Mombi Yuleman Takes Us On A Supernatural Maritime Endeavor With ‘Mesozoia Oceana’

Oceanic themed ambient recordings hold a special place in my heart because I can personally relate to living a life at sea and being isolated from society, city lights, and technology for weeks and even months at a time. The quiet, droning atmospheres with the seaworthy field recordings and soundscapes provide a soothing sensation, even with the eerie, dreadful thoughts of the hazards many fathoms beneath. Some of my favorite aquatic ambient albums are Max Corbacho’s ‘The Ocean Inside (2012)’ and 2018’s collaboration between Ugasanie & Xerxes The Dark called ‘Abysmal’ – which I personally consider one of the greatest dark ambient recordings of all time. I’m excited to say that Mombi Yuleman’s ‘Mesozoia Oceana’ can join that group of superior amphibious ambient recordings. Musically, I would place ‘Mesozoia Oceana’ right in the middle of the aforementioned albums as the ambient textures are extremely calming, yet not quite as dark as ‘Abysmal’. However, that being said, this is a well written, well recorded album that is full of surprises and will sure to please all fans of dark ambient music.

The astonishing lead off track, “Basilosaurus Cetoides” commences with various soundscapes and a tribal drumbeat, as if a vessel is pulling out of the harbor and setting sail to navigate uncharted waters. The song quickly winds down to a ghostly, droning tone with aquatic samples, and soothing keyboard loops. “Hydrotherosaurus Alexandrae” is a spooky and minimalistic dirge that sounds icy cold, as if a wrong navigational turn has taken a group of mariners to a part of the ocean that is over ran by giant prehistoric entities that have their boat quietly surrounded. “Carcharodon Megalodon” contains consoling yet creepy low toned pads, complimented by a various bizarre field recordings, that would give a negative sensation to any sea-going vessel and it’s crew as they cautiously make their way to safety. “Kronosaurus Queenslandicus” begins with a freakish sound as if a previously unidentified deep sea monster is calmly navigating the waters of its territory. A low-frequency droning sound starts to play as we continue to hear peculiar noises in the background. Throughout this near twelve minute long track, we hear the sounds of this prehistoric creature swim back and fourth, as if it’s stalking its prey for a routine meal. The final track on the album is the very climactic “Shastasaurus Sikanniensis’. Featuring cinematic-like drum beats, melodic keyboard tones and more aquatic creature grunts, this tune summarizes the concept of the album and provides a final underwater meeting place (or resting places) for all of these prehistoric beings. Although the middle section of the track leans more toward a dark ambient atmosphere, the final minute or so picks back up with the tribal drum beats, as if offering a final climactic scene.

Mombi Yuleman’s ‘Mesozoia Oceana’ is a very impressive dark ambient album, worthy of multiple listens. These five tracks accomplish a lot dynamically, inside of forty seven minutes. The songs range from ambient to dark ambient and are filled with a lot of creepy and eccentric soundscapes and field recordings. Everything is put together so well, you’ll feel as if you’re in a deep-sea vessel, surrounded by prehistoric creatures with no means of escape. Please support this brilliant artist by downloading this amazing album at the link below.

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Link:

https://mombiyuleman.bandcamp.com/album/mesozoia-oceana

Varkâna Sets Loose The Spirit Of Darkness And Evil On Valiant Sophomore Album, ‘Ahrimanic Chamber’

In the ancient Persian religion of Zoroastrianism, there were twin spirits that ruled over good and evil. The spirit called Spenta Mainyu was known as the deity of truth, light and all living things, while Angra Mainyu was the evil spirit of deception and death. For thousands of years, these twin spirits fought on the earthly battleground for supremacy and ultimately Angra Mainyu morphed into the entity known as Ahriman. It is at this point where the demonic being became its most horrific form. On Varkâna’s latest album, ‘Ahrimanic Chamber’, sounds of cold and sovereign dungeon synth prevail and display an intense scene of epic bloodshed. Like a doomed enclosure full of impious pariahs, Varkâna makes use of intense keyboard tones, droning ambient textures, live drums and layered frightening resonance to produce moments of dreadful unforgettableness. These nine anthems dig deep into the soul and imagination of the listener and describe the incantations of the dark spirt that once was the Ahriman.

The albums first track, “A Graveyard Under Snow”, sets a very calming, atmospheric mood with its opulent keyboard drones and hazy dungeon-esque melodies. The underlying percussion softly beats a rhythmic pattern as if warriors are slowly marching to an ill-fated battlefield. “Ahrimanic Enlightenment” approaches with a lush synthesizer arrangement that provokes a supernatural mood in ethereal environment. Suddenly, harsher keyboard tones kick in as if providing the audial description to a death scene in a fantasy movie. As the song reaches its climax, dark ambient tones pave the way as if the final onslaught has left everyone lifeless. “Into The Chambers Of Ahriman I Walk” features a great drum track that is supplemented by a beautiful piano provision. This could very well be a perfect intro piece to a symphonic black metal song. However, halfway through the track, it morphs into a peaceful ambient interlude as if the protagonist in the story is anticipating the unexpected as he finally reaches the doorway of the chamber. The music then crescendo’s back into high gear and closes the song out just the way it started. “Lugubrious Ruins” start with droning, dungeon synthesized riffs and continues throughout the whole song with spots of higher pitched keyboards to add layers of dreariness to this already gloomy track. Since this one combines both elements of dungeon synth and dark ambient, it’s probably my favorite and most played song on the album. “Mist” has more of a fantasy/forest synth influence and is predominantly lighter in tone that most of the other tracks. However, it effectively sparks imaginative tales between Angra Mainyu and Spenta Mainyu as their endless battle to provoke good over evil (and Vice versa) rages on. “Old Man’s Tale” succeeds in puts the album back on track in a darker setting with off-kilter piano parts, steady tribal drum beats, and ghostly, droning pads to create a feeling of emptiness. Toward the end of the track, an elegant acoustic guitar riff is introduced and puts the overall sound of this track in another worldly dimension. “Rapture” is another radiant track that combines elements of dark ambient and retro wave sounds of 80’s horror cinema soundtracks. “Spirituality Deformed” has that traditional dungeon synth sound but with added elements of live drums and an unforgettable melody that seems to intensify until the last note of the song is played. The final track, “The Night Of The Hunter” continues down the path as the previous song, as the Ahriman bestows his evil legacy on his legions of followers and it’s chambers become the spiritual battleground for which good has no chance of survival. This track contains energetic keyboard arrangements, a bombastic drum track and ends with a droning tone that signifies the supreme reign of the Angra Mainyu.

Varkâna has auspiciously created a conceptual dungeon synth masterpiece based on the ancient Persian spirit of darkness and evil. The music does an excellent job of providing a soundtrack to this resounding storyline and crosses into dark ambient and even 80’s retro wave cinematic score. With a good balance of both light and darker sounding tunes, ‘Ahrimanic Chamber’ is an excellent dungeon synth album. I highly recommend Varkâna for fans of both dungeon synth and dark ambient so please show your support by downloading this amazing album at the link below.

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Link:

https://varkana.bandcamp.com/album/ahrimanic-chambers

Homelessness, Addiction, Depression, & Abandoned Buildings Are Main Influences For Forgotten Bottom On Intelligent Debut, ‘Hostile Architecture’

Although the Ambient genre is rather minimalist in regards to sound, it’s actually breathtakingly large with regard to its scope of dynamics. From its very humble and atmospheric beginnings in the 1960’s, ambient has developed into a massive musical platform filled with soundscapes, natural and man-made field recordings to even include acoustic instrumentation. All of this combined provides thought-provoking visuals for the listener and sets off imaginative sparks like no other genre of music can do. Although a lot of modern day ambient recordings – especially dark ambient – take the listener to post apocalyptic and futuristic settings, they’re rare occasions when current events set the stage for providing the emotional outlet when conveying a message to the listener. That’s exactly what Forgotten Bottom has accomplished on their debut album called, ‘Hostile Architecture’. Instead of thrusting the listener in the the dangers of futuristic wastelands, they provide a compelling story of an equal horror – modern civilization in America. Whether it be the trials of addiction and recovery, the ailments of homelessness or the forgotten relics of abandoned buildings that once meant something to a past society, these are a few of the topics that take over the mind while listening to the recordings on this album. Although not a true and traditional ambient album, it clearly combines elements of the aforementioned genre with new-age music, chamber music, as well as acoustic dungeon music. It’s this combination that caught my attention and made me realize what an important album this is.

The lead off track, “Resurrected Dead On Planet Jupiter” begins with steady strums of the guitar and viola as if it’s the opening theme to a murder mystery movie. The production is clear and crisp but the vibe is that of an aged setting, creating a vintage atmosphere that portrays quieter times and empty voids. The layered guitar and viola duet creates a thunderous melody on this track as well as more peaceful and lush tones that flow well together. “Shoot Me Or Give Me A Place To Live” commences with a melee of sounds and tones before giving way to a neo-medieval riff. At around the halfway mark in the song, it begins to sound like a classic western-style acoustic arrangement. Eventually the guitar and viola break away in their own direction without creating a clash. There is so much energy in this track and it’s representation of the lower-class and shelterless are portrayed with extreme accuracy. “Touch Nothing Until The Signal” features some beautiful, ambient viola work, while the guitar provide an awesome solo arrangement. There are plenty of soundscapes and atmospherics going on here to fill the voids. Midway through the track, the viola riff takes center stage and gives a somber reminder of how hard it is to prosper during jagged times. However, as the music crescendo’s in the end, it shows that there is light at the end of the tunnel and although we may feel broken at times, we can all triumph in the end. Next up is “The Dog Has Been Poisoned So It Will Not Bark” originates with a mild rain soundscape and some soft guitar and viola tones to match. The melancholic vibe represents the silence of depression and the deep emotions of being lost. “Narcan Fairy” starts slow with a acoustic ambient sensation and then quicken turns into a festive medieval piece that would bring much cheer and celebration. The albums final track, “All Men, No Windows” is a slow building tune that seems to pay homage to those repressed, rural areas that life seemed to have abandoned in one sense or another. As the song seems to build and fade and build again – much like we do with our man-made high rise scenery, the final minute or so drones into the distance as if it’s being forgotten yet again.

Forgotten Bottom have created a superb vintage atmosphere without sounding worn or aged. Relying on multiple genres of acoustic-based music, the resilient sounds provide the ambience of real-world situations in which we can all relate. Whether you’re into ambient, new-age, or dungeon music, there is something on ‘Hostile Architecture’ that I’m sure you will find entertaining and worth multiple listens. Please support this exciting new act by downloading the album from the link below.

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Link:

https://forgottenbottom.bandcamp.com/releases

Machina Coeli Embraces Traditional Dungeon Synth Intonations To Invoke An Allusive Visionary Tale On ‘Lure Of The Forgotten Lake’

Machina Coeli is a legend in the dungeon synth community, having a lengthy career that has spanned over twenty years. Additionally, his visionary, audio art has garnered praise from other legendary and noteworthy acts such as Mortiis – which many consider to be the first to provide a mainstream outlet for the genre. Although only three albums have been released under this moniker, they are staple outings for the genre and easily cement Machina Coeli as one of the principle artists to make dungeon synth a rising form of music all over the world. The three epic anthems that make up ‘Lure Of The Forgotten Lake’ tell the tale of a masterful retaliation with the help of a set of secret scrolls that are sealed away in a chest at the bottom of the Forgotten Lake. With the aid of these scrolls, new and magical weapons can be conceived to help demolish those that are oblivious to the familiarity of righteousness. The evil that stands in the way of this protruding knowledge will surely suffer in the hands of defeat!

“Approaching The Forgotten Lake” contains the mysticism and production of traditional dungeon synth and with its positive sounding vibe, valiantly leads the effort to recover the scrolls from the Forgotten Lake. Layered keyboards, minimal field recordings and the use of choral chants are the focal points for this track and their collision produces a grand entrance for the album and sets the stage for the two mammoth tracks that follow. “Lure Of The Forgotten Lake” begins with a soft flowing stream sound that fades into the echoes of nature followed by a crescendo of tribal drums as if a battalion of knights and warriors stand lined up on a battlefield, ready to defend their kingdom to the death. As the drums continue to pulsate, luminous keys play a battle worthy melody and intensifies, signifying the approach to the Forgotten Lake to claim the abundance of magical findings that will propel them to victory. At around the five and a half minute mark, the music shifts to more of a medieval township melody, layered over a steady drum beat. The sound is uplifting and provides a positive spiritual tone, considering the task at hand. At the ten minute mark, samples of battle cries and yells can be heard, symbolizing another shift in musical direction, as well as the start of the mission to recover the lost scrolls. At around the fourteen minute mark, the climax of the song comes to an end and the melodies from the beginning of the track are now heard again, indicating the recovery from battle and the resumed search for the lost scrolls. “Search Of The Lost Scrolls” is a fourteen minute long inspiriting canticle that utilizes layered keys and delicate melodies to soothe the souls of those searching for the scrolls. The track moves into several minutes of exhilarating ambience with spots of water-like samples. This soon fades into more traditional sounding dungeon synth keyboard arrangements that echo with every key stroke. As the final section fades, the waters from a shoreline can be heard, along with the cries of a local owl as he looks on from above to the great warriors below, as they sift the chest of lost scrolls from the water. With their mission accomplished, it’s now time to create the new magical weapons that will solidify their kingdom forever!

Machina Coeli has pulled out all the stops with the exciting new story that is betrayed on ‘Lure Of The Forgotten Lake’. Although only containing three tracks, they create over thirty five minutes worth of music that is multifaceted when it comes to its musical direction. The traditional dungeon synth vibe is the gigantic under layer that is equally augmented by forest synth, fantasy synth, RPG sounds, and medieval ambient tones. This is not only a must have for your DS music collection, it’s also a necessity for the genre as a whole. Show your support for this legendary artist that has devoted over two decades of existence to the music that we love, and download ‘Lure Of The Forgotten Lake” from one of the links below.

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Links:

https://nigraopera.bandcamp.com/releases

https://machinacoeli.bandcamp.com/album/lure-of-the-forgotten-lake-2019

Santolo Marotta Crosses Into The Somber Realm Of Obscurity With ‘The Bridge Of Dark Existence’

In life on earth, as we know it, bridges are used to actuate travelers from point A to to point B, by providing a means for them to traverse over an area that is intolerant to a normal commute. Wether it be a body of water, another – perpendicular – roadway, a valley between two high mountains, or another terrain of the path less traveled, bridges are the purgatory of destinations for which we rely on in our daily lives. However, in the spiritual life, a bridge can be the platform that connects Heaven & Hell, good & evil, and right & wrong. In Santolo Marotta’s exceptional new album, ‘The Bridge Of Dark Existence’, his message is that of a spiritual nature, in which the bridge connects the minds of the listener to a relatable darkness in a distinguished, yet eerie reality. With dense drones, moody soundscapes & pads, Santolo creates a calming vibe that is haunting, yet very appeasing to the restless nature of the conscious. The six songs contained on this recording flow into each other effortlessly as one sonic volume, while sounding equally entrancing as individual pieces.

“Kierkegaard” is a nostalgic yet mollifying minimalist thrum that solidifies the boundaries of both sides of the bridge as layers of droning pads creates an ominous and evil presence. No matter which side of the bridge the listener may find themselves on, a sense of apprehension takes over as imminent danger lurks ahead. “Atmosphere” has more of a cinematic feel as the keyboards perpetrate the sounds of stringed instruments, crescendoing and declining in sound and nature. It’s the perfect preface for “Atmosphere – Part II”, as the string sound gives way to a darker tone, while maintaining the same melody. This song represents the change in atmosphere, as listeners have committed to crossings the bridge into territories unknown, into a darkness that awaits their confrontation. “Ghost (Interlude)” is a short track that combines droning deep bass frequencies with a screechy soundscape to afford a sense of wonder, as the final steps across the bridge are probable. “Horror” is a definite stand-out track as it epitomizes a horrific danger that is fast approaching as a bizarre music sample is played over a hasty keyboard arrangement with occasional jazz-like improvised key patterns. The final song on the album, “Anaphase”, serves as the full spiritual crossover into the area of dark existence. Once the adventurer completes the trek across, the bridge disappears forever. Clocking in at over thirteen minutes long, this minimalistic piece encompasses several layers of deep and mid-level bass sounds that provide a vibrant and stimulating sound, continuously reverberating in the mind to create an atmosphere of empathy and enchanting nightmares.

‘The Bridge Of Dark Existence’ is a defining moment for Santolo Marotta, as he has successfully created a soundtrack of psychological terror and peaceful refrain. Depending on your reason for crossing a bridge – whether spiritual in nature or in the human world – a dark ambient medium is the perfect companion for providing the guidance needed for making the final leap of faith. ‘The Bridge Of Dark Existence’ is the perfect guide to assist in making that trip. The minimalist tones creating a calming and relaxing atmosphere to help open the mind, and allow for limitless exploration into dark worlds and uncharted territories. Please support this remarkable artist and download this stunning new album from one of the links below.

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Link:

https://lakelabel.bandcamp.com/album/the-bridge-of-dark-existence

https://santolomarotta.bandcamp.com

Vandalorum Soothes The Soul With Warm Vibes On Prodigious Conceptual album, ‘Flagellum Dei’

Atilla The Hun was one of the most revered leaders in the history of the world. He was greatly feared by his enemies and respected by the warriors that fought by his side. Although his unsuccessful surges into Rome, Persia and Constantinople (modern day Istanbul) brought moments of uncertainty, he subsequently invaded and decimated the northern areas of Italy and also the Balkans. What better way to immortalize this great figure and the culture of The Huns than by an atmospheric dungeon synth recording. ‘Flagellum Dei’ by Vandalorum presents a beautiful, conceptual album that is based in Dungeon synth, but also contains atmospheric field recordings, a good dose of percussion, and some twist and turns throughout. Although the overall musical output of ‘Flagellum Dei’ is calm and soothing, it portrays the story of harsh, war-time battles, when countries and territories were overtaken by great force. There is also a great cinematic sound quality to these tunes as well, as they could easily be part of a soundtrack that depicts action and adventure from medieval times.

“Death And Plunder” opens the album with a traditional dungeon synth sound and contains a backing drum track that brings out more emotions as the melody graces our ears in multiple layers. Next comes “Battle Of Chersonesus” and with its gloomy introduction and battle cry samples, depicts a scene of warriors preparing for battle. Although it has mostly an ambient feel to it, the last part of the song kicks into high gear as the dungeon synth sounds come to the forefront (along with more battle cry samples), putting the listener right in the heart of the battle. “Honoria’s Ring” starts with an alluring keyboard arrangement and contains an abundance of melody and empathy that matches perfectly with the lush field recording sounds throughout. “Mounted Archers Of The Steppe” is my favorite song on the album as it begins as a consoling ambient piece with perfectly matched added sounds and samples, as well as various instruments to broaden the scope of the arrangement. Throughout the song, you can feel it building into something exciting, as if the climactic ending of a battle is in near pursuit. Close to the end, the song erupts into a full-on rock arrangement. “Punishment” begins as a grim dark ambient recording and then fades into a cinematic dirge, with droning tones, layered with an echoed keyboard pattern. This is another standout track, as it is well written and performed near perfectly. “Wielding The Sword Of Mars” is a slow, ethereal song that summaries all of the style of the album into a single entity. From the ambient textures, dungeon synth melodies, to the intertwined drum patterns and superb writing, this song has all of the qualities necessary for repeated listens. “Hidden Burial Of The Chieftian” has a quirky dungeon-esque vibe, in which I can see Attila himself hanging out with his troops, enjoying a moment of downtime and festivities, after one of their great invasions. This song is a well-received surprise to the album, especially since it is mostly filled with ghostly and vivid tunes. The final track, “Atilla And Bleda” is a great arrangement in which I envision a gruesome showdown between the two brothers that resulted in the slaying of Bleda. Although historically there are several accounts for how this showdown commenced, the ending is undeniable and the creepy music (especially the monotone drum pattern) does it justice.

Vandalorum have created a monumental dungeon synth recording with ‘Flagellum Dei’. Combining the sounds of various genres of music with battle-like field recordings and an overall cinematic sound, this is an excellent recording and worthy of representing such a historical figure and leader in Atilla The Hun. Although Realm And Ritual will be releasing a physical version of ‘Flagellum Dei’ in the near future, it can be downloaded digitally now, at the link below. Vandalorum is an excellent up and coming dungeon synth artist that has proven he has what it takes to have longevity on the dungeon synth scene. Show your support and download this amazing album now.

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Link:

https://vandalorum.bandcamp.com/album/flagellum-dei

Physical Release (TBD):

https://realmandritual.bandcamp.com/merch

CLAVICVLA Ceremoniously Bring The Upheaval Of Evil With ‘Sepulchral Blessing’

As one descends into darkness, I can only imagine what the soundtrack that accompanies them may sound like. For those lost souls that have committed horrible atrocities, the deafening sounds of decaying industrial noise may forever haunt their every move as it guides them to the pits of hell. For those that have brought shame upon themselves in one way or another may experience a past-lifetime of excruciating gothic undertones. For the rest of the blasphemous descendants, they may experience the diabolical, black ambient sounds of the latest CLAVICVLA album, ‘Sepulchral Blessing’. Horrifying drones, despondent bass frequencies and haunting spoken words bring this terrifying album to life and singes the ear drums of those brave enough to listen. The six ritualistic drones presented on this release combine the dreadful soundscapes that will fill your every wakening moment, with intense anxiety and traumatic noise bliss as the great James Plotkin (O.L.D., Khanate, Phantomsmasher) masters the album to a daunting quality like no other.

The ultra-low bass frequencies of “Demonic Integration”, sets a steady droning pace, as distorted spoken words provide a sermon of evil. Agonizing soundscapes add a layer of discomfort as the listener is treated to an audio assault equivalent to a medieval exorcism. “Insorcist Will” begins with a low-end keyboard arrangement that begrudgingly provides an auditory nail straight to the brain through the ear. The monotone droning creates an eerie vibe and is reminiscent of an early Sunn O))) recording. “Tiamat Skin” ignites a profound soundscape with evil, droning textures and simple, acoustic bass sounds. The frighting spoken words – although barely audible – probably tells a disturbing story of grotesque crimes that have gone unsolved, with bodies unfound. The monk-like chanting at the beginning of “Angra Mainyu” sounds like a demonic summoning gone wrong. As the isolated pads and distorted spoken words join in, it’s clear that corrupt forces are at work here. Ominous soundscapes throughout provide another layer of agonizing excitement as endless torment is imminent. “Apocryphal Truth” starts quietly – compared to the rest of the tracks – but soon gathers alarming momentum, as creepy sounds penetrate the ears. This tracks relies heavily on long, droning sounds to contribute to the misery. The albums final track, “Sepulchral Blessing” furnishes with a climactic ending to the hate and discontent by creating an infernal mix of depressive drones and twisted, synthesized pads. The spoken words are at their most evil and sound abhorrent compared to the previous tracks.

CLAVICVLA have succeeded in creating one of the most disturbing black ambient albums in recent years. The ghoulish spoken word parts and the constant use of distorted low-end bass frequencies are the primary factors that make ‘Sepulchral Blessing” one of the best in the genre. It also helps that the album cover is equally bothersome. This not only surpasses their 2018 debut album, ‘Sermons’, but is May quickly become a defining moment in the genre as a whole. Show your support for this twisted, but brilliant artist (as well as Cyclic Law and/or Sentinent Ruin Laboratories) and download this sinister album as soon as possible!

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Link:

https://cycliclaw.bandcamp.com/album/sepulchral-blessing

https://sentientruin.bandcamp.com/album/sepulchral-blessing

Interstellar Space – Special Halloween Review #3: Erythrite Throne – ‘Ghost Stories’

Erythrite Throne is one of those amazing bands that has the gift of seamlessly combining multiple genres of music into a singular platform to convey a sound like no other. In this case, the genres of Dungeon Synth and Black Metal are the dominant art forms that take center stage and their merger leaves the sound of Erythrite Throne undeniably, and unmistakably one-of-a-kind. However, on this very special Hallows Eve release called ‘Ghost Stories’, the harsh black metal tones are vacated, in place of symphony sickness that is sure to mesmerize and soothe the angriest of night spirits.

Conjuring up ghostly spirits, “Devil’s Night” seems like a fitting album opener as the soothing keyboard sounds fool the listener into a trance-like state before the somber dirges (of the remainder of the album) take over and evoke the essence of evil that only come out on this particular eve. “Decaying Burial Grounds” is an excellent symphonic piece with catchy melodic hooks and fluid low-end bass keys that provide a stable platform for eliciting frightful pleasures from beyond the grave. The beginning of “The Dhampyre’s Tomb” would be a great intro for a black metal album, but when the lush keyboard kicks in, it’s reminiscent of a song taken from an 80’s horror film soundtrack. Elements of this song are very dark and grim but the standout arrangement make it deceitfully beautiful. “Shriek Of The Witch” exhibit elements of classic dungeon synth in the way the lead off keyboard style and patterns are played. It is combined perfectly with the back end track to create a tasty treat to ward of the ghoulish entities. My favorite track on the album, “A Dance In The Cemetery Fog” combines elements of dungeon synth, symphonic keys, twisted & macabre sounding instrumentation, and simple keyboard arrangements to create a grave worthy track of haunts and frights. The albums final number, “Tale Of The Lonely Ghost” is another exemplary track that incorporates a drum beat and multiple, haunting melody tracks that are sewn together to form contorted dirge that are sure to please all of the ghastly beings of the underworld.

Erythrite Throne definitely have the upper hand when it comes to releasing Dungeon Black Metal. Even though some releases do not contain the sounds of harsh vocals or guitars, they contain the symphonic elements of the lighter side of black metal, thus remaining classified in the same genre of music. ‘Ghost Stories’ is no exception to that, as beautiful keyboard arrangements and lush-type synths take the lead on this special Halloween album release. I recommend listening to this with the lights turned off, under the natural light of a single burning candle and be willing to communicate with the afterlife, as this album can be used as the perfect medium. This superlative album can be downloaded at the link below.

Please Like/Follow my blog so that you’ll get first hand updates every time I post a review. Thanks for visiting the Dungeon. While your at it, please check out my friends podcast called “The Opinionated Optimist” at one of the links below, where he reviews anything and everything. He will be releasing a special Halloween Podcast as well.

Link:

https://erythritethrone.bandcamp.com/album/ghost-stories

The Opinionated Optimist:

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Halloween Episode: https://anchor.fm/brian-caraviello/episodes/Halloween-Special-e8asia

Interstellar Space – Special Halloween Review #2: Solus Woods – ‘All Hallows’ EP

For my second Halloween review, I’ll be checking out the latest from Solus Woods entitled, ‘All Hallows’. Just released several days ago, Solus Woods dives into the spooky sounds of the scariest night of the year and replenishes our senses with the shrills of horror films from yesteryear; and when I say yesteryear, I’m talking mid to late 80’s slasher flicks. Although these five tracks total at just under ten minutes, they pack quite a punch and would make for the perfect background noise while handing out candy to the trick o’ treaters that think their approach to your front door will scare you.

Lead off track, “A Lonesome Ghoul Rises From The Grave” could have easily been written as the into track for the Day Of The Dead soundtrack, as it conjure up the undead with its haunting ambient tones and mesmerizing keyboard arrangement. “The Death Omen Of A Radiant Boy” drones with the hiss and crackle of an old record, while celestial soundscapes resinate with power. The sounds of an eerie music box provide a sense of dread and torment and the scare factor is real. “In The House, A Sad Ghost Reflects On Life” contains bleak soundscapes, a discordant piano provision, and a grandfather clock that signifies that time is up for the lost souls that are held captive in the afterlife. “Wendigo” is an alluring ambient-style piece with lush soundscapes and contain a touch of special effects at the end to keep the arrangement interesting. The final track, “Beyond The Threshold, The Fiend Lurks” would be the perfect piece to play during the ending credits of a movie that contained a horrific ending. Although minimalistic with scorching synthesized tones, the sound is quite evil and the abrupt ending will leave you wanting more to listen to.

Solus Woods continues to outdo previous albums with each new one that is released. From the quality of writing, construction of the songs and overall product production, Solus Woods is quickly becoming one of my go-to bands for not only dungeon synth, but for dark ambient recordings as well. I highly recommend checking out and supporting this magnificent artist and downloading not only ‘All Hallows’, but the entire back catalog as well.

Link:

https://soluswoods.bandcamp.com/album/all-hallows-ep

The Opinionated Optimist:

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Stitcher: https://www.stitcher.com/s?fid=477939&refid=stpr

Halloween Episode: https://anchor.fm/brian-caraviello/episodes/Halloween-Special-e8asia

Interstellar Space – Special Halloween Review #1: Rhäzüns – Halloween Manifesto

The time is upon us in which we annually celebrate Allhallowtide – the remembrance of the dead – otherwise known as Halloween. In the modern day, Halloween is celebrated by trick-or-treating, carving pumpkins, visiting haunted houses or attending costume parties. However, some of us prefer to press play on some of the recently released dungeon synth and/or dark ambient releases that pay tribute to this dull and chilling festive day. If you’re seeking something hair raising to listen to that will satisfy your taste of both the DS and DA genre’s, look no further than ‘Halloween Manifesto’ by Rhäzüns. A collection of two previously released EP’s, the first half is more in the dark ambient realm, whereas the second half dives into dungeon synth – the perfect combination for the types of music my website was designed for.

Album opener, “Brume” quickly manifests into a haunting soundscape as if you are floating seamlessly in the vacuum of space and then are suddenly thrusted through a dark nebula and sucked in a voracious black hole. The grim echoes of the keyboards ring from ear to ear as background noises cause a panic throughout the track. “Mire” contains classic instrument sounds as if they were peeled from an Alfred Hitchcock movie soundtrack. the ambient tones provide the perfect backdrop to combine all of the arrangements happening in this track and it makes for one creepy dirge. “Gale” contains more of an industrial ambient sound as harsh textural undertones contribute to the eerie expression of multiple droning sounds, which results in a terrifying elegy. “I” is the first dungeon synth track on the album and has both grim and upbeat parts, as well as constant drum rolls to make for a very entertaining piece. “II” contains some bizarre voice-like sounds, mixed with some off-kilter keyboard arrangements to provide more of a variety of tunes on the second half of the album. “III” is a simple keyboard arrangement played over and over again with various soundscapes and drum beats playing in the background. However, this is very affective, as it’s one of the most melodic and accessible tracks on the album. “IV” has an awesome cathedral-style keyboard part in the beginning that is complimented by a dungeon synth keyboard melody. Although it’s one of the shorter songs on the album, it’s one of my favorites and I find myself playing this one over and over again. “V” is very well written and could easily be used in a fantasy or science fiction movie soundtrack. From the steady drum beats to the various keyboard arrangements and the low-end bass pattern, there is a lot happening in this song and may take multiple listens for the listener to comprehend what all is going on. “VI” is another masterfully written piece as it contains a flute-like sound and a simple drum beat with a soft sounding guitar melody that can barely be heard. This is another stand-out track for me, as groove and riff in this song make it seem like something being played at a war dance or a festival before a great battle is about to take place.

Rhäzüns have released something very special in ‘Halloween Manifesto’ as it covers several genres of music that I love and is dedicated to on of my favorite holidays of the year. Wether you’re a fan of dark ambient or dungeon synth, I’m pretty sure that you’ll love this album as it meshes the two genres near perfectly. Show your support for this excellent artist and album and download it from the link below.

I would also like to give a special shout out to Waclaw Traier and Droned Artworks for designing and painting this wonderful album artwork. He is also the mastermind behind the artwork of The Dungeon In Deep Space and I cannot recommend his art enough. Not only are his paintings fantastic, but he is a true professional to deal with and I’m also happy to call him my friend! Check out his work at the link below.

Link:

https://handwerkmusic.bandcamp.com/album/halloween-manifesto-2

Droned Artwork:

http://www.droned.eu

The Opinionated Optimist:

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Stitcher: https://www.stitcher.com/s?fid=477939&refid=stpr

Halloween Episode: https://anchor.fm/brian-caraviello/episodes/Halloween-Special-e8asia