Guild Of Lore Summons Select Mercenaries Of Music To Remix Select Intonations For ‘Portals Volume I’

One of Dungeon Synth’s premiere acts, Guild Of Lore, has culminated quite the following of the past few years. Captivating listeners with tales that span the cold corners of Winterstead to the cultivated lands of Bohollow, Guild Of Lore has amassed an impressive catalog of memorable tunes that inspire, thrill and amaze audiences of multiple genres. Those intonations have now been taken to a new level as the galvanizing releases, ‘Portals Volume I’ and ‘Portals Volume II’, pull together a group of astounding artists to breath new life into some of these Guild Of Lore relics. In this review, I will take a closer look at the ‘Portals Volume I’ album and examine the works that were compiled for this musical adventure.

What better way to start off this journey than with Guild Of Lore, providing an astounding alternate take on “Covenant And Conquest (Paarthurnax Wisdom Mix)”. Impeccable drum beats, soothing ambience and endless melodies assimilate in excessive sound quality and quantity and the end results are tranquil to say the least. “Winter Riders” by Phranick develops into an alternative folk experience with haunting vocal melodies with a retrospective production quality. Never loosing sight of the Dungeon Synth origins of this track, they capture the essence of other genres with supreme transparency. “Pumpkin Pickers Festival” by Fen Walker is a groovy piece that gathers hints of Crypt Hop, whimsical instrumentation and alluring orchestrations. Setting a spectacular mid-paced vibe throughout this track, you’ll be nodding your head in amazement and fascination as multiple music styles continue to mesh together. “A Wondering Path” by Malfet commences with an intrusive drone and inaudible narrations, while a variety of soundscapes paint a vivid, winter scene. This track morphs from ghostly drones to somber melodies and continues to maintain a consoling balance for the duration. “Mouth Of The Murky Abyss” by Lurk is my favorite track of Volume I and embodies every single quality of an unparalleled Crypt Hop song. From catchy melodies, groovy synth patterns and insane drum beats, this one demands multiple replays and epitomizes the goal of this remix album in the first place. Next up is another Guild Of Lore outing in the way of “Peace Be With You (Mighty 8-Bit Hero Mix)”. Addictive, mellow and serene, this track has a calming effect but also has a few surprises to keep it especially interesting. The echoes of the guitar track works well with the 8-bit effects and together, provide a gentle atmosphere of Crossover Dungeon Synth. Next is multi-genre/instrumentalist Francis Roberts with the atmospheric rendition of “Descending Drifter Valley”. Showcasing an astounding ethereal feel, Francis makes this track his own with masterful production, stellar percussion integration and a knack for bringing every instrument and soundscapes to the forefront in a cinematic fashion. “The Long Lodge” by Gondar is a grim, theatrical affair with a soundtrack-like quality. A fascinating blend of ambient tones and Dungeon Synth arrangements, this track is laid back and meant for relaxation more than battle-ready warriors. “Voice Of The Mountain” by Cascadian Lightfall is an elegant composition that combines those wonderoud Guild Of Lore styled field recordings with upbeat percussion and synth leads, essentially turning this delicate track into a buoyant recording. The final track on this album is “Isle Of Mer” by Vandalorum. This track is simply amazing as it favorably modifies the astounding original into a Crypt Hop beast. With gracious synths and atmospherics, the perplexing drum beats play a pivotal role in spicing this one up. A perfect way to end this first volume of prodigious remix tracks.

For ‘Portals Volume I’, Guild Of Lore has done an an unbelievable job at choosing top-rate Dungeon Synth and Crypt Hop artists to participate in this project. The song arrangements and layout are perfect as the listener is made familiar with a wide array of genres and sounds. From upbeat to mellow and jazzy to cinematic, these tracks contain it all and there isn’t a single weakness contained within. If you’re a fan of Guild Of Lore, Dungeon Synth, Crypt Hop and anything in between, don’t miss out on this breathtaking album.

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Links:

https://guildoflore.bandcamp.com/album/portals-volume-i

Cryo Chamber Label’s Seventh Lovecraftian Collaboration, ‘Yig’, Is The Most Versatile Offering In The Series Yet

Since 2014, the Cryo Chamber label has embarked on an annual endeavor that epitomizes the meaning of artist collaboration. Paying tribute to world renowned author – and creator of the Cthulhu Mythos – H.P. Lovecraft, these musical ventures have proven time and time again to be epically daring and adventurous beyond the realm of typical artistry participation. Consisting of mainly album-length tracks, these Lovecraftian collaborations find the gathering of current Cryo Chamber artists, alumni of the label, and additional artists that are some of the best in the business. As each album culminates an evolution of sound and dynamics, they also improve with more sophistication and a variation of modular potency. The seventh (and latest) album in the series, ‘Yig’, consists of two songs that are around seventy minutes in length each and the transparency of these arrangements make it the most accessible and auditory one yet.

“Yig 1” wastes no time in creating a cinematic ambience, as mystifying soundscapes and fearless drones find a balance between sinister accord and Middle Eastern vibes. Percussive elements of a tribal nature begin to create a ritualistic groove that challenges the senses which results in being caught between darkness and a theatrical emotive state. As the percussion slowly fades, it gives way to deep, peaceful drones that succeed in delegating mental prowess to the subconscious. Various field recordings and effects paint an eerie scene, but this is just the beginning. At the twelve and a half minute mark, electronic beats add a rhythmic cadence that is downright sinister, but it is also a well designed section for this track as it adds an authentic layout to the ominous subject matter. One of my favorite sections of this track starts at around the twenty eight minute mark. Up to this point, the output has been mostly dark and malevolent in nature, but here there is a particular calmness that is a perfect inclusion. Layers of vibrant drones create a spacey vibe while keeping it melancholic at the same time. It’s so easy to get lost in this section as it’s so dreamy and introspective. If you’ve not done so up to this point, you’ll want to close your eyes and soak in the fantasy world that is being created. This section carries on for about seven minutes or so before traversing into darker territories again. At around the forty seven and a half minute mark, another important section of this track is introduced. Commencing with a good mix of field recordings, it is soon joined by West Asian instrumentation and some wicked vocalizations that are barely audible. After a few more very powerful sections of this track, we finally make it to the last few minutes, which ends in the same fashion as it started – unique field recordings and beautiful instrumentations that provide the cinematic finale to this grandiose piece. “Yig 2” is another impressive feat of legendary proportions. Starting with dark, desolate drones and apocalyptic soundscapes, the beginning sets a ravaging pace of systematic annihilation for the next seventy minutes. At around six and a half minutes, spacious drones meander in slow motion while a calming effect pierce through its dense layers. The looping effect creates an arcane sensation and the trance-like results are mind blowing. Another impressive section begins at around nineteen minutes in. As one section transparently fades into the next, this one has soaring guitar and piano leads with almost a dark noir sound. I could listen to a whole album of this stuff. Well played and just enough distortion on the percussive parts to change things up a bit, this is one of my favorite parts on the whole album. Starting at around the thirty two minute mark is probably one of the most essential sections on the album, as it really provides that nostalgic Lovecraftian vibe of horror and fascination for darkness. The bombastic drum beats combines with various drones and soundscapes create a menagerie of sound that is addictive and suggestive of the subject matter. Ominous and explosive black ambience is captured at around fifty two minutes in, as elements of industrialized drones begin to take over. The sound continues to grow darker and more perilous as a sense of anxiety begins to mount. However after a few minutes, that is counteracted by soft, soothing drones that successfully develop into an emotional journey for the final few minutes of this monumental album.

One of the most impressive aspects of the ‘Yig’ collaboration is how over twenty artists from all over the world, supply a version of their craft for this themed story with absolutely no opacity between parts. We’re talking two, seventy plus minutes tracks of some of the best arranged Dark Ambient material that has been produced recently. That extraordinary effort has made ‘Yig’ one of my favorites amongst the Cryo Chamber Lovecraft Collaboration series. If you’ve not heard this yet, I highly recommend checking it out by clicking on the link below.

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Links:

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

Fflewddur Emits Sonic Impulses Of Chiptune, Synthwave And Gracefully Crafted Dungeon Synth On ‘Farther Down We Go’

When the songwriting is spot on, I will listen to just about any genre of music, to include sub-genre outputs that may go against the grain of traditional boundaries. Even for Dungeon Synth, there are some sub-genres that I enjoy more than others but I will always give anything a chance regardless. That being said, if there is a definitive skill set in the composition department and arrangements are done in an appealing taste, I’m up for anything. That definitely holds true for Fflewddur and their riveting album, ‘Farther Down We Go’. Although some of the instrumentation is a bit more whimsical than my normal taste for Dungeon Synth, these songs are crafted with such meticulous detail and an irresistible amounts of melody that I can’t help but fall victim to the addictive style that shines on these seven light-hearted tracks.

Album opener, “There’s Nothing In This Cave Worth Dying For” is quite an impressive beginning to this adaptable album as it exposes several layers of genre-defying sounds that are intricately woven to produce an initial audial stimulating experience set to take place over the next twenty six minutes. “Caution To The Wind” begins with the guns a blazing as massive synth effects expose a grandiose scenery of Medieval savagery. However, not even twenty seconds in, a beautiful 8-but melody begins to play and changes the course of this track. As layers of synths and orchestrations begin to make their presence felt, it’s obvious how imposing this song intends to become and the wonderful melodies continue to impress until the end. Next up is the title track, “Farther Down We Go” and it’s as daring and adventurous as the previous tracks but in a different way. The effects are more subdued and haunting and the rhythmic beat in the background will have the listener nodding their head with awe and admiration for the songwriting skills on display. “A Fire For Warmth” begins with, well, a crackling fire field recording and it’s soon joined by several layers of compressed synth effects. The background melody and lead keys play off of each other so well, and the lingering drone in the near distance holds everything together perfectly. “A Discovery Of Gnomes” is a jubilant and whimsical piece that borders the realm of Comfy Synth. However, the bombastic drum beat provides a darker essence than usual for a melody of this nature. Ultimate, it all works together very well for a short but entertaining track. “The Elders Speak Of Treasure” contains inaudible vocal samples (or probably a distorted synth effect) that sets an eerie scene and then follows it up with grim keyboard harmonies and soothing synth leads that set a melancholic mood. The final track is the breathtaking, “Reaving The Gnomic Keep”. Featuring fast-paced percussive elements and quirky 8-bit leads, this eccentric track pretty much sums up the musical genius of the previous tracks in just under four minutes. This one will have you reminiscing fantasy movies of the 80’s or leave you wanting to play dungeon crawlers games from yesteryear. If that’s the case, then mission accomplished for Fflewddur.

‘Farther Down We Go’ is such a charming and enjoyable album. Delightful melodies and compelling songwriting are a predominant factor for the duration of this twenty six minute long amusing journey, which is full of twists and turns along the way. If you enjoy your Dungeon Synth with a sense of easement and calm demeanor, look no further than Fflewddur’s ‘Farther Down We Go’. Please support this fantastic artist and download the album from the link below.

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Links:

https://fflewddur.bandcamp.com/album/farther-down-we-go

Abstract Conveyances Demand Universal Reciprocity On Mauve Zone’s ‘Transmissions From Carcosa’

I want to take a minute to appreciate the hard work that these Dark Ambient artists do to establish a story (or theme, if you will) for the audial juggernaut that comes to fruition at the end result of their albums. Not only do they go “all out” to always provide high-quality music, but producing a noble storyline is equally as important in order to assist in delivering a valuable product to us fans. That especially holds true on Mauve Zone’s valiant ‘Transmissions From Carcosa’ album. Showing a major Lovecraftian influence, this album digs deep into mythological worlds and obscure subject matter to deliver a creative realm of dark ambience with trance-like impulses and mystical drones on seven massive tracks.

“The Calling From Hyades” begins with a long, drawn out crescendo of tonal modulations that turns into a sonic drone, and the foundation for the first part of this near ten minute long track. As the drone passes and slowly fades, the ringing of bells signifies an endless apprehension of foreboding soundscapes that will follow. Although a bit minimalistic – as far as composition goes – the effects run the gamut from deep sounds to higher pitched synth pad intonations. “The Shores Of Lake Hali” commences with ominous soundscapes, as if providing the audial imagery for a horror film. Although the feeling is rather calm, it’s more intense than soothing and the range of harrowing variety will leave you in anticipation for more dismal sounds that may follow. “Fungi From Yuggoth” starts with an oppressive, industrial beat with an echo effect and along with the drone that is contributed, sounds bleak and poignant. Although this sound remains constant throughout, minor adjustments are added and frequency distortions are thrown in to give it that futuristic and mechanized feel. “Cassilda’s Song” begins with an extremely cold vibe, complements of the dissonant sound effects and layered drones. Slight alterations are made to this otherwise track-long, steady composition and sound bits of vocal narrations are added as well. An overall very creepy augury, it’s exactly how I envision Dark Ambient to sound when representing Lovecratian subject matter. Next up is the industrious piece, “The Yellow Sign”. Massive, swaying drones assuage the subconscious while synth chops play a manufactured sound of cold, discordant harmonies. Distorted attunement adds a sense of unity to this complex score and its trance-like arrangement is mesmerizing. “Tatters Of The King” compiles the best features of darkwave and synthwave and fuses them with Dark Ambient soundscapes to produce one of the best tracks on the album. A mosaic of instrumentation is fine tuned and perfectly deconstructed on this song and as the listener gets lost in the conglomerate of modulations, the represented story starts to unfold. The final track on the album, “The Red Comet” is a soundtrack worthy composition and the songwriting translates amazingly well to the synth and pad arrangements. Exotic sound effects present a retrospective feeling as this massive album comes to a close. This track is a warm light that shines bright behind the dark, grim songs that proceeded it. An excellent way to end this album that will immediately make you want to give this a second spin.

Mauve Zone’s ‘Transmissions From Carcosa’ is a spectacular album that paints a dark, fascinating picture of a mythological world of Lovecraftian influence. There is a variety of music on this album that breaks the monotony of minimalistic droning and I love the industrial and synthwave influences on several of these tracks. If this is a sign of things to come, then Mauve Zone will soon be a favorites amongst Dark Ambient fans. I highly recommend this album so please click on the link below and support Mauve Zone.

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Links:

https://mauvezone.bandcamp.com/album/transmissions-from-carcosa

Guan Yin Video Premiere For “Repentance II”

In May of 2020, I reviewed an extremely diverse and unique collaboration album released on Akashic Envoy Records called ‘Apostils Against Hegemony, Vol. I: Transitive Properties’. Although that album contained thirty three extraordinary tracks, I detailed ten of them that stood out the most. Amongst those standout tracks was “Evocation I” by Guan Yin. The ritualistic essence laid a foundation for bleak drones, discordant vocals and black ambience and left me wanting more. The time has finally come for a new track and I’m extremely excited to present the video for “Repentance II”. It’s everything that I expected it to be and so much more. I hope you enjoy this song as much as I do and please visit the links at the bottom of the page.

Information from the artist/label:

Guan Yin: a ritual ambient project from multi-instrumentalist Cicatrix (Nodus Tollens, Chernozem – they/them)) and vocalist Espi Kvlt (Seas of Winter, Apricitas, Nehushtan – they/he).

In much the same way that the duo’s other collaboration Exsanguinated Shade doesn’t fit neatly within the parameters of a single genre, Guan Yin doesn’t approach ritual ambient in the traditional way. For starters, there are no occult themes in the duo’s music – Espi Kvlt is a practicing Buddhist, and all of their lyrics come from Buddhist texts. From a musical perspective, Cicatrix draws as much inspiration from power electronics artists like Prurient and Theologian as they do from the ritualistic sounds of Corona Barathri or Emme Ya.

For the dark and frequently harrowing half of their split with cinematic ambient duo Sun Through Eyelids, Espi Kvlt took their lyrics from the Platform Sutra of the Sixth Patriarch, specifically the section on Repentance. They chose that particular text because they were struggling with a mistake they made around the same time the duo were working on the split, and when dealing with serious life issues, the way they tend to overcome the pain and suffering from said issues is by making music. By focusing on the Repentance section of the Platform Sutra of the Sixth Patriarch, they were able to heal through singing the words and forgive themselves for said mistake. While no amount of repentance can ever truly eliminate the pain caused to another, it can serve to spread good will into the world and bring loving-kindness to any beings we have wronged.

The Sun Through Eyelids/Guan Yin split will be available on cassette from Acepahle Winter Productions on March 19. Limited to 50 copies on metallic silver shells. Preorders launch on March 5.

Links:

https://guanyin.bandcamp.com

https://acephalewinter.bandcamp.com

https://sunthrougheyelids.bandcamp.com

Vandalorum Surpasses All Expectations On The Extremely Diverse ‘Maewyn’

Vandalorum is an artist that needs no introduction, especially if you’ve followed the Dungeon Synth genre for the past couple of years. Quickly establishing himself as one of the premier acts in the community, Vandalorum has persistently released a number of exceptional albums, garnering a huge following amongst musicians and fans alike. Vandalorum is also no stranger to The Dungeon In Deep Space either, as I reviewed the 2019 album, ‘Flagellum Dei’. That album erupted with enormous Medieval anthems and made me an instant supporter. Although I didn’t get the chance to review the massive follow-up release, ‘Mesopotamian Death Cult’, it was also a work of art that surpassed its predecessor. That leads us to the latest release called ‘Maewyn’, the gallant story of the life of St. Patrick; from the trials and tribulations of his actions with bringing Christianity to Ireland to his lasting impression on history and story telling throughout the ages.

Jubilant album opener, “A Saint Lays Claim To The Souls Of The Irish” is light and vibrant and immediately presents colorful layers of energetic electronic music that transcends Dungeon Synth. The warm drum patterns and vigorous synth leads catapult this track down a genre-less path and exposes it to boundless sources of musical universal acclaim. From the very first note of “Rise Of The Fomorians”, I realized that this album was going to be special and once again eclipse its predecessors. After a short keyboard intro, a drum beat fuses with expansive synths and showcases a groove that is completely mesmerizing. Traditional Dungeon Synth keyboard effects have a few spots that are commendable and gives it a bit of flare and variety, but the real winner is the choir-like vocals and the bombastic drum fills. I can’t get enough of this track and it may be my favorite one on the album. Next up is the short, symphonic piece,“Moraltach”. Although at just under a minute and a half long, it plays an important role by continuing this voiceless story and shows just how powerful good music really is. “Children Of Lir” continues the passion set forth in the previous tracks and offers even more melody as layers of synth effects meld together to form a memorable composition. However, once the drum beats are engaged, this Crypt Hop track soars to chilling new heights. Retro synthwave vibes with a touch of reverb keeps it old-school while maintaining a modern appeal. “Enslaved By Celtic Raiders” takes us back to a more traditional Dungeon Synth style, but powerful percussive parts and soaring guitar leads makes this one of the most ambitious compositions yet. The synth break in the middle – complimented with natural sounding field recordings – is beyond extraordinary and it completely exudes tons of emotions. “Exodus Of The Tuatha De Danann” commences with an immaculate piano lead that builds up to a serene duet with a soaring synth. As other instruments are betrothed, you can sense a maniacal presence taking over as this early-dawn, synthwave track soars beyond the stratosphere. “Cu Chullain” is another musically diverse piece, as it begins with a peaceful and somber intonation. As various instruments assemble to form a harmonious arrangement, the track ascends to new heights as black metal vocals are introduced at the same time the drum beats come in to play. “The Nymph Of The Forest Of Neri” is an elegant cantata that has some of the best melodic moments on the album and the brisk drum beats are a welcomed treat. “The Cave Where He Saw Hell” takes us back to a more traditional Dungeon Synth sound, specifically in the layered synth effects. However, this one would easily classify as a Crypt Hop track as well, especially when the smooth beats start up at various times. There is a velvety shine throughout this emotional song and it serves as a spiritual uplifting guide, as this magnificent album comes to a close. The final track on the album is the near ten minute long, “A Prayer In The Fields, and God Answered”. Not rushing a single thing, it begins with a simplistic synth drone, with layered leads filling in with some lush details that sound very emotional. This structure remains throughout the track, although the synth effects change style a few times to maintain a curious introspective. This song is so mellow & beautiful and provides the perfect ending to this amazing album that has provided so much variety.

This is one of those albums that can be listened to from start to finish without ever skipping over any tracks. I can’t think of a single song on ‘Maewyn’ that I would skip during a play through. Since it contains so much diversity on every track, I wouldn’t want to miss any of the intricate details contained within because at any given time, any of these tracks could easily become my favorite song on the album. The vast improvements in musicianship and songwriting over the past three albums or so is just unreal and Vandalorum should be proud of such an amazing accomplishment. Please show your support for one of the genre’s best and download ‘Maewyn’ from the link below.

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Links:

https://vandalorum.bandcamp.com/album/maewyn

Randal Collier-Ford Ventures Down A Dark, Ritualistic Path on ‘Advent’

If you’re in the market for Dark Ambient that is loaded with substance and distinction, then look no further than Randal Collier-Ford. His unmistakable sound hangs in the balance between desolate drones and ritualistic terror. Somewhere amidst that rudimentary structure, frays of industrial modulations, sonic soundscapes and transcendental field recordings integrate seamlessly to present his signature take on Dark Ambient madness. However, on his latest effort, ‘Advent’, we find a broader approach to the songwriting venture, presenting a more melodic and cinematic sound than ever before. Ranging from effervescent orchestrations to tonal black ambience, ‘Advent’ is the Randal Collier-Ford album I’ve been waiting to hear for a very long time.

The opening track is the near twenty minute long juggernaut, “Beckoning Absurd Shapes”. It begins as expected – bleak, desolate soundscapes with a calm-before-the-storm approach. The drones ascend like low, howling winds and the sound of horns that resembles an early warning alarm enacts in the distance. Disturbing vibes continue to play out, creating an environment of angst and dread. Prolonged stringed arrangements add a slight gothic presence with a noir sediment. Ritualistic undertones in the form of dark, inaudible chants add a necessary layer of power and sonic presence to this track as it continues to ebb and flow with its audible storyline. The last half of this track is inundated with ghastly drones, beautiful stringed compositions and a variety of field recordings that will keep the listener engaged in this visionary conquest. The next track is “Eyes Of The Temple (feat. Northumbria)”. Northumbria – known for their textured guitar and bass recordings – adds a gripping layer of coldness that embodies the true essence of minimalistic ambience. The musical combination of these artists establishes a dreadful world of chaos and darkness that builds into a massive wall of sound. The star attraction in this track is the grandiose guitar reverb. It creates a sound so hollow and disturbing that it’s bound to create nightmarish effects. The final track on the album is the twelve minute long “The Second Wound”. Commencing with powerful drones of a destructive nature, this song slowly ascends into a world of desolate visions. A sultry piano arrangement leads into a tribal drum line of war-like proportions. Enormous soundscapes and industrialized summonings bring forth a climactic ending as the drones fade between the bombastic percussive parts. The track finally comes to a close, as the drums dissolve, leaving synth pads to create a fulfilling ending.

Randal Collier-Ford never disappoints, and has always delivered amazing results on his previous albums. However, with ‘Advent’, he’s stepped up his game and has conveyed his best performance yet. The epic track lengths make the difference for me, as they allow for the atmospherics to captivate the mind and dominate the emotional state. The Cryo Chamber label continues their effortless run of outstanding releases that continue to pioneer the Dark Ambient genre and ‘Advent’ embodies that streak completely. I highly recommend checking this one out so click on the link below and download this amazing album.

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Links:

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

Lord Orots Establishes A Powerful And Enthralling Setting With ‘Latzineko Erresumaren Itzulera’

Some artists just have that IT factor. The IT factor being the difference in quality and quantity in artistry that makes them stand out amongst the masses. From songwriting, compositional arrangements, effective use of soundscapes and field recording, production and even the visual aspect of the artwork, achieving this level of excellence is often curated by many but seldom maintained by few. One of those that stand out, albeit in a brief Dungeon Synth career, is Lord Orots. With a few EP’s, several singles, and a split release under his belt, we also have the massive full-length album, ‘Latzineko Erresumaren Itzulera’ to absorb and appreciate. This album is true, Medieval Dungeon Synth of the highest order with a cinematic quality like no other. The eight tracks contained within will no doubt take you back to a darkened, Middle Ages period of mystical wonder and endless tales of fantasy and adventure.

Right from the opening seconds of “Mendekurako Garaia”, the sounds of nature bring forth peace and tranquillity and pave the way for a celebrated transition to pulsating drum beats and melodic keys. The slight presence of a rain storm changes the mood to a grim appeal as this brief introduction comes to a close. Not wasting any time, the grandeur’s of Medieval essence can be felt as “Ziegan Giltzapetuta Betiko” announces its audial arrival. The awe-inspiring layers of synths fuse gallantly without becoming over imposing. Mixed perfectly, every instrument can be heard throughout its entire arrangement with complete clarity. The addition of a palpitating rhythm section adds a unique depth to this already wondrous track. Fading right into “Zeberio Errekako Iamiak“ with an elongated drone, it swiftly migrates into an ancient sound, courtesy of harmonized keys and harp-like effects. About halfway through, the action begins to pickup with choir-like vocal effects and muffled drums. “Oreina Eta Ontza Gauaren Ezkontza” is a beautiful piece that is filled with magnificent melody and sorrowful keyboard chops. Wonderfully composed, this track not only has an emotional standard throughout, it’s complimented by a deep drone that often goes unnoticed, but is crucial to the massive sound. The vocal effects are used sparsely but in great taste and just as this track puts you on the edge of your seat, it comes to a halt. That leads right into my favorite track on the album, “Ehun Mila Urte”. Commencing with a drum beat that is more in line with an enthralling death-march than a tribal pattern, it sets the stage for a bleak affair with an austere synth arrangement and a slightly discordant drone. Crisp lead keys flow smoothly across the electronic ivories as tensions start to rise. An intensity in the drum beat and layered tones begin to build as the song reaches a climatic point. After a short bridge section, influences of Warhammer 40k and Gregorian chants belt out in a victorious effort, and this dynamic song soon comes to a close. “Basoaren Besoetan” features lush keyboard melodies that sway between the soothing sounds of nature as birds randomly chirp in the background. At almost ten minutes in length, this is the longest track on the album and contains many sublime moments of dreamy, harmonized synth leads and it never loses focus on establishing a a connection with the essence of its environmental surroundings. “Udazkena” is another one of my favorite tracks on the album and it’s musical prowess enables this gem to standout amongst the others. Consisting of mostly slowed down synthwave chops and marginally distorted drones, this piece is full of early-dawn emotions and borders somewhere between melancholic and downright ominous sounds. The final track on the album is the war-like anthem, “Amaiera”. Although mainly consisting of calming synths and synchronous drum beats, this would be an effective composition for either rallying the troops or bringing unity throughout a discordant kingdom.

When it comes to uncompromising Dungeon Synth, Lord Orots has proven to be the chieftain of the synths and quite the skillful composer. Showing no timidity to venture beyond the borders of DS, Lord Orots incorporates many musical facets and ideas to create a unique musical experience, while staying true to the genre and the time period that it represents. I’m thoroughly impressed with ‘Latzineko Erresumaren Itzulera’ and am certain this album will stand the test of time. This one has been out a while already but if you’re one of the unfortunate few that hasn’t checked this one out yet, I highly recommend clicking on the link below and adding this masterpiece to your collection.

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Links:

https://lordorots.bandcamp.com/album/latzineko-erresumaren-itzulera

Aleksis Tristan Shaw Reveals An Array Of Influences On The Cinematic ‘Drones Of The Hive’

I’ll be the first to admit that it’s hard to soak in and preserve a lasting affection for many of the albums that I review. It’s not that I don’t like them, in fact, I’ve been fortunate to love everything that I’ve reviewed up to this point. Once I’m finished with one, I tend to put that album on the back burner (for a while), so that I can move on to the next. However, there are many instances where an album stops me dead in my tracks and enthralls me for multiple listens, with an extended staying time on my iPhone. ‘Drones Of The Hive’ by Aleksis Tristan Shaw is one of those albums. Not your typical Dark Ambient release, this one digs deep into emotional wounds with grandiose, cinematic energy, ominous synth leads, and an endless supply of menacing soundscapes & textures that set the mood for continual meditative euphoria. The ten imposing tracks contained within, offer variety, horror, substance, and unequivocal entertainment for the better part of forty eight minutes. Let’s take a deeper dive into each of these tracks.

The album commences with the somber, “Human Remainder”. Soft keys and pads drift sadly as they create a lush melody that will instantly reel the listener in. Soon after, harsh, looping keyboard tones ring out like a warning alarm while the cinematic instrumentation increases. “Vestigial Cries” begins with low, tonal sounds that set a grim mood. High-pitched drones oscillate throughout the track, providing a glimmer of hope to the emotional vibe that was previously set. Layers of synths piece this track together boldly with hints of dissonance and conflict while never loosing focus on the contemplative state. “Shamanic Atavism” is brimming with discordant synth leads while the background sounds like a black metal style song into. This track is very dark, yet dreamy and introspective. “Tenement Graves” is another gloomy piece that features the sounds of a crackling fire and a nifty drum beat that fits right in with the pace of the synths. As the percussive parts change up, multi-layers of quixotic keys & pads provide a grandiose audial platform that’s so easy to get lost in. “Dukkha And Anatman” is a multifaceted track that goes from horror score, minimalistic droning, to cinematic bliss. The use of percussive elements really stick out as well, making this one of my favorite tracks on the album. “Drifting Consciousness” renders terrifying drones, looping soundscapes and unidentifiable noises that will keep the listener on edge. Although this is one of the shorter tracks on the album, it succeeds at masking a horrifying feeling of dread. “Fugitive Drone” is an addictive listen, as the quirky keys & pads fuse perfectly with the cosmic drones, proposing the feeling of a doomed celestial mission. About halfway in, a blast of malevolence alters the tempo, setting up for a lifeless finale that can’t be altered. On the polar opposite of the scale is “Untethered”. Looping tape hisses, minimalistic drones and obscure field recordings dominate this track and when the pulsating drum beat is initiated, it gets that much better. Amongst the crackles and pops, this is actually a really smooth and mellow song that deserves multiple listens. “Caravan Of Outcasts” begins with an ambiguous orchestral arrangement, like a symphony warming up in various keys just before the conductor provides the signal to silence everyone before starting a performance. However, there is beauty amongst the chaos, as melody can be heard throughout. Wind chimes and other field recordings add a layer of organic texture that makes this one stand out as well. The final offering on this wondrous album is, “The Wastelands”. Even though it’s less than three minutes long, this light ambient opus is full of emotions and provides a cleansing affect on the mind and soul. The energy surrounding these hollow drones is breathtaking and it seems to ends too quickly.

Aleksis Tristan Shaw certainly has an ear for not only Dark Ambient but synth music in general. Whether fascinating the listener with cinematic soundscapes, horrifying drones or melodic synth leads, Aleksis Tristan Shaw knows how to administer the perfect blend of music and emotion and the result of that fusion is ‘Drones Of The Hive’. If you’re into ambient recording with meticulous detail and a variety of flavors, then please show your support by downloading this amazing album from the link below. This is truly a masterpiece in sound quality and music depth and it deserves your attention.

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Links:

https://aleksistristanshaw.bandcamp.com/album/drones-of-the-hive

Elminster’s Musical Vision Of The Forgotten Realms Novel Series Is Boldly Interpreted On ‘The Making Of A Mage: I – V’ EP’s

The more Dungeon Synth becomes a prominent music genre, the more we see countless artist hone their crafts’ and release material of a Medieval vibe with hopes of escalating a fan base and continuing their endeavors in this darkened, underground community. One way to stand out amongst the musical suitors is to swiftly release honorable music that continues an epic, primitive storyline. That’s where Elminster comes in with his ‘The Making Of A Mage’ series, consisting of five astounding albums of compelling and diverse tunes that interprets events from the Forgotten Realms novel by Ed Greenwood. The albums are ‘Part I: Brigand’, ‘Part II: Burglar’, ‘Part III: Priest’, ‘Part IV: Magus’, and ‘Part V: King’. Although they can be enjoyed as individual recordings, when played in succession they build into a wondrous tale of a bold musical adventure.

‘Part I: Brigand’ consists of four uplifting tracks that are minimalistic in sound dynamics but huge in composition. “Heldon Burns” commences with a somber synth arrangement accompanied by a feisty percussive element. Haunting orchestrations are definitely of the middle-ages time period and generally speaking, this is a great introduction to this project. By the time we get to the third track, “Heed The Words Of Helm Stoneblade, The Last True Knight Of Athalantar”, were introduced to clean but slightly discordant guitar strums and thunderous key pads that provide a diverse bass sound. Toward the end of the track, the instruments descend a musical scale with some dissonant keys thrown in for good measure.

‘Part II: Burglar’ consist of three tracks and has a playing time of around eleven minutes. Leading off this endeavor, “Eladar The Rogue’s Theme” has an awesome comedic value but also represents the album title perfectly as there is a lot of mystery and suspense that surrounds this three minute track. Skipping over to the final song, “To Chain A Mage”, there is an obvious sense of growth in the musical direction and this one takes on a more serious role in the series. From mystical keyboard arrangements, massive brass instrument effects, and a pounding rhythm section, this track has such a major composition maturity that will leave you wanting more.

‘Part III: Priest” begins with the dark and heroic, “Mystra’s Query”. From pounding drums, audacious synth arrangements, and even a flute lead that stands out impeccably, Elminster takes this series into darker territories of Medieval grandeur. “Once Elminster, Now Elmara” almost sounds as if the intro is being played on a child’s instrument. However, after light drones are introduced and beautifully played melodies – that layer in synchronized harmony – come about, this melancholic tune is probably one of the most memorable tracks from all of the EP’s.

‘Part IV: Magus’ consists of just two tracks but lead off song, “Ondil’s Floating Tower” clocks in at almost twelve minutes long. Beginning with a desolate droning keyboard tone, an ambiguous keyboard melody sets in to change the ambience and direction of this long player. Every so often, another layer of instrumentation is added, setting a particular mood and specifying the tone for something miraculous to soon follow. After layers of musical building, the instruments slowly fade and the track descents into a depth, just as it started.

‘Part V: King’ is the final EP in this amazing saga and it consists of three tracks of about fifteen minutes of playing time. The first song, “The Eve Of Battle” is an obscure piece that firmly assembles into a magnificent orchestration full of deep, guttural sounds and magnificent melodies. The orchestrations are cinematic in nature and this is one of the most mature compositions of all the EP’s. Skipping to the final track, “Fit For The Throne”, we find more colossal dynamics in the composition department and the stringed melody that is incorporated from the beginning is so majestic that it just reeks of Medieval quality. Big horns and background synth drones make this a grandiose finale as any King couldn’t be more proud to accept their throne under these conditions.

Elminster has done an amazing job capturing the essence of the Forgotten Realms story and translating it to a marvelous Dungeon Synth musical adventure spread out across five EP’s. It’s hard to pick a favorite amongst these, especially since they are all so different and represent various themes in an overarching story. Every one of these albums are worth listening to and downloading, so please visit the link below and support this amazing up and coming Dungeon Synth artist.

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Links:

https://elminster.bandcamp.com