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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Skuggkonungen Links:

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

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

Top 10 Favorite Dungeon Synth / Synth Releases Of 2022

Dungeon Synth music just gets better and better each and every year. For 2022, it seems like a million Dungeon Synth albums were released and unfortunately, I didn’t get to listen to most of them. However, I did listen to A LOT of albums and some of my favorite artists created their best works to date, while many new artists brought their A game to this ever growing community. I hope you enjoy reading my Top 10 favorite Dungeon Synth / Synth releases of 2022 and hope some of these made your lists as well.

10. Meadow Grove – A Shattered Heritage

https://meadowgrove.bandcamp.com/album/a-shattered-heritage

Meadow Grove has released a handful of impressive albums this year but ‘A Shattered Heritage’ is the one that I keep going back to the most. There is a dynamic quality about these songs that ranges from battle-like hymns to soundtrack-ready anthems. Shifting from cinematic and grandiose to simplistic and alluring, ‘A Shattered Heritage’ has a variety of music that is bound to appeal to a broad range of electronic enthusiasts looking for a further dive into the Dungeon Synth realm.

9. Pukel’E – SaqalE

https://pukele.bandcamp.com/album/saqale

Talking about a surprise, from out of nowhere comes Pukel’E with a short nineteen minute offering of the most impressive synth music I’ve heard in a while. From my favorite Dungeon Synth label – Voices Of The Ainur – ‘SaqalE’ blends Medieval Synth anthems with Winter Synth themes, producing a mesmerizing sound that I’ve not heard since ‘Silence’ by Inoriand (2019). My only complaint is that there should be forty tracks instead of four with about two hours of playing time. Jokes aside, this is an outstanding release and I can’t wait for this project to produce more music of this caliber.

8. Sunken Basilica – Sunken Basilica

https://sunkenbasilicamca.bandcamp.com/album/sunken-basilica

Blasting onto the Dungeon Synth scene with a grizzly debut album, Sunken Basilica is quickly making a name for this bold new project. Composing a collection of Dungeon Synth anthems with a dystopian edge, these songs are raw, gritty and most of all, memorable. The low fidelity production makes these arrangements standout even more as it thematically sets a precedent for Medieval music and the dilapidated quality of times that it represents. I can’t recommend this one enough – especially if you’re into the more obscure aspects of Dungeon Synth.

7. Skuggkonungen – Den Svarta Stjärnans Brödraskap

There is a masterfully-crafted, calming essence that is congruent on all Skuggkonungen releases that continuously draws you in and wanting more. From synthwave to comfy synth and even ambient textures, the tracks on this album epitomize the true characteristics of Dungeon Synth without sounding dry and played out. Songs such as “Stilla” and “Tid Och Rum” have a futurist style but at the same time, are nostalgic in nature. If you’re new to Skuggkonungen, this would be a great place to start your listening endeavors.

6. Jenn Taiga – Siege

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

Refusing to be pigeonholed into a single genre, Jenn Taiga bears the sword of impiety for Dungeon Synth and beyond, while slaying those that can’t gauge the synth madness that dwells within. ‘Siege’ contains two tracks of mesmerizing synth Godliness that centers around Berlin School sequences and dark, euphoric tones, ultimately producing an uninterrupted essence of grim energy and cold intensity that is meant to be lost in – within the confines of its quintessential audial enclosure.

5. Elminster x Erythrite Throne – From Tomes Of Stygian Sorcery

https://ithildintapeproduction.bandcamp.com/album/from-tomes-of-stygian-sorcery

So, before this album came out, I had my Top 10 list all figured out, arranged and ALMOST ready to publish. However, two of Dungeon Synth’s most majestic warriors – Erythrite Throne and Elminster – decided to grace the Iron Keep with a stalwart of an album known as ‘From Tomes Of Stygian Sorcery’. Although it’s only been out for a few weeks, there was no way I was publishing a Top 10 list without this recording on it. Three epic tracks from both artists find them at the top of their game and producing the best music of their careers (so far). “Bal-Garond Ascending” from Elminster and “As Depraved Warlocks Gather At My Tomb” by Erythrite Throne are the top tracks on this vivacious and transcending album.

4. Vandalorum – Black Mold

https://vandalorum.bandcamp.com/album/black-mold

Although Vandalorum isn’t quite as active as other Dungeon Synth artists, the music he does produce is made of gold and considered the best of the best – well, at least to these ears. Last years flagship release, ‘Maewyn’, blew me away with its psychedelic incantations about the life and times of Saint Patrick. This year, we have the RPG soundtrack called ‘Black Mold’ and it’s my favorite release by Vandalorum thus far. Psychedelic orchestrations are fused with whimsical melodies and an assortment of chip tune styled synth leads. Most of all, the compositions are stylish and groovy with lots of surprises thrown in. This is totally an addictive album and it’s also the perfect listen for a late night (or early morning) drive.

3. Heldentenor – Blood Moons & Black Lakes: Chapter Two

https://sumatranblack.bandcamp.com/album/blood-moons-and-black-lakes-chapter-two

The artist behind one of my favorite Dark Ambient projects – Sumatran Black – decided to release not one, but two Dungeon Synth albums simultaneously in January and without hesitation (and much ease), I can report that these albums are pretty killer. ‘Blood Moons And Black Lakes (Chapters One & Two)’ depict a new spin on the genre, but the premise and outcome are abrasive, nostalgic and a great interpretation of this wonderful genre. However, it’s Chapter Two that stands out between the pair and each song is a ten out of ten on the awesomeness scale. The standout track is the near twelve minute long, “The End?”, a seemingly endless foray into the melancholic abyss with ominous guitar strums and bleak ambience. Doesn’t get much better than that.

2. Thalmar – Pried From Winter’s Frost Laden Grip

https://ithildintapeproduction.bandcamp.com/album/pried-from-winters-frost-laden-grip

Thalmar is one of the many projects by the conspirator behind the likes of Elminster, The Owl Knight and Moss Keep and although only a single album has been released under this moniker, it’s my absolute favorite. Four tracks of ambient induced dungeon anthems that are dark, erosive and downright terrifying. Layers of coarse madness intertwine to divulge a maniacal blend of organic synth music full of divine impurities and gloomy modulations. I practically listen to this album on a weekly basis and have done so since it’s release back in February. If you prefer your Dungeon Synth on the darker, more ominous side, then definitely give Thalmar a listen.

1. Arcanist – Hyperborea

https://yuggothrecords.bandcamp.com/album/hyperborea

When it comes to variety, this has to be one of the most impressive albums that I’ve heard all year. The Dungeon Synth duo know as Arcanist, has impeccably incorporated Black Metal, Berlin School and doom laden melodies in their arsenal to present the complete package know as ‘Hyperboria’ – my favorite Dungeon Synth album of 2022. With a plethora of sounds and styles at their beckoning call, Arcanist are able to compose these otherworldly tracks in a way that they are memorable, enjoyable and beguiling at the same time. I gladly offer forty three minutes of my time on a regular basis to this audial entity and in return, I’m able to submerge in a conglomerate world of exceptional synth music.

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Calignosia Adjures Lovecraft Themes On The Luminous ‘What Has Risen May Sink, And What Has Sunk May Rise’

Since 2020, Calignosa has been producing a very distinctive brand of cinematic Dungeon Synth. Combining haunting orchestrations and majestic synth tones with ethereal Medieval themes, Calignosia has established a quality that is undeniable. On latest effort, ‘What Has Risen May Sink, And What Has Sunk May Rise’ Calignosia delivers his most gallant offering yet. Forty six minutes of ambient-filled Dungeon Synth, influenced by mighty Lovecraft tales complete this audial saga that transcends boundaries and amplifies spectacular songwriting.

On opening track “An Invocation To Cthulhu”, ominous tones and instrumental variants emit an introductory song riddled with mystery and haunting soundscapes. The percussive elements depict a time of precipitancy and excitement. “Once Upon A Time In Arabia” is a sonic piece with a Middle Eastern vibe and spacious orchestrations that are soundtrack worthy. As the arrangement shifts through volume changes and crescendos, Calignosia skillfully fuses patterns of beautifully constructed parts that produce a stellar orchestration. “Wandering In The Desert Of Rub’ Al Khali” is a light-hearted interpretation of vast melodies and layers of harmonious intonations with a touch of dreamy narrations that – at times – are very brooding. “By Night They Come Alive” is akin to a professionally composed orchestration with the addition of splendid narrations and a touch of traditional Dungeon Synth sounds. “Iram Dhāt Al-‘Imād” is a somber track with elongated synth notes and light ambient impressions with bouts of lead orchestrations and an overall ethereal vibe. Naturalistic field recordings add to the ambiance, creating a a warm world of solace and tranquility. “Spectral Winds Always Blow From The North” begins with an ambient fill that crescendos slowly into a dark soundscape with menacing results. Inaudible narrations with grim effects add a level of darkness that amplifies the gloomy sounds of this track. “Toward A Nameless City” is a buoyant song full of warm emotions and effervescent orchestrations. This track definitely represents a gleeful time in a distant fantasy world. Modulated narrations are a welcomed touch that injects a sense of animation into the overall experience of this track. “Meditations Of A Mad Man I (Within The Nameless City)” presents an obscure darkness that will keep you on the edge of your seat. With the feeling of a certain evil lurking around every corner, the menacing nuances throughout do an amazing job at painting a surreal picture of bleak embrace. “Meditations Of A Mad Man II (De Profundis)” is a continuation of the crepuscular sounds of Part I but in a more ambient way. With layers of elongated notes, angelic vocal effects and the occasional discordant tone, this is a quixotic way to conclude this two part magnum opus. The final track on this breathtaking album is, “Bedouin Song”. A lively song that embellishes peace and harmony, it features stringed instrumentation and a jaunty blend of synths and percussion that is sure to result in a celebratory dance of boundless energy.

Calignosia is an exceptional artist that epitomizes the orchestral sound and goes above and beyond to create an authentic brand of Dungeon Synth that is easily recognizable. Layers of exuberant orchestrations, unerring soundscapes and an ear for memorable melody are the keys to the mighty adventures that Calignosia always sends us on and ‘What Has Risen May Sink, And What Has Sunk May Rise’ is no exception, as it may be his most exploratory album yet. Fans of classical orchestrations and adventurous Dungeon Synth tones shouldn’t pass on this massive undertaking. Click on the link below to check out this astounding album, you’ll be glad you did.

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Links:

https://calignosia.bandcamp.com/album/what-has-risen-may-sink-and-what-has-sunk-may-rise

Interstellar Space – All Hallows’ Eve Extravaganza 2022

For some reason, trees seem to be synonymous with all things spooky and evil. Whether it’s a darkened forest in a horror movie, or the ruffling of leaves in an evening breeze that has us looking over our shoulders for something creepy, trees create a space of frightening imagination with limitless potential for purpose. For Halloween, trees portray a gruesome shadow in the night that causes goosebumps and chills when not expected. Remember the tree in the original Poltergeist film? They also create a blockade for hiding behind so that you can jump out and scare your friends while trick or treating. Whatever the case may be, trees serve more of a purpose than the ecology for their existence. Like trees, music provides the same escape by enticing an imaginative spark for which you can escape from reality. That’s exactly the case for these twelve chilling albums. They are the soundtrack for the season and so much more. Please enjoy these summary reviews and show your support for these artists by downloading their killer albums. Happy Halloween!! 🎃

1. Lamp & Dagger – This Tape Is Haunted Too!

Lamp & Dagger is back with their second spooktacular collaboration, featuring a handful of ominous artists that aim to frighten your very existence. From Sombre Arcane’s psychedelic massacre to a modicum of Dark Ambient soundscapes from The Night Keep that feature morbid field recordings and samples. FVRFVR offers a chip tune spectacle that is part crypt hop and part nostalgic cinema. Whispering Mirror offers a droning canticle full of gruesome modulations, while Halm conjures up some disgusting field recordings to create a gruesome scene of terror. The final track by Spectral Manse proposes a climactic ending with eerie narrations, malevolent haunts and lots of dark melody that penetrates deep in the psyche, proving that the sequel is just as damning as the original offer. I’ll never get enough of these compilations so I’m already looking forward to Halloween 2023.

https://lampanddagger.bandcamp.com/album/this-tape-is-haunted-too

2. Guild Of Lore – Night Of Halloween

Dungeon synth stalwart, Guild Of Lore, steps beyond the realm of Winterstead, leaving behind the Medieval intonations to embrace a world of 80’s-influenced synthwave with elements of cinematic horror. The results are a fascinating blend of B-horror movie anthems full of ghoulish field recordings, theatrical samples and rhythmic patterns that scream the elements of classic horror film soundtracks. “Lurking In The Shadows” is a prime example of ample beats, darkwave undertones, and retrospective synths, while “The Festivities” is done in the style of a skit, with spooky narrations, haunting screams and bleak atmospherics. This is an album that’s not just enjoyable during All Hallows’ Eve, but can provide eerie entertainment throughout the year, and for many years to come.

https://guildoflore.bandcamp.com/album/night-of-halloween

FABLEHAVEN: “None who enter will leave unchanged. Trespassers will be turned to stone.” – Brandon Mull

3. Erythrite Throne – A Shade Of Melancholy In The Shadow Of Death

If your not listening to Erythrite Throne on All Hallows’ Eve, then you’re either very much afraid or have already been bitten by a post-apocalyptic zombie. In the case of the latter, perhaps ‘A Shade Of Melancholy In The Shadows Of Death’ has become the perpetual soundscape for your existence. Expertly fusing classical synth tones and the occasional blasts of tasty percussion, this is another magnum opus from the master of Dungeon Synth music. Just as the title suggests, this album is a bit more lugubrious than other Erythrite Throne albums, but that’s what makes this project so special. Especially on Halloween, this is some classically creepy music to enjoy on this malevolent night.

https://serpentsswordrecords.bandcamp.com/album/a-shade-of-melancholy-in-the-shadow-of-death

4. Aleksis Tristan Shaw – Crooked Teeth

The ever so cleaver Aleksis Tristan Shaw once again keeps us on our toes with a musical endeavor that defies genre categorization but is presented just in time for Halloween. These three tracks showcase beautiful, yet twisted piano melodies with a dreamy, atmospheric production. Just as the album cover suggests, I can only imagine a blurry figure sitting behind the ivories and playing these dirges to conjure up the spirits of ancient past, allowing them to provide frights once again. Although each track is different, they each have a thematic element that maintains a dark but elegant mood. A full album of these ghastly sounds would be awesome as well.

https://aleksistristanshaw.bandcamp.com/album/crooked-teeth

“No one who loves the woods stays on the path.” – Millie Florence

5. Wodenwyrd – The Teutoburg Massacre

Wodenwyrd presents a rather unique recording as a short narrative is read over obscure backing tracks that fusses Dungeon Synth, Dark Ambient and synthwave. Read over a series of Acts (seven in all), the story summarizes the first battle between German forces and the Roman Empire around 9 AD. As compelling as the story is, the music fits perfectly and produces a brooding gray background for a malevolent narrative. There are three stand alone tracks that serve as an intro, intermission and outro and they explore more nostalgic territories such as 80’s cinema and dreamy effects. In all, this is a fantastic album and I wouldn’t mind having a series of recordings in this style.

https://wodenwyrd.bandcamp.com/album/the-teutoburg-massacre

6. Born From Pain – Begotten (1989)

Just in time for Halloween, Born From Pain delivers another compelling motion picture re-score. This time, 1989’s horror/fantasy film, ‘Begotten’, becomes the object of creativity as the quest for Dark Ambient obscurity reigns supreme. Over seventy two minutes of ethereal order becomes the pallet for rediscovering this film in a more sinister light. The film itself, is supremely bleak and a boldly obscure statement for cinema at the time of its release. If your a fan of cult filmmaker, Maya Deren, then you’ll have a good understanding of this film. As for the music, Born From Pain masterfully captures that essence with gloomy soundscapes and haunting effects that will lead to nightmarish outcomes in itself. Another fascinating adventure that I can’t recommend enough.

https://bornfrompainbm.bandcamp.com/album/begotten-rescore

“When you go into a forest, anything can happen” – David Farr

7. Scott Lawlor – The Livestream Series, Volume V

Scott Lawlor, the king of spatial Drone music and a jack-of-all-trades Ambient musician that never stops working and has enough released material to create the soundtrack to your very existence for years on end. On Halloween of last year, he produced a five hour livestream special that will be digitally released on Halloween this year. Spanning eleven tracks, this colossal of an album, flows like a never ending experiment through celestial voids and dark passages, as enigmatic effects combine with baneful textures to create the realm you’ve always dared to travel through. Each track presents a malefic journey through dark regions of the subconscious, bringing a terrorized reality to the forefront of the mind. Good luck getting through all five hours of this but enjoy the breathtaking adventure along the way.

8. Orcchasm – OrcChasm!

Orcchasm is truly unique experience, as we encounter a variety of musical intonations during this thirty one minute endeavor. From creepy ambience and whimsical synths to bazaar arrangements and nonstop frills, this is a musical adventure that is equally enjoyable and fulfilling. From grandiose, Medieval incantations to light, flute fills, you never know what direction the music is headed. However, hold on to your witches hat and broomsticks because this is a venture that won’t want to miss. Each track flows seamlessly into the next, showcasing a story of dark dungeons and numerous escapades. “Groping For Wild Hogs In The Dark Paphian Abyss” is my favorite track and it truly represents the musical prowess of this album as a whole. Don’t pass up on this warm journey into the wildly unknown.

https://orcchasm.bandcamp.com/album/orcchasm

“The forest was not dark, because darkness has nothing to do with the forest – the forest is made of life, of light – but the trees moved with wind and subtle creatures.” – Lauren Geoff

9. Pumpkin Witch – The Return Of The Pumpkin Witch

It’s been a few years since we’ve heard from Halloween favorite, Pumpkin Witch. However, after finally rising from the Orange tomb of seasonal vegetation, they’ve returned with their most enigmatic spectacle to date, ‘The Return Of The Pumpkin Witch’. Eleven spooky anthems that provide an audial bludgeoning for almost forty four minutes, these progressive haunts are just what the doctor (or vampire or serial killer) has ordered to infiltrate your Halloween playlists. From distorted, doom-laden guitar tones and retrospective drum beats to hair raising electro sequences and synthwave tactics, this is the album that checks all the blocks for horrifying entertainment. Tape hisses and reverberated production efforts create a sinister ambiance that drives the mail in the coffin (no pun intended) for this masterful recording.

https://pumpkinwitch.bandcamp.com/album/the-return-of-the-pumpkin-witch

10. Ammothea – My God Is The Moon

Ammothea, the ambient-infused post metal project by Glacial Anatomy, is truly a riveting encounter that satisfies the pallet of those that enjoy the multi-genre experience. Soft, careening vocals, doom metal riffing and dreamy production yields a hypnotic effect, so that you can sit back, close your eyes and indulge in your own trip. These five tracks disperse almost sixty four minutes of playing time but, it’s over before you know it due to being completely lost in the mix of these alluring intonations. “Depth” and “My God Is The Moon” are standout tracks that incorporate a more upbeat approach without diverting away from the haunting gray that the entire album discharges. This is an extremely impressive release and I’m already looking forward to more from this artist.

https://syrupmooserecords.bandcamp.com/album/my-god-is-the-moon

11. Whöreplay – Whöreplay

A good dark wave tune goes hand in hand with the Halloween season, given its close ties to Gothic romanticism, vampires and grim landscapes. It also has provided bleak, atmospheric backdrops for scenes in classic horror films such as ‘Silence Of The Lambs’. This two track spectacle from newcomer, Whöreplay, fits right in with all of the aforementioned. Although only five minutes long, the artists wastes no time setting the listener on a collision course with haunting electronics, reverberated vocals, and a dreamy production. These tracks slice through like a jagged dagger, leaving a spot of coagulated blood for the creatures of the night to feast on.

https://whoreplay.bandcamp.com/track/misery

12. Unsheathed Glory/Ozeregroth – Nights Shadow Darkening

There is no better time to come together for delivering a darkened dungeon synth experience than Halloween. Unsheathed Glory and Ozeregroth combine their talents of Medieval summonings to render a five track split album, culminating in twenty four minutes of effortless canticles set to the gloomiest night of the year. Not only does each artist produce two tracks of their own, but they collaborate on the daunting self title track. Although each artist delivers contrasting tones, they mesh together very well and and flow transparently with ominous accord. This is one of my favorite Dungeon Synth collaborations of the year and I hope these artist get together again in the future, to produce more music like this.

https://unsheathedglory.bandcamp.com/album/nights-shadow-darkening

Additional forest photos courtesy of Carlton Whittle Photography. Please follow him on IG:

https://instagram.com/a_window_with_a_view?utm_medium=copy_link

The main article image is a unique creation from the WOMBO Dream APP.

Sombre Arcane Constructs A Magically Melodic World On ‘Realmsong’

Sombre Arcane is a collective that needs no introduction. Going above and beyond to produce an electrifying amalgam of Dungeon Synth music, they are quickly becoming a premier element in the genre and have amassed a favorable following. Combining an exceptional mix of electronic and traditional instruments, they successfully craft masterful pieces that become more than just songs, but an unparalleled sonic adventure. ‘Realmsong’ finds the duo in top form as they weave their spell through twelve finely crafted canticles with sheer brilliance.

Taking a wistful approach on the album opener, “The Time-Space Conundrum”, somber melodies are met with galloping instrumentals that present a classic synthwave vibe. However, before the completion of the track, Medieval harmonies and drum beats turn this atmospheric offering into a Dungeon Synth anthem. Following up with “Rhythm Of The Saintless”, a harrowing drone commences, as we wait for whatever intonation comes about. With almost a jubilant delivery, dreamy keys belt out a traditional Dungeon Synth chop. Before too long, additional chord transform this track to a battle-ready opus that elicits the fighting spirit in all of us. “A Day’s March Through The Ancient Elven Forest” brings back eloquent effects and fills the empty space with chirping birds and brisk ambient tones. A quixotic synth melody penetrates the darkened soul and loops in a much wanted pattern before percussive elements enter the mix. Keeping a serene resonance throughout, this is one for the dreamers and forest wanderers that disengage from the sense of time. “Moon Sphere Of The Dancing Court” commences with the inaudible banter of a crowded tavern and then glossy instrumentals pave the way for a peaceful transition into vast landscapes and tranquil haunts. “Dinomace” takes us back to the battlefield with a velvety cadence that instills a sense of pride and victory with each and every note. The drums are very progressive and the lush textures are a warm welcome as well. “Kelthas The Dread” follows, with a meditative sound and pensive production that constructs an abysmal scenario with a massively rich tone. There is a nice dose of distortion on some of the keys that beefs up the modulation and the overall output is that of angst and betrayal. The distressing “Dread Certainty Of Our Chosen Path” is an ominous gouge at the psyche and the emotional output that pours from within. The arioso of the main riff is not only tasty, but one that can be enjoyed over and over again. A darkened cadence is introduces and provides the feeling of a sudden loss and the ensuing dirge that is needed for comfort. This is one of my favorite tracks on the album and I’m sure many other will feel the same way about it. “Devilry Of Inertia” is a beautiful follow up to such a deep track, that it’s easy to get lost in all that’s going on. Wondrous layers of celestial ambience creates a comforting sensation. Suddenly, this transforms into a Crypt Hop masterclass with thunderous beats and whimsical melodies. Truly unexpected but also extremely enjoyable. “Lansharra’s Leavetaking” is another masterful tune, as this piece aquatints the listener to a sonic vocal that layers folk sounds with noble storytelling. I can imagine drunken commoners at a local pub in a far away ancient kingdom, paying homage to their ancestry and love ones with this amazing vocal effort. “Finley’s Rest” is another placid effort of precise instrumentation and soothing background ambience that depicts an early morning dawn of halcyon times. Layers of magical instrumentation builds throughout the track and it eloquently leads into the next track, “Jebrin’s Ride Home”. Starting with some comfy textures and a synth effects that’s buried deep in the mix, this is a luscious guitar piece that renders pastoral vibes in a jubilant countryside setting. The final track on this magnum opus is the hypnotic “Return From Dragonspear”. Mixing dark undertones with warm instrumentation, this track sets a dynamic and climactic ending to the ‘Realmsong’ story. With an alluring orchestration mixed deep in the background, everything suddenly surges to a roaring grind, as the multitude of effects clash in unison. However, it comes to a halt and is calmly replaced with a suspended piano melody that will succeed in melting hearts. The pace begins to grow again and powerful guitar and drums synchronize in a heavy but melodic ending.

Sombre Arcane first struck Medieval gold with their 2018 self-titled demo. Gaining a huge momentum (and fan base) from that effort, it help paved a path of immeasurable opportunity to excel in the wondrous Dungeon Synth community. Now, with the release of ‘Realmsong’, they’ve cemented their place alongside the genres best. This is an album of beautiful orchestrations, galloping instruments, spacey ambience and a conglomeration of other effects that results in one of the best, most diverse Dungeon Synth albums in a while. Although this album has been out since last year, I can’t recommend this one enough. Check out the link below and support this amazing artist and their craft.

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Links:

https://sombrearcane.bandcamp.com/album/realmsong

Arbadax Consumes An Eccentric Headspace On The Enthralling, ‘Yithian’ Release

Although only having a short endeavor in the realm of Dungeon Synth, Arbadax has already produced five captivating albums that dive into the mythos of ancient ventures and Medieval lore. On the latest outing ‘Yithian’, Arbadax submerges into a Lovecraftian world of horror and intrigue over ten astonishing tracks that become the outlet for fantasy and chicanery.

The album boldly commences with “Vortex Of Time”, a synth dirge that intricately weaves peculiar harmonies and momentous ambient tones. Complemented with a tribal-like beat, the overall obscure melody loops infinitely while soundscapes develop random clusters of sonic sound structures. This is just the arcane lead off track that this album needs to push through this collection of arsenic hymns. Following that amazing introduction is “Disembodied Consciousness”, a merger of enigmatic synth chops and sinister acoustic guitar riff that spreads its proverbial angst for the duration of this haunting track. “Projection” begins with a soothing radiance that is more inline with traditional Dungeon Synth, and contains a melodic ambience that resonates deep within the soul. Thumping percussion bits adds a mournful characteristic of impenetrable battles. Esoteric sound effects complete the odyssey of this track, creating a bleak adventure like no other. “A Strange Existence” starts with thick and obtrusive keyboard effects before a cleaner synth emerges, adding a cryptic layer of effulgence to the overall sound. Moments of synthwave excellence can be heard throughout, as this track continues a sonic build until it’s conclusion. “Disturbed Visions” initiates a dreamy synth sound that suffocates the listener with a thick, brooding lead that emulates a tone that can be heard from underwater or a far off distance. Various synth leads compete for auditory space as they weave amongst themselves with assorted flare and cadence. “Upon The Horror” is an edgy piece that contains whimsical keys and tense buildup, as this faster-than-normal paced journey develops into a haunting forest synth monument. “Aeon-Dead Black Gulf” is like a nighmarish scene as random pulses of energy create a series of cosmic pulses that rage out of control before suddenly shifting into a classic synthwave anthem. Sounding more like a track from an 80’s horror movie soundtrack, this is probably my favorite track on the album. “Down From The Stars” showcases an industrial ambient beginning before settling into a malevolent drone, and then ultimately fusing into a consoling synth piece that is more in line with Forest synth (with a touch of comfy synth as well). “Scattered Echoes” is a light-hearted song with modulated sound effects and a light drone in the background. Delicate guitar melodies add a sense of ease, as this is one of the lighter (and warmer) tracks in this collection. The final track is also the longest one on the album. “Abyss Of Sleep” is nearly eight and a half minutes long and borders on the edge of strangeness and synth wizardry. Mostly consisting of minimalistic keyboard chops, there is a looping bass sound that is quite amusing and works well in conjunction with the various synth manipulations that take place throughout. This is definitely an interesting piece of music and fits right in as the closing element of this bizarrely astonishing album.

With five albums released in just a year and a half of time, Arbadax is quite the busy artist and has done an excellent job of producing material that is memorable and that successfully translates awesome stories into masterful Dungeon Synth songs. On latest effort, ‘Yithian’, Arbadax summons the spirit of Lovecraft and renders a fascinating tale into a spectacular audial escapade that eclipses the Dungeon Synth genre and ventures into other musical territories. This is a wonderful album that I recommend to fans of both Dungeon Synth and the Lovecraftian universe. Please check it out at the link below and show your support for this enigmatic artist.

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Links:

https://arbadax.bandcamp.com/album/yithian

https://linktr.ee/Arbadax

Eyre Transmissions XIX: Multi-Instrumentalist Baerdcyn, Invites Us To His Dungeon

These days, there are all forms and styles of Dungeon Synth. There is certainly a variance that aims to please not only the seasoned Dungeon Synth fan, but also for those that are curious if this genre is the right fit for them. One artists that has taken a different approach to curating a unique brand of Dungeon Synth is Baerdcyn. A fantastic multi-instrumentalist, Baerdcyn intertwines a plethora of soulful sounds and consoling ambience to create Acoustic Dungeon Synth. With a handful of beautifully textured albums, Baerdcyn invites us into his world to discuss his particular brand of music, his instruments and well, all things Baerdcyn.

1. I really appreciate you taking the time for this interview. How has 2022 been for you so far?

Not too bad! Busy with work and life, but that’s never a bad thing.

2. When did you get the idea for the Baerdcyn project and what were some of the objectives you sought to achieve musically?

Baerdcyn started in late fall of 2020 when my friends pushed me to play Dark Souls for the 1st time. I have always had the idea of making “Acoustic Dungeon Synth” before having owned a lute and some recorders at the time from my love of historical renaissance classical music. I never brought the idea to fruition however until I heard the menu theme and the “Firelink Shrine” theme from the 1st Dark Souls. When I 1st heard these tracks, they brought to me a feeling of orchestral Dungeon Synth. I promptly made a cover of the “Firelink Shrine” theme (Which has yet to see the main light of day) and from that recording process is what led to the ideas behind my debut.

3. What’s the meaning behind the name Baerdcyn?

So the name’s meaning itself was a complete accident. And for the record for all you reading, the pronunciation is (Bard-Koon) the “ae” is supposed to be an “æ” but alas I didn’t know how to get it to work on my phone at the time. The “y” in Old English is pronounced kind of like a cross between “ew” (in “ew that’s gross”) and “oo” (in “Racoon”). Back to the meaning of the name, I originally just made it because it sounded cool, but in the long run, you could take the modern english “Bard” and the Old English “Cyn” , meaning kin or offspring, to make a meaning of “The Bard’s Kin” or a little more interpretively, “The Son of a Bard”

4. You play a variety of instruments on your albums and you seem to excel at them all. Are you self-taught or do you have any formal training?

I am self taught on all my bardic instruments. I play a few more non-bardic instruments, but the only I play that I was professionally taught was saxophone.

5. Can you give us a run down on some of the instruments that you play?

In terms of the Bardic stuff, I can play the Lute, Lyre, Classical Guitar (along with steel string and 12 string steel string guitars), Celtic Harp, Mandolin, Bowed Psaltery, Hammered Dulcimer, Hurdy Gurdy (which I don’t believe is on a recorded release…yet), Irish Penny Whistle, Bass Recorder, Soprano Recorder, Kalimba, and Tongue Drum. As for the non-bardic instruments, I play Soprano, Alto, Tenor, and Baritone Saxophones, Banjo (ragtime jazz), fretless banjo (old time folk), Bass Guitar, -very minimal- Electric Guitar and classical organ.

6. Does being professionally trained in the saxophone make it easier for understanding and playing other instruments?

I find that it makes the wind instruments I play a lot easier as it boils down to being a saxophone with less keys on it, in a simple sense.

7. What’s the backstory on your love for the saxophone? Can you read sheet music as well? If so, do you make tabs of your own music?

When I was in 5th grade, so about 11 years ago, I ended up signing up for school band and playing saxophone. As for the sheet music, I do read sheet music, but I do not make sheet music for Baerdcyn. My recording process is very improvisational, so transcribing the pieces to sheet music would make an extra step that I don’t really feel like doing.

8. Thematically and musically, you fit right in with the Dungeon Synth community. However, would you classify it as anything else

I have always believed I have sat in the realm of Dungeon Synth. Since day one, I have called myself “Acoustic Dungeon Synth” or “Dungeon Synth Unplugged”

9. Take us back to ‘The Cave Of Time’. What was the concept behind this album and was this your first recording experience or were you involved with anything prior?

So this was my 1st official recording experience. I did however have a very short lived run of a dungeon synth -with acoustic instruments too- audio drama called “The Tale of Bjorngar” which exists in it’s unfinished state on my bandcamp. The theme came from when I recorded the cover of “Firelink Shrine”. I had realized that the reverb patch I had made, when picking up myself wetting my lips, sounded like drops of water in a cave. Thus the cave theme was born.

https://baerdcyn.bandcamp.com/album/the-cave-of-time

10. In the Bandcamp notes for ‘Heritage Of The Bay’, you dedicated the album to your Grandfather. Was he a big supporter of your musical endeavors or did he have a major influence in your life?

He has and still does in both. My Grandfather is one of the leading causes of my love for nature. Living in the coastal salt swamps of southern New Jersey, we often would, and still do, go to the bay or the meadows. As a child we would spend hours just cleaning up trash and tidying up and then followed it up with a walk through the area looking for “treasures” anything from clamshells to oyster shells, long decomposed crab shells to cool rocks, driftwood to barnacle encrusted goods. You name it, I loved it. He is a major influence on my life, and keeps me going to this day. He also always gets an artist copy of my tapes when I have one to spare. You’ll most likely read this Pop, so thanks. Thanks for everything and all that you do.

https://baerdcyn.bandcamp.com/album/heritage-of-the-bay

11. ‘Fantasy February’ was a unique album, in that it contained short snippets of music. We’re these ideas that were never transformed into longer tracks or were these short pieces intentional.

So Fantasy February originally started as a drawing prompt challenge. I then added the idea of making a song for each picture I drew and thus the idea was made. The minute-per-song run time was due to the fact that my main platform of interaction being instagram didn’t allow videos longer than a minute at the time.

https://baerdcyn.bandcamp.com/album/fantasy-february

12. Speaking of snippets, you post a lot of videos on Instagram that showcases your amazing talent. Are these videos improvised?

All of the little snippets on my Instagram are improvised, yes. Being trained in Saxophone I took a deep interest in funk and jazz improv with that, and it has carried over into my newest field of music.

13. I really loved the concept of ‘Meditations Of Forests Old’. Have you considered creating a video for the main track?

I have! The release was originally to be recorded field recording style in my local trail, and then a video of a walk through was to be made to accompany it. It never came to be, but I still have the hopes of going back and doing such a thing.

https://baerdcyn.bandcamp.com/album/meditations-of-forests-old

14. On one of your latest releases, ‘The White Oak’, I sense some extreme somberness with these tracks. We’re these written to embellish a particular mood or experience?

Nope. I just have a knack for that somber feel, so I roll with it.

https://baerdcyn.bandcamp.com/album/the-white-oak

15. Your album covers are a mix of photos and drawings/sketches. Do you do all of the artwork yourself? If so, is there a story behind the development of the various characters?

I do all the art and photography myself. The Characters on the cover of my debut was just a wizard I drew, but I -might- have plans to embellish on him in the future, and the character on the inside of the J-Card from my split with Elminster is one of my friends DnD characters. Besides that not much thought goes behind the characters.

16. Speaking of your split will Elminster, that recording was amazing! Do you have any plans for future collaborations?

Not that I know of, no.

17. Do you have a goal in mind for the amount of releases you produce each year or do you release albums once you’ve completed a concept or theme and then move on to the next?

I release as I finish. Most of my themed releases start coming to mind about halfway through the previous release, but I like to release things as soon as it’s done. I absolutely hate sitting on things longer than I have to.

18. I really appreciate this interview opportunity and I’m truly a fan of your art! Any closing comments for those that may be reading this?

Thanks for having me here and thank you all that support. It means the world to me that I can bond with so many people so far away over our love for nerd music. It truly baffles me how wonderful of a community we have, and I love you all. Thank you all for everything you’ve done. Keep trekking through that dungeon, we are all gonna make it. One day or another.

Links:

BC: https://baerdcyn.bandcamp.com

YouTube: https://youtube.com/channel/UCnrgbbkxDrBfsukpzw2XJBg

Instagram: https://www.instagram.com/baerdcyn/

Nachtjäger Fortifies The Aphotic Path For ‘The Eternal Traveler’

It’s a tranquil Sunday afternoon and I’ve decided to take a little time to catch up on some reading, as well as to focus on my next Dungeon Synth review. Since I love to listen to music while I read, I put on ‘The Eternal Traveler’ by Nachtjäger. It was the perfect arrangement, as the somber vibes emitted from this album played in to the harrowing novel that I was reading. This near seventy minute opus consists of eleven tracks that range in a myriad of synth varieties, albeit remaining steadfast in the realm of Dungeon Synth. The result is an amazing adventure through bleak – but alluring – domains, with minimalistic modulations and calming synth leads.

“My Watchtower In The Darkness” commences with a darkened intonation that would be fitting for a Medieval crusade. Slightly grim, yet composed in a way that exudes strife and victory. With a dirge-like cadence, this is such an emotional song to kick things off. “Crystalline Caverns” is one of my favorite songs on the album with its eerie vibe and haunting ambience that is detailed throughout. Limpid synth leads establishes a transparent connection with the layers of bleak atmospherics, causing a ritualistic effect. “Traveling On Spectral Vessels” once again changes the vibe of the album, giving off a lighthearted appeal that is enough to sooth a savage beast. Well written, there is a plethora of melodic parts and they are woven together seamlessly in an orchestral fashion. “Woodland Sanctuary” is a chilling abode with minimalistic drones and sparse synth leads. However, this approach is extremely effective, especially with creating an emotional sound of theatrical proportions. “Insights Born From Ashes” again alters the audial course and gives forth a Renaissance-era anthem with gothic undertones and slightly reverberated keys. “Lost Scripts Of Old” is an enticing piece that includes a psychedelic vibe and clean synth leads that are reminiscent of the Comfy Synth sub-genre. There are several layers of keys that create a delicate harmony and the outcome is quite mesmerizing. “Ancestral Homelands” takes us back to a darker sound, almost emitting a Black Metal-style song introduction. However, whimsical effects elicit a funereal vibe and concludes with a buildup of synth leads that has a massive sound. “Winds Tell Of A Dying Age” is constructed like a saddened symphony, with a reluctant pace and a passionate arrangement that is redolent of somber times and post-war struggles. Without a doubt, this is the most elegant track on the album and another of my personal favorites. “Astral Signs In The Northsky” is a besieging song that combines many elements of ambient music and Dungeon Synth variants. The slow climb and descent of the musical scale is fused with eccentric synth effects, producing a slightly lurid sound that ends rather abruptly. “Heralds Of The New Dawn” is a dreamy little dirge with retrospective effects and a heartfelt arrangement that combines rhythmic tones and atmospheric expression. The final track on the album is a majestic masterpiece. “Transcendental Relics” is a twenty three and a half minute long treasure that integrates soothing ambience and elongated synth tones is an epic symphonic composition. There are bits of synthwave, orchestral arrangements, and obscure melodies throughout that definitely keep this long player interesting and most of all, relevant to the theme of the rest of the album. With a substantial amount of reverb, this song sounds really thick and quixotic, demanding multiple listens with it’s addictive appeal. This is my favorite song on ‘The Eternal Traveller’ and such a beautiful way to finalize this exhilarating album.

Nachtjäger has successfully produced an amazing Dungeon Synth experience with ‘The Eternal Traveller’. With tracks that transfer the lister to majestic dimensions of castles, Medieval setting and mystical elegance, this album is a spectacle of synth amazement that resists genre tags and symbolizes musical growth in the community. If you’ve not heard this album, I highly recommend checking it out and please support the artist by downloading it from the link below.

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Links:

https://nachtjaeger.bandcamp.com/album/the-eternal-traveler