Inoriand Returns With Another Winter Synth Extravaganza Aptly Titled, ‘Life Frozen’

It’s been nearly sixteen months since we’ve heard any great tunes from the Eldest Gate Records Bandcamp page. Once thriving with life, as multiple projects routinely released one amazing album after another, those monumental occasions have grown scarce as only Inoriand released a single album in 2020. However, now back from the frozen dead (for lack of a better phrase), Inoriand has returned with a Dark Ambient/Winter Synth masterpiece in a single track called, ‘Life Frozen’. Now, I’m not sure if this is a continuation of winter themed albums, like 2020’s, ‘A World Frozen’, or a bleak double-entendre for how the COVID-19 pandemic has plagued the entire world – perhaps both. At any rate, this near thirty one minute long track is exceptionally written and may be one of my favorite releases under the Inoriand brand.

Although the overall theme for the album is the cold, austere atmospherics of winter, there is a particular warmness that infects this monumental track. It’s as if the harshness of winter is slowly fading and the crystallized water is beginning to thaw, paving the way for a new season. As “Life Frozen” commences with droning keys and a gentle transition between notes, there is an overall vibe of tranquility and quietness that presents the notion of the chilling landscape chronicled in this song, has been a path less traveled for the duration of the winter months. An elegant keyboard melody begins to play at around the three minute mark and remains dominant for the majority of the track. Various soundscapes and effects are also introduced, creating a hypnotizing scene of serenity. At around the ten minute mark, slightly enhanced modulations bring a darker color to the track, representing an extreme isolation from society, as the ice continues to melt at a leisurely pace. At almost the eighteen minute mark, the track shifts gears again, bringing back a version of the original keyboard melody that was so predominant at the beginning. Maintaining a constant drone in the background, this portion of the track is well composed and almost trance-like, as the listener – by this point – will have a great view of an untouched winter landscape that seemingly reaches a utopian state as each second passes. With just six minutes remaining, another slight shift occurs with the addition of haunting effects with the drones becoming a bit louder in the mix. The climax of the track (and winter) has passed and the dawn of a new season is inevitable as the album ends in majestic winter synth fashion.

I’m really pleased that Inoriand has graced us with a new album of exalted, winter synth. One of the great artists of this sub-genre, Inoriand always creates a captivating landscape of musical textures and haunting ambience and it’s so easy to get lost in the compositions that are released. ‘Life Frozen’ is the perfect example of all of these elements working together to form the ultimate platform for a dormant, wintery escape. Eldest Gate Records continues their run of releasing premium music and Inoriand is without a doubt my favorite act from the label. If you’re into winter synth with elements of dark ambience, look no further than ‘Life Frozen’. Continue to support this wonderful label & artist and click on the link below to download this superb 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!!

Links:

https://eldestgaterecords.bandcamp.com/album/life-frozen

Eyre Transmissions XI – Interview With Medieval Dungeon Synth Artist, Pale Castle

If there is ever a musical venture that represents the desolation of solitude while remaining steadfast to the culture of true Medieval Dungeon Synth music, Pale Castle would fit the bill perfectly. Creating a sound that mirrors emptiness and isolation, Pale Castle excels at composing bleak arrangements that casts the listener back to an ancient time of fierce commonwealth rivalries, mystical imagery and mythical adventures, while presenting a soothing atmosphere to get lost in. I recently had the pleasure of communicating with the mastermind behind Pale Castle to gain more in-site to this amazing project and what adventures are to come.

1. First of all, welcome to the Dungeon and thank you for this interview opportunity. The name ‘Pale Castle’ is so intriguing to me because there could be so many meanings for its being. How did you come up with the name and what does it mean to you?

You are very welcome. This is first time I have spoken to the outside world and I thank you for the opportunity. The timing was providence as I have now finished a journey from a dark place of inspiration. 

The name is a place, the place is where I once dwelt. The castle was not always pale but now it fades. Some say it’s no longer there….I have not seen it in ages. 

The Pale Castle is where memories once grew but now fade away. Another musician I admire once said that he could “build a castle with memories just to have somewhere to go”. That is how the listener could interpret ‘Pale Castle’…as a fortress of memories.

2. The music of Pale Castle is – at times – very bleak and dismal, presenting a true Medieval perception. Was that the vision for this project?

Thank you, for that is what I sought to convey.

The vision is that of solitude and adventure. 

A personal journey that I would like to share with my listeners. It’s my path in life to seek mystery and find a higher purpose though music and the realms it brings me to. 

My photography on the Pale Castle Instagram heightens and documents this passage.

Simply put though, the vision is a tale as old as time itself. Loss, gain, death and rebirth. The songs are fragments and imprints of my torment and occasionally my joy. That is my vision, a projection of my emotions both jovial and melancholic.  

3. I really enjoy the minimalistic aspect of the compositions, especially on the S/T album. What’s your typical routine for creating and tracking a typical Pale Castle song?

Sometimes I wander the hills and valleys and there I find inspiration in the wind and the night’s sky. There, when I’m Fortunate enough, I am hit with a burst of creative energy and begin to whistle or hum a few chords and melodies. I take that energy and store it in my mind. Then, when I return to my quarters I center myself and begin to preserve it. The process varies depending on the ambiance or sound I ultimately desire to achieve. I use a few different instrument and I enjoy sketching out a kind of story with a single motif and then expanding from that as my mood commands the direction of the track. A lot of the sorcery happens in the mixing and mastering phase of an album. 

I prefer minimal arrangements as it allows for the listener to focus on the emotion of the piece. Powerful chords and melodies and can be repeated with benefit, similarly as a steady fire can warm one’s bones.

4. My favorite track from the S/T is “Wall Of Blood Crosses”. How did you amass such an ethereal sound for that track and what was the inspiration behind it?

Plenty of analog reverb and tape delay was used to get that tone. It was layered several times as well. The inspiration came from the story that the album tells. As you can see, the album has a linear narrative that is told through the song titles. “Wall Of Blood Crosses” is the part in the story when I am wandering the castle and reflecting on my history and admiring the silver crosses filled with my family’s blood going back centuries. Imagine a huge hallway lined with such talismans all sealed with lead to keep them protected. 

That is the wall of blood crosses. Thousands of talismans filled with blood in a room that is most likely no more. “What happened to the crosses?” one might ask. 

I no longer care anymore. 

5. It’s impressive how your songs can transition from ominous to harmonious on a whim. Is there a particular concept in mind for these types of arrangements?

The concept is that those are reflections of life and how things change quickly, sometimes for the better, sometimes for the worse. Especially when traveling. Dungeon Synth to me was always about the idea of traveling and adventure even if only in one’s mind. 

And even in the mind the mood of one’s thoughts can change without warning. This can be an emotional spark in music when done with feeling. I like to catch my listeners off guard and so that maybe they are slightly startled and taken back if for only a split second. That is not unlike when an animal or a force of nature enters your path while wunderlusting on an otherwise clear road. 

6. Moving on to ‘Sorrowful Memories’, it still contains the dreary aspects of the S/T, but this time around there seems to be more cinematic elements. Was it a conscious decision to branch out with a grander sound the second time around?

The initial offering captured in the self titled release is all about the castle and the stories within it’s boundaries. ‘Sorrowful Mysteries’ is the adventurous spirit the was freed once I was able to separate my soul from my body. On the first tape I created a cold and confined sound to illustrate the oubliette like atmosphere, in ‘Sorrowful Mysteries’ I wanted to convey the feeling of traveling and discovery. So yes, it was a very conscious decision to create a more cinematic sound. The listener should feel outdoors and upon a means travel. 

7. Your songs carry a lot of background ambience that is not only soothing, but an important part of your sound. Have you ever considered doing a Dark Ambient project as well?

I have done several Dark Ambient projects over the years. My very first recordings in the late 1990s could be considered Dark Ambient. 

I was only a teenager when I started recording music, nonetheless I believe that Dark Ambient was my first inspiration for recording my own compositions. There are artifacts of these recordings and others that were produced throughout the 2000s and as recently as last year. I will not name them here but there are ways to find these projects. 

That was another life. Still, fragments remain.

8. “The Gathering Of Spirits” is one of my favorite tracks from ‘Sorrowful Memories’ as it seems to have that gothic, romanticism influence. What were some of your influences during the recording of this album and this track in particular.

When my father died in 2011 it was in our family home and many souls gathered there, myself included to witness his death. Convergences such as these are a sort of phenomenon that occur with little or no flow of information, as if to say that the spirits inform those who need to know. The spirits also gather with each other for the preparation to carry one’s essence to the land of deeper shade.

A family friend one night once witnessed an eerie green ball of energy hover over my family’s land, he and I both believe this to have been my father’s power manifested as it was right before he fell ill. After my father’s body grew cold and rigid other visitors arrived.

They brought flowers to adorn his corpse and helped wrap him in sheepskin pelts. 

Some told us that they knew not of his demise and were only guided to the estate by an urge. Others came wholeheartedly to pay their final respects. He was the sorcerer and the final track is about his death as well. As far as musical inspiration for that track I’d say that perhaps it was inspired by my memories of that fateful night.

9. Speaking of influences, let’s talk about your Dungeon Synth beginnings if we can. When did you first start listening to the genre and who were some of your favorite artists?

My first encounter with Dungeon Synth is difficult to pinpoint as I have been listening to unusual music for quite awhile and definitely heard “dungeon” like music on the odd college radio stations at night in the 1990s. 

With that said though I would say that my first introduction to traditional Dungeon Synth was though listening to Black Metal interludes from bands such as Dimmu Borgir, Burzum, Noktunal Mortum, Summoning and also more avant-garde dark synth, especially Sopor Aeternus & The Ensemble of Shadows. That project definitely had a very significant impact on my musical path. I would actually recommend that your readers listen to ‘Songs From The Inverted Womb’.

I would also like to take this opportunity to share an experience I had upon listening to my favorite Dungeon Synth album for the first time which is ‘Fjelltronen‘ by Wongraven. As I recall I was laying in a pitch dark room and within the first few measures of the opening track I began to feel weightless and I drifted into a simi -conscious state of being. Throughout the rest of the album I experienced what could only be described as an “out of body experience”

After that I began to see Dungeon Synth as something very special. That was 2004. By 2005 I had began recording Dungeon Synth experimentations. Pale Castle is my first complete Dungeon Synth endeavor. 

There is a “je ne sais quoi“ about the genre that definitely matches my personality. 

Not in a dark and brooding gothic fantasy way, more akin though to my fascination with the past and of realms unfound or forgotten.

Loss, isolation, suffering, love and remembrance…those are the aspects of life that stoke the fires of the castle.

10. When did you realize that you wanted to record a Dungeon Synth album and at that time were you involved with any other non-synth based music projects?

I have been recording synthesized music since the 1990s and have been involved with a handful of black metal, ambient, experimental groups and solo projects over the last two decades, although as of 2010 I have been producing and recording only synth based ambient and Dungeon Synth. 

The idea for Pale Castle came to me in late 2019 as I began to see the future of “dark music” and it’s esthetics. The romanticism of old-school black metal, the re-discovery of what brought me solace and to be in a mental place where I felt I could give it a valiant effort. 

That is when the transformation occurred. 

I found the castle in the dark recesses of my mind. It’s with me now forever. 

And with that said, I will choose to remain quiet about those earlier recordings as I see them as part of an old life. Not that I am ashamed or not proud of my past but rather to exemplify my commitment to the future and to Pale Castle. 

11. Earlier this year you released the ‘Remember Together, Remember Forever’ cassette, which features both Pale Castle recordings. How is the cassette release doing so far and what do you think about the recent surge in cassette sales as a form of music release?

At time of this interview it is almost gone far as it’s availability on my Bandcamp merch page. 

So that is good, most importantly because that means it is being heard and shared with others and hopefully will bring some to tears, whether they be tears of joy or sadness, so long as they are not tears like those of a crocodile.

That is the goal of my music, to get a genuine emotional response, especially stimuli connected to memories and personal turmoils. 

Yes, the appreciation of the cassette tape as a collectible form of musical preservation is something that makes me smile. When the compact tape cassette was introduced in 1963 it was not yet a major competition to the vinyl LP, by the late 1970s though it was becoming a standard for music collections across the world. It remained very popular until the early 1990s when CDs, although introduced in 1982 we’re finally more affordable and the players portable enough to start the inevitable death of the cassette tape from a popular consumer prospective. That is what is endearing about cassette culture, that people choose to support artists who make tapes and collect their releases despite it being cumbersome and less convenient. I think the resurgence is also due in part by the current generation hearing about the old times of tape trading and the satisfaction of making something by hand. That is the thing about cassettes, they require just the right amount of patience to make at home but are not too expensive such as the case with vinyl and when compared to CDs, tapes are much more resilient. I have seen an uptick in compact discs as well though,albeit in other genres such as noise and ambient. To finish the subject, I will say that I think the resurgence of tape is an art in and of itself and that alone is a testament to the importance of the cassette’s existence.

12. What else is in store for Pale Castle for the remainder of 2021?

Currently I am recording new tracks for a 60 minute album titled “When Everyone Else Dies, We Won’t” Hopefully I will find the time to also design and make a few clothing items. 

Not only t-shirts, I’d like to offer some one of a kind garments and special items for my supporters. That is the beautiful part of this new golden age of independent artists, no longer do musicians and artists need the approval and favors of the gatekeepers to share their creative passions.

I plan to share many of my creations in 2021.

13. Have you ever thought about performing in a live setting or is Pale Castle strictly a studio project?

The idea of preforming Pale Castle live is something that intrigues me, it would most certainly have to be the appropriate location and setting though. An old church, a stone cellar or an actual dungeon. Short of a venue along those lines I don’t see it happening. If I were possessed to somehow play a bar or club I would probably loose my temper at the crowd and go from “dungeon synth” to “prison synth” 

No, If I were to perform it would have to be around a respectful audience in a somber atmosphere.

14. I really appreciate your time for this interview. Do you have any final thoughts or words for those that will be reading this?

Thank you for the invitation and for providing me an audience so that I could share my thoughts regarding not only my music but that of the genre itself and with that I would like to say that Dungeon Synth is not a novelty genre to me and that it’s existence is very much rooted in history though various periods in human history. Growing up I often heard sounds that are not “synth” but most definitely of the “dungeon” I would like to say that Dungeon Synth and Dark Ambient as musical genres are two of the most important aspects of my artistic pursuit in life and that anyone considering releasing their recordings should definitely go forth and be proud of your creations. To all artists, take personal time to be alone with your thoughts preferably in the outdoors or more importantly where you as an individual feels the most tranquil. It is within that tranquility that you will find your most genuine ideas. I could ramble for an eon but I shall save that for hopefully a later time with you as I would be interested in a video interview in the future. In closing I would like to say thanks to you again and all hailz be to TYRANNUS! thank you for your music and inspiration! You are noticed and appreciated. 

– Bless all those who keep the candles burning and the fires lit. I feel your pain and I hear your voices in the night.

-Pale Castle

Links:

https://palecastle.bandcamp.com

https://www.facebook.com/𝔭𝔞𝔩𝔢-𝔠𝔞𝔰𝔱𝔩𝔢-111304390635373

https://www.instagram.com/pale_castle/

Hasufel Spreads Anguish Into The Halls Of Madness With Synth-Spectacular, ‘Exaltation’

‘Exaltation’ has been a highly anticipated release ever since the advertisements and promo packages have been putting out exciting information on the music contained within for the past few months. For me, it provoked a sense of enthusiasm for really wanting to dive in and examine the power of each track. With just four songs and about twenty minutes of playing time, I expected this one to hit hard right from the opening note until the final one. So after have experiencing this album at least five or six times now, do I think it lives up to the hype? Absolutely…and then some! ‘Exaltation’ is a seamless blend of Dungeon Synth, Winter Synth and Dark Ambient with superb vocal narrations and effects, as well as ominous soundscapes and field recordings. This is quite the unique listening experience and definitely a rewarding one.

“School Of The Prophets” begins with eerie drones and sinister, lo-fi soundscapes, depicting a true scenery of dungeon vibes and heinous Medieval existence. Winter synth tones come into the equation and are quite melodic, but as an addition to the darkened tones, it’s presents a grim listening experience. Pastoral narrations add a maniacal and dreadful emotion that may seem overwhelming, but fits in perfectly to maintain the gloomy ambiance. The song closes out with a single – high-pitched – tones that leads right in to, “White Mildew”, another bleak affair that showcases what it would have been like to be committed to a lifetime of Dungeon-dwelling existence. The slight echo on the voice narrations is reminiscent of early 90’s Black Metal ambient sections – desolate and ominous at best. Although keyboards are used in a minimalistic setting, they fuse perfectly with the atmosphere of this track. “Salvación” is a slow builder, almost tribal-like, with more outstanding narrative parts. This time there is a vocal variant that is added, expanding the density of the soundscapes and field recordings. This track is almost in the realm of ritualistic black ambient, and is one of my favorite recordings on the album. However, amongst the chaos, it ends on an austere, but peaceful note. The final song on the album is the title track, “Exaltation”. From the very beginning, it emits very creepy vibes with heavily reverberated piano tracks and almost circus-like anthems, as if a great show was coming to a close. This is a grand meshing of the senses, as it is part whimsical and part malevolent. It’s like chaos with paralysis and a perfect way to end this short but amazing album.

Hasufel fuses the best of both worlds – speaking specifically of Dungeon Synth and Dark Ambient. Although ‘Exaltation’ doesn’t fit firmly in either of these genres, the prodigious tracks contained within takes the best of both genres and expands them to a realm of unimaginable terror and viscous imagery. I’m completely fascinated by this recording and it reminds me of 90’s Black Metal as well, especially with the dissonant ambient interludes that create the horrific scenes between the tracks of hateful riffing. I highly recommend checking out ‘Exaltation’ if any of the above-mentioned descriptives appeal to you. I guarantee that you won’t be disappointed, so click on the link below and download this spectacular album.

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Links:

https://pacificthrenodies.bandcamp.com/album/exaltation

‘Voices Of The Ainur’ Is A Podcast That Showcases The Best In Dungeon Synth, Dark Ambient, The Obscure, And Beyond

It’s rare to find a podcast that properly showcases the mystical wonders of Dungeon Synth, placating matters of Dark Ambient and the arcane obscurities within the realms of synth music. However, ‘Voices Of The Ainur’ just may be the premier podcast that embodies the spirit of these genres in a supremely engaging platform.

Commencing in October of this year, ‘Voices Of The Ainur’ produces high-quality episodes of the music that we love on a weekly basis. Each episode is around an hour long and features multi-genres of music in some of the most fluid mixes I’ve heard. Best of all, no talk, no interruptions, and all music! Additionally, each episode has its on mini-site with visionary photos, quotes and the playlist (with Bandcamp links) for the artists that is featured. Although this podcast was recently brought to my attention, it’s already my “go-to” platform for getting a weekly dose of the genres that I love.

In summary, ‘Voices Of The Ainur’ is a supremely composed podcast that demands to be heard. I know that we all have our favorite platforms for listening to music, whether it’s by digital download, streaming media, or physical platforms, but if you’re like me and still enjoy great podcasts, then you must check out ‘Voices Of The Ainur’. Not only is the music great, but the possible exposure to new artists makes it that much better. I’ve included the link for Apple Podcast below, but ‘Voices Of The Ainur’ is available on at least fifteen podcast platforms. The links to those can be found on the main web site (also below). Please give this awesome podcast a listen and enjoy!

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:

https://podcasts.apple.com/us/podcast/voices-of-the-ainur/id1534862806

https://www.voicesoftheainur.com/

https://www.facebook.com/VoicesOfTheAinur

https://twitter.com/oftheainur?s=21

Thorgnyr Delivers A Conceptual Piece On The Revolution Of Life Called, ‘Cycles’

As Dungeon Synth continues to grow in thematic expression, I’ve come to the conclusion that no subject matter is off limits at this point and anything that can arouse the emotions is worthy of a conceptual album in this ever-so-impressive genre. Although there are many noteworthy artists that have burst onto the scene to deliver their brand of medieval synth music, one that has been rather impressive as of late is Thorgnyr. On the extraordinary sophomore effort called ‘Cycles’, Thorgnyr releases four long-form tracks that conceptualize a day in the revolution of life (in general). With the help of Icelandic folklore, mythical creatures and ghost stories, these four tracks emerge as a solid story with varied influences and the outcome is outstanding.

On the opening track, “Dusk”, beautifully suppressed synths are woven into a Medieval melody that lay the ground work for this breathtaking ten and a half minute long track. After a short refrain, layers of background synths are added to thicken the sound. At around the three minute mark, synth leads orchestrate a discordant – but necessary pattern – that harmonizes well with the original melody of the music. Soon afterwards, percussive patterns are introduced, solidifying this track in the right evening time mood and preparing the listener for further enchantments that represents the other phases in this cycle. The next track is the grimly composed, “Night”. Starting with just a single keyboard melody and briskly bridging in backup sounds that are daring and bold, this track perfectly describes the title in the dark, brooding music that unfolds across nearly ten minutes of playing time. Deep, thunderous keyboards play modulating sounds that are haunting and spirit evoking. About halfway through, a quirky keyboard arrangement makes its way into the mix, as if representing the awakening of nocturnal creatures, as they stir through the land in search for food and festivities. “Dawn” begins with a loud, shrieking keyboard tone that is definitely in the Dungeon Synth tradition. As the awakening of a new day emerges, warm keyboard melodies pleasantly mix synth leads, creating a warm and inviting sound. This sound maintains a relatively quick pace for the first six minutes or so, then the track takes a sharp turn with different keyboard effect. The keyboard leads really shine throughout this whole track and they rarely let up, except on occasion to bring in more layers of synths and percussion patterns. The final track on the album is the best ten minute long, “Day”. Commencing with a high-pitched keyboard arrangement that matches the relaxing elements of nature as the day unfolds, breathing life into everting into existence. A couple of minutes in, distorted synths provide the backdrop to the enlightened melodies and gives this track an immense sound, as this album comes full circle. Again, the percussion elements add a nice layer of crunch to the track and gives it’s a grandiose feeling.

With having such a short career in the Dungeon Synth genre thus far, Thorgnyr continues to deliver the goods and proves that’s they are in it for the long haul. With just two albums under their belts – ‘Depths’ from March and ‘Cycles’ from April, Thorgnyr sounds like they’ve been delivering the ancient message for much longer than that. ‘Cycles’ is a really impressive release and one that I plan on listening to for sometime to come. Please support this amazing artist and download ‘Cycles’ from 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!!

Links:

https://thorgnyr.bandcamp.com/album/cycles

Dark Ambient & Dungeon Synth Recordings To Enthrall You During The Global Pandemic Continuation

Back in March, I published a playlist of Dark Ambient & Dungeon Synth recordings to help tide you over during the shelter-in-place order. Well – here we are – almost two months later and not much has changed, with the exception of a lot of great music being released. So, whether or not you’re still stuck at home, or have the ability to venture out, please enjoy this personal playlist of Dark Ambient and Dungeon Synth recordings that have been keeping me entertained lately! This is all great stuff so please support these artist and download an album or two!

Dark Ambient Playlist:

https://melanohelios.bandcamp.com/album/the-psychonaut
https://cryochamber.bandcamp.com/album/eternal-drift
https://blackweald.bandcamp.com/album/leonov-2
https://noctilucant.bandcamp.com/album/the-autumnal-end-2
https://roberteggplant.bandcamp.com/album/earth-sinking-into-water

Dungeon Synth Playlist:

https://varkana.bandcamp.com/album/cosmic-terror
https://lordorots.bandcamp.com/album/latzineko-erresumaren-itzulera
https://namelessking.bandcamp.com/album/downfall-of-drangleic
https://wyrmlodge.bandcamp.com/album/the-short-but-touching-tale-of-slime-golem
https://serpentsswordrecords.bandcamp.com/album/perpetual-cruelty

Execration Chamber Blend Cinematic Quality Score With Lo-Fi Dungeon Synth On The Intrepid ‘Cathedral Of Unbeing’

Is there a more perfect time to listen to Dungeon Synth than now? As we’re faced with the global pandemic known at COVID-19, many people are confined to their own homes in order to prevent the spread of the deadly virus – basically being imprisoned in their dungeon until it’s safe to – once again – interact with society. The mood just seems right to consume some lo-fi Dungeon Synth, to take you back to those Medieval days of malicious captivity. One artist that is an absolute fit during this trying time is Execration Chamber, and on ‘Cathedral Of Unbeing’ the infusion of cinematic composition and lo-fi Dungeon Synth is just what the doctor ordered to cure the ailments of solitude.

Monumental album opener, “The Lesser Felled” begins with the soaked sounds of a heavy rain field recording, followed by dense layers of keys that harmonize in a symphonic way. The sound is gloomy and mournful but played with a sense of hope and reason. As the song comes to a close, the sounds of heavy rainfall can be heard for one final time. “Gaunt, The Night” introduces bombastic percussive elements as if an anticipated Medieval battle is on the dawn of existence. The solo keys really standout as they are crisp and have the perfect tone to augment the background rhythm. “Buried In Time” has a bleak feeling to it, as it’s galloping cadence matches the simple beat that accompanies it throughout. At times, the keys become discordant as the sound becomes more harrowing. “The Great Purging Of Memories” sounds as if it could have been an intro to an early 90’s lo-fi black metal recording with its eerie tone and divergent arrangement. “A Hallowed End Of Passage” would be the perfect track to lead a garrison of warriors into battle. With its fast-paced, rhythmic patterns, this is just the motivation needed to carry out an assault on an enemy invasion. “Imminent Warfare” is a battle-ready anthem that features wondrous organ sounds and precision drum pulses that emit a culture of feudal decadence. “Crawling Tombs” is a dismal track that has components of lush textures and emphatic keys. The continuous pounding of the drum sounds as if the surviving warriors of a brutal battle are in sync, heading back to their kingdom to recover from their wounds. “Wept In Blood” is a dismal canticle with massively layered keyboard tones that are a vivid reminder of the tragedies that preceded times of peace. The final song on the album, “Dimly” is a sorrowful dirge filled with depressive sounding keyboards that perfectly compliment the emotional journey that this album has taken us.

‘Cathedral Of Unbeing’ is an incredible album that has that old-school Dungeon Synth vibe but with and an updated cinematic quality to it. It’s fantastic to see such a broad spectrum of musical sounds collide in an epic adventure with such a prosperous outcome. These tracks flow together so well and just like many other amazing Dungeon Synth recordings, they tell a valiant Medieval story of both victory and tragedy. I’m very much looking forward to hearing more adventurous tales from Execration Chamber, but in the meantime, please support this improbable artist by downloading ‘Cathedral Of Unbeing’ from 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!!

Links:

https://execrationchamber.bandcamp.com/album/cathedral-of-unbeing

Inoriand Finds A Comforting Balance Between Solitude And Frigid Winter Imagery On ‘A World Frozen’

When it comes to Dungeon/Winter Synth, Inoriand is easily one of my top 3 favorite artists. Their large collection of winter themed albums – almost exclusively on Eldest Gate Records – are as absorbing as they are beautifully written and 2019’s ‘Silence’, was my number one pick for dungeon/winter synth album of the year. That being said, I’m always eager to receive that email notification stating one of my most treasured artist has a new release. Once I learned that Inoriand’s latest effort, ‘A World Frozen’, consisted of just a single track with a playing time of nearly thirty nine minutes, I was beyond excited and could not wait to immerse myself in this new, icy cold musical journey. The results are astonishing and the fact that Inoriand can continued to release albums without repeating previous efforts, is a major accomplishment.

The albums only track, “A World Frozen” is like a massive expedition through the darkest & coldest season of the year in a vast, isolated land only inhabited by the occasion brave hyperborean natives and the natural replenishments they hunt for survival. At times, the conditions are peaceful, yet somewhat challenging and other times the blizzard-like circumstances make the terrain impossible to traverse. “A World Frozen” begins with a peaceful synth introduction as if the haze of the morning perpetual sunrise never existed. Random keys emit a radiance, like melting ice dripping it’s clear liquid onto the surfaces below. All seams peaceful as this scene carries on like a snapshot in time. Incandescent drones sway in and out of audio contention as if it’s in sync with the northern winds. At around the fifteen minute mark, the dripping sounds have all but faded and the droning tones shift to a slightly lower frequency, signifying a shift in temperature and and the possibility of much harsher conditions. At around the seventeen minute mark, an abrupt static sound channels the negative energy in the air, as a winter storm and arctic-like conditions are inbound. Twenty minutes in, and the oblique synth melodies are at their strongest. Multiple layers of keyboard sounds and tones are arranged in a manner that gives this austere atmosphere the soundtrack it deserves. The keyboard section at around the twenty eight minute mark is my favorite part on the album and features a few sounds that reminds me of the impeccable ‘Silence’ album. The final few minutes couldn’t be better, as this immeasurable album draws to a close. The mix of long, drawn out drones and high pitch sounds of single keyboard notes compose a wonderful melody, fading in unison with the winter sunlight.

Inoriand has done it yet again! ‘A World Frozen’ is an exceptional album that – for me – is already in contention for dungeon/winter synth album of the year. It boasts a very bold and mature sound, with excellent production. Additionally, I find that I can easily submerge myself into any world when listening to Inoriand, and for an artist to have that affect, is quite impressive. I highly recommend downloading this album, as well as checking out everything else on the Eldest Gate Records Bandcamp page. You will not be disappointed.

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Links:

https://eldestgaterecords.bandcamp.com/album/a-world-frozen

Dryads Presents A Compelling & Quixotic Odyssey With ‘Those Who The Winter Path Reveals’

In the realm of dungeon synth, musical adventures don’t always have to be dark and intensified, although that seems to be a common topic as noble warriors decussate enemy territories to defend their kingdoms. However, rightfully so, as it makes for an awe-inspiring theme to attach to these tuneful arrangements. There are also other motifs that reveal majestic exploits of various intents that are equally as fulfilling when matches with the sounds of dungeon synth. On the latest release by Dryads, ‘Those Who The Winter Path Reveals’, I get the sense that this a journey about discovery and seasonal enlightenment. With the paths of everyone and everything that is crossed along the way, a new story and beginning unfolds.

The adventure begins as “Grace And Nobility Of A Summoned Snowstorm” swoops in with lavish soundscapes and pleasant keyboard intonations. Like setting out on a daring, arctic campaign this track sets up as a nice introduction for the album with its brisk pace and tonal sequences. “To Cross Ice Bridges With An Iron Horse” continues the sense of a wintery environment, but added discordant keys and darker accents in the melody give the feeling that gloomy times are ahead. “A Palace Of Glacial Dreams And Conquests” is an atmospheric undertaking with its grandiose soundscape presence and harmonized keyboards that provide a melodic structure of listening pleasure. “In Dreams, The Outcome Of Each Contest Unfolds A Part Of Our True Self” is a cold and brooding piece that would easily fit in a horror movie soundtrack. Exuding a ruminating depth that combines low-end drones and a creepy piano arrangement, this track illuminates a fascinating scene of bewilderment. “This Is The Coldest Journey, Yet You Are Not Lone” continues the same sense of dread from the previous track while combining winter-like field recordings that bring out the nature side of things. “Polar Rites” is a cold, winter synth track that slows down this musical journey but maintains the alluring spirit of the album. The dim soundscapes bring out an element of evil as you can feel the track getting more bleak as it nears the end. Next up is the title track, “Those Who The Winter Path Reveals” with it’s chilled & somber vibe, reveals an excellent cinematic sound. “Forest Omens” begins with some bizarre sequences before a harmonious keyboard arrangement fulfills the darkness. The sound of birds chirping in the background reveal the winters clash with daybreak and a sudden warning of evil lurking in the forest. The albums final track, “The Fallen Of Vidhein Castle” is an upbeat song, signaling the near end of the harrowing winter journey. Although there is light at the end of the tunnel, it’s not been an easy adventure. Oppressing soundscapes and orchestral arrangement are the standout elements of this track, ensuring that the album ends on a definite high note.

Dryads is an excellent dungeon synth artist and with ‘Those Who The Winter Path Reveals’, has sealed them as a new driving force in the winter synth community. There is a lot of adventure and masterful storytelling going on here and the overall beautiful tone of the album will leave a lot of room for interpretation. Show your support for this aspiring artist and download this amazing album at the link below.

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Links:

https://dryads.bandcamp.com/album/those-who-the-winter-path-reveals-2

Eyre Transmissions III: Interview With Ambient/Winter Synth Artist, Winterblood

Every once in a while, an artist comes along and consistently produces albums that immediately grab your attention from the very first note and captivates you until they fade off into the cold silence. For me, Winterblood is one of those artists and from the very first time I heard the album ‘Waldeinsamkeit I-III’, I knew I was listening to something special. After getting my hands on the back catalog and quickly downloading anything that comes out new, it’s apparent that Winterblood is an extraordinary addition to the winter synth/ambient community. I recently had the opportunity for a Q&A session to find out what drives such a momentous force behind the atmosphere. Enjoy!

1. First of all, thank you for taking the time to participate in this interview. Can you tell me how Winterblood came about?

Hello there! To talk about Winterblood, means to looking back at my childhood first of all. I remember a film called Antarctica, where the haunting melodies played by Vangelis left an indelebile sign on me; I was so attracted by that landscapes, dogs, and all that atmosphere. All so hostile and dramatic, but at the same time so comfortable. As the years passing by, searching for that power and feelings, I discovered the distorted guitar, and soon I was involved in metal music. In 1997 I started recording with some pc softwares, under the influence of very great act in Cold Meat Ind. and Burzum ambient style, and I find out that only the synth can bring that ‘not human’ character that I was looking for. Winterblood is something within me since the beginning and recognized through sounds and images.

2. You have a pretty lengthy discography! What are some of the challenges that you face while consistently writing such impressive material?

I put no limits in what I’m doing. Most of the albums are similar? May the other dimension brings me in the same direction! I’m just a kind of medium doing atmospheres, not ‘songs’. I’m still discovering my inner voices.

3. Sometimes I wonder if Winterblood is a dark ambient project or a dungeon synth project, or maybe a mix of both. What genre would you classify it as?

If I had to choose a term, it would be Polar ambient; ‘dungeon synth’ is more fantasy oriented, and my project is focused on spiritual affairs through coldness and blackness.

4. Music wise, many Winterblood albums have a trance-like quality to them, enabling the listener to drift off in a meditative state. Is it your intention to provide this type of introspective state?

All is about intuition. Every note, every drone you hear, is recorded following inner voices (I repeat myself), voices that make me dream, make me sleep, make me relax, and bring my imagination in a no-limit zone, where all is infinite and beautiful at the same time. In Winterblood, all comes from the darkness, and look how all is bright! Purification through listening, through making music. If it works with me, may it can works with others, and is real cool to have positive feedbacks. To quote my page site: ‘… the really ambitious goal is to put the listener – after a reassuring prelude – into a cold state of loss and confusion; this may causes an awakening…’. Intentional? Of course.

5. When you set out to record a Winterblood album, do you have a plan in place for a particular sound or style or do you improvise based on your feelings at the time?

I spend hours doing tests, sounds, and right fx. The visions leads all, as intuition as well. Music flows naturally cold, ripetitive, obsessive, but at the same time melodic, hypnotic… It’s not about technic, but magic and sensibility.

6. Do you play and record with physical equipment, VST’s or a mix of both?

In the past I usually worked with softwares and plug ins, with the time all is went in the analogue direction. With this equipment I can give originality to my works, something unique.

7. Do you draw inspiration from any particular bands or other genres of music? If so, what/who are they?

As said before, the Cold Meat ind. scene has a great impact on Winterblood. Act like Aghast, first Ordo Equilibrio, Mz412, Sephiroth, Raison d’Être… But also Eliane Radigue, Burzum ambient-era, Apoptose…

8. One of my favorite Winterblood albums is ‘Waldeinsamkeit I-III’. Is there a distinct theme for that album that makes it so special?

Waldeinsamkeit is an album the literally ‘break the borders’. Why? Still don’t know. All is strange behind this album, from the beginning to the end. What make it so special? The total alchemy between artwork and music. It is so nocturnal, mysterious, magic, really describes as well the title itself. Thanx goes again to Canto Críptico label for the first tape press and artwork, and Kunsthall prod. for the massive Lp release that is unbelievable.

9. You recently released ‘Hiraeth’ which was an impressive 3 hour plus long recording. What inspired you to write such a mammoth of an album?

The purpose is to inaugurate a series of releases focused on meditation, Hiraeth as first. I was looking for something very extreme, something that can makes you dream up, sleep, and floating without an end, something eternal. Of course length is fundamental in this. Hiraeth, as other Winterblood opus, is inspired by my obsession for the grey color, dark woods, old vintage illustrations, and the melancholy for something lost, that is nothing but the lost the original perfection.

10. Can you tell me a little more about your side project called Macchine Per Comunicazioni Spiritiche?

MPCS is just a container for bizarre experiments. Let’s see…

11. Are you involved with any other projects (that you care to discuss)?

Absolutely not. Winterblood is my only project.

12. I really appreciate you taking the time to answer these questions. Do you have any final words or thoughts for the Winterblood fans that will be reading this?

First of all thank you for let me open a window to my music, and thanx to all the supporters around the world! A lot is on the making…

Links:

https://winterblood78.bandcamp.com

https://www.facebook.com/WinterbloodOfficial