster drum patterns throughout the song. There are spots of peaceful ambient endeavors and other times, the main synth melody of the track shines through like a discernible addiction. “Bring Out Your Dead” starts with a malevolent synth chop with indistinguishable narrations or screams happening in the background and off in the distance. This track has a crushing Medieval vibe and there are several times where brooding soundscapes penetrate the mix to provide something a bit different. This is another stand-out track and they seem to get more gloomy as we reach the final few songs. “Rapture” begins with a sulking drone that soon explodes into a wall of symphonic patterns that clearly portray the end of the world (in musical form). However, after a few minutes of this cacophony of sound, layers of glowing synths suggest a grim aftermath of harrowing desolation. “Empty Lands” is another sonic track that is heavy on the distorted keys, Medieval-like percussion and occasional soundscape to keep everything together. This track has several symphonic twists and turns that are not only pleasing to the ear, but fully show what Coelus Cataclysmus is capable of doing. The final song on the album is the dreary, “Red Rain”. Full of emotion, this dismal track really sends the listeners to an oblivious state, as the collapse of civilization is complete and the only thing left is the atrocities of nature itself. The droning keyboards and bleak ambience really set the tone for this nightmare as the main keyboard melody is so beautiful, yet at the same time, so painful to hear. What a great way to end this spectacular album.

Coelus Cataclysmus have created a monstrous album (and storyline), where the music not only acts as the protagonist but ends up as the villain as well. There are no musical boundaries here, as multiple synth sub-genres coalesce as one to produce a breathtaking listening experience. ‘Solis Plaga’ is an adventure that must be heard to be felt and understood, and this album ranks highly amongst my Dungeon Synth favorites for this year. If you’ve not heard this yet, I can’t recommend it enough, so please support this magnificent work of art and download it from the link below.

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Links:

https://coeluscataclysmus.bandcamp.com/album/solis-plaga

Neo-Classical Elements And A Conceptual Medieval Tale Give Life To Almesbury Abbey’s ‘Queen Guinevere’

There are many stories that depict the life of Queen Guinevere, the nefarious wife of King Arthur, but one of the most regarded chronicles is her lustful betrayal of her husband and consequent affair with Lancelot. After a period of time, she returns to the King and is forgiven of her treacherous disloyalty. However, King Arthur decides to go pursue Lancelot, leaving Queen Guinevere in the care of Mordred, who has an ulterior motive of his own – a plan to marry the Queen. Fleeing his proposal, Queen Guinevere seeks refuge in the nun convent known as Almesbury – where she subsequently remained for the remainder of her life due to the humiliation of her infidelities. Much of this was paraphrased for the sake of this review but it’s such an intriguing story and the major influence for the album at hand. Almesbury Abbey, one of many projects by Arnaud Spitz (and the material contained within), is a rediscovery of compositions previously written but finally released on this conceptual album based on Queen Guinevere’s concluding years in the Almesbury convent.

Somber opening track, “Guinevere’s Gone”, begins with a hauntingly alluring melody that seems so full of sadness, yet offers a bit of brightness with the extended synth tones that weave in and out of the main keyboard passage. Keeping it simple, this song doesn’t build upon layers of synth leads and rhythms, but instead draws the listener in with its beautiful simplicity. “Mordred’s Curse” is where the excitement begins and the grim, Medieval arrangements take over. Layers of obscured synths and a sudden bit of pulsating effects, followed by nightmarish sounds give this short track a big presence on the album. “The Creeping Mist” is another enticing track that is full of wondrous melody and droning ambience to give this brooding dirge a full and really clear sound. The lead synth chops are used sparingly and in good taste, as they provide an additional warming atmosphere. Next up is my a favorite song on the album, “A Madness Of Farewells”. Commencing with a mysterious synth effect that fuses into an elegant, yet melancholic arrangement, this has to be one of the most memorable moments on the album. Medieval-style keyboard leads and layers of dungeon synth melodies complete this monumental song and in my opinion, it’s just not long enough. “Almesbury Gates” starts with blasting cathedral-like organs before developing into a modest dungeon synth arrangement. These two styles battle back and forth throughout the track with the occasional pulse effect, giving it a percussive feel. Toward the end, the melody changes and contains an echo effect, providing a grandiose sound. “Heathen Of The Northern Sea” is an enchanting piece that compliments the style of Almesbury Abbey. The lead keyboard chops are magical on this track and pay further homage to the traditional dungeon synth sound. “My Sinful Queen I Forgive Thee” has the characteristics (and sound) of a classical guitar composition with hints of retro progressive synth arrangements, with regards to tone and its progressive time signature. The final track on the album is “Beyond These Voices There Is Peace.” The choir-like vocal effects are both ominous and mournful at the same time. Medieval synth interpretations slowly crescendo into the mix and ultimately overtake the vocal effects all together. As more synth sounds are introduced, the more dismal the track gets, painting a very grim picture to close out the album.

Almesbury Abbey is a very fascinating project that contains elements of neo-classical, dungeon synth and Medieval compositions. Knowing that all of these magnificent pieces were written and inspired by the latter days of Queen Guinevere, makes it all the more worthwhile. If you enjoy synth music of a more intimate setting with hints of harsher overtones, I would highly recommend checking out ‘Queen Guinevere’ and supporting this prodigious artist by downloading the album from the link below.

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Links:

https://almesburyabbey.bandcamp.com/releases

Artists Of The Obscure Realm Conjoin To Finalize The Overture Militia Compilation Known As, ‘The Plan’

Label compilation albums are the perfect introduction for not only finding new and electrifying bands and artists, but to also dig deep and explore in a vast array of genres that we – for the most part – tend to generally only skim the surface. Earlier this year, Overture Militia Inc., a small label that spotlights artists of the post-industrial and dark ambient domain, released a valiant, eighteen track collection known as ‘The Plan’. Examining genres such as dungeon synth, dark ambient, drone, harsh noise & industrial, ‘The Plan’ is an hour and forty six minute journey into the oblique side of esoteric music. Although this is an amazing, yet bleak outing, I will further examine a few of my favorite tracks below.

“Ruination, The New Dawn Cometh” by Old Tower is the second song on the album and one of my standouts overall. Although most of the album consists of harsh, industrialized noise and dark ambient, this dungeon synth track fits in perfectly, with its austere sound, doomy tempo, and thick synth tones. There is a great bit of melody on this song, which is hauntingly beautiful. However, don’t get use to it because that vibe stops almost completely after this song. “Nursery” by Aseptic Void is the fourth song and it contains some of the creepiest dark ambient emotions I’ve heard in a while. The sound bit in the beginning – of children playing on a playground – adds an extra sinister awareness to all of the malevolent soundscapes that continuously possess the audio waves. Low-end drones and the occasional guttural narration is enough to give consistent nightmares. “Unhallowed” by Ursuper is the fifth track on the album and it continues in the dark ambient arena with a brooding, minimalistic approach in the beginning. It’s one of those tracks that slowly grows and builds to a climactic ending but you never know what’s going to happen in between until it actually does. At around the four minute mark, industrial affects increase in volume as if total annihilation is soon to happen. Over the next couple of minutes, this mechanized sound crescendos before slowly fading into oblivion. “The Horsemen Ride Out On Foaming Steeds” by Nordvargr is the ninth track on the album and probably one of my favorites. Nordvargr is such an amazing artist that consistently delivers appetizing music that borders post-industrial, black ambient, and death metal (specifically with the vocals). This track is a standout masterpiece on the album and the guttural vocals are what make this so appealing and unique. I could listen to this style of music all day. “White Sun Over Our Children – Exhale 22” by Miracle Of Love is the tenth track on the album and is just over ten minutes long, making it one of the longest songs on the album. Beginning with a short blast of harsh noise, it soon settles into a rhythmic drum & bass loop with minimal synth effects and soundscapes. Every so often, the drum beat alternates rhythms and the occasional harsh noise sample is thrown in for good measure and in good taste. For the last three or four minutes, the drum beats are replaced with drones and maniacal sound effects. “Hackfleisch” by Rubber Nurse is the eleventh and most evil sounding track on the album. It’s a near three and a half minute grueling drop into the abysmal hole of blackened industrial ambience, with a fair share of barely audible voice samples. Never the less, this sounds killer and I want to hear more by this artist! “Euer Hunger” by Todesritual, is the twelfth track on the album and is like listening to a scene from a horror movie. There are layered whispers, obscure field recordings, industrial soundscapes, and mild keyboard sounds, but they all come together in a frightening way and the final minute is an excellent throwback to the retro synthwave sound of the 80’s.

Overture Militia did an excellent job putting together this compilation of artist from varied backgrounds and genres. For those that are into obscure music and for those that don’t mind venturing into territories of the unknown, then ‘The Plan’ is for you. This album is sure to contain some artist or tracks that will get your blood pumping (or boiling), allowing you to continue following their artistic endeavors outside of this compilation. That being said, do yourself a favor and support the underground by downloading this album from the link below.

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Links:

https://overturemilitia.bandcamp.com/album/the-plan

Lunch Cult Bends The Knee To A Variety of Genres And Musical Influences To Present ‘Knights & Knaves”

When it comes to exploring new territories of music for some artists, some are a little apprehensive about taking risks while others compromise their original sound altogether despite reproach. One such collective is Lunch Cult, a LoFi Garage Rock Band that transcends experimental creativity but has never strayed too far from the pop/rock genre…until now. On latest album, ‘Knights & Knaves’, Lunch Cult fuses an improvisational blend of Dungeon Synth, ambient textures, crypt hop moments and synth effect wizardry to produce an eclectic concoction of three Medieval tales that will have the listener spying for influences throughout each track.

Animated album opener, “Return To Cucumber Castle”, sets things off in high gear as the somber synth tones are reminiscent of a jazzy, noir setting that slowly begins to incorporate layers of effects, hip hop rhythmic beats and hypnotic keyboard effects that perfectly harmonize with the main chop of the song. At about the halfway point, a fast drum beat takes over and plays along side the main keyboard section. This combination of fast beats and slow keyboard arrangements go over really well and flow perfectly into the next section of the song, as if it’s taking after a 70’s prog rock instrumental track. As the song climaxes in the final minute or so, all of the arrangements come together in unison and slowly fade out to a improvised saxophone section. Up next is the eccentric “Knavesong”. Random keyboard licks, percussion grooves and saxophone notes, come together as individual improvisations but can be easily interpreted as a single and relevant composition. There are parts of this track that remind me of of the OLD (Old Lady Driver) track, “Backward Through The Greedo Compressor” from their 1993 album, ‘The Musical Dimensions Of Sleastak’. Like any fusion-era jazz composition – that seemed wildly random at the time – this kind of music is an acquired taste for some and an audible gem for others. I fall in the latter category and commend Lunch Cult for their creativity and output, and for remaining open to ideas that unfold across multiple genres. The final track on the album is the twelve minute long “Knightsong”. With more of a straightforward approach, Lunch Cult takes the listener on a Medieval journey with brooding Dungeon Synth sounds that are augmented by haunted rhythmic beats and ambient sections. Although it is more minimalistic than the other tracks on this album, it has a heafty output and at times sounds chilling. There are small bits of chiptune thrown in at random and the peculiar noises that fade in and out throughout, are done in great taste. There is an awesome video premier for this track below, and I highly recommend checking it out. It’s really entertaining and put together very well with a comedic, but impeccable storyline.

If you take the time to peruse through Lunch Cult’s Bandcamp discography, you’ll probably reach the conclusion that there’s truly no accounting for musical taste. The sounds you may hear on one album will be completely different from the next. That couldn’t be further from the truth when it comes to ‘Knights & Knaves’, as it includes rich ambient textures, Dungeon Synth overtones, a little bit of quirkiness and a considerable amount of anything else that can be processed to compose magical musical endeavors. Check out the awesome video for “Knightsong” (below) and support this unique band by downloading ‘Knights & Knaves’ from the link (even further) below.

Video Premier of “Knightsong” (Official Music Video):

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Links:

https://lunchcult.bandcamp.com/album/knights-knaves

Mora-Tau Lets the 70’s Minimalistic Space Rock Influences Shine Bright On ‘The Light Of The Winter’

The calm demeanor of minimalistic music can evoke all sorts of human emotions. The vast listening experience is like an endless field of dreams and nightmares, all rolled up in one, and depending on your psychological state, it could allow for one of the best experiences ever. This is especially true when we realize that the ambient music that is providing this backdrop, is heavily influenced by spacey elements of 70’s progressive synth music – especially the monumental sounds of Tangerine Dream and the brilliant solo works of Klaus Schulze. Luminous Japanese recording artist, Mora-Tau, maximizes these influences on a spectacular new release called, ‘The Light Of The Winter’. The four improvised – but majestically written – tracks on this album will catapult the listener to a cold, surreal world where there is no limit for crafting a story for blissful meditation.

The ultra silky sounds of the the lead off track, “The Light Of The Winter”, is reminiscent of a jazz noir piece that has improvisations in the perfect spots to create a hauntingly beautiful moment. As the synth volume increases and the play becomes more sporadic, the listener is cascaded back into an era where time was slower and gray weather drifted in between sun rays at a snails pace. Although this song is filled with many peaceful moments, there is a sense of dreadful nostalgia in the background that always makes its presence felt. Up next is the twenty five and a half minute long “Cityscape”. Without rushing a single note, the track starts off with dreary deep tones and oppressive melodies that represent a cold, dark and miserable time where the infinite clock paints a mesmerizing picture of never ending despair. Slowly, additional soundscapes are added to the track, bringing a great variety of light and dark ambience to the mix. At around the halfway mark, layers of drones begin to build, creating a climactic effect. Even though this is an extremely long track, it continues to build and garner strength throughout its duration, making it a wondrous journey to be a part of. The next track, “For The Memory Of The Earthquake” is a fascinating song as (in my opinion) it pays homage to the 2011 Tōhoku earthquake (and tsunami) that decimated parts of North Eastern Japan. Coincidentally, I lived in Japan during that time and experienced some of the effects of this disaster and would never want to relive that situation again. Anyway, back to the song at hand as it contains somber instrumentation with a very minimalistic approach. It’s almost as if the artist is reliving the experience in slow motion and the music is creating a positive outcome from such a negative event. Retro keyboard tones really stand out on this one as the improvised moments take us back to the old days of synthwave. The final track on this illustrious album is the near twenty one minute long “New Moon”. Starting with deep modulation tones that reverberate as a solid foundation, odd synth tones slowly build and create a mild frequency havoc when some of them are pinched together. However, this is a necessary part of the track as the sound waves continue to build until they are replaced by clear, piercing drones. Bizarre improvisations fit in rather well during this moment and even make this a standout track on the album. Soon, ordinary synth tones begin to layer in a harmonious effort to bring much needed light to this track. More retro synth sounds are added, along with mysterious keyboard effects, to present an irregular ending. Although it fades out with a few minutes to spare, it abruptly fades back in with a systematic closing that summarizes the fascinating style of this album as a whole.

Mora-Tau is an extremely compelling artist that is full of vision, even when creating long, epic tracks full of improvisations. ‘The Light Of The Winter’ not only captures retrospective synth moments, but it also finds common ground with dark and light ambient compositions, making for an extraordinary production effort. I’m eager to hear more from this talented artist and I highly recommend checking out this album as soon as possible. Please show your support and download ‘The Light Of The Winter’ from the link below.

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Links:

https://kalaminerecords.bandcamp.com/album/the-light-of-the-winter

Sa Bruxa Brings Ominous Nightmares To Life With Perilous Soundscapes On ‘From The Depths’

Have you ever had one of those dreams or nightmares that seem memorable, but when you wake up, you just can’t seem to recall the events that took place? Then, at some random time you come across an object or engage in a conversation that has you suddenly evoking those thoughts from the subconscious that haunted your mind. Fortunately, that scenario will never happen with Sa Bruxa’s ‘From The Depths’, as its chimerical induced soundscapes and chilling drones have the capacity to shift its nightmarish narrative from the subconscious dream state to a ghoulish reality. Containing just a single, nineteen and a half minute track, Sa Bruxa shares a dark and relentless scheme of grim proportions that will have you wishing that your nightmares never existed in the first place.

The albums’ only track, “From The Depths” commences with thunderous tones from the apocalypse, while crisp keyboards play a dismal melody. As this daunting sound continues, an underlying and unorthodox synth synchronizes to condense the sound. In the background, layers of soundscapes and field recordings are contributing to the hellish result of this offering. At around the five minute mark, all of the chaos descends into darkness while a distant drone plays a steady tone. The sound of slow, heavy footsteps (or unknown movements) creep around as if someone is on the hunt for another victim. Random synths and effects produce a harrowing affect as anticipation continues to build. Inaudible voices can be heard off in the distance, adding another layer of mystery to this horrifying track. At around the eleven minute mark, the drones suddenly increase in volume, as terrifying sounds of someone getting closer – and dragging a weapon of sorts – conjures thoughts of imminent and agonizing pain. As the drones continue to increase and decrease, an intense deep breathing sound pulsates loudly, enough to give you a sudden dose of the chills. This happens one more time – less intensely – and then the reverberating drone fades out slowly to end the song.

‘From The Depths’ is a very intense recording and demands the attention of the listener. Although it contains the typical setup of a Dark Ambient recording – drones, field recordings and soundscapes – there is a lot going on and it takes shape quicker than your typical Dark Ambient album. That being said, this near twenty minute long track seems a lot shorter than it actually is. If you’re into the horror and fantasy realm of Dark Ambient, I would definitely recommend checking out Sa Bruxa’s ‘From The Depths’. Please support this innovative artist and download the album from the link below.

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Links:

https://sabruxa.bandcamp.com/album/from-the-depths-2

Count Shirintsu Infuse Traditional Sounds Of Asia With Meditative Synths On ‘Spirit Of The Earth’ EP

The sounds of the Orient have such a soothing & amazing tone and the aesthetics of it’s energy certainly fit in with synth music. In this case, Dungeon Synth perfectly fits the mold for what Count Shirintsu has accomplished over the past several recordings. On latest effort, ‘Spirit Of The Earth’ EP, there is a buoyant sound that provides an introspective look at ancient Asian culture as well as the delicate side of Dungeon Synth music, entwined uniquely across three short, memorable tracks that are superbly written and contribute to a unique side of the genre.

Album opener, “Spirit Of The Earth” begins with a hearty amount of retro synth wave modulations, followed by an exquisite lead keyboard chop that maximizes on melody and early-morning visions. This would be a perfect theme song for an 80’s throwback television show. Even though this track is just over two minutes in length, there is a lot going on and it’s the perfect introduction to the Count Shirintsu sound. Next up, is the ethereal sounds of “稲荷大神”. This is where the music of Asian influences really shine, as the into harmony resembles the twang of oriental stringed instruments. After a bar of of this enthralling endeavor, it seamlessly blends with with additional layers of Far East sounds. This wonderful refrain continues with the inclusion of several instances of lead instrumental work that puts the listener in the heart of a peaceful Byzantine land, where the culture is at the forefront of all other endeavors. Field recordings of flowing water in random patterns and the calming natural sounds of chirping birds complete this meticulous track. The final song on this EP is “Spirit Of The Earth (Reprise)”. Containing the same melody of the album opener, this reprise is a single keyboard recording, stripped down to the original beauty of the arrangement. This is an excellent Dungeon Synth track that is charmingly played and on several occasions, when the half-notes are hit, a sense of awe will embellish the listener.

Count Shirintsu is such an amazing artist with an amazing ear for beautiful melodies that stretch across multiple genres and cultures. ‘Spirit Of The Earth’ is not only a relevant Dungeon Synth recording, it is also an eclectic piece for synth music in general, and that is an amazing feat in itself. I know this was just an EP but I would have loved a full-length album of this material to soak up for a longer period of time. At any rate, this is an excellent album and I can not recommend this enough, so please click on the link below and download this incredible piece of work.

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Links:

https://countshirintsu.bandcamp.com/album/spirit-of-the-earth

Diaspora Psichica’s ‘Eprom’, Interprets The Horrific And Unhinged Ordeals Of The Artificial Intelligence Era

We’ve all seen the movie; an artificial intelligence (AI) being of some sort turns against its maker or civilization and provokes all sorts of havoc. A glitch in the system causing a reactionary output that has nullified all previous code and syntax, is now enemy number one. If you’ve not seen the movie, I’m sure you’ve read the book or have watched the TV show or at least have envisioned a scenario similar to this. In the computer age, things like this aren’t supposed to happen. Systems and components are presumed to work and function as designed. Even if there is a bug or malfunction, a failsafe is typically written to prevent the devastating effect of a hostile machine takeover. On Diaspora Psichica’s latest album, ‘Eprom’, a ghastly nightmare unfolds that is the equivalent to a systematic meltdown of frenzied proportions.

At the commencement of this album is the eccentric “Trasmisson”. Luminous sound effects race hysterically from one speaker to another as if the system startup is commanding an explicit set of code from memory. However, the narrative throughout the track repeats the same seven words over and over again, exhibiting a glitch in the system. Cosmic sounds and noises provide further evidence of a system failure, as this track finally ends, never completing the startup process. “Vision” begins with daring, low-end drones and minimalist but vibrant synth tones that are eerie and perplexing. More systematic narratives commence – a few words at a time – as if providing clues to a code. “Equilibrium” starts with a bizarre synth wave loop as if the balance of AI and Human intelligence is stuck in a type of EPROM, unable to be erased, and now must work together somehow to overcome this disaster. A deep voice can be heard providing details of their predicament. Although the voice is human-like, it definitely represents the machine. “Daleth” commences with industrial synth loops and samples, and a few oddities thrown in the mix. A few wandering drones fade in and out of the mix while a cryptic narrative repeats the same eight words over and over again. Coincidentally, each word starts with the letter D. Without warning, the track suddenly fades out. Next up is “Vertigo”, with pounding drones and enough pulverizing looping sounds to cause a panic. Searing high-pitched synth tones race through the speakers at several different random times to keep this track compelling and aggressively dark. “Afternum” is a short track of bleak drones that sound as if they are slowly breathing. Maybe this is the AI finally coming to life due to the continued interaction with human intelligence. Random thoughts regenerate at the end of the track in vocal patterns that sound straight out of a horror movie. “Hysteresis Human Mind” is the most sinister track on the album as the monotonous drones are austere in nature as well as the jumbled sound effects placed throughout. The humanoid narration – matched with this music – is completely frightening, and it continues the same format as previous tracks, in that it repeats the same few words over and over again. The final track on the album, “Thelema” is completely different from the rest of the tracks, containing an astonishing drum beat to go along with sound effects placed in a melodic pattern. Synthesized narrations play a key part in this track as well, giving it that futuristic – but at the same time, retro – feel to it. This is the perfect track to summarize this intelligent but disturbing album.

Diaspora Psichica have created a monumental album in ‘Eprom’. Although this album was recorded a few years back, it was recently brought to my attention and I’ve enjoyed this album very much. I’m very much looking forward to hearing more from this artist and I dig their unique style and quality. ‘Eprom’ is available as a FREE DOWNLOAD from the link below, so do yourself a favor and add this amazing album to your collection.

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Links:

https://diasporapsichica.bandcamp.com/album/eprom

The Genre Eclipsing, Progressive Synth Compositions On Jenn Taiga’s ‘Plight’, Are Nothing Short Of Extraordinary

This album has been in my queue to review for several months now but due to my hectic schedule and backlog of review requests, it’s taken me longer than expected to get to this. Well, the time is finally here and I must say that this is one of my most anticipated reviews of the year. Jenn Taiga is a phenomenal musician and songwriter and on her latest effort, ‘Plight’, the bar has been raised yet again, as two long-form compositions show strong multi-genre influences including Berlin School, 70’s Progressive Space Rock, Krautrock and avant-garde. In addition, these pieces will take the listener on a retro-futuristic journey like no other.

The opening keyboard arrangement from “Solivagant” sounds similar to an outlandish communication pattern from an unidentified craft from outer space, trying to make an initial contact. After a few minutes of this abstract melody, it dwindles down into a decaying deep tone to make room for a slowly ascending synth pattern that sets a galloping pace while various leads fill the airwaves with crushing sounds of nostalgic audible poetry. At various times throughout this twenty plus minute track, the galloping rhythm in the background changes octaves to match the cacophonous effort that continues to take center focus. At around the nine and a half minute mark, the background sequence is modified into a slightly different rhythm, bringing a new found dexterity to the track. The continued use of various effects on the lead parts are simply exhilarating and it’s just so easy to close your eyes and get lost in this massive adventure. The second and final song on the album is the massive twenty two plus minute long ‘Proteus’. After a few seconds of silence, harsh modulations permeate, creating a sense of isolation, then frantic frequencies spread at a rapid pace before an old-school synth interpretation begins a trotting loop. Layers of lead synths and keys build a massive wall of sound that takes the listener back in the past and forward into the future, as if they’re embedded into an 80’s style video game with modern technological themes. The swaying, saucy synths around the fourteen minute mark are some of the most intriguing works on the album and definitely one of the highlights for me personally. I could listen to this stuff all day! The final four minutes of this track are special as well, as the echoing effects on the keys are both eerie and compelling. As the end approaches, the echo effect increases, becoming louder and more predominant, ending this album on a distraught high note.

Jenn Taiga has created an extremely special album with ‘Plight’. With hints of retro, Berlin School influence from artists such as Klaus Schulze and Tangerine Dream, as well as progressive space rock from the 70’s, there are also modern twist and turns to keep the sound fresh and relevant. This album does an excellent job of absorbing the listener and emerging them into a completely different world for it’s forty three minute duration. Without a doubt, it’s one of my most played albums of the year, and the cassette release sounds even better. I highly recommend checking this out and supporting this exceptional artist! Click on the links below and enjoy ‘Plight’!

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Links:

https://jenntaiga.bandcamp.com/album/plight

Cassette Release:

https://tridroid.bandcamp.com/album/plight