Dronny Darko & Ugasanie Once Again Collude On An Oceanic Dark Ambient Masterpiece With ‘Dark Source Of The North’

One of my favorite thematic subjects for a Dark Ambient album is the vast, dark ocean and the menacing evils that lurk within its chaotic abyss. It’s even more fitting when two of Dark Ambient’s most accomplished artists collaborate for this type of setting and produce an all-out maritime nightmare. However, this is not the first time Dronny Darko and Ugasanie have joined forces on such an event, as they released the chaotically impressive ‘Arctic Gates’ back in 2019 on the Cryo Chamber label. Now, four years later, they are back with a follow-up album and it’s just as bleak and ominous as their first. ‘Dark Source Of The North’ is an aquatic ordeal that delivers a punishing array of soundscapes through an incessant void. The eight tracks contained within produce an otherworldly soundtrack of futile escapism and amaurotic malevolence.

“In Search Of An Object” wastes no time in submerging the listener in a vast, cold ocean surrounded by emptiness and horrifying seclusion. Deep drones, complimented by reverberated textures creates an overwhelming sensation of solitude. As the sound continues to flow and become more aggressive, this nightmarish scenario becomes inescapable. Opaque winds increase for a moment before subsiding with the end of the song. In the second track, “Anomaly”, frigid ocean currents crash against an unprotected shore, creating a sort of naturalistic dominance. Obscure sound effects commence, producing a repulsive sound, only enhanced by deep, droning textures. As the ocean waves subside, the faint abhorrence of distant thunderstorms display an inevitable conclusion of chaotic force and destruction. As the end of the track nears, industrialized chaos create an audible pandemonium before being overtaken once again by crashing waves on a desolate seashore. “In A Magnetic Field” begins with a sinister effect that modulates as if it’s in heavy rotation and being prepare for a destructive scenario. Space Ambient styled drones begin to increase in broad layers as various, creepy effects paint a vivid picture of apocalyptic proportions. “Presence” immediately thrusts into a collision course with an abysmal void with intense drones and arcane noises that are downright terrifying. At the peak of these sound encounters, they maintain their intensity for a while before collapsing into a single drone. Assorted effects are heard in the distance as if fleeing from an anarchic discord. The main drone also builds into a soothing atmosphere for the final few minutes of the song. “Contact” commences with a single drone that emulates a distant beacon, either providing an early warning or waywardly sounding off due to a malfunction. As it continues to fade, synth pads ascend onto the darkness with hints of obscure orchestrations and howling, digital winds. As panic begins to set in, inaudible vocalizations and elongated modulations paint a gloomy scenario of solitude. As the track nears completion, random jolts of high pitch sounds produce a peculiar sound akin to large drops of acid rain bouncing off of industrial material corroding away in a barren wasteland. “Consequences” is one of the shorter tracks on the album so it rushes in quicker than the other offerings and builds layers of destructive patterns within the first minute. Not to say it’s an all out audial assault, this track is masterfully arranged and sets the album up for a climactic ending with the remaining tracks. “Transition” begins with a deep, slightly distorted drone, as if a large vessel is passing by without warning. As the vessel draws near, the tones increase in volume and adds subtle soundscapes that are eerie but luminous. There is a lot of reverb usage in some of the effects, producing a colossal sound design that is beyond epic. The final track on this distressing album is “On The Other Side Of The Arctic Gates”. Instead of beginning with an ominous drone, bells toll in different ranges, symbolizing the traversing to calmer waters. Although many dark obstacles were observed and navigated along the way, the journey to the other side has turned out to be just as challenging. As the layers of aggressively sounding drones kick in, the sense of adventure continues down a dark path in the form of various soundscapes and dystopian-like effects. Proving that wastelands can also be aquatic, the forceful winds and soothing ocean waves at the end are a fitting finale for this esoteric and mysterious album.

Dronny Darko and Ugasanie have once again proven that their collaboration efforts produce top tier results. ‘Dark Source Of The North’ is a fantastic follow up to their 2019 ‘Arctic Gates’ album and if they choose to produce more albums with this same theme, I’d eagerly welcome it. The Cryo Chamber label always provides a solid platform for the best in cinematic Dark Ambient music and this solid release is right up there with the best of the best. If you’re a fan of sinister Dark Ambient music that ventures beyond time and space, definitely check out this album from the link below.

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Links:

https://cryochamber.bandcamp.com/album/dark-source-of-the-north

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

Robert Eggplant Leads Us On A Musical Excursion With Plenty Of Acoustic Guitar And Field Recordings On ‘Dog Island’

Robert Eggplant is one of those artists that certainly has an unmistakable sound. Although the base of his work is ambient, there is a particular abstract design to his albums that result in a Dark Ambient, experimental conglomerate that is gloomy, nostalgic and full of neutral colors. On his stunning fourth album, ‘Dog Island ‘, he takes field recordings, acoustic guitar effects and ominous loops to another level. Fifteen obscure tracks that takes up a better part of eighty minutes, set a minimalistic scenery that’s perfect for a dreary afternoon. So, light a few candles, turn down the lights and prepare to meditate for the course of these gripping tracks.

The album lead off track, “Witanic Path” commences with a humming drone noise that resides far off in the distance. The soothing texture of rain drops present a darkened day and when the strumming guitar loops hit, there is a sense of calming amazement that penetrates the air. Anytime an album showcases the sounds of desolate winds, it has my immediate attention. “Tremorous Dreamer” is a fantastic follow up track as it fires off a barrage of minimalistic field recordings, hissing loops and obscure guitar strums. It’s like having a dream that turns into a nightmare, in which you never awake. There is something really sinister about this sound. “Magpies In The Cherry Tree’ continues the menacing atmosphere with an industrialized hum in the background while the sounds of nature try to elicit a particular purity. More random guitar strokes and beautiful use of field recordings continue this endeavor that is like a journey into the unknown. “Paroxysm” begins with a beautiful & retrospective melody that is joined with slight wind and rain sounds. As nature takes a turn for the worse, the journey must continue and the bleak field recordings lead the way. Again, looping guitar strums become a focal point and may even cause a startling reaction due to being the loudest intonation in the mix. “Leaf Blowers In Paradise” is up next and the title alone is a hit in itself. This song presents another masterful blend of field recordings, many which are audible to the point of knowing what they are, while others provide a grim backplane for the track itself. As random as these pieces may sound, they provide a wonderful sense of balance in not only this track, but throughout the entire album. “The Devil will Always Chase The Hungry” is another marvelous song title and it perfectly matches the minimalistic ambience that ensues. There are more classic synthwave textures on this track and a soothing resonance that is a much welcomed surprise. “The Dynamical Nature Of Time” pieces together chirping birds, environmental elements and looping instrumentation. Overall, this song is bleak, with austere timbres that has an uneasy effect. “Drug Rug Wedding” is an interesting title that combines looping buzzes, howling winds and creepy modulations to produce an extremely horrid outcome. Reverberated guitar tones sound so apocalyptic as it demonstrates an ever growing presence of demise. “Plague Demon” begins with the sounds of doomed terror via haunting synth keys before settling into a more holistic dirge complete with soothing guitar tones and aquatic-styled field recordings. “Device Control” is a suitable follow up track as it showcases the same aesthetics as the previous track but in a more hurried way. Although there isn’t a lot going on in this song, the synths provide the lead instrumentation while the adamant rain drop field recordings showcase a percussive element. The guitar strums sound very distant – almost dreamlike – in the mix, allowing for a wide imaginative space to contemplate these sounds. “Shadow Signifier” begins with a deep, spacey drone that soon fuses with harshly reverberated acoustic guitars and random field recordings to break up the monotony. “Left Hand Pathogen” starts like a cosmic soundscape with high pitched screeches and samples. The desolate sounds of walking down a damp path comes into play while audible rings signify the beginning…or the end. This is one of my favorite tracks on the album. “The Summoner And The Summoned” is one of the most bizarre tracks as the guitar loops are like a deformed echo moving through a modulation chamber while the chirps of bird are caught singing next to this industrialized musical gear. The sounds of stones scraping in the middle of the song is really creepy, while the untimed strums of a detuned guitar continue to impress. “Desert Storm Memorabilia” is a thought-inducing track that could represent a variety of subject matter. More naturalistic soundscapes accompany acoustic guitar strums and other borrowing sounds that present a bold tone of menacing proportions. The final track on this mammoth of an album is, “Vertical Burial (Improvisation)”. For this track we get a clear picture of compositional acoustic riffs combines with tape hisses and the occasional field recording. This is such an intriguing effort and another one of my favorite tracks. I could listen to a whole album of these type of improvised acoustic guitar textures. As the album closer, it brings everything into prospective as if the harsh elements of a monstrous journey has come to a triumphant end.

I’ve been a huge fan of Robert Eggplant ever since ‘Amalgamation’ came out back in 2019. His recordings have a very distinct sound and rely heavily on field recordings rather than traditional Dark Ambient instrumentation. For me, this is a breath of fresh air, as it showcases something distinct and unique to the artist that is undeniable in every way. On ‘Dog Island’, he continues with that same recording technique and delivers another masterpiece of an album. If you’re into something that is less song structured and more sound structured, then I can’t recommend Robert Eggplant enough. Please click on the links below to download this amazing album and check out his previous albums as well. You definitely won’t be disappointed.

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Links:

https://shimmeringmoodsrecords.bandcamp.com/album/dog-island

https://roberteggplant.bandcamp.com

Ten Of Swords Adjures Medieval Resonance On The Ominous, ‘You Were Once Far But Now You Are Close’

This has been an amazing year for the Dungeon Synth community as we’ve seen (and heard) more releases than ever, been exposed to a plethora of new artists and have witnessed many of the seasoned acts that we know and love release some of their best material to date. Amongst those artists is the newcomer, Ten Of Swords. Although Ten Of Swords has only been around a little over a year, there is already a huge catalog of memorable albums to check out. For my last review of 2022, I’ll be writing about ‘You Were Once Far But Now You Are Close’. Although not the latest album (as there has been at least nine addition releases since this offering from March), it was my introduction to this project so I thought it would be a good idea to write about my first impression.

Album opener, “Night Of The Worm Moon Festival” slowly creeps in with a cavernous effect on the synth leads. As the music comes into focus, a percussive cadence is fused in, creating a battle-like rhythm. There is a tinge of discordance to this track and it’s bound to put the listener into a mood full of Medieval crusades and bloodshed victories. “Raiding The Wizard’s Wine Cellar” is a festive piece with inimical harmonies and consoling textures. There is a twangy effect with the main keys and the off-kilter soundscapes that happen throughout adds a bit of dark color to this otherwise convivial song. “A Spinning Dance Of Ancient And Forbidden Pagan Rhythms” is an upbeat offering that immediately offers a sanguine groove on top of ancient Middle Eastern patterns. Production wise, it sounds very distant and dreamy which adds to its mystique. “Who Would Have Though There Would Be A Dungeon Here?”, is a seventeen and a half minute affair into a dark atmosphere that features reverberated ambience in the beginning and builds into so much more from there. Staticky keys and dark pulses come into play as this brooding track begins to take shape. There are spots of whimsical synths as well as heavily modulated key tones that sounds downright menacing. As the track continues to unfold, it becomes apparent that the various sections are akin to walking down an ominous path in a dark forest and encountering the unexpected along the way. Even with an extended playing time, this spectacular track is over before you know it. “Den Of The Fallen” commences with the tolling of bells, that ring out in angst while a dark, dismal groove builds around it. The effects used on the keys here is extremely thick, as if someone is plucking the lower notes of a piano wire. Toward the end, distorted ambience comes into play, adding layers of grim textures, before simplifying into the opening chops of the tracks. This is a really cool song that is probably my favorite on the album. The final song is, “The Day After The Worm Moon Festival” and although the composition is quite jovial, in delivery it’s rather quixotic and portentous. Again, the production ensures a distant tone, allowing for the audial space to be consumed by droning thoughts and mystifying clarity. Another excellent track to close out this isolated year astonishing album.

Ten Of Swords is a pretty unique project with a one-of-a-kind sound that is firmly rooted in the Dungeon Synth genre. With a quickly growing catalog of anomalous albums, this act is definitely one to watch for in the near future. ‘You Were Once Far But Now You Are Close’ is an entertaining album that offers a variety of tones and styles that are quick to grow on. The longer songs allow for a complete meditative experience, as these tracks are somewhat trance-like in transmission. I highly recommend this album if you’re into the more obscure side of Dungeon Synth.

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Links:

https://tenofswords.bandcamp.com/album/you-were-once-far-but-now-you-are-close

Reality Scruncher Produces Otherworldly Timbres On Minimalistic Debut, ‘Deep Space Impingement’

I’m really excited to finally be publishing this review. Reality Scruncher is a new Drone/Dark Ambient project by jack-of-all-trades blogger, Casey Douglass. In case you’re not familiar, Casey always takes an impressive dive into all things obscure, including music, films and books. Speaking of books, Casey is also an accomplished author with many tales of horror and menacing bewilderment under his belt. Now, he is taking on the audial channels with his first Dark Ambient album, ‘Deep Space Impingement’. Thirty seven terrifying minutes of celestial modulations and deepened voids spread across five impressive tracks. How does this intro album stack up against the rest of the genre? Let’s take a deeper dive and find out.

Sinister lead off track, “Hope Into Terror” gradually comes into full perspective as it adjusts with audial bends in and out of earshot. With each louder intonation, it’s apparent that a horrific scene of deep space terror is abound. About halfway into the track, the wavering radiance declines as a mechanical drone – akin to a vessel drifting about in the far reaches of space – produces a mesmerizing sound with bits of chilling effects throughout. Toward the end, the tone grows louder as a doomed final destination becomes imminent. “Constricted Temporals” epitomizes the droning technique as a deep, hypnotic modulation emits an articulate and muffled sound. This track is nearly twelve minutes of eerie soundscapes that slowly builds with layers of ambient pitches that resemble the darkest areas of space where boundaries cannot be identified and the nearest celestial bodies are nowhere in site. This track represents nothingness and the imposing frequencies that it produces as a total sense of anxiety completely unfolds. “Shimmering Spectral Anomaly” continues the epic droning but with a wobbling effect of ominous proportions. As the timing continues to fluctuate, one begins to question the horrors of a possible cosmic impact that is bound to expire all life form in its path. As the song nears its completion, loud revolts form synth pads come into play, providing a level of audial defiance that could change the impending course of this unfolding terror. “Quantum Monstrosities Frolic” is another gigantic undertaking as the drones are presents with more reverberations and tonal distortion. This creates a malevolent sound and is also the pinnacle of horror for this album as a whole. There are some assorted sound effects throughout but are used sparingly, as this track is a true image of nightmares. The final track on the album is, “Suicidal Infinity”. Complete with hollow drones and industrialized soundscapes, this is the ravenous ending that I was hoping for. Most of the audial extremities occur slightly in the background, allowing for the white noise-styled drone to continue as the lead character for this song. The bits and pieces that do occur in the background sound like distant storms and interferences that could become closer as time continues. Suddenly, a loud, glaring alarm begins to blast away, as it warns of a distressed energy that is inbound, ready to infiltrate all forms of communication. As the warning fades away, we’re left with the icy cold sound of endless drones and the realization that nothing is more terrifying than the deep explorations of space.

‘Deep Space Impingement’ by Reality Scruncher is an absolutely amazing Dark Ambient effort and it truly captures the essence of deep space drones and the emotions that come with it. Minimalistic tones with sparse use of sound effects is the combination that is right up my alley and it works very well for this debut recording. I hope that Casey continues his recording career under this moniker and produces more Dark Ambient albums in the same vein as this one. I highly recommend checking out this album if you’re into cosmic drones with horrifying consequences. Please click on the link below and download this bleak but entertaining musical experience.

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Links:

https://realityscruncher.bandcamp.com/album/deep-space-impingement

Sunken Basilica Produces a Spell Binding Fusion Of Nostalgic Synthwave & Dungeon Synth On Hypnotizing Self-Titled Debut

When I’m in the mood for gritty, uncompromising intonations with sinister, lo-fi production I often turn to dark dungeon music. Although I have a handful of “go-to” favorites that reside in this category, it’s nice to hear newer, up-and-coming artists that diverge their attention to this more abrasive style of Dungeon Synth. An artist that has certainly captivated my attention as of late is Sunken Basilica. With an intransigent debut album that reeks of caustic melodies and pungent soundscapes throughout, I find myself returning to this album more often than none. Residing on a fine line of raw Dungeon Synth with Black Metal undertones, this thirty one minute magnum opus is as entertaining as it is desirable.

Right from the opening note of the first track, “Interuniversal Osmosis”, we are blasted with nostalgic soundscapes that are reminiscent of classic science fiction soundtrack anthems. The low quality production adds an ominous value, as this creepy, celestial tune bolsters gritty, dungeon-esque qualities. Hints of inaudible Black Metal vocals enhance the ambiguity of this track. “Bestial Ciborium” commences with a modulated synth sound that is firmly relatable to Dark Dungeon Music. However, 80’s style synthwave chops create an ethereal place of vast voids and suggestive winter sceneries. The music is icy cold, as the melodies embody a discordant pattern, producing a haunting canticle. “Profound Bow” is a short piece that immediately goes off the rails with a variety of random tones and stints of ringing bells. Without a doubts, you’ll endure the sensation of anxiety and a belligerent psyche as the harrowing sections loop in vein. However, the synth leads toward the end are hypnotizing and don’t seem to last long enough. Such a superb track to have on repeat, it’s bound to provide much gratification. “Variegated Spheres Of The Throne World” starts with a heavily modulated drone that fluctuates between distant notes, producing just enough melody to anticipate what may follow. However, dismal keys exhausts a deeper drone, reeking havoc on the senses before oscillating to lighter notes once again. As the frequencies continue to shift, Black Metal vocals begin to pierce through like a desperate cry for help. Another amazing tune that deserves multiple listens. “Ascesis” is another track that commences with frantic notes mixed with flexible synth leads. As if being sucked through a massive black hole, an assortment of distant lights pass by at warp speed displaying a melting effect, enduring a hypnotic sense without the ability to move or react. This is certainly a compelling song that fits in well with the rest of these recordings. “Triglyphic Entablature That Rests Upon The Human Soul” is one of the most accessible tracks on the album, well, at first. Initially sounding like a disharmonic orchestra, Black Metal vocals begin to add to the already grim tone. However, a short stint of comforting melodies make their way into the mix before bowing down to a more disruptive harmony. The final track, “Urstaat”, distributes a ritualistic commotion, before a swarm of chaotic notes commence. There is a sensational drone at the outset of this track, but it soon disperses, giving way to an agitation of ghoulish orchestrations. After several minutes, this album ends just as it began, chaotic with angst-filled compositions that are controlled in a fierce and nebulous way.

Sunken Basilica produces my favorite type of Dungeon Synth – raw and chaotic yet nostalgic and alluring. This self-titled album is surely making a bold statement, especially for a debut. Each song is arranged in a dynamic way to tell a story as they build into a tumultuous arrangements and flow seamlessly into the remaining tracks. I highly recommend this album for fans of crude Dungeon Synth that elicit a sense of discomfort. Please click on the link below to download this album and to support this amazing artist.

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Links:

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

The Lonely Bell Submerges To Abysmal Depths On ‘Kingdoms Of The Deep’

When it comes to Dark Ambient music – or Ambient music in general – it’s important to be able to connect to a theme or have an interpretation on the visuals. With a genre of music that is typically minimalistic, having an ulterior association is an important aesthetic. Although Dark Ambient mostly associates with Space, post apocalyptic or dystopian themes, it’s such an awesome experience when an artist takes a deep dive (no pun intended) into oceanic matters. That’s exactly what we get to experience on the latest album by The Lonely Bell. ‘Kingdoms Of The Deep’ is a submersible endeavor that chronicles life in the vast blue wonder. Featuring seven aquatic tales that blends diverse styles of music, listeners are able to easily engage these deep sea tales that are ultimate rooted in Drone Ambient music.

Album opener, “Under The Storm”, is a beautiful composition as it begins with the slightly chaotic sounds of a distant storm and then a tranquil transition below the surface as the storm fills are replaced with underwater tides and delicate synth notes. This is the perfect preparation for the rest of the album as it sets a certain sense of ease and relaxation. “Somewhere In The Baltic” commences with a deep drone and is soon met with warm tones and reverberated melodies. The balance of natural sounds and serene instrumentation is trance inducing and will peacefully transport the listener to dreams of vivid dark colors and pastoral territories. “Marine Life” consists of layers of opulent guitar strums and airy harmonies that produce the most easygoing sound that truly represents a peaceful aquatic life. Although this is one of the shorter tracks on the album, it connects to the soul with larger-than-life musicality. “Kingdom Of The Deep” vastly represents the album as a whole with its grandiose drones that depict the vast voids of subsurface space. The occasional sub harmonic wave create a low grumble that commands the listeners’ reverence for just how large and seemingly endless Earths oceans are. The physical attributes below the surface may represent the kingdom, but it’s the ocean itself that is king. “The Dancing Seagrass” is another terse offering that gives prominence to light-hearted melodies and warm drones. This quaint little piece illuminates the mood and offers a serendipitous take on a life of depth and darkness. At nine minutes and fifty two seconds, “Drowned Civilizations” is the longest anthem on the album and in my opinion is the crowning achievement amongst these compositions. Without rushing, a steady dose of warm drones and congenial keys comes into full spectrum while creating a balance of beauty and hypnotic intonations. As the song finally starts to fade, it is an awesome interpretation of the incessant realms of bleak fluidity. The closing track is the epic, “The Final Light”. Illusory drones and lethargically howling winds provide a backdrop for effervescently flowing guitar melodies that symbolizes an aggrandized submersion into darker territories that seemingly drift further from natural light. As haunting as it is melancholic, this is the ultimate way to close this wondrous tale. For the final minute, we’re left with a single drone that captures the pure essence of isolation.

The Lonely Bell is an unparalleled artist that isn’t afraid to venture into other sonic domains to expand the gift of drone music. Creating a subsurface adventure through audial sequences, our ears are afforded the opportunity to navigate uncharted territories as we glide through the depths of vast waters, armed with our imagination. To create an endeavor like this demands a huge creative sense and a passion for audial storytelling. Let ‘Kingdoms Of The Deep’ become your guide through liquid darkness and enjoy the journey along the way. I highly recommend this album for fans of cinematic drone music and pastoral escapades of the deep. Click the link below to download this superb offering.

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Links:

https://thelonelybell.bandcamp.com/album/kingdoms-of-the-deep

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

Void Stasis Produce One Of The Years Best Dark Ambient Album With Stunning Debut, ‘Ruins’

Over the past couple of years, the Cryo Chamber label has added quite a few new artists to their lineup, broadening the spectrum of Cinematic Dark Ambient music with fresh ideas and the incorporation of other musical styles. One of these new projects is the acutely exquisite, Void Stasis. Three musical talents join forces in this modular blueprint to deliver a soothing array of dystopian soundscapes that transcend the realm of Dark Ambient music. Combining hypnotic beats, Berlin School and cold effects, ‘Ruins’ is quite the spectacular, debut release.

The insanely hypnotic album opener, “Frozen Fire”, begins like so many other Dark Ambient pieces; slow, brooding drones at an attentive pace, anticipating a transition into other domain of sorts. Once the listener gains comfort in this initial expression, profound adjustments are introduced, producing a retrospective atmosphere that is massively transfixing. Slow, Berlin School sequences begin to coil around the main droning sound and then a fixed cadence begins to take shape. There is a lot going on in this opening track but it’s completely suppressing, in a good way. Looping effects create a hypnotic effect as this song become more pleasing by each passing second. “Lung Fibrosis” continues on with the lavish energy of the first track and adds even more melody and dense atmospherics. A calm, static sound plays out in the background as a thudding bass line mingles with obscure sound effects. Various bits of haunting soundscapes completes this alluring piece and perfectly paves the way for one of my favorite tracks on the album. “Blood Eclipse” is a dark electronica journey through reflective Euro beats and gothic undertones. Looping vocalizations are simply mesmerizing with a calming essence. Nothing is out of sequence here, as even the simplest of sounds are synchronized perfectly, alluding to a rhythmic performance that could easily be executed in an underground Deconstructed Club. Up next is the title track, “Ruins”. Commencing with a ghostly piano chop, there are some particularly eerie soundscapes and samples playing in the background. As the track continues, an apocalyptic beat presents a slow tempo in order for the various pieces to all come together in an enigmatic fashion. The overall sound is very dreamy with a lot of reverberation, but that just adds to the mystique of everything that is being offered. “Clockwork” is a grandiose oblation with a huge orchestral sound and it could easily be a part of a Science Fiction movie soundtrack. The keys produce elongated, harmonious notes that are ethereal and reminiscent of classic synthwave sounds. Although the drum beats add a nice flare to the overall mix, they aren’t overbearing and are very enjoyable to hear. “There Is No Life Here” begins with a bleak tone and crescendos into a sonic space ambient texture that is greeted with the right amount of reverb and chaotic effects. Once the percussive element kicks in, it’s business as usual, as you’ll be nodding your head in unison with this superb offering. What sounds like short blasts of guitar riffs, it match the flow of the beats, producing another enjoyable intonation. The final track, “Vision Of A Dead Planet” begins with a piercing drone, with almost an industrial sound to it. Sonic keys begin to deliver another modulated performance with a pensive intonation that is melodic and inviting. Various effects create a dystopian vibe while melancholic keys offer a farewell message that won’t soon be forgotten. Finding a way to include a captivating beat, this track remains in a dark place, ending this album on a high note.

Three exuberant musicians have joined forces to conceive the entity known as Void Stasis and their debut, ‘Ruins’, is one of the most impressive albums I’ve heard this year so far. Combining tranquillizing synths with impressive beats and the incorporation of other electronic genres, this album is an exotic, one-of-a-kind auditory experience for the ages. Hypnotizing and addictive, this collection of songs is monumental and unequivocally belongs on the Cryo Chamber label. Sure to please more than just fans of Dark Ambient music, I can’t recommend this album enough. Please click on the link below and get ready for a breathtaking adventure through the past and future of electronic music.

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Links:

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

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