The Lonely Bell Evoke Dark, Spacious Dimensions On Two Recent Memorable Offerings

The Lonely Bell have been consistently releasing some of the most ethereal ambient music for the past few years. Marked by minimalistic and emotional characteristics, each contribution offers a unique setting that is immediately accessible and relatable. That being said, several recent releases continue to provide the essence of the aforementioned but also venture out into new realms of modern apropos subject matters. Both ‘Found Footage’ and ‘Time Lost’ offer a mixture of haunting settings and eerie modulations that are otherworldly yet serene. With these albums, be prepared to be whisked away to a dark world with hypnotizing effects.

Found Footage (Oct 2025)

‘Found Footage’ consists of a single, thirty five minute track that pays homage to the found footage film genre. Expressing and sharing the same sentiments discovered through the cameras eye, this track plays out in an adventurous way through wandering drones, subtle environmental noises and the occasional field recording that parallels the subject matter at hand. This songs plays to an innate vision of unscripted exploration, improvisational motive and a quest for understanding. Hints of melodic keys in the background are equivalent to the wonders of an unknown cessation and the endeavor to reach that plateau. The soothing soundscapes produce a meditative space for recollection and the necessary capacity for a true cleansing of the mind. As the song progresses toward its ending, the music becomes more emphatic as a certain closure draws near. This is such a peaceful recording that emphasizes the need for abeyance through the succession of realistic immersion of events as discovered by others.

https://thelonelybell.bandcamp.com/album/found-footage

Time Lost (Feb 2026)

‘Time Lost’ is an ambient adventure of the soul that is a must listen. Right from the opening note of “One Wish”, an ethereal vibe sets the tone for another emotional offering – something we can always expect from The Lonely Bell. Delicate drones will entrance the listener into an abrogating energy that is constructed in a way that will galvanize the psyche into complete chaos or delicate peace. Each track represents a sacred element of recollection that only the listener can construct into its own unique understanding. Tracks like, “Elsewhere” and “Dance Of Dead Leaves” lead with melodic impressions that produce a consoling feeling of euphoria. However, tracks like “The Old Bridge” sways to the opposite end of the spectrum with dark, brooding atmospherics that will alienate all positive perspectives. The title track, “Time Lost” is a true representation of the overall objective of achieving sentimental triumph. Looping textures and enlightened drones cast a warm light on a descending darkness, expanding upon an open space for diverse and introspective logic. At the end of the album, one will achieve a decisive cleansing of one’s inner self, leaving an impression of remarkable ambition.

https://oscarson.bandcamp.com/album/time-lost

The Lonely Bell continue to release absorbing albums that create a vast void of either liminal atmospheres or turbulent compunction. ‘Found Footage’ and ‘Time Lost’ are just two amazing examples of this, while extending an audial consistence of deep ambience and palpable soundscapes. I highly recommend these albums to those that dwell in self recollection or need emotional absolution. Check out these albums, as well as The Lonely Bell’s back catalog and be prepared for immeasurable contentment.

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Links:

The Lonely Bell Bandcamp:

https://thelonelybell.bandcamp.com/music

Oscarson Label Bandcamp:

https://oscarson.bandcamp.com/music

Desolation Plains Delivers An Alchemic Frolic Through The Cosmos On Absolute Offering, ‘Celestial Sorcery’

I’ve been following Desolation Plains for several years now and it’s safe to say that with each album release there is an implicit layer of musical growth as well as an expanded improvement with regards to musical composition. On the latest album, ‘Celestial Sorcery’, there is a profound range of audial eloquence that I’ve not heard in a long time. These tracks flow seamlessly as if a spacial void was vastly penetrated by composite modulations destined for distant stars. This album as a whole is like one massive meditative simulation that draws the listener in without hesitation and then proceeds on a spectral trip down a medieval – yet futuristic – passage of infinite dreams and illustrious oblations. Without a single debacle across these eight tracks, Desolation Plain presents thirty two minutes of fascinating canticles that gratifying and completely mesmerizing.

Dreamy album opener, “Altar Of Eltanin (Prelude)” gets things going with an enthralling sequence of lush keys and dark ambient hums. A soft cadence kicks in and layers of sonic synths collaborate in victorious fashion. “Astral Draconic Worship” begins with somber modulations that could easily place the listener in a hypnotic state. Radiant tones and beats follow almost immediately, creating an enchanted space for Medieval doings. Synth leads dominate the track and imply a battle-ready environment and a quest for ascendancy. The excitement continues as “Forgotten Shards of Thuban” spews forth a retrospective groove that could have easily been a part of the Stranger Things musical universe. Synth leads sound heavily reverberated, producing a thick atmosphere of electronic greatness. Next up is the powerful, “Rising Tides Of Eternity”. This track rages with melody and ethereal vibes that create a calming ambience that is a joy to soak in and listen to. Clean synth leads merge seamlessly with the backing sounds generating a smooth montage of tones that is instantly enjoyable. “Neon Druids Of Gamma Draconis” is a whimsical piece that introduces capricious loops, elongated cords, and rhythmic percussion patterns that come together harmoniously! Some of the reverberated tones are stringent and truly represent the emotional context of Medieval times. “Moonstone Dagger Rituals” reminds me of Cosmic Terror-era Varkana and that’s not a bad thing. As a matter of fact, that’s one of my favorite Dungeon Synth albums of all time. The lush key tones, echoing keys and sonic soundscapes complete this amazing track. This is probably my favorite track on the album and sort of summarizes the whole musical concept of the entire outing. “Creatures Of Moonlight” has a very nostalgic tone of late 90’s, early 2000’s synth music. The pensive instrumentation is very refined in style and everything mixes extremely well through the song. The final track is the eerily somber, “Star Magic Ascension”. There is a strong melancholic vibe that creates a pleasant context for this musical journey finale. The backing percussive elements are different but mesh well with the overall atmosphere of the track. This is a fitting way to end this immersive experience full of meandering electronic transmissions and vast soundscapes.

Desolation Plains is one of those projects that gets better and better with each release. With already a strong discography of six releases, the sky is the limit for this incredible act. From the songwriting and instrumentation to the excellent production effort, ‘Celestial Sorcery’ is already a top contender for my “Best of 2026” list. I know there is still a lot of time left in this year but I continually come back to this album on a regular basis. I highly recommend this if you’ve not already checked it out. Definitely check out the rest of the discography as well.

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Links:

https://desolationplains.bandcamp.com/album/celestial-sorcery

https://weregnomerecords.bandcamp.com/album/celestial-sorcery

BlackWeald & Old Crypt Coalesce On a Dark, Epic Odyssey To A Distant Sea Castle Called ‘Ahtola’

When it comes to Dark Ambient music, long form tracks (and albums) almost immediately grab my attention. There is something about tracks with epic lengths that pique my interest as they allow for meditative expansion, curiosity arousal, and the ultimate setting for imaginative story telling. One artist that is dependable in that area is BlackWeald from Hungary. Extensive song lengths are a normal endeavor for this project, as well as delivering massive albums. ‘666 Minutes In Hell’ from 2021 clocks in at over 11 hours and ‘The Fermi Exhibit’ is over 5 hours long. If these don’t serve as a audial storyboard platform for your senses, I’m not sure what will. In addition to that, the artist Old Crypt (also from Hungary) has over 20 releases – mostly consisting of single tracks that are around (or over) the 1 hour mark. When the two projects are combined, the result is the massive ‘Ahtola’ album – 3 tracks with over 3 hours of imposing drones that will surely captivate the senses. In Finnish mythology, Ahtola is an underwater sea castle and home of Ahti, the god of the sea. Musically, these tracks serve as a soundtrack for an allegorical voyage of discovery of the unknown and the dreadful encounters along the way. A voyage to expose this apocryphal location for the sake of possible existence. Played at full length, without breaks, will submerge the listener into this passage that will ultimately prove there will never be another contingent expedition of this nature ever again.

At just under one hour and fifteen minutes, lead off track “Ahtola”, is a mammoth of an album opener. Commencing with a vaporous drone that complements hollow sounding synths, as if they were recorded in a distant vessel that is slowly disappearing in the darkness of thick fog, these sounds emit a particular radiance that is certainly fitting for the theme of this album. At about five minutes in, grim effects begin to take shape, promoting a dreadful presence of something supernatural. As the search for Ahtola continues, the minimalistic vibe of this track continues to expand slowly and effectively, like an impenetrable darkness full of looming shadows. Pulsating percussive elements begin to form, like a welcoming committee from an ancient, uncivilized tribe. At just over the sixteen minute mark, a thunderous modulated drone all but drowns out the previous audial dialogue. As we approach the halfway point, the glow of ominous drones and effects completely overpower all mental faculties and continue to immerse the listener into an unexplored world of aquatic dreariness. As we continue on to the final minutes, it’s clear that this track has successfully laid out the scope and mission of the remainder of the album and their is no escaping the overall sinister tone of the subject matter. “Ahtola, Sunken Ruins” is an eighty one minute voyage into the prodigious world of maritime obscurity. Heavily reverberated tones – akin to space ambient tidings – emit a feeling of pure relaxation, but with a sense of harrowing dread lurking close by. The sounds of distant thunder adds a sense of foreboding naturism and space water droplets offset that with an ataractic sensation of mild unrest. Throughout this long player, menacing drones rotate through various octaves to complement the assorted elements that coincide with fantastical tale that radiates through this entire album. Additionally, various beastly noises declare a lurking presence that is downright evil. Even though this track has an enormous time span, the introspective experience that is validated throughout is well worth it. Even though the final track, “Ahtola, Desolate Sanctum” is the shortest song on the album, it still clocks in at a hefty forty six minutes. As if this is the grand finale of the Ahtola expedition, aggressive tones begin almost immediately and elude to an imminent danger that can only be expressed with bleak audial vision. As this song weaves through elements of obscure synth pads and assorted soundscape, the feeling of apprehensive emotions take shape and this dark realm is taken to a whole new level of apocalyptic dread. As we approach the end of this huge, phonic undertaking, a distinct closure is presented during the albums final minutes. Cogent drones are met with flowing accuracy and then are ultimately matched with an unexpected guitar riff, depicting a haunting conclusion to this immense sea-worthy adventure.

The best aspects of BlackWeald and Old Crypt collide on this colossal Dark Ambient offering that will definitely appeal to listeners of minimalistic, epic-sized ambient music. It’s extremely easy to get lost in these three tracks and the value of the listening experience is well worth it. ‘Ahtola’ is a mythical story worth telling and this droning musical format is optimal for its portrayal. Both BlackWeald and Old Crypt are artists worth checking out and the quality of their discographies are excessively satisfying. Be sure to add ‘Ahtola’ to your list of albums to check out and support these projects at the links below.

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

Links:

BlackWeald:

https://blackweald.bandcamp.com/music

Old Crypt:

https://oldcrypt.bandcamp.com

Encounters With The Oceans’ Unknown Are Honored On Latest Release By Serpent’s Isle Called, ‘Through Oceans Uncharted’

There is something about an oceanic theme that resonates with me so much. I think because it evokes an overwhelming sense of emotions that reside on opposite ends of the spectrum. On one side, there is this calming impression of endless bliss that provides peace and serenity and on the other side, there is a dark, bleak existence of unexplored voids filled with unknown chaos and dread. Then there is the mystique of mythical sea creatures hunting (and haunting) mariners, creating a quest for insanity and sheer aberration. These make up quite the subject matter for all genres of music and I’m here for it. In the realm of Dungeon Synth, no one creates this placid, aquatic atmosphere quite like Serpent’s Isle. The latest adventure is called ‘Through Oceans Uncharted’, and it explores various encounters with amphibious cryptids from centuries past. In true Serpent’s Isle fashion, these tracks are beautifully recorded in a retro-styled fidelity with pensive synths manifesting into grim, yet tranquil soundscapes.

Persuasive album opener, “Ocean Leviathan Of Egede – 1734” sets the mood with its smooth flowing synth leads backed by melancholic tones and a retrospective vibe. I can imagine being on a swaying vessel, lost in the vast void of the ocean and being stalked by an undetected sea creature. This would be the calm before the storm, the pleasures of acceptance before the horrors of total carnage begin. This is followed by the alluring sounds of “Aquatic Horror Of L. Von Ferry – 1746”, a prolonged musical piece that continues the dreamy ambiance with authentic synths and haunting melodies that are bound to unearth whatever malevolence is hiding under the waters surface. Up next is “Water Beast Of Maclean – 1808.” Creating a climate of soft, flowing sounds and low fidelity production, this track sounds like a retrospective voyage through open waters with no end in site, culminating with dreadful beings lurking below the waterline. “Boat Snake Of New England – 1817” possess some pulchritudinous flowing synths with enticing moments of introspective resonance that are completely hypnotizing. Flowing seamlessly into the next track, “Sea Serpent Of Sanford – 1820”, the alluring quality doesn’t let up and the tonal aspect of this track is more upbeat and vigorous. With more elongated keys and deep background modulations, the resiliency of the album as a whole remains consistent. “The Ocean Monster Of Royal Saxon – 1839” is the second longest track and is an endeavor in audial persistence. Listening to this creates a vision of a venerable deployment of vessels as they traverse colossal oceans in search of undiscovered entities and exotic enigmas. “The Impossible Beast Of Ince – 1833” is a short offering that start with a Renaissance style cadence before morphing into a fulfilling intonation that doesn’t waste a second of space, as a hefty electronic performance is packed in superbly for just over a minute and a half. The final track on the album is “Underwater Terror Of Nova Scotia – 1844”, another brief track of reflective sounds and melodic modulations. This is the perfect book end to close out another amazing Serpent’s Isle album.

Serpent’s Isle play the type of Dungeon Synth that is right up my alley. It has that old-school sound without being outdated and the quality of the recording has a fidelity that aligns with the subject matter and mystique of complex realism. If my calculations are correct, ‘Through Oceans Uncharted’ is the nineteenth recording by Serpent’s Isle and each release just gets better and better. If you like your Dungeon Synth in the traditional sense and with a classic recording style, then don’t pass on Serpent’s Isle. This project brings the best in maritime electronic music and with a discography of consistent recordings, one can easily listen to any album as a starting point and sink right into a seafaring excursion that is bound for endless, fantastical stories.

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Link:

https://serpentsisle.bandcamp.com/album/through-oceans-uncharted

Psyclopean Guides Us Through Infinite, Cosmic Realms On ‘Into A New Dark Age’

The amount of releases put out by Altrusian Grace Media is incessant. From full audio books covering a myriad of subjects and esoteric music collections to ominous dark ambient recordings from the distinguished project, Psyclopean, the assortment of output is sure to grab anyone and everyone’s attention. In addition to all that, patrons are graced with a number of exclusive releases for those that join the Starry Wisdom Cult. One of the latest audial offerings is, ‘Into A New Dark Age’ by Psyclopean, a dismal single track that spans almost thirty minutes, and presents a nightmarish spectacle of retro synth impressions with Berlin School sequences and foreboding drones.

Opening with a cold, dark drone sound that slowly fades in, presenting an anxious catapult into unknown sounds and mythical panorama. Layers of Berlin School progression and soothing synth chops begin to play with ethereal results, drawing the listener into an extended realm of endless audial possibilities. As if playing on a loop, this section has a hypnotizing effect and then slowly fades out to a tranquilizing drone. At around the six minute mark, an eerie spoken word bit is summoned, followed by a harmonized chant passage. This is soon accompanied by a thumping bass effect and continues on for a few minutes, emitting a grandiose and ritualistic effect. Soon after, a retrospective acoustic guitar melody begins to play a smooth riff and is backed by a synth lead that takes us back to a 70’s progressive rock synth tone. This segment presents a heavily reverberated soundscape that is sonically monumental. At around thirteen minutes in, heavy industrial effects emanate a dystopian theme of chaos and darkness. Hollowed drones and elongated synths take over and allow for an echoed synth lead to pervade through. This slowly crevasses into a more somber piece but with a melodic synth tone of mythical proportions. At just under the nineteen minute mark, space ambient drones become the dominant texture with immense, planetary elements. The last five minutes of the track returns to a retrospective synth sounds, removing the sense of claustrophobic sensations and abrupt panic. Instead, alleviating synth patterns provides an elegant yet caliginous desire. Haunting chants and spoken word bits return to close out the track as if concluding a reverent journey through space, time and harrowing mythos.

‘Into A New Dark Age’ is the 22nd official release from Psyclopean and the audial luster still shines through with nostalgic ambient precision while exuding modern soundscape elements that submits the listener into ravishing sonic realms. Having one epic-length track – especially in the ambient genre – is the perfect environment for the listener to escape reality and embed themselves into the track and experience the music as intended. Just in case the music doesn’t fully satisfy that reality withdrawal, check out the full length video below and experience the visual representation of this magnum opus. Psyclopean remains consistent with delivering immersive electronic music and ‘Into A New Dark Age’ just may be one of the projects best releases yet. Highly recommended for fans of space ambient and ritualistic drones.

Psyclopean – Into A New Dark Age

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Link:

https://altrusiangrace.bandcamp.com/album/into-a-new-dark-age

Sokol Keep DIY Sessions Presents The Lo-Fi Medieval Canticles, Blades Of Folmär – Eternal Dungeon I & II

One of my favorite exploits of 2025 was the DIY Sessions presented by the UK based Dungeon Synth Label, Sokol Keep. These session afforded various artists to record tracks (or albums) in an authentic, old-school format so that credible material could be delivered with true, Medieval intentions. One project that contributed to these sessions (that immediately grabbed my attention) was Blades Of Folmär. Hailing from Devon, UK, Blades Of Folmär combines vintage recording aesthetics with an elemental Dungeon Synth essence that summons the true nature of the ancient spirit. Assembling a pair of releases that pay homage to the immutable past of bloodstained keeps, grueling battles, daunting castles and enchanted forests, they provide an authentic, audial journey of the dark ages. ‘Eternal Dungeon I & II’ betoken a glorious quest for honor, crimson crusades and an age of dark exploration.

Eternal Dungeon (Feb 2025)

Eternal Dungeon commences with the abbreviated intro, “Quest Of Heroes”. Immediately showcasing a muddled, lo-fi production, with slightly reverberated synths, a particular homage is paid to the ways of old, crafted with Medieval integrity. “The Dungeon Goes Ever On” continues the ancient cadence and adds a spectrum of melody that exudes a tranquil precedence, combined with gloomy synth tones and haunting atmospherics. “Beware, The Servants Of Morcar” clocks in at almost eight and a half minutes and consistently produces a ghostly sound throughout as the darkened synths parallel ambient textures that are both pastoral and somber. Occasional percussive elements are inserted throughout that contribute in a boastful way. The final track on this offering is “Star Of The West”, a lighthearted anthem that is a fitting bookend to the album opener. This is exactly the sound I imagine could be played in an isolated dungeon, deep below the surface of a far away kingdom.

https://sokolkeep.bandcamp.com/album/eternal-dungeon

Eternal Dungeon II (Dec 2025)

Continuing where the first album left off, “Eternal Dungeon II” produces that classic Dungeon Synth experience across four amazing tracks. Beginning with “The Moonlit Portcullis”, forlorn modulation integrate with a murky production for a pristine, authentic sound. The looming melody that is present throughout creates an alluring atmosphere that is extremely enjoyable to listen to. “To Dine In Carrion Halls” includes a thumping drum beat, regulating a haunting cadence that is reminiscent of a funeral procession, sauntering down muddy trails in the dead of night. “Gurrok Cairn” is a seven and a half minute darkened offering that combines ambient structures with elongated synth tones, evoking a daunting tale of bloodshed, damned battlefields and a triumphant return to a victorious kingdom exclusively seen through a black and white lens. The final track, “Glademist”, is a brief oblation that perfectly closes the album in true Dungeon fashion. Brief and to the point, nostalgic synth chops are a true testament to the authentic sounds of this canticle seemingly purloined from the Middle Ages. The gritty production is a convincing attestation of what Blades Of Folmär set out to achieve, to present true Dungeon Synth songs with a classic embrace.

https://sokolkeep.bandcamp.com/album/eternal-dungeon-ii

Blades Of Folmär has taken complete advantage of the Sokol Keep DIY Sessions by releasing two amazing Dungeon Synth albums, ‘Eternal Dungeon’ and ‘Eternal Dungeon II’. Even though each album forges its own path to age-old glory, together they present an audial unification that pays homage to everything we love about the Medieval dynamism. From dirge-like cadences to battle ready synth intonations, these albums are a perfect precedent of old-school dungeon synth. Not only are these two albums amazing but all of the other DIY Sessions offerings are worthy contributions to the Dungeon Synth genre. Don’t pass on these albums and prepare for an ancient battle while hearkening on the prodigious anthems contained within.

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

Link:

Sokol Keep:

https://sokolkeep.bandcamp.com/music

Blades of Folmär:

https://bladesoffolmar.bandcamp.com

Everyday Dust Takes Us Back In Time With The Dynamically Magnetic, ‘Shrouded’ Trilogy

After a lengthy hiatus, I’m finally back in the Dungeon (in Deep Space, of course) and ready to provide my analysis and opinion on the great genres of Dungeon Synth, Dark Ambient and anything in between. For my first post-hiatus offering, I’d like to spotlight the ‘Shrouded’ trilogy by Everyday Dust. Focusing on minimalistic soundscapes and audial designs that are reminiscent of retro adventures and blissful morning decadence, Everyday Dust transcends the typical Dark Ambient outing with a fresh take on sound manipulations, solid use of loops and a combination of musical ideas that extends beyond a single genre. Below, I will summarize my thoughts of each album and hope that you’ll check them out as well.

Shrouded I (2023)

The 2023 release that began this amazing trilogy, set the tone right away with retrospective variations and haunting melodies that cultivate a rich tonal texture of relaxing soundscapes. “Broken Wings” is a pleasant album opener that provides a virtual backdrop of an avant-garde soundtrack for a utopian, yet visionary audial design. Continuing with “Evensong”, Everyday Dust sways to a dissonant realm of exotic rhythms and reverberated loops. This creates a blissful adventure through lethargic dreams and peaceful endeavors. Skipping over to “Distant Lanterns”, we find a more spacial approach with looming drones and cosmic intonations. The final track, “Solus” is a jovial offering that encapsulates the overall vibe of the album. Definitely ending on a high note, ‘Shrouded’ sets the stage for two follow-up albums that do not disappoint.

https://everydaydust.bandcamp.com/album/shrouded

Shrouded II (2024)

‘Shrouded II’ begins with the nostalgic, “Who Built The Chimes?”. Audial hisses and looping cracks present a lo-fi setting for the deluge of sounds that are contained within. “Horns Sound As The Haar Surrounds” continues with the grungy production sounds but with more of a minimalist radiance. Various sounds and cryptic noises radiate throughout this crack, producing an eerie offering that easily captivates the listener. “The Jackalope Whisperer” is the darkest track on the album with its bleak atmospherics and demented sound bites. At just under 15 minutes in length, this canticle plays on the psyche with a variety of emotional changes and hypnotizing, yet protracted modulations. The final track, “Thorns”, delivers a nefarious experience with malevolent tones, ominous atmosphere and despondent pitch changes. Although it continues the same sentiments as the first album, it’s delivered with a darker, deeper prospective.

https://everydaydust.bandcamp.com/album/shrouded-ii

Shrouded III (2025)

In 2025, Everyday Dust delivered the final installment of the harrowing trilogy with ‘Shrouded III’. Immediately commencing with the dystopian thriller, “Make No Bones”, it explores the outer realms of space ambience with planetary clamor and peaceful drones. “Sentinel” follows with the sounds of tape hisses in the background with heavily reverberated synths, producing a striated track full of turbulent intentions. “Heresy” is another dismal offering with its glooming, apocalyptic resonance that mimics what one may hear during a grueling nightmare. With the time span of just over 12 minutes, this effort creates an uneasy adventure that cannot be avoided. The final track on the album (and of the trilogy), is the maniacal, “Smokescreen”. As with the case with any finale, incandescent modulations pulsate with dreadful intensional, producing an all-encompassing array of looping timber with somber soundscapes that conclude this obscure yet magnificent trilogy of recordings.

https://everydaydust.bandcamp.com/album/shrouded-iii

Spanning three years, the ‘Shrouded’ trilogy, presents a fantastic audial adventure that is both retrospective and modern. As with the old “create-your-own-adventure” books of decades past, these albums allow the listener to dwell deep into their own minds to construct a voyage that can be both unique and audacious. Everyday Dust have gone above and beyond with these recordings and have produced something very special that will definitely stand the test of time. Each of these albums deserve repeated listens and new elements are sure to be gained every time someone connects with these songs.

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

Links:

Everyday Dust Bandcamp:

https://everydaydust.bandcamp.com

Sokol Keep Rallies The Contingents And Embarks On A Daring Mission With ‘Underkeep – The Adventure’

Things have been rather slow this year for The Dungeon In Deep Space, as a multitude of life changes have consumed my time. That’s not to say that I’ve not been keeping up with one of my favorite genres of music, as it’s been the constant element that has provided a sense of sanity in my life. As things start to dwindle down (personally), I’m excited to resume my writing activities and “blog” about the releases that have left an impact on my life this year thus far. I’d like to start with the amazing album by Sokol Keep called ‘Underkeep – The Adventure’, a forty three minute excursion through the depths of Medieval gloom and maniacal contumacy. Sokol Keep doesn’t forge alone, as a troupe of Dungeon Synth artists add to the adventure in courageous fashion.

The album commences with the powerful, “Enter The Keep (w/Atlantean Sword)”. As if returning from a gruesome battle, it starts with the sounds of muddied (or bloodied) warriors returning to their kingdom and into the realms of much needed safety. A cold ambient texture plays in the background as a spoken word narrative reiterates victory. Bombastic Dungeon Synth cords play loud and proud as this dainty little anthem is the perfect way to start this album. “The Sokol Keep Crypts (w/Crypt Mage)” starts with a gloomy soundscape, followed by ghoulish ambient textures. A looping, off-rhythm beat adds to the sinister vibe of the song while haunting noises and whispers plague the remainder of the track. “The Guardians (w/Blood Tower)” is a soothing intonation that fusses deep chords with elongated synths. Eldritch sounds create a layer of uneasy mysticism and the quality of the track continues to emulate something from a horror movie film score. “Room By Room, Passage By Passage (w/Hérétique Du Nord)” resembles more of a deep space ambient track, with hollow, reverberated synths, showcasing a vessel crossing a forbidden void. About halfway through the track, synths build in layers, producing a climactic ending for a tumultuous quest. “Fear The Dungeon (Encounter) (w/Balin)” is a unique undertaking as the sound turns to more of a synthwave vibe. The pace of this track is hectic and full of angst as the clashing tones of looping percussion and ghostly soundscapes ultimately collide. “The Door Lies Beyond (Onto Underkeep) (w/Sylfvr)” is a heartwarming tracks with whimsical keys and pounding percussive elements. The synth leads are serene and the near-inaudible narrations add a sense of mystery to the narrative. Flute-like keys, soon takeover in a gloriously led effort to bring tranquility back to the keep. “Into The Underdark of Underkeep (w/Robe Of Eyes)” is one of my favorite tracks on the album, as the bell-like sounds at the the into create a realm of ritualistic expanse. Flowing keys bridge the gap of obscure haunts and melancholic dreams, while lush production efforts creates a dreamy vision of days past. “The Forges Of Sokol Keep (w/Sombre Arcane & Khand)” is another introspective track with icy cold ambient textures and lo-fi percussion loops. However, about halfway through, animated instrumentation creates sort of an interlude before breaking into a grandiose moment that is nearly breathtaking. “No Further | Last Battle (In Underkeep) (w/Warlock Corpse)” is a battle ready track that exudes aggression and confrontation. Galloping percussion, war cries and deep synth tones lead the charge in this effort and the output is a spectacular song that should be used in preparation for battle. “Emergence | See The Light (w/KletTtermax)” is a short, retrospective offering with lush melodies and looping hisses that create almost a superannuated sound. The final track on the album is “Victorious? (w/Atlantean Sword)”. Complete with a short, spoken word intro, gleaming synth chops and grand soundscapes, this track represents the ultimate finale with an abbreviated anthem, followed by the maniacal laugh and weathered field recordings. Such a defiant way to end this conceptual masterpiece.

I’d first like to say, that I’m glad to be back, writing reviews on the music that I love and that firmly creates a sense of inner peace within. That being said, I’m really excited to write about one of my favorite Dungeon Synth offerings of the year so far, ‘Underkeep – The Adventure’ by Sokol Keep. Featuring an impressive group of Dungeon Synth artists, adding their individualistic ideas to every track, there is not a dull moment throughout. From haunting soundscapes, gloomy ambience and top tier Dungeon Synth moments, this is an amazing effort by an artist that has had a minimal output of albums throughout the years. I can’t recommend this one enough so please check out the link below and support this incredible artist and album.

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

Link:

https://sokolkeep.bandcamp.com/album/underkeep-the-adventure

Cassette Release:

https://grimestone.bandcamp.com/merch/sokol-keep-underkeep-the-adventure-mc

Industrial Drone Vanguard, Conducive, Returns With Dismally Realistic, ‘Vanterwood Industries, Inc.’

Almost two hundred and seventy years ago, Earth experienced the rise of the Industrial Revolution. This was a time when hand made goods gave way to much faster and efficient machinery. As this dynamic became more large scale, so did the exponential use of factories, broadening the scope of expansion and a necessity for expedient reliability. However, a looming downfall became present in the form of perpetual harsh noise, the release of deadly chemicals in the air and the rise of healthcare concerns due to smog and pollution. Although the Industrial Revolution has come and gone, lingering developments from that period are still in use, especially in the form of large-scale factories – which continue to deliver the negative anomalies as in the past. That brings me to the fascinating new album by Conducive called ‘Vanterwood Industries, Inc.’, a three track magnum opus that focuses on the chaotic elements of industrialized tormentors and their abrasive influence.

“At The Edge Of Town” is a powerful seventeen plus minute album opener that doesn’t waste any time delivering a menacing scene of black smoke, dense fog and voracious machinery with an insatiable appetite for devastation. With industrial chaos thrashing at full speed, this unstoppable presence creates an intoxicating fabric of endless sound with an intriguing appeal of mesmerizing modulations. The sound patterns on this track loop with full force, creating an anxious blend of eerie commotions and an intensity that is destined to pummel everything in its wake. Additional heavy machinery noises begin to take shape in malevolent pattern that increases with ferocity as they cycle through their creative process. As the droning ambience begins to thicken, a sense of chaos is abound, increasing productive and unabridged wear and tear simultaneously. As the machinery is pushed to the brink of its capacity, a sense of dread begins to compound, while melancholic intonations are scattered throughout, like a sudden disharmonic side effect that may soon breakdown the workload of the machinery. The track abruptly stops, as if a horrified worker suddenly presses the emergency stop button, putting an end to the noise abscondment. The second track is the short, “Outside The Factory Walls (12pm)”. At just under two and a half minutes, this track represents a much needed break time from factory endeavors and although it’s much more peaceful than the first track, it continues to showcase another side of endless noises that invade outside. From natural sounds to motor vehicles there is no actual peace from the turbulent sounds that fills the audible space in our lives. The final track on the album is the near twenty minute long, “The Brink Of A New World”. Commencing with a soothing drone, a variety of one-off sounds create a dawning soundscape that slowly intensifies over time. The alluring effects casually accelerate into a wall of distortion that increasing multiplies as the track continues to unfold. At about halfway in, a motley of heavy machinery produces a synchronized pattern of dominating vortex energy that translates into harsh, mechanized chaos. Soft synth pads are tenderly introduced, giving us a somber reminder that industrialized machinery is a dominating force that cannot be stopped and that our surrender to its malevolent presence is impending.

Although Conducive has only been around for a short period of time, the creative force of this project is extremely satisfying. The chaos produced on this album allows for endless, imagined possibilities and is addictive to listen to as well. To some that may not be familiar with the genre of harsh noise, their only takeaway may be that it’s just an album full of perpetual chaos. However, there is an element of beauty that is represented on ‘Vanterwood Indistries, Inc.’ that stretches far beyond noise. If you let your imagination go and soak in all of the intricate details that may go overlooked, you’ll be completely satisfied with the end result. This album is absolutely amazing and without a doubt, my favorite offering by Conducive. If you’ve not checked this one out yet, you’re missing out on an amazing experience that is like no other. Click on the link below and begin your trip through the industrial wastelands of ‘Vanterwood Industries, Inc.’

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Links:

https://conducivemusic.bandcamp.com/album/vanterwood-industries-inc

Cassette Release:

https://veinte33records.bandcamp.com/album/vanterwood-industries-inc

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

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

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

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

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Links:

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