Eyre Transmissions XXVII: Interview With Dungeon Synth Maestro, Guild Of Lore

Chances are, if you’re reading this, you’re already familiar with the music and fantastical tales of Guild of Lore, but if not, you’re missing out on one of the most revered acts in the genre. Not only is the music consistently outstanding, but the conceptual worlds and landscapes paint a picture of Medieval admiration and enchantment. As if that was not enough, Lamp & Dagger was created and offers a assortment of hand crafted candles, with mystical scents to match a variety of darkened realms. I recently had an opportunity to interview the mastermind behind Guild of Lore to discuss the magnificent force that drives these projects (and several others) to their peak consummation.

1. What an honor it is to have this interview with the great Guild of Lore! How have things been going for you lately?

Things have been going swiftly. Last year was a crazy roller coaster for me, both in my personal life and in music. Felt like a constant mixed bag of good and bad, which I won’t get into. But I say “swiftly” because it felt and continues to feel like time is just moving too fast for my liking. Which I suppose comes with the fact that I’m approaching 50. I am planning on relocating to another state this year, so I imagine that won’t be changing anytime soon. All in all, doing alright.

2. Take us back to the inception of this project. How did you come up with the idea for Guild of Lore and what influenced the name?

Seems like ages ago. I had been working on another project over the Summer of 2018 and was pretty frustrated with it after a couple of months. I kept beating it, twisting and turning it and pulling my hair out trying to get something out of it. To the point that every time I’d try to work on it, I was just making it worse. So somewhere in October, I finally chose to drop it completely, archive it and work on something totally different. That particular end of the year was a cold one. A lot of rain, lots of snow in the mountains and grey and foggy days. Pair that with playing through Skyrim for an umpteenth time and listening to a lot of neo-folk and dark ambient stuff and I had the necessary ingredients for what was to become GOL. Which led me to writing Winterstead and writing differently than I had been in the past. Really taking in my surrounding atmosphere and channeling the type of feelings that Winter can bring. I allowed myself to write freely without expectation, being more influenced by these images of places I had drawn up. I was making a lot of the art at the same time I was recording. As far as the name.. It took a while to fall into place. I probably had 50 different names I was playing with, not one of which I can remember. But both the words Guild and Lore were peppered in there and if I remember right, I looked at them all one night and saw those two words together and it just locked in. I knew that I was building a world which would be rich with lore and thus the Guild was born to record such lore and stories.

3. You’ve created quite a few albums that are in the Winterstead realm. First of all, what a fascinating and creative world it is. How did this concept come about?

As I said, it all came about simultaneously during the Fall and Winter of 2018. I was writing its background and short stories while writing the music and drawing the art all together. I have a deep love for these two seasons, so they played a big part. But Winterstead quickly grew on its own. To the point that I would sit back a lot of times and ask myself where this or that came from. It would just develop itself. I think that’s when I first realized that this world was much much bigger and that the territories of Winterstead were just one massive part of that world.

4. The first Guild of Lore album, ‘Winterstead’ came out in 2018. Did you have any Dungeon Synth projects going on before this?

No I didn’t. I mentioned earlier that prior to writing Winterstead, I had been working on an album from a different project. That was for my project called Breather1, which ironically, I had created years prior as a means to take a break or “breather” away from whatever project I might be working on at the time. And honestly I don’t even remember what I was working on in early 2018 that steered me to work on a B1 album. But I do find it very peculiar that the Breather1 album that I was working on to get away from some other project ended up frustrating me enough to put it down to create an entirely new project out of thin air. Perhaps divine intervention? Perhaps the intense effects of the elements. Whatever it was, it helped give birth to my first Dungeon Synth project. A point of interest for those curious. The B1 album that I was working on at that time would later end up being Studies From The Outer Worlds. Which I went back to and completely deconstructed and rebuilt at the beginning of 2020.

https://guildoflore.bandcamp.com/album/winterstead

5. Musically, Guild of Lore has a vast instrumental sound. Do you use a mix of electronic and acoustic instruments?

Yes. But for the most part the majority of it is electronic. I have a lot of acoustic instruments that I am partial to within my DAW. However, on the analog side I’m a bit of a percussion junkie. So there are percussive instruments throughout the discography that have been recorded direct and to analog tape. A lot of which I have sampled as well and integrated into my workstation. Ideally, I would love to own all of the acoustic instruments that I use physically such as the dulcimers and lutes etc. But limited space and life realities have kept those dreams at bay for now. Hopefully the new Guild headquarters will have plenty of space to accommodate new instruments.

6. My introduction to Guild of Lore was the 2019 release, ‘Autumn Massacre’. This is still one of my favorite Dungeon Synth releases. What was the journey of this album about?

Well, my love for Halloween and the Autumnal season played a huge part. And I had already been chomping at the bit to introduce a part of the world that had all of the fantastic things that Autumn brings. Much the same way Winterstead was written, Autumn Macabre took shape quickly and really wrote itself. I took a lot of inspiration from my childhood growing up in Visalia, my home town. Which ended up translating pretty heavily to both the music and the artwork. Foggy cornfields and pumpkin patches. Groves of oaks and walnuts. A countryside filled with mystery and decrepit graveyards unattended all while a sense of foreboding darkness lingers on the edge of sight. The foothills at the base of the Sierras used to be prime for exploring and finding relics and ruins, even if they weren’t that old. Imagination can take you to many wondrous places. The journey, to answer your question, was just that. A romp through all of these places I’d imagined over so many years. Some dark and frightening. Some not so much, but those came out more on Bohollow.

https://guildoflore.bandcamp.com/album/autumn-macabre

7. Is the ‘Autumn Bohollow’ release a continuation of this concept? If so, do you have any future releases that will continue this story?

It is. Over the course of writing these albums, it became very clear to me that there were ongoing stories happening in different locations of the world which would lead to multiple albums just based in those locations. Some even overlapping and converging like the way Bohollow ends for instance. Calling for a return to Winterstead, which we have now done and laid the groundwork for yet another Winterstead album to continue that part of the story. However, when concerning the Autumnal lands, the story is far from over. In 2022 I began writing the 3^rd Autumn album, which I had very briefly teased at releasing that year. I quickly retracted that idea though. I was approximately 16 tracks deep with a written story that was growing bigger and bigger everyday. I knew there was no way it was going to be ready by October. So I made the decision to throw a curveball into my discography and switched gears to write Night of Halloween. After releasing the Portals albums, I figured why not go through a portal to 1988 USA and put out a Halloween synthwave album? Do some spooky tongue in cheek narrative and give it a 4/4 beat. It was a fun one to make indeed! All the while, I continued to write the 3^rd Autumn album and the story kept growing. When I first started, I had a lot of plans to have a full narrative with multiple characters and dialog. And that may still happen, but I’m not too sure, the story is already beyond that of short story length. As I continue to write it, I find myself considering releasing it as a printed book. Which I have long wanted to publish a GOL book as it is, so this may very well be the first to come as it were. The album would obviously need to come at the same time, so as you can imagine it’s a rather large undertaking. I dare say, more so than any other album I’ve written.

8. Tell us how you got involved with The Spine of Night project. The music and the movie were both incredible. How rewarding was this project to do and complete?

I was contacted by Philip in late 2019 after he had listened to Autumn Macabre. He asked if I would be interested in writing a piece for a film that he was working on. Sent a few details about the movie and what he was looking for and I in turn said yes of course. I was excited to work on a soundtrack for film, however the timing of the offer came when I was organizing Dungeon Siege West and preparing to fly to Seattle. You could say my plate at that time was pretty well stacked. Regardless though, I managed to work on the music for Spine of Night even while doing DSW. Which I believe I completed in January or February of 2020. I ended up recording seven tracks for the film, four of which were used. I really enjoyed writing for film and the experience was invaluable. It honestly made me want to find a producer to do some GOL work. Maybe a GOL movie or a series? You never know.

https://guildoflore.bandcamp.com/album/the-spine-of-night

9. Do you know if there will be a Part II for this as well?

That I do not know, I suppose it’s possible. I’m sure a lot of people would love to see more of that world, myself included.

10. The latest Guild of Lore album, ‘Return To Winterstead’ was a surprise Christmas drop. First of all, THANK YOU! What made you revisit the Winterstead theme?

I knew early on that there would be a return to Winterlands and Bohollow is meant to segue into that return. As I mentioned previously, this album was to lay the groundwork for another, exposing some new locations and to give the listener a welcome back into the snow. But as we know from the journey in Bohollow, all is not well in Winterstead. The Macabre has grown and spread to the snowy land and has given reason for a call to arms. The album was written much in the same style as the original was. Winterstead has always felt more stripped down and organic to me. I opted to use minimal field recordings and used the soundscapes as interludes so that it was more focused on the acoustic songs for the return. These to me tell the stories of this land and help to paint a vivid picture for the listener.

https://guildoflore.bandcamp.com/album/return-to-winterstead

11. I’d like to talk a bit about your Lamp & Dagger label. What a unique concept to not only release some of your other musical projects, but your very own candles as well. How did this endeavor come about?

I am a candle fanatic which has led me to spending a lot of money on them over the years. At one point I stopped and thought, it’s got to be cheaper just to make my own. From there, I fell head first down the rabbit hole. Started ordering supplies and learned how to make them by trial and error. This and the label all sort of came together at the same time. Friends Fen Walker, Sombre Arcane, Shrouded Gate, FVRFVR and Halm had all been artists that I enjoyed, who in talking with had expressed interest in releasing physical material on the label. And I wanted to corral my DS projects under its umbrella as well, keeping with the same level of physical releases that I had been doing with GOL. Pairing the candles with physical releases was something I’d been wanting to do as a form of further immersion for the listener. Having the artwork, the music and the scent of the places they’d travel you to helped to accomplish this. Brendan Elliot became a big part of this as well. His artwork is hands down some of my most favorite out there and the paintings he has done for L&D definitely help to create fantastic places for the listener to visit.

12. I’m also a fan of your Pathworn Pilgrim project and it’s showcases a different creative space than Guild of Lore. How did this project come about?

Pathworn was created simply out of my love for The Elder Scrolls. My introduction into that universe was through Morrowind years ago, and has long been a favorite place to revisit. Equally, Cyrodiil and Skyrim both get revisited often each year. Pathworn acts as a means of tribute to these places and looks to expand even further on the musical aspects, giving the listener yet another perspective therein. It’s a project that has been received well within the community and that I very much enjoy working on. Many have asked whether there will be an Oblivion based album, to which I will answer, yes.

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

13. The Lamp & Dagger “Halloween” releases were incredible too but last year, you created a separate page for Halloween Scene. Why wasn’t that one release on Lamp & Dagger.

I loved This Tape Is Haunted one and too. Aptly named by my friend Brenden, who was loosely putting a spin on the old “This Magazine is Haunted.” The artists on those compilations did phenomenal work and I really enjoyed putting it all together. But this past year I had to come to a decision on whether I was going to continue with it or not and ultimately chose not to. The story for those two albums was pretty straight forward. Making your way to a haunted house as well as the surrounding areas and then actually exploring the inside of the haunted house. It seemed proper to leave the two at that. Though as I have said before, I love Halloween and I love Halloween music. Especially the old sound FX cassettes from days long gone. I used to love collecting those in the 80’s no matter how cheeseball they were, I’d have a bunch lined up for listening throughout October. So came Halloween Scene, which is essentially an extension of the idea that started with This Tape Is Haunted. The project intends to be an audio magazine of sorts with one release per year during the witching season.

14. Will you continue to release annual Halloween albums?

I fully intend to!

15. In 2022, you released a Dark Noir/Dark Jazz album under the moniker, Radio Roadhouse that loosely pays tribute to Twin Peaks. How did this come about and will there be any more releases?

I have long been a fan of the work David Lynch does. But beyond anything he has done, Twin Peaks remains my all time favorite. Before the grand invention of the internet and streaming services, I used to have a marathon once a year where I would just soak up all the Twin Peaks I could. These days, with it readily accessible, I find I go back even more. I watched a lot that year as well as the previous, which ultimately led to me wanting to do a tribute. I’m a big fan of all things jazz and I love the moods that jazz noir can set. Obviously Angelo Badalamenti was a huge influence in that sector, Bohren too as well as my old friend Manet. I really just wanted to expand on some of the things that I loved most about this place. Everything from the campy cheese to the down right dark and scary. And before I knew it, I had an album. Which I quickly had to put a lid on, because it was growing way too fast in track count. Originally it was meant to be a one and done project, but I’m not so sure now. The desire to do more jazz and jazz noir comes and goes often with me. And it has a tendency to leak into other projects a lot. You can find it especially in B1 and even GOL.. So I may end up going back to Radio Roadhouse just to fulfill that need and expand more on some Twin Peaks ideas.

https://radioroadhouse.bandcamp.com/album/the-sounds-of-twin-peaks

16. I can’t end this interview without mentioning Breather 1 – the dystopian-based, chillwave/synthwave projects with a handful of amazing releases. What brought about this project?

Breather1 was originally intended as an escape for me. Something to switch gears and get away from other projects I might be working on. I learned that it was good for me to have multiple projects to bounce between so that I would encounter less writer’s block and tunnel vision. It was also my excuse to do sci-fi/space music, something that at first I didn’t have to take too seriously. That began to change after the Outer Worlds album when it really started to develop a more synthwave/cyberpunk direction. With no intention of putting it into a box of course, the project still remains loose to me, without boundaries. But it has become pretty evident in direction.

17. I absolutely loved ‘The Noodle Bar’ and am hoping that ‘The Sushi Bar’ will be a future follow-up (LOL). Do you have plans to continue this synthwave endeavor?

I think it’s inevitable that the project is going to continue down this path. I like the material and the world that it’s sitting in right now. And I have often thought about doing a follow up to Noodle Bar, perhaps another mystery that takes place in this dystopian city. But we shall see.. I also would like to expand further into another Drive album, which is something I really enjoy working on. I like solo drives at night with minimalistic, repetitive almost drone synth music playing. I used to do that a lot. Go find some roads on the outskirts of town and just get lost driving. It’s good therapy and helps to clear the headspace.

https://breather1.bandcamp.com/album/the-noodle-bar

18. What are your musical plans for 2024? Do you have any physical releases (cassettes, CD’s, etc.) planed as well?

Yeah, this year is going to be very busy for me. Firstly, preparing to relocate to the state of Texas will be a pretty big venture. My wife and I have spent the past year working on this and even spent some time there last Spring to scout locations. It will surely be an adventure with our three dogs, five cats and the possibility of even bringing along a couple of strays that we take care of. I know it’s not the most ideal place for someone who is a Fall/Winter lover and is used to having access to a massive mountain range. But as they say, change is good and opens new doors. And with the recent surge of DS artists and live shows happening in TX, I’m really feeling optimistic about the move. This is obviously going to directly affect everything I do from L&D to writing music. I’m hoping that once settled I can get back to work on both as I am way behind on physical releases. And I get asked a lot about that. There are plans to release the albums that I have done over the past year physically. When it will happen and in what capacity I just don’t know yet, which I imagine is just as frustrating to fans as it is to me. But rest assured, these things are constantly on my radar.

19. I really appreciate your time and most of all your music and friendship! Do you have any final thoughts for those that may be reading this interview?

I would very much like to express my eternal gratitude to all of the folks out there who continue to listen to and support what I do. None of this work would exist without them. So a very big thank you to all of you. And a huge thank you to the dungeon in deep space for everything that it has done and for having me here for this interview. This site has been an instrumental place for getting the word out on dungeon synth and dark ambient that people might not otherwise know about. Much respect to you for that! I am looking forward to this new year and to all the new adventures that it brings!

Links:

https://guildoflore.bandcamp.com

https://lampanddagger.bandcamp.com

https://halloweenscene.bandcamp.com/

https://pathwornpilgrim.bandcamp.com/

https://radioroadhouse.bandcamp.com/

https://breather1.bandcamp.com/

https://www.instagram.com/guildoflore?igsh=ZGF5bGJ3dHhjaGh4

https://www.instagram.com/lampanddaggerco?igsh=d3J2YnM1YzZrNW1k

Tir Creates An Acoustic Folk, Dungeon Synth Crossover Spectacle On The Enthralling ‘Awaiting The Dawn’

Even though 2023 has come to a close and 2024 will most likely bring another hearty dose of Dungeon Synth releases, I’m still enjoying a vast amount of Dungeon Synth albums from last year. There are so many great albums that I didn’t get a chance to review and one of them is ‘Awaiting The Dawn’ by Tir. I figured, what better opportunity to discuss this album than to make it my first official review of 2024. Ever since the release of ‘Mountains’ in 2016, Tir has consistently released top-quality albums that transcend any single musical genre. Fast forward to 2023, we find the release of ‘Awaiting The Dawn’ continuing the cycle of inspirational and cinematic Dungeon Synth music. Containing nine beautiful tracks that showcase tranquil, acoustic guitar compositions and backed by natural field recordings and serene synth textures, you’re definitely in for a treat.

Angelic album opener, “C’est La Fin (Part 1)”, immediately caresses the ears with a soothing acoustic guitar passage, with the backing of layered synths. After a short pause, radiant vocal melodies join in to produce an alluring experience. “Where Shadows Dance (Part 2)” is a short acoustic tune that is more straight forward than the opener and procures a hasty indulgence, especially with the harmonized vocals and abbreviated length. Up next is “The Mists Of The Eternal Meadows”. With more of a neo-classical essence, the layered acoustic guitars are mesmerizing on this tracks. Luminous ambiance can be heard in the background, adding an emotional aspect that can be felt down to your internal core. There are some wonderful nature samples as well, giving this track a heart-felt scenery that represents a particular calmness. “In The Essence Of Dying” begins with the subtle sounds of nature before galloping guitar arrangements sound off in glorious fashion. By the time the synths kick in, this track begins to take shape as a folk anthem for the ages. About halfway through the track, the sound grows dark and a short narration becomes the focus. Eventually, the track gets back to the original melody before coming to a conclusion. “A Letter Hooked To The Cloud” commences with a somber piano piece, which is soon joined by a mournful stringed instrument. Both instruments complement each other in the most lugubrious of ways, as this short piece remains sorrowful until its ending. “Threads Of Time” picks up the pace again with a traditional guitar strum, complimented by engaging synth leads. There are some gothic style vocals that fit into this track very well and the more I listen to it, the more this one becomes my favorite song on the album. At nearly nine and a half minutes, “An Unspoken Lament” is the longest canticle on the album. Beginning with an earnest piano chop, a sonic Medieval soundscape soon develops in a melancholic way. With a variety of alluring instruments, this is one of the most cinematic offerings thus far. Eventually, the electronics give way to dueling guitar strums, adding another exciting aspect to this track. As closure draws near, the guitars fade and soft synth leads provide a smooth ending for this fascinating piece. “The Path Of The Dandelion Seed” is a short guitar tracks that plays a wondrous melody over and over again while a lightly flowing stream and chirping birds furnish the natural ambience. The final track to complete this amazing listening experience is “Farewell Ballad”. Just as the title suggests, this track is a gloomy serenade that encapsulates the crux of the entire album, not only dynamically but spiritually as well. Although the guitars are not as dominate here, they can still be heard and provide a brilliant dynamic to the layers of synth leads.

Although Tir doesn’t release as many albums as his other Dungeon Synth counterparts, the albums in his discography are simply amazing and are of the utmost quality. From instrumentation and songwriting to the excellent production, Tir never misses the mark. ‘Awaiting The Dawn’ is no exception to this as this may be his greatest musical achievement yet. Even though this album was released last April, and I’m just now writing about it nine months later, that should tell you something about its radiant charm. Please click on the link below to check it out.

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Links:

https://tirofficial.bandcamp.com/album/awaiting-the-dawn

Top 10 Favorite Dungeon Synth Albums Of 2023

This was a very interesting year for Dungeon Synth. There were many fantastic releases from some of my favorite artists, surprising releases from new projects, while other artists fell silent for some reason or another. However, I found solace in a plethora of albums that made an impact on me in various ways. Many of those albums are listed below, in my Top 10 Dungeon Synth releases for 2023. I hope you enjoy this list as much as I do and if you’ve not heard of some of these artists, please check them out and support them in any way possible. Happy readings, Happy New Year and I’m looking forward to another fantastic year in 2024.

10. Tales Under The Oak – The Toad Alchemy

https://talesundertheoak.bandcamp.com/album/the-toad-alchemy

Tales under The Oak are back with the fourth installment of amphibia-themed Dungeon Synth music and it’s another constant release in a short, but wonderful discography. Seamlessly blending lush, ambient textures with dreamy synth intonations, ‘The Toad Alchemy’ is a reminder of how vast the Dungeon Synth sound can stretch. Not quite raw and Medieval but nowhere near the Comfy Synth spectrum either, this album takes inspiration from all aspects of Dungeon Synth and delivers the good with impeccable songwriting and production efforts. In a unique twist, the final seventy six minutes or so consists of ‘The Toad Academy Audiobook’, which is a fantastic treat that continues the fantasy appeal of the album itself. Don’t pass up this enchanting adventure.

9. Elminster – Through The Mossy Archway

https://ithildintapeproduction.bandcamp.com/album/through-the-mossy-archway

Elminster is one of my favorite Dungeon Synth artists so it should be of no surprise that at least one of the mighty Elminster albums would appear in my Top 10 list. Although each release this year has been nothing short of amazing, it’s ’Through The Mossy Archway’ that came out on top as my favorite. With only three tracks, this spectacular audio adventure is a hefty thirty nine minutes long. These songs are extremely cinematic and create the perfect Medieval scenario of battle, bloodshed and chaotic resilience. The fifteen minute long “Sword Of The Starry Depths” is probably my all-time favorite Elminster song (at least for now) and the remaining two track do not disappoint at all. Definitely check this out if desiring a Medieval soundtrack to get you through the day.

8. Guild Of Lore – Messummur

https://guildoflore.bandcamp.com/album/messummur

There is not a single bad album in the Guild Of Lore discography and whether it’s one that’s part of the Winterstead saga, or a one off release that showcases a varied aspect of the project, rest assure that you’re in for a treat with a dose of top-quality Dungeon Synth music. ‘Messummur’ presents nearly eighty minutes of Middle Eastern inspired tunes that instantly transports the listener to a distant Persian land where congested markets and mischief characters create an incredulous society. Music wise, this album has it all – tranquil ambient backgrounds, jubilant synth work and a cacophony of instruments (including percussion) that extends the perplexity of these compositions. Favorite tracks include “Tuskhorn Scar”, “By Night, The River Snake” and “Tomb Of Luus Torat”. However, the good times don’t stop there as the entire album is an epic treat for all fans of electronic music.

7. Medievalist – Halls Of Time

https://medievalist.bandcamp.com/album/halls-of-time?label=2690771343

Medievalist is a new project by Prometheus Studios and Dark Ambient mastermind, Scorpio V. Although this is not his first foray into the realm of Dungeon Synth (check out Forest Of Yore, Stronghold Guardian & Shogun’s Castle), this one is probably more Medieval centric than the aforementioned projects. Deep, ambient textures and a host of field recordings are prevalent throughout but there are cinematic elements that standout the most that propels this recording into ancient lands of vast kingdoms, harrowing lore and imminent battles. This is best if listened to from start to finish as each track builds off of the previous, creating a dark world where our imagination can construct our own ancient tales and mythos. “The Forgotten Castle”, “Homecoming” and “Knighthorn” are standout tracks that truly represent the output of this astonishing project.

6. LANDSRAAD – Mark Of The Worm

https://landsraad.bandcamp.com/album/mark-of-the-worm

LANDSRAAD, the Dune-inspired synth project, released their third album this year and it’s another impeccable offering. ‘Mark Of The Worm’ delivers nearly an hour of synthwave-induced intonations that are otherworldly to say the least. Although aesthetically appeasing to fans of Dungeon Synth, LANDSRAAD plays more of a classic synth style more akin to 80’s electronic-based movie soundtracks and that’s not a bad thing at all. Building upon layers of introspective synth leads and lavish ambient drones, each track has a unique style that is refreshing and adventurous. Tracks such as “The Prince Of Salusa Secundus” and “The Preacher At Arrakeen” produce a massive wall of sound while delivering somber melodies. This is such a great album that can be listened to over and over again without it growing old and tired. I’m already looking forward to the next effort by this always-consistent project.

5. Aufhocker – Ascent

https://aufhocker.bandcamp.com/album/ascent

It’s about time that Aufhocker made it to my year end list. Always a consistent Dungeon Synth artist, Aufhocker goes without notice (for the most part) and doesn’t seem to get any recognition through the various social media channels. The fact is, Aufhocker has been releasing persistent material since 2017 and doesn’t seem to be slowing down at all. Even though ‘Ascent’ was just recently released, I’ve been playing it almost non-stop and it easily made its way to my Top 10 list. Additionally, this has also become one of my favorite Aufhocker releases as it’s showcases a variety of audial flavors, backed by incredible songwriting. “Obsidian Chronicles”, “Whispers In The Abyss” and “Amidst The Umbral Void” are amongst my favorite tracks and they all have contrasting styles that still blend together very well. That’s the unique aspect of this album as no two song sounds alike, but as a collective whole, they all synchronize very tastefully. If you’ve not checked out this project before, this album would be a great start!

4. Mountain Realm – Grayshadow Ruins

https://cryocrypt.bandcamp.com/album/grayshadow-ruins

Simon Heath, the mastermind behind the Dark Ambient project Atrium Carceri, as well as the massively influential Cryo Chamber label, has released a new project in the sphere of Dungeon Synth called Mountain Realm. This masterful release, called ‘Grayshadow Ruin’, is thirty three minutes of tasty (and gritty), dungeon-influenced offerings that are equally mesmerizing and ghostly. Featuring a lo-fi production effort, along with the sound of tape hisses, the songs themselves are of top quality and detail an ancient world of hypnotizing chaos and mythical characters. My favorite tracks include “Beyond The Mist”, “Goblin Cave” and “A Lone Wizard Emerges”, while the remainder of the tracks are not that far behind. For this being the first release by this project, I’m impressed and intrigued by the quality of each song and how well this album pays homage to such a wonderful genre of music. Don’t pass this one up and stay tuned for the future offerings from the newly created Cryo Crypt label.

3. Valen – Fortress Of The Black Sentinel

https://obsidianrelicrecords.bandcamp.com/album/fortress-of-the-black-sentinel

If you ever want to introduce someone new to Dungeon Synth music, I would consider this the ultimate album for making that connection. From the lo-fi production to the completely Medieval sounding compositions, ‘Fortress Of The Black Sentinel’ is the consummate soundtrack for ancient times. Not only are these battle hymns for the weary, but this is the soundtrack for a kingdoms majestic reign of all the lands. With only three tracks, and a playing time of just under thirty five minutes, these offerings are not only majestic, but they yield the sword of Medieval might and honor. “The Battle Of The North Reach” is my favorite track of the three and could easily be a song that represents the entire Dungeon Synth genre.

2. Fogweaver – Magelight

https://thefogweaver.bandcamp.com/album/magelight

Like a lucid dream, where everything is in slow motion and mysterious beings speak a voiceless thought, ‘Magelight’ by Fogweaver shines through like a luminous entity of tranquility and mesmerizing audial substance. This is an absolutely sensational album that will captivate the listener with dreamy compositions and emotive arrangements. Every single track on this album is stunningly beautiful and full of effervescent life. Representing the more serene side of Dungeon Synth, this can easily be enjoyed by all as it still contains the traditional genre aesthetics and the synth lead work is simply captivating. Even if you’re not a fan of Dungeon Synth but are still into electronic music, I can’t recommend this album enough. Fogweaver is a very consistent project and after hearing this new album, there is no doubt that it was completed with a massive amount of heart and soul.

1. Erythrite Throne – Wrath And Anguish Of The Black Wyrm

https://serpentsswordrecords.bandcamp.com/album/wrath-and-anguish-of-the-black-wyrm

Erythrite Throne is my all-time favorite Dungeon Synth artist and I consider it one of the GOAT projects of the genre. So, it shouldn’t come to a surprise that at least one Erythrite Throne release will make it to my Top 10 list. The questions is, which one. Sometimes this is more difficult than coming up with a top 10 list in general, but this year that wasn’t a problem. ‘Wrath And Anguish Of The Black Wyrm’ is not only my favorite Erythrite Throne album of the year, but it’s my top pick for Dungeon Synth album of the year for 2023. The six tracks contained within maintain that tradition Erythrite Throne sound while expanding on genre aesthetics such as an enlightened classical palette, compositional integrity, enchanting synth leads and even a touch of Black Metal-style vocalizations throughout. My favorite tracks include “Forgotten Spirits Feast On Dragon’s Flesh” and “We Slumber Deep Within Realms Of Vampyric Wisdom”, as they showcase all of the characteristics mentioned above and so much more. Make sure you check this one out for a masterful Dungeon Synth treat.

Frog Concert Takes Us On An Amphibious Journey With The Absorbing Album, ‘Slumbering Sounds Of The Frog Fellowship’

What do you get when you combine the whimsical aesthetics of Dungeon Synth with an amphibian-themed agenda? You get the quirky natured Frog Concert and their diabolical but idiosyncratic release called, ‘Slumbering Sounds Of The Frog Fellowship’. Featuring eleven peculiar tracks delivered in a span of twenty minutes, this is a quick and satisfying audial incursion that emits a soothing tone amongst an aggregated plethora of noises and nuances. Never one to stray away from obscure music, I find this dainty little album entertaining and refreshing.

Commencing with a short intro called, “The Green Downstream From A Hyperdimensional Now” a retro havoc is created that is reminiscent of a classic cartoon. Just as it begins to catch your attention, it briskly fades into the second track, “In Boreal Pose”. Featuring the sounds of nature and haunting organs, it exudes an alluring feel but quickly diminishes before you know it, abruptly leading into the next track, “Fate Fortune And Flies”. With a more upbeat rhythm, it reminds me of a video game anthem with its harmonious synths and overall psychedelic vibe. “Serenade At The Bug Banquet” is another unorthodox offering that contains noise oddities and blaring synths with a grimly retrospective production feel to it. “The Croak Of Life Is But A Kiss” is my favorite track on the album and is more of a traditional sounding Dungeon Synth track with layers of Medieval synths and looping hisses in the background. “Beyond The Paddock” is another majestic offering that aligns with the same delivery of the previous track. There is an all-embracing synthwave feel to this one and the touch of evening time, naturalistic soundscapes adds an eerie feeling. “Toad Antigua” has more of an abrasive sound due to the loud synth mix and sporadic field recordings. However, even though this is a short track, it produces quite a memorable punch. “A Walk On The Water” starts with a hissing sound and then a whimsical synth chop begins to play, sounding much like a looping soundtrack on a Disney ride. Various frog sounds and croaks can be heard in the background as the amphibious theme continues in gleeful fashion. “Birds Of Tragedy” kicks things off with a droning, space ambient sound with celestial soundscapes that is just under a minute long. This is another favorite of mine and it also had major potential to turn into an elongated Dark Ambient masterpiece. “A Dive In The Current” is another light-hearted adventure that finds a contentious synth lead played aggressively atop of a soft, naturalistic field recording. There are small bits of layering here but the real winner is the lead synth chop that plays effortlessly throughout the entire track. The final track on the album is amply titled, “Frogs From Heaven”. At nearly three and a half minute long, it’s the longest song on the album and probably the most ambitious one as well. Wonderfully arranged, this mesmerizing composition sounds like a classical piece played by a synth soloist at an orchestra concert, as the flow of this song is very engaging and it never slows down for its duration. This is an excellent way to end the album and it will leave you wanting more.

The bottom line is, Frog Concert delivers the goods and ‘Slumbering Sounds Of The Frog Fellowship’ sounds better with each listen. Although I wish some of the tracks were a little longer, this project has blooming potential and the wide array of electronic music influences are apparent on every track. I particularly enjoyed the heavy use of soundscapes, samples and field recordings and it added to the overall appeal of this molten journey through swamps and amphibious stomping grounds. Please check out this wonderful little album by clicking on the link below.

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Links:

https://frogconcert.bandcamp.com/album/slumbering-sounds-of-the-frog-fellowship

https://fiadh.bandcamp.com/album/slumbering-sounds-of-the-frog-fellowship

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

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

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

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

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Links:

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

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

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

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

Thank you for having me, I appreciate it.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Links:

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

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

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

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

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

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

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

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

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

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

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

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

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

1. Goblin Mage – Charms & Devilry

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

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

2. Helmet – Vanitas

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

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

3. Vouivre – The Father Of Dragons-Glaurung

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

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

4. Mushrooms – Between The Moss And The Sky

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

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

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

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

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

6. Anadûnê – Durin, Father Of Dwarves

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

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

7. Elminster & Meadow Grove – Winds Of Mages

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

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

8. The Toadstool Elf – The Toadstool Elf

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

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

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

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

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

10. Onfang – Audible Mending

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

Links:

https://tasteofbeerrecords.bandcamp.com

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

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

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

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

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

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Links:

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