When it comes to Dark Ambient music, I’m always searching for a certain level of obscurity. After all, it’s supposed to be the bleakest form of ambient music so I’m looking to be drawn into a cold world of chaos and emptiness with a degree of emotional grit. There are many artists that surpass my expectations, leaving me with one simple question – How does this genre continue to fascinate me on such a high level? One such artists that I’ve recently been drawn to is Josh Sager. On his latest album, ‘Heterodox’, Josh pulls no punches when it comes to desolation tones and simultaneously excels at embedding poignant melodies that elicit moments of seclusion and bliss. These seven tracks provide a perfect storm of sentimental soundscapes, rhythmic drones and the ability to capture the listeners soul, albeit momentarily, and establish a length of remembrance for every single note that is played.
The albums lead off track, “The Plague Doctors” begins with the subtle sounds of distant turmoil. However, as the modulations grow louder, an eerie chaos can be detected and it draws the listener in like a trance-like frequency. Synthwave harmonies and looping keys lead creates a twisted sensation while a massive build up of sound effects and drones amass a sonic wall of discord. “A Dread Of Something Abnormal” immediately commences with a heavily distorted drone that is reminiscent of an industrial wasteland commotion. Sophisticated effects weave in and out of the elongated note, turning the empty space into and angst-filled void. Drum pads and muffled guitar tones blast their way in, producing a varied space that makes this soundtrack worthy material. “Lurkers” is definitely where the creep factor comes into play, pushing this album to extreme new heights. A thumping bass sound leads a slow cadence while a symphony of noise begins to construct around it. The creepiness slowly turns into a melancholic sensation, rendering an audial passage of despair. This is one of the most haunting ambient tracks that I’ve heard in a while and is seriously worthy of repeated listens. “Monsters Make Monsters” starts with a reverberated piano tone that has a grandiose sound and succeeds at clearing a particular headspace for a dreamy adventure. While the listener continues to be mesmerized by these simply played notes, an establishment of field recordings and synth effects slowly crescendo into a retrospective outlook. I can imagine listening to this track while driving down a long, narrow road during the break of dawn. There is a particular crispness in this sound that offers a serene clarity and the results are amazing. “Ghost Of Mortis” is the most alluring tracks on the album as the delicate melody that is played throughout is full of decadent vibrations and somber emotions. Even though this song is over six minutes long, it ends sooner than expected due to the layers of melody capturing the heart of the listener at multiple intervals. “Fugitive Glances Of Strange Landscapes” is a droning adventure that exhibits various levels of industrial conduct by the waning effects used for the effortless use of distorted modulations. It’s like being trapped in a post-apocalyptic city filled with complex buildings structures that are corroded beyond any livable means. The final track on the album is “Death Is Just The End”. This is another slow builder, but when everything comes into full focus, it’s a force of controlled chaos and magnificent refrain. This is another nostalgic effort that stands out and sounds even more menacing at loud volumes. This is one track that I wish wouldn’t end; it’s that incredible and addictive.
Josh Sager is a really impressive Dark Ambient artist. The way he incorporates melody and makes reference to the retro synthwave era of 80’s compositions is spectacular. This is an album that can easily be played through in one sitting without skipping any tracks and I’m quite sure it will stand the test of time. Do yourself a favor and check it out by listening (or downloading) from the link below.
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Since last year, Mahr G’Didj has been on a roll with the ‘Crane & Crescent’ series of recordings. Divergence seems to be the driving factor that makes these albums stand out amongst the genres’ elite. That particularly holds true on the third outing, ‘Crane & Crescent Pt. 3: Fates Bottomless Well, E’er Churn Her Waters’. From comfy synth and carnival-like anthems to progressive key chops, traditional dungeon synth sounds and obscure black metal intonations, this album branches out like no other. There is a lot to talk about on this effervescent gem, so let’s discuss these contrasting (yet homogeneous) tracks.
The albums lead off track, “Elegy Reprise”, is a cozy little piece that would make anyone feel right at home, snuggled up in front of a warm winter fire. However, the intimate setting doesn’t last long as ”Infiltration, Ruined Arkell” takes this album in a completely different direction. The coziness is replaced with a symphony of keys, synth effects and looming drum pads that hammer away at a fast pace. There is a sense of hurried aggression to this piece as it suddenly comes to a halt and immediately leads into “Three Altars (Kminthi, Lilliah, Piellen Gi)”. An odd sequence begins the track and then a diabolical melody provides another twist in this album of a menagerie of sounds. This track almost sounds like a looping house soundtrack that you would hear while playing winless games at a carnival. However there are enough bizarre sequences to keep the experience fun and refreshing. “Russo’s Ambition” commences with a clean – almost jazz-like – approach with mild percussion keeping a solid cadence in the background. The composition is less whimsical than on previous tracks and contains progressive elements that makes it one of the most engaging efforts on the album. The next song, “Bombs Over Argin” starts with a flashy keyboard loop that is soon backed by a haunting synth effect and bombastic drum pads. The drums are more enlightening than on previous tracks and are hopefully a good indication of broader elements to come. “Embraced By Shadow, Kissed By Venom (Lutecia’s Theme)” is my favorite track on the album and it’s also the point where the dynamics shift yet again. This time, massive guitars (with tremolo picking) and blast beats become the primary focus. There is a synthwave style bridge in the middle of the track that is equally compelling but the song finishes the same way it started – with seismic guitars and rushing drum sequences. “Grado’s Rest (Fate’s Bottomless Well)” is another fantastic track of variables. There are several layers of key effects, progressive drum beats and guitar strums that fuse together in majestic harmony. “The Defiled (Miranda’s Theme)” takes us back to the whimsical side but with a sense of apprehension, as climactic elements are on full display. The drum track also stands out in several spots and are programmed in perfect fashion. Toward the middle of the song, doomed guitar riffs add a touch of heaviness and nostalgic vision. “Elicia Ascendant” begins with barely audible narrations and then melds into a delightful comfy synth arrangement. This is a light-hearted tracks with melancholic undertones and serene layers of synth bliss. The final track on the album is simply titled “Epilogue”. Beginning with a fantasy synth style, it soon breaks into a Disney-esque composition that could be used as a jingle for one of the theme park’s attractions. Such a tranquil and pliable way to end this remarkable album.
Mahr G’Didj has made quite an impression on me with his unique way of composing unconventional songs while remaining true to the Dungeon Synth genre. From Comfy Synth to Carnival-themed songs and Black Metal blasts, this album is totally entertaining from start to finish and will ultimately please fans that love a variety of nuances on a single album. Be sure to download this album – as well as the previous albums in the ‘Crane & Crescent’ series – from the link below.
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Once again, I find myself arriving late to the party on a fantastic album that was released toward the end of 2020. With so much music being released in the genres that I’ve created this blog for, it sometimes feels impossible to stay dialed in to all of the magnificent works of art that find their way into this world. However, as I’ve always said, it’s better late than ever, especially if discovering something that may have a lasting impact. Grande Loge definitely fits that bill with their awe-inspiring, ritualistic ambient debut, ‘Mantras’. Featuring seven tracks of ceremonial dirges, these songs exemplify ancient tribal hymns with traditional instruments and a solid production.
From the start, “Epopteia” takes the lister back in time, to a medieval Scandinavian period where music and art were inspired by the land, ancients Gods and culture. A broad mix of conventional instruments and hymnal chants, this track sets a particular mood for mythological inspiration and ritualistic dominance. As the track continues, the pace increases and the compositional movements become more austere. “Mithra Invictus” commences with bold vocal incantations, followed by Middle Eastern-style melodies. A variety of percussive elements create a galloping style arrangement and the vocal performance become increasingly powerful. An impressive break toward the middle of the track brings more layers of stringed instruments and soon after, it picks back up to an enchanting performance of strident harmony and ancient throat singing. “Hekaten” continues with the powerful vocal performances in a chant-like manner, complete with serene musical accents, with the occasional bell ring. As the song ages, the vocals become more majestic and continue to stand out. This track is reminiscent of a group of Norse warriors participating in a ritualistic ceremony before forging on to battle. “Avekko” has a compelling and unique vocal performance, with layers of vocal chats & whispers, while drones of throat singing occupies the background elements. Harsh shrills of warrior-like cries peak at random intervals, while a beautiful violin lead stands out between all of the vocal endeavors. “Aecroto” begins with a simple percussive beat and then menacing overtone vocals begin to engage – chanting a traditional narration. A background drone increases with anxious intent while a wide range of voice melodies continue to shine. “Tenya Pon” is a fun little track that will have the listener tapping their feet in unison with the drum beats, while singing along with the simple vocal chants that are present throughout. It’s easy to tell that this is a celebratory track due to the upbeat percussive performance and the sing-along style vocals. The final track on the album is the ceremonial “Hierophantes”. Various traditional instruments synchronize to compose a minimalistic but glorifying final performance. Representing the darkness of nature and melancholy, this song is soundtrack worthy and succeeds in catapulting the listener back to a dark time where an ancient civilization lived off of the land and endured the hardships of Arctic-like elements and suffrage through battle. This is such an exalting way to end this amazing album.
‘Mantras’ is an exception album and such a bold statement for a debut. Grande Loge sustains a high caliber performance throughout this stunningly beautiful magnum opus and every track stands out in the most impressive of ways. Combining elements of traditional instruments, multiple singing styles and haunting background ambience, Grand Loge creates a challenging platform for ritualistic inspired music. Fans of Wardruna and Phurpa should dive into this album immediately and everyone else should take the time to check out this extremely special performance. Click on the link below to download this grandiose musical experience.
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Today, October 10th, is the observation of World Mental Health Day. First celebrated in 1994, this International Day has grown into a global event that expands beyond 150 countries. On this day, supporters celebrate the education, knowledge and advancement against social stigma. What makes this day even more special is when artist across multiple genres of obscure music come together in a collaborative effort and release an album dedicated to this cause. ‘Music For Mental Health’ is that album and Hreám Recordings did a fascinating job curating this collection of fantastic tunes, especially since they have a deeper meaning for many of the artists that contributed. The outcome is over three hours of raw, honest, emotion-filled songs that excel at raising awareness for this special day. In addition, all proceeds from this album will go to Mind UK (link below). Please show your support for this cause and head over to the bandcamp link below and download this amazing album.
From the curator of this project:
The artists involved in this project are all more or less of the No Audience Underground: 8 Track Dogma, A Beautiful Idea, Audio Obscura, Bolivian Fireships, boycalledcrow, D^mselfly, Distant Animals, DJ盲目, Dogs Versus Shadows, Drew Mulholland, EXPOSE YOUR EYES, fencepost, Henrik Meierkord, Lednik Frontier, Malady of Knots, Quiet Clapping, Rauppwar, relay station, Sound Effects Of Death And Horror, The Creeping Man, The New Emphatic, The Owl, The Wyndham Research Institute, there are no birds here, Vanessa Pettendorfer, V’Gernull, Wonderful Beasts and Xqui.
The compilation covers genres as: experimental, drone, ambient, soundscape, electronic and improv. There are 27 tracks all in all and over 3 hours of music waiting for the listener. Most of the tracks are specially written for this project, with a few handpicked. Many pieces reflect over the creators own struggles with mental health issues and there are even some that chosen to leave a written message to read while listening to their creation. We have all worked very hard for this and are very proud of the result. It will be a true joy to be able to share this one with the world.
The positive aspect of my ceaseless search for obscure music is there is plenty of it out there and not enough of it gets discovered at the rate that it should. One of my intentions with this blog is to help propel those artists/albums into a realm of clarity amongst the ambiguous. One such act that fits this description is Fen Wraith – an attentive new artist that creates a nucleus of sludgy metal tunes with the help of Dungeon Synth aesthetics and a love for loud, propulsive distortion. In March of this year, this solitary act released two EP’s of majestic music that should meet the needs of those with a love of tonal variety. ‘Forgotten Lore One: Black Waves Crashing’ and ‘Forgotten Lore Two: The Haunted Mire’ are two snippets of exciting songs that range from doom-laden dirges to acoustic haunts that build with anticipation.
‘Forgotten Lore: Black Waves Crashing’ presents ten minutes of murky doom riffs with heavily distorted bass and a rugged mix of clean and harsh guitar riffs that trudge onward for the duration of this recording. “A Cursed Quest, A Miserable Existence” begins with the sound of clashing swords, as a Medieval battle seems to be well underway. After a short narrative sample, a barrage of thunderous bass tones promotes an assaulting sound while a slow drum beat provides a roomy cadence. Guitars strum faintly in the background but add a deep character to the track. “Black Waves Crashing On The Shore Of 1000 Hollowed Graves” continues on with the same groove but this time with a bit more melody. The fusion of clean guitar riffs and harsh bass tones work really well in this track and the end result is a short but effective trance-like dirge that ends quicker than it should. The final track on the EP is, “The Final Thoughts And Breaths, Of A Dying Man” and it features icy cold vokills, compounded by droning guitar riffs. Toward the middle of the track, the harsh riffs subside into a beautiful acoustic passage that brings us to the end of the album.
‘Forgotten Lore Two: The Haunted Mire’, contains two tracks of hypnotic sounds that are slightly less aggressive than the tracks on the first EP, and are a little more epic with regards to the compositional side. Lead off track, “O’Keeper, O’Defiler” commences with a steady drum beat that is backed up with layers of looping guitar riffs that allow the listener to to drift off into an imaginative world of angst and ancient scenery. The last few minutes of the track contains a haunting narrative piece that combines with a clean guitar strums to produce a calming effect. Suddenly the track blasts off into a loud climactic ending that is reminiscent of early Blood Of The Black Owl releases. The second (and final) track is the ominous “Haunted And Hunted”. Chock full of soundscapes and samples, it’s as if battle-ready warriors are sharpening their weapons in preparation for a grueling bloodshed. Massive guitar drones add a sinister character to the track, as a plethora of additional instrumentation slowly build into a highly anticipated musical capstone. A muffled drum beat maintains a durable pace and all at once, the noise come to a screeching halt, minus an acoustic passage and random industrial-like effects.
If these two EP’s are a consistent introduction for albums to come, then we are safe with delivering accolades to the bright young path of Fen Wraith. Although these are brief outings, the production of unique and inspiring music has been achieved. For the sake of getting lost in the music, I wish these tracks were longer but I kindly accept them for what they are, which is an entertaining mix of noise, metal and Dungeon Synth undertones. Please support Fen Wraith and these albums by clicking on the link below.
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There is a particularly dark scene in the movie, Star Wars: The Empire Strikes Back in which Luke Skywalker is undergoing his Jedi Knight training. They come upon a dark path of sorts and Luke asks Yoda, “What’s In there”, in which Yoda replies, “Only what you take with you.” That is such a haunting sentence, especially when experiencing the unknown. It also serves as a metaphor for Withering Of Lights latest album, ‘Reliquary’. It’s almost hard to describe in words what that actually means, but fans of Dark Ambient music can easily relate to this analogy, as this genre of music excels at providing a platform for emotional and spiritual expansion. As for ‘Reliquary’, the six songs contained within contribute to a sense of isolation and dread, in which unforetold tales are inevitable and open for an array of interpretations.
Harrowing album opener, “Apocryyphal”, administers a jolt of cold atmospherics and creepy soundscapes that drag the listen down a bleak pit of doom. The drones cascade with minimalistic angst and lurking synth effects crescendo at random intervals, providing an unfathomable experience. “Fane” continues this dark excursion by weighing the listener down with a barrage of consoling drones and sequences of terrifying sounds. As the ear-piercing tones isolate the listener from a peaceful reality, low-end reverberations zero in on the minds gloomy whereabouts. Toward the end of the track, a hint of calming keys expand this emotional journey into new territory. The next track, “Hive”, is like a chain reaction of evil intent, as sinister soundscapes continue to build at will. Superbly arranged synth leads adds a depth of character as this develops into one of the most malevolent concepts on the album. Industrial effects give this an overall apocalyptic vibe as this nightmare increases with each passing second. The albums title track, “Reliquary”, lives up to its ominous name as I can imagine hearing this upon discovering an ancient ark in a long forgotten cave. As curiosity presses you to open the ark for a vivid discovery of the relics contained within, a sense of relentless evil darkens the skies and morphs all tranquil thoughts into an inauspicious will of self-destruction. “Spectral Resonance” is like an austere sense of awakening as this minimalistic piece represents a void of surroundings and a slow-motion effort to investigate a way out of this purgatory. This track also provides a cold, desolate dais for emotional captivity, spewing filthy soundscapes, manipulated by eerie reverberations and manifestations. The final track on the album is “White Chrism”. A great – but excruciating – blend of nominal drones and loosely embedded soundscapes, this track serves as the horrifying exit from a nightmarish adventure and the scarred return to a gloomy reality. Even as the track comes to a close, these dreary modulations will remain as a everlasting cicatrix, replaying over and over again with no end avail.
Withering Of Light does a compelling job at turning minimalistic drones into a work of decaying art. ‘Reliquary’ is an album of evil intent and disquieting accord. Not only are these tracks downright terrifying but for listeners in the wrong state of mind, could cause traumatic affects. The metaphor that I presented in the beginning of this review still holds true for this recording. There is so much space ingrained in this music that the emotions you bring to this listening experience is a customary component to its audial outcome. This is an excellent Dark Ambient album that deserves to be heard by the masses. Please show your support for Withering Of Light by downloading this album from the link below, as well as checking out the back catalog of superb albums.
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Talk about intriguing, Temple Of Fractured Light’s latest album, ‘The Groovopolis’ is a mesmerizing blend of genres, sounds, emotions, and fanatical experiences all wrapped up in one. This twenty eight minute long exploit is a deep dive into the psyche with psychedelic and tranquility overtones that are reinforced with bold but minimalistic compositions set to take the listener into a brave new world.
This kaleidoscopic journey begins with the audacious “Discard Your Earthly Body To Enter The Kingdom Of Light”. Commencing with an organ-like drone, we are soon greeting with tolling of the bells and an abrupt, distorted keyboard chop. Synth leads are introduced as a synchronous melody slowly comes together. As an introductory piece, this track sets a jubilant tone for the overall theme of the album. “Welcome To The Groovopolis” is a short track that continues the momentum and vibrantly adds a steady percussive beat, as if marching into unknown territories is inevitable. Discordant keys expand the boundaries, creating an uneasy atmosphere for those that dare to partake in the festivities. “Shamans Of The Great Prism Forest” is one of the most melodic achievements on the album, as multiple keyboard effects fuse together to establish a memorable audial encounter. The droning organ-like keys in the background really hold all of these sounds together, allowing for harmonized perfection. Battle-rhythm beats play an effective role as well, building an intricate song full of elaborate detail. “Fractal manner Of The Deep Forest” is a psychedelic dirge that assembles on simplicity and calming effects. The tones are soothing and otherworldly, and succeed at achieving a dreamy environment for an alternate state of mind. “Princess Of The Hallucinogenic Mushroom Dunes” brings out the whimsical effects and is one of the most upbeat tracks on the album. Combining steady percussive elements and layers of eccentric synths & keys, this song forges on a buoyant path while maintaining an incongruous arrangement. “Gargoyles Flying Free” is the shortest track amongst these gems, but bridges the gap between ethereal intonations and cinematic clarity. This brief experience is moody and provides a refreshing outlook on the estranged sound manipulations of the previous tracks. “Past The Vision Fields” is another amusing offering that is light and sincere. The piercing synth leads exhibits the most melodically structured stanza’s on the whole album and combined with the rhythmic synths and sporadic percussion section, this is definitely a standout track. The final track is the outlandish “Coronation At The Rainbow Temple”. This is surely the strangest endeavor but fits in perfectly with the rest of the album. The consistent use of barraging synth effects works well with this composition as it’s more of a dreamy piece with a somber appeal. As this album comes to a close, so does the psychedelic vibe, as this track brings us back to reality, more refreshed than ever.
Throughout its short history, Temple Of Fractured Light has made a valiant effort to include a nifty blend of synth groove, psychedelic flavor and unconventional themes to create an essence that stands out amongst its peers. ‘The Groovopolis’ is a stellar achievement that will stand the test of time and garner multiple listens in order to embrace its awesomeness. Even though this album came out at the first of the year, it’s never too late to embrace the culture of all things groovy and psychedelic. Please show your support by downloading this one-of -a-kind album!
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For over a decade now, Sydalesis has been crafting a vibrant blend of atmospheric music that ranges from light to dark ambient with a ton of experimental electronic-based compositions in between. However, earlier this year, horizons were expanded when the Berlin School heavy ‘Living Machine’ was released. This album presented a masterclass of krautrock based synths with over two and a half hours of mesmerizing soundscapes to launch the listener into an overwhelming cosmic universe. On a typical music review, I would present my view of every song on an album but with ‘Living Machine’ and it’s fourteen tracks of celestial encounters, I’ll spend some time elaborating on just a few of my favorites.
Transcendent album opener, “Dawn Of The Rise” blasts off at a contentious pace, setting a resilient standard for the remainder of the album. At six minutes and fifty eight seconds long, it’s actually the albums shortest track. However, the traditional but complex Berlin School sequences provide a nostalgic realm to begin an elongated drift, as this album is undoubtedly relentless. The backing drones elicit a calm demeanor amongst the mild chaotic blend of synth leads and soundscapes. I can’t think of a better track from this album to start this amazing audial journey. Moving right into an epic blend of mesmerizing synths and celestial drones, “Operatives” decreases the velocity initiated by the first track but replaces it with a soothing and emotional retro-adventure for over sixteen and a half minutes. Percussive patterns and melodic keys are the proponents that elevate this gem to solar heights making it one of my favorite tracks. Skipping over a few tracks will bring us to “Epilogue Of War”, an eleven minute sixteen second long excursion into a bleak world of ethereal soundscapes and captivating melody. As one of the darker tracks on the album, the synth leads soar into oblivion over looped percussive patterns and a slightly distorted Berlin School sequence. The retrospective arrangement and bold use of effects will have the listener meandering anxiously in a world of voided space and floating memories. Skipping down a few more tracks, finds my overall favorite song on the album, “Resurgence”. Commencing with a mid-paced sequencer effect and atmospheric keys that quietly build into an aimless composition, the droning keys are what stands out the most to me. The fantastic melody is so fluid, the listener will instantly drift back to a time of neon lights, bleak horizons and cruising in a DeLorean at midnight with their sunglasses on. Although traveling at full speed, the surroundings seem to float by in slow motion, being caught systematically in the keen peripheral vision of the driver. Even at the mammoth length of this song, it seems to pass by too quickly, enticing the listener to hit the repeat button again and again. The last song that I’d like to talk about amongst this fourteen track collection, is the dainty “Capital Metropolis”. Utilizing additional effects and several layers of Berlin School sequences, this near ten and a half minute magnum opus showcases a broader range of sound and dynamics than some of the other tracks. It is arranged in a way that almost sounds like a continuous build. The magnificent synth leads provide a dreamy scenario in which emotional travels to distant worlds can be achieved. Again, this is another fantastic moment on the album in which one doesn’t want it to end. Every single song on this album is simply amazing but I wanted to highlight a few of my absolute favorites.
‘Living Machine’ is a front runner for Ambient Album Of The Year in my opinion. Even though this album is over two and a half hours long, there isn’t a single boring moment on it and the masterful use of Berlin School sequences is absolutely addicting to listen to. Although it showcases a slightly different side of Sydalesis, it will surely leave its mark in several sub-genres of the synth community. If you’ve not had the opportunity to listen to this massively underrated album, I highly recommend checking it out. Please support Sydalesis by downloading this album from the link below. You’ll be glad you did!
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With just over a year of active involvement in the Dungeon Synth scene, Elminster has managed to rack up quite an assortment of excellent albums. Whether released under his flagship moniker – Elminster – or other incredible crafts such as Anadûnê, The Owl Knight or DCCCVIII, it’s apparent that Elminster is in it for the long haul and is quickly becoming a “go to” artist for all of your Dungeon Synth needs. I recently had the opportunity to chat with Colin Bacon – the maestro behind all of these amazing projects – to find out what the driving force is behind all this talent, how he got into this genre of music, and what the future hold. Please enjoy this very detailed account for all things Elminster!
1. Thank you so much for this interview opportunity. Elminster hit the Dungeon Synth scene just over a year ago with the ‘Making Of A Mage’ series. Since then, you’ve been on a relentless spree of new album releases, other projects and splits. How did you get started in the genre and where are all of the fresh ideas coming from?
As much as I wish that I could say that my introduction to the genre was by finding a cassette hidden in the middle of a stone circle or castle, I actually found the genre via Youtube’s recommended function. I had checked out a few before, but the first handful to grab me were the Blood Tower/Apothecarium split, Barbaric Frost’s Against The Darkness, Coniferous Myst/Owlbear/Scrag/The Herbalists split (which Isaac was kind enough to sell me their artist copy of), and the Druadan Forest/Uruk Hai/Bannwald Split. All of these albums are magical to me and, even though I now know the basics of songwriting, I still am not entirely sure how each was made. Pivoting to the second part, I get a bit restless with my hobbies and often feel like I am climbing the walls if I am not able to indulge them, in a rather compulsive sense. As for the variety, I read a lot growing up, especially fantasy novels. Each of my projects is an attempt to capture a specific feeling within a wide and varied genre.
2. I want to go back to the ‘Making Of A Mage’ series of releases. Can you talk more about the inspiration for these EP’s and do you have a plan for anymore “Mage” albums?
The inspiration for TMOAM was a novel of the same name by Ed Greenwood, never has a book captivated me with such ease. My brain created a picture of every scene and ran wild with how I would make a movie for it, how it would be scored, etc. etc. (It would be animated similarly to the 1970s LOTR movies, if I had my way). When searching for what the alias of my project would be, Elminster just felt right and I decided in that same moment that my favorite novel required a soundtrack. Each of the EPs is named after a part of the book (part 1 was brigand, part 2 burglar, etc. etc.) and each of the song titles are referential to plot points. Seeing as I created a product that accomplished what I wished it to, there likely won’t be any more albums of that name, but I would certainly consider doing soundtrack albums for the other books in the Elminster series.
3. Earlier this year, you released the Crypt Hop EP, ‘Beats To Dungeon Crawl To’. This was definitely a seamless transition to another one of the fascinating Dungeon Synth sub-genres but was this something that had been planned all along or just an experimental effort?
When first creating the Elminster project, I did not know of Crypt Hop, it was only through the Vandalorum episode of Midnight Ambience and murmurings on facebook that I learned about it. I had been into the concept of beatmaking ever since discovering the grime artist JME during early lockdown. Through him, I got into UK Drill artists such as Digga D, Kwengface, Teezandos, Abra Cadabra, and Pop Smoke (an american who laid down NY Drill vocals over UK beats, rest in peace Bashar). I saved up my money and got FL Studio and began to learn how to make those types of instrumentals. While getting into each of the aforementioned genres, I began to realize that I enjoyed the fact that they borrowed from carribean dance rhythms and blended said rhythms with darker instrumentals. A practiced ear will likely notice that most trap artists put the snare on beats 3 and 7 while using a steady rhythm hi hat pattern, but these genres (drill especially) like to put the snare on beats 3 and 8 while using a nonlinear hit hat pattern, which gives the beat both bounce and swing. From there, my selfish desire to marry crypt hop and drill produced the EP in question.
4. I have to talk about ‘Antipaladin’ as it’s one of my favorite efforts by you. How does your albums evolve from one epic story to another and what do you think makes this one stick out amongst your ever growing discography?
My albums usually get named near the beginning. I am usually on a nature walk and think “It would be awesome for an album of X name to exist. Alright, Colin, what would it sound like? What would the songs be called?”. The reason it stands out could vary from listener to listener, but the reason it feels different to me is that it was the first time I had had a mythological topic in mind and that I really pushed myself to learn a new songwriting style, which I’ve heard get called Berlin school (I’m a bit of a genre tourist with that genre, so I won’t claim to have a great understanding of its hallmarks).
5. You also did a very unique thing with this release by giving download codes for those that donated to the Shelter House Domestic and Sexual Violence Center in Fort Walton Beach, Fl. What was your decision to release this on a “give back” like scenario?
I’ve been slowly coming to the realization that I want to be involved in activism. I naturally lean a bit more introverted so I figured that leveraging my music would be the most effective and most comfortable way for me to do some good. On top of that, I figured that a DV shelter is something that pretty much anyone could get behind, so people would be willing to give more freely. I’d like to thank High Mage for being so willing to help me make this a reality and I’d like to thank the community for raising a combined $250 for those charities from that run, it really warmed my heart. I would also like to mention here that the split I have with Maiden Hair and coming out through Weregnome this October will also be giving its proceeds to (I believe 2 seperate) wildlife charities, please consider donating if you have the means to. I would like to make this type of release happen a few times a year.
6. In July of this year – almost a year after releasing albums under the Elminster moniker – you started a new project called, Anadûnê. Other than the music being a tad more cinematic than Elminster, what influenced the creation of this project?
This project was created because I was lucky enough to land a spot on the dev team of the Medieval II Total War Silmarillion Mod as the in-house musician. I felt like a project of that theme should be separate and approached with a different writing process.
7. ‘The Rise Of Gondolin’ (by Anadûnê) is probably one of your coldest albums to date, but there is so much dreamy melody happening at the same time. How do you manage to incorporate these distant facets in order to create something so amazing?
Thank you! I’ll be honest, I don’t know. With that album, I didn’t let myself think too hard about it and just let myself write. I often find that it is pretty obvious when I overproduce a release and usually find that I enjoy trusting my instincts. Gun to my head, the patches I used were not as in your face and I leaned into them.
8. The Owl Knight is another fascinating project that draws upon chip tune, retro experiences and classic RPG theme songs. How are you able to make this sound so refreshing without being as whimsical as other chip tune recordings?
If I had to guess, the reason it doesn’t share a lot of the tropes with other chip tune recordings is a combination of hardware (I use toy keyboards as opposed to synthesizers/console sound cards), growing up after the era of 8 bit music being the de facto game soundtrack, and by being primarily inspired by the album Sunken Dungeon by Longsword. I also have listened only to a little bit of chiptune DS. It’s definitely good music, but there’s only so much time in my day.
9. You have another Crypt Hop project out called DCCCVIII. First of all, what is the meaning behind the name and secondly please tell me that this is a long term project because it’s freaking amazing!
DCCCVIII is a nod to my love of using crazy 808 patterns in my beats, it is the roman numeral spelling of 808. I have no plans to stop that project, it has been both incredibly fun to write for and has been extremely good for me to have a new challenge, genre-wise.
10. In August alone, you’ve released 5 albums including two splits. Where do you find the time to stay this busy and what’s behind all of the musical motivation?
I get incredibly restless and I don’t sleep a whole lot haha. On top of that, music has been a very rewarding hobby to get into. I love the dopamine hit I get when I hit the publish button or when I see people receiving their copies of my tapes.
11. The split release with Baerdcyn is so tantalizing that it’s quickly becoming one of my most listened to albums at the moment. Do you record music specifically for split releases or are they leftover tracks from previous efforts?
Thank you! I usually create them specifically for splits, I generally don’t keep a lot of “overhead”. When I finish something, I release it in most cases.
12. I think split releases are very important as they show artist solidarity and help promote from within. What are your thoughts on this and do you have any more split releases in the works?
That is absolutely how I view them! I love the work of so many artists and selfishly want to have an opportunity to work with them and splits allow me to do that in a less invasive way. I also got into the genre through several splits and from doing so gained an immense appreciation for them. I have 2 more in the pipeline that are finished, 1 that I was doing the vocals for before I blew out my voice from screaming, and handshake agreements with a few artists for more in the future.
13. Do you have any plans to share your craft in a live setting, specifically during one of the Siege events?
I am certainly interested in playing live, but would probably only do so if reached out to. I would really want to do something fun for it if so.
14. What do you have in store for the rest of 2021 and what are your musical goals/dreams for 2022?
For 2021, I am planning on continuing to have fun writing different types of music. I have plans to try my hand at black metal and might give black ambient (think gonfanon but without being a fascist) once my 4 track arrives. In December, High Mage and I have agreed to do an event called Magemas, where they will be doing an entire month of my releases, so keep your eyes peeled for that (I hope they don’t mind me mentioning it here haha). For 2022, I plan to release an Elminster box set through them as well.
15. I really appreciate your time and thanks for all the great music! Do you have any final words or thoughts for those that may be reading this interview?
Thank you so much for having me! This has truly been an honor. My parting shot would be to ask the community to keep their eyes open for releases of mine with the charity element involved as their donations will be able to impact the wider world and allow our beautiful genre to do good for others. Stay safe and love each other. – E
What happens when three idealistic artists come together on a collaborative effort with a single theme in mind? An absolutely brilliant album is born and an unparalleled blend of Dark Ambient and Dungeon Synth intonations tell a Lovecraftian story of horror and lore. ‘Libris Arcanum’ presents six epic tracks of sonic adventure with Psyclopean, Noctilucant and Visions Of Ulnahar contributing two fanatical adventures each. These dark compositions combine droning ambience with the essential sounds of riveting Dungeon Synth, providing an eerie exploration into the world of One of our favorite fantasy authors.
Psyclopean caters the albums lead off track with “De Vermis Mysteriis”. This majestic undertaking begins with soaring synth leads and subtle soundscapes that set a captivating scene of somber foreboding. The cinematic approach to the first section is a beautiful introduction to this extremely diverse album. However, gloomy elements start to merge in a horrific fashion with moments of layered keys fused with a grim ambience. Elegant keys bring this song to a close, properly preparing the lister for the remaining intonations. The next track is “The Dhol Chants” by Visions Of Ulnahar, setting an aggressive pace with jolting soundscapes and loud, distorted keys. As these tones drone on at full capacity, evidence of evil luring in the background is apparent, as subtle instances of abhorrent effects make their presence known. This one will definitely get the heart racing as the unknown prevails. Next up is “Cthäat Aquadingen” by Noctilucant. The sound of crashing waves start this eight plus minute journey into oblivion and soon, discordant keys set a bleak atmosphere. Inaudible noises dwell in the background as sections of divergent disarray cast a spell on those that continue to listen. About halfway into the track, ominous keys create a sense of melody, casting a shadowy light on this otherwise dark encounter. Psyclopean is up next with their second track of audial ambience in, “The Book Of Dayan”. A beguiling, warm drone casts a melancholic foundation while synth effects churn out a cold arrangement. A mournful vocalization adds a layers of funereal essence before giving way to a drifting thunderstorm field recording. Echoing narrations can be heard in the distance while peculiar percussion valiantly plays an off-kilter beat. The final few minutes of this track is filled with celestial drones, thunderous explosions and ethereal chants. If this doesn’t get you in the mood for Lovecraft-themed Mythos, then I don’t know what will. “Zanthu Tablets” is the next track provided by the magnificent Visions Of Ulnahar. Desolate waves on a gloomy beach front encounter cinematic tones and synth glitches showcasing a mixed emotive state. It’s as if this composition represents the ancient clash of good versus evil. This mesmerizing combination carries on until the end of the track, where the waves suddenly disappear and we’re left with just a soft theatrical melody. The final track on the album is provided by Noctilucant and it’s called “Cultes Des Goules”. Continuing on with a barrage of soundscapes and incandescent tones, this track is like an audible nightmare with haunting ambience, muffled wind sounds and soaring effects that are close to ear-piercing in pitch. A malevolent narrative piece is embedded amongst the ghoulish chaos as this nightmare of a track continues on. Retro synth leads are included in the mix and they provide a sinister tone to the overall sound of this track.
I know that this album has been out for a while now, but it’s never too late to review an epic collection of songs of these proportions. Each of these three artists – Psyclopean, Visions Of Ulnahar and Noctilucant – bring their own perception and taste for Synth excellence to collaborate on this pinnacle recording. Combining the best features of both Dungeon Synth and Dark Ambient music, this theatrical presentation tells an illuminating story of conceptual Lovecraftian manifestations. These are top-notch compositions with a supreme songwriting effort that deliver prestigious music of the highest order. Please support this album and these artists by listening to (and downloading) it from the link below.
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Dungeon Synth & Dark Ambient Reviews!! 