The Unnerving Sounds Of A Decaying Season Elicit Haunting Memories On House Of The Maker’s ‘The Autumnal End’

With the inevitable change of seasons approaching every few months or so, a transition in mood and distemper is sure to follow. Usually, the changeover from spring to summer leads to a particular excitement that boasts a broad spectrum of energy and engagement with the outside world, as it represents brighter, happier times. However, as autumn progresses into winter, it brings about a different set of emotions and synergy that is far less content. As the tree leaves begin to deaden and fall at free will, the crisp sunlight gives way to gloomy skies and despondent memories. The music of House Of The Maker fulfills all of these grim moments with ‘The Autumnal End’, a seasonal dirge saturated with powerful drones and organic field recordings. At just over one hour in duration, these five dynamic tracks tell a dismal story of the perpetual cycle of life and death of the forest and it’s inhabitants and all they go through to struggle for survival.

The gradual decline begins with “A Fragile Soul Swaying In The Storm”. At just over thirteen minutes, this is a persuasive and extensive introduction to the withering elements that are plagued by change. From the soothing opening sounds of birds chirping in their natural habitat and the discordant synth tones that soon follow, its apparent that an inevitable collapse is soon at hand. Eccentric keys and the random sounds of a rainstick are just the start of desolation as haunting drones cycle through various frequencies and ranges, never finding an exact comfort. There is a horrifying presence about this track that brings about an anxious empathy, descending into a depressing lull. Toward the end, as the drones start to fade, desperate cries of a bird flying away from danger reminds us that the end is near. “A Small Frog Hopping Through A Pool Of Blood” starts with the subtle sounds of a late autumn rain shower, leaving a layer of dampness on the forest floor. The chirps and whistles of nocturnal creatures describe the darkening scenery as day turns to night. Ceaseless drones create a sense of awareness as additional sound effects illuminate the atmosphere with a tinge of unpleasant fate. About halfway through this fourteen and a half minute track, the field recordings conclude and layers of compounding drones desecrate the airwaves, sending evil vibrations through the standing water left by the evening time rainfall. The resonation of the nocturnal creatures return for the final minute of the track as the presence they feared subsided into the night, allowing them to roam free once again. “A Life All But Forgotten” continues as the last track ended, with the evening chirps of nightly critters. However the deep drones and synth effects set in early to give an incongruous effect. At nearly sixteen minutes, and the longest effort on the album, this track details the lethargic seasonal extinction of woodland life. Assorted bizarre instruments sounds are arranged to represent different aspects of the season and in between, ghostly winds and natural commotions provide the feeling of deep wood enthrallment. “A Funeral For A Friend” establishes a calming synth melody combined with ethereal drones and field recordings as if all life in the forest has finally surrendered to the change of season. As the rain field recordings increase in volume, jarring synth effects become more discordant and haunting. The final track on the album is the climactic, “The Autumnal End”. Continuing with the consoling sounds of a neverending rain storm conjoined with delicate but austere drones to form a lumbering vision of grays and blacks, the daylight never reaches its peak of brightness due to the thick layer of fog and smog. The vibrating sounds of Tibetan singing bowls resonate a season of endless dreariness before high-toned keys come into play as if to condemn the proceeding misfortunes.

Although this is not your typical run-of-the-mill dark ambient album, ‘The Autumnal End’ skillfully establishes itself as a genre highlight due to its wondrous use of field recordings, natural sounds, assorted instruments and credible back story. The drones are meticulously used and minimal use of synths and keys makes this an extremely unique recording as well. This is definitely one of my favorite dark ambient recordings of the year so far and I can’t recommend this one enough. Please click on the link below and download this amazing album – you’ll not be disappointed at all!

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Links:

https://noctilucant.bandcamp.com/album/the-autumnal-end-2

Glomstriden Arrange Mournful Compositions On Halcyonic Debut Album, ‘The Faded Kingdom’

Dungeon Synth is such a fine art form! There are so many directions in which the music and subject matter takes the listener these days that it’s inconceivable to think that it was once mainly associated with just the primitive side of medieval aesthetics. No matter what version of Dungeon Synth I’m listening to, I love the fact that I can close my eyes and meander into a mystical world in which the artist has sent me. Glomstriden is another excellent Dungeon Synth artist that successfully envisions an esoteric place with just the sounds of powerful and beautifully written electronic music. The songs on ‘The Faded Kingdom’ are melancholic yet elegant, dreamy yet energetic, and tell a compelling story of a scorned and defeated kingdom that has more fight than finish! Whereas most people have written this particular kingdom off as being conquered and left alone, there are still some loyal villagers willing to go to battle to save the only place they’ve ever called home.

“Eternal Lord Of The Forest” begins with a gentle melody that has a gloomy and sorrowful tone to it then layers of encouraging keyboard effects continue to build, creating a warm and inviting sound. Never loosing sight of the original melody, soft drum beats are introduced around the halfway mark to show an upbeat side to this track. The depressing sounds of “Miatig” provoke a feeling of forlorn abandonment. When the layers of reverberating key tones are added, a sense of coldness fills the air as this dark harmony continues its addictive tone throughout the track. “Faru A Feorland” has a grandiose cinematic introduction with multiple synth sounds that are arranged in an eloquent manner. I love when the layers dissipate into a single keyboard chop and then slowly builds back up again. The lead keyboard effects toward the end of the track are some of the best licks on the album and make this one of my favorite tracks as well. “Unyielding Mountains Of Mourning” is a slow brooding track that gives the sensation of a bleak sunlight barely breaking through the thick morning fog high on the mountainside. Even as dawn fades to day, there is no change in brightness as it remains eerily cold and dark. Droning keyboard tones provide a chilling background while an ethereal lead part steals the show for the majority of the track. “March Into Eternity” is the exact opposite of the last track as it is energetic and full of ambition. After a lead off keyboard into, a fast-paced drum part is added, giving meaningful life to this track and subsequently representing the positive nature of the villagers that are willing to stand up and fight for their kingdom. The final track on the album, “Land Of Dead Heroes” sets a quick pace right from the very beginning, with galloping drum beats and majestic keyboard parts that sound confident and radiant, as if ‘The Faded Kingdom’ is still around and moving forward in a productive direction. The synth arrangement on this track has a very medieval sound to it yet ends the album on a very cheerful and luminous note.

I really love this album by Glomstriden and appreciate how it starts dark and gloomy and ends cheerful and full of hope – as if it’s telling the complete story of ‘The Faded Kingdom’ and relying on the listener to fill in the blanks with the details. I’m definitely looking forward to hearing more work from this artist, as the music, songwriting, and production is top-notch for this genre. I highly recommend checking out ‘The Faded Kingdom’ so please click on the link below and add this album to your collection.

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Links:

https://glomstriden.bandcamp.com/releases

Mombi Yuleman’s Menagerie Of Soundscapes And Drones Unify As A Single, Unyielding Entity on ‘Wendigo’

Throughout history, mankind has been obsessed with folklore of the unknown, tales of the bizarre and unexplained and just about anything in between that will make the hairs on the back of your neck stand up. Although there have been many traditional mythical legends passed down through the generations, a new genesis of strange & horrific tales are told through creepypastas – short stories meant to frighten readers – as the new means of malevolent storytelling delivery. Whether this form of scare tactic is transmitted via short-story, film, television, or on the Internet, the audience is in for a quick burst of grim tales that will leave a lasting appalling sensation. However, what if another means of conveyance was through the daunting sounds of Dark Ambient music with masterful soundscapes and subdued drones? The always impressive Mombi Yuleman presents his brooding new evil anecdote, ‘Wendigo’, a masterclass in electronic music that extends four exciting drones in a disturbing adventure and sends the listener on a daring journey full of haunts and paralyzing fear.

At just over fifteen minutes in length, “Possession” quickly sets the mood with a dismal and perpetual drone that gradually builds in volume, while including haunting synth effects and ghostly modulations. Giving the listener time to imagine their own frightening scenario, faint soundscapes are introduced to solidify the effect of this nightmare. However, close to the halfway mark, discordant keys and beautiful synth tones add a sense of melody to the track, taking it in a different direction. Various animal sounds are made know, followed by strong, manipulative drum beats, as if a climactic escape is close at hand. Suddenly, it all stops except for some layered, deep drones that are completely mesmerizing until the very end. “Fear” begins with polarizing drones that are sure to emit a sense of angst and despair. Several minutes in, there is a distant but muffled hammering sound, as if someone is trying to escape from an entrapment of sorts, brought forth by a lunatic on the loose. As the hammering sound stops, strident soundscapes prevail, sending the listener deeper into their evil dreams. Suddenly, the drones become louder and more sepulchral as if the nightmarish demise is close at hand. After a few minutes of this agonizing terror, it fades out into the sound of someone hesitantly breathing, the true-tale sign of being afraid of being caught. Only accompanied by random discordant noises, this is audio terror at its maximum. “Acceptance” is the longest track on the album, clocking in at just over sixteen minutes. However, as you close your eyes and release your mind to this nefarious expedition, it doesn’t quite seem that long. However, you’ll not be the same afterwards. Lengthy drones that resemble more of a space ambient tone will have the listener feeling as if they are lost in deep space, sucked up into a black hole and whisked away into the far reaches of the universe, never to have communication or contact with other humans ever again. However, there will be others! The ominous sound effects at around the six and a half minute mark are a bleak resemblance of having contact with other life forms and as that sound continues to play out, it’s joined by low-end bass tones at around the eight and a half minute mark and simulates ACCEPTANCE of acknowledging other life forms. However, that doesn’t mean there is always peace between the species. At around the twelve and a half minute mark, the track takes a dark dive with buried drones and echoed sound effects that are extremely creepy. Thunderous bass sounds crash into the mix as if to destroy everything in its wake. What a fantastic song with a cinematic and climactic ending. The final track on this colossal album is “Feed”. Although it’s the shortest track on the album, it’s still a ten and a half minute hearty dose of disturbing Dark Ambience that will leave you in a puddle of sweat. Starting right away with a loud drone, soundscapes and field recordings, this piece wastes no time setting a frantic mood. All at once, pounding drums roll in like a violent storm and are ready to commence with all-out destruction. Although seeming random at first, they are set in a tribal like pattern and continue to grow strong and angry. Toward the end of the song, ancestral chanting joins the drums as if an ancient ceremony is about to take place. Swarms of flies buzz in all around, as if they’ve been summoned by this ceremonious ritual to finalize the devastating effects of their mission. Suddenly the flies disappear and the ritualistic music ends soon after, bringing this amazing album to a close.

This is the second Mombi Yuleman album that I’ve reviewed for my site and his music continues to astound me. The mystifying affect that I feel when listening to his albums lead my imagination to places that are unfathomable. ‘Wendigo’ is truly a magical experience and one of the most remarkable Dark Ambient albums I’ve heard in a while. I can not recommend this album enough and I also highly recommend checking out Mombi Yuleman’s impressive back catalog as well. Do yourself a favor and don’t go another day without listening to this album. Please support this amazing artist and download ‘Wendigo’ from the link below.

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Links:

https://mombiyuleman.bandcamp.com/album/wendigo

Amethyst Dagger Presents An Exalted View Of Congenial Coastal Livelihood With Sublime New EP, ‘Silent Tides’

There is always a need for a change of pace, especially when subjected to the gridlocks of Dungeon Synth. At times, the atmosphere of the music can be bleak, foreboding with aggressive overtones, and emit a sense of Medieval, war-driven rage. Although there are other intense subject matter that find themselves at the heart of modern Dungeon Synth influences, it is without a doubt, a genre full of passive aggressive angst. However, what’s so great about this genre, is that there are artists that are willing to take it to a completely opposite direction. One of those artist’s is the brilliant Amethyst Dagger and and on the latest four song EP titled, ‘Silent Tides’, we are swept away to a far off island nation where the serene beauty of coastal living is matched only by the alluring, soft melodies of the album itself. As if there is no hate in the world, no imminent danger, and only peace & prosperity, ‘Silent Tides’ offers a harmonious companion to a simple life filled with exquisite moments of life by the seaside.

Elegant album opener, “Lookfar Awaits At The Bay” begins with soft field recordings of birds chirping, representing a delicate day on the oceanside. Like the soft stroke of a paint brush, the sounds of a stringed instrument play a wondrous melody, going up and down the scale and slightly changing keys to maintain a harmonic effort. Fragile keyboard effects and charming synth leads find their way into the mix, creating an euphonious sound that maintains this integrity until the very last note. “Off The Serpent’s Isle” commences with the crashing waves on a lonesome seashore before a smooth, acoustic guitar riff can be heard creating a rhythmic pattern full of surreal charm. Background synth tones beef up the sound a bit, as additional stringed instruments play a fascinating lead. After a short interlude, graceful drums provide additional parts in the arrangement, bringing it to a hygienic yet climactic ending. “Oceanic Dreams” is a short synth piece with a nice cathedral-like organ sound, augmented by layered synth effects and a simple stringed arrangement. The sounds of lightly crashing waves can be heard throughout, making this lovely piece seem a bit more meditative. The EP’s final track, “Homesick” starts with a soft piano composition that slowly builds with an overlay of somber instruments playing single notes, as they mold into a quaint melody worthy of a peaceful ending.

Amethyst Dagger continues to impress with his brand of tranquil dungeon synth. ‘Silent Tides’ offers four excellent songs that are written extremely well and provide just the amount of melody to keep you wanting more. I can not recommend this artist enough, as the style of music can easily fit into multiple genres, and it’s perfect for just sitting back and contemplating your thoughts. If you’ve not checked it out already, please click on the link below and download ‘Silent Tides’ and enjoy the music that’s in store for you.

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Links:

https://amethystdagger.bandcamp.com/album/silent-tides

Neraterræ Once Again Collaborates With Superior Dark Ambient Composers To Conceive The Ghastly ‘Scenes From The Sublime’

Last year, Neraterræ and his team of brilliant contributors, rendered one of the most accomplished Dark Ambient recordings of the year with ‘The Substance Of Perception’. Amazed at the depth and quality of that album, I immediately began to wonder how it would be topped. Fast forward to March of 2020, and the release of sophomore effort, ‘Scenes From The Sublime’, greeted us with a particular coldness that I could not wait to dive into. Although we see the synergetic return of the great Xerxes The Dark, Neraterræ hosts a new line up of willing collaborators to inflict a certain level of bleak disruption to your normal sense of mental prowess. At a hefty seventy two minutes long, these ten painting-inspired tracks of ominous drones, apocalyptic soundscapes and eerie, yet atmospheric arrangements will provide the listener with an out-of-body experience, as if succumbing to the participation of astral projection.

The aphotic journey begins with “The Last Abjurer (feat. Phelios)” | Inspired by Zdzislaw Beksinski’s AA72. The low-end synth effects fluctuate to unreachable depths as it paves the way for translucent drones and soundscapes, creating a paralyzing storm of audible penance – the genesis of the obscurity and depth perception that will follow for the remainder of the album. “Fate Unveiled (feat. Dødsmaskin)” | Inspired by Hieronymus Bosch’s Visions Of The Hearafter, opens with a thumping bass tonal sound, followed by ghastly howling winds and dim sound effects that will make your skin crawl. After a short breather that features some backward tracking samples, the heavy thumping bass sounds continue with accompanying distorted noises. “In Deafening Silence (feat. Phragments)” | Inspired by Ilja Yefimovich Repin’s Ivan The Terrible And His Son Ivan, starts with twisted synth tones then is systematically fused with an evil sounding drone, as if a sudden annihilation were about to commence. This is much like a calm-before-the-storm piece, as there are quick blasts of harsh tones in this otherwise placid offering. “Thou, Daemon (feat. vocals by Yann Hagimont from Cober Ord & George Zafiriadis from Martyria)” | Inspired by Francisco Goya’s The Exorcism, is definitely the most malevolent sounding track on the album, largely due to the fascinating guest vocal arrangements that span from soft narrations, screams & screeches, to resonating sinister chants and throat singing, that are clearly designed alter the mental purification process – whether for good or evil. The constant, profound drone allows the vocals to take center stage and complete the purging ritual process. “Passion Domain (feat. Mount Shrine)” | Inspired by Caspar David Friedrich’s Wanderer Above The Sea Of Fog, is the most meditative piece on the album and probably my favorite track. Beginning with hissing loops and subtle analog-sounding drones, this song has a very 80’s retro vibe to it. The perpetual drone is reminiscent of a spinning propeller of an airplane, as it’s flying high above the clouds at the crepuscule of night. Clocking in at just over ten and a half minutes, this is the longest track on the album but as you get mesmerized by its audible beauty, it somehow seems like it’s one of the shortest. “The Unfathomable Lives Again (feat. Xerxes The Dark & Cober Ord)” | Inspired by Johann Heinrich Füssli’s The Nightmare, features a surfeit of industrial influenced soundscapes, along with some creepy, inaudible whispers. Throughout this track, there is a lot of manic ideas with nefarious intentions and although this is the shortest track on the album, it’s just as nightmare inducing as the rest. I would be weary to close my eyes on this track, especially at night! “Doorway To The I (feat. Alphaxone)” | Inspired by Zdzislaw Beksinski’s AE78, is a Deep Space Ambient venture with warping synth effects and high-pitched keys that contrive a disturbing atmosphere. As if a cosmonaut were on a doomed mission, hearing abnormal sounds just before his demise, this track is providing us the same intense, discordant environment. “The Collapse Of Matter And Time” | Inspired by Salvador Dali’s The Disintegration Of The Persistence Of Memory, presents a somber atmosphere with its nominal synth tones and deathly drones. The ticking of the clock solidifies an anxious emotion as the mournful frequencies emitted may be a cause for distress. “Towards Oneiric Truths (feat. Leila Abdul-Rauf)” | Inspired by Arnold Böcklin’s Isle Of The Dead, is another enthralling piece that features clean piano chops and dreamy female vocals. Just as all of the pieces are coming together and you find yourself getting lost in the music, it all fades out into a field recording of water softly crashing on a seashore. The final track on the album, “Virtues Of The Dawn (feat. Shrine)” | Inspired by Joseph Mallord William Turner’s Light And Colour (Goethe’s Theory) • The Morning After The Deluge • Moses Writing The Book Of Genesis, is another long-form, hypnotizing track that is constructed for you to close your eye and get lost in its chaotic and alluring turbulence of creativity. Starting off soft and subtle, the intensity and melodic synth gradually increase over the next eight minutes. Although there are multiple layers of music happening here, the elegant keyboard create a certain harmony that is both dystopian-like and graceful. A perfect way to end such a miraculous album.

Neraterræ is the consummate producer of Dark Ambient music. Not only does he consistently gather top-notch musicians of the genre to collaborate on his stunning albums, but his musical vision is always running on all cylinders, allowing him to create massive audio adventures filled with emotion and mental stimulation. ‘Scenes From The Sublime’ is an exceptional musical journey that – in my opinion – surpasses the debut album. Neraterræ has upped the ante with this album and the songs are bolder, more emotive, and pull you in with ease. If you were a fan of ‘The Substance Of Perception’ the you’re going to love this one even more. Please show your support for Neraterræ and download this amazing album from the link below.

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Links:

https://cycliclaw.bandcamp.com/album/scenes-from-the-sublime

Mimico Constructs Mesmerizing & Somber Synth Melodies On Haunting Debut EP called, ‘It’s Dead’

The moment that initial sound effect blared through my headphones, I knew I was about to be treated with some inspirational Dungeon Synth music. Sometimes, it’s hard to tell – especially right away – if the quality of the music is desirable enough to grab the listeners attention and provide the platform needed to whisk them away into a fantasy world, where they can drift into the artists’ craft and forge their own story. That’s exactly the case for the debut EP by Mimico titles, ‘It’s Dead’. These four, though-provoking tracks of medieval themed Dungeon Synth greatness are filled with galloping arrangements, barbaric effects and all the sounds you’d expect to hear if you were worthy enough to experience life back in the Middle Ages.

The enthralling gray noise that start “Abyssal”, will leave the listener in a bleak, desolate pit of despair as it continues to play in the background while soothing, classic sounds distract from its horrific ramifications. String-like melodies form a beautiful tone around the darkness and soothing keyboard sounds drift into the mix as well. As heavy, thumping percussive beats make a bold statement, a gathering of harmonious instruments create a lavish sound with the effects of clashing swords in the background. There are many sides to this wondrous track and given the title’s deep, subjective meaning, it surprisingly light and atmospheric as well. “The Lost Sinner” is a percussion heavy track that has multiple layers of synths with varying instrumental noises. While the drums provide a vigorous pace, the synths illuminate a dulcet of ancient sounds that would eagerly motivate battle-hungry warriors as they prepare for an invasion on an enemy kingdom. “For The Throne” starts with simple, yet distorted keys, then a plethora of other tones are introduced in a fascinating arrangement. From clean sounding keys, bells, and classical instrument arrangements, this track runs through the gamut of prepared intonations to bring forth a masterful effort. The final track on this EP, “It’s Dead” rightfully begins with a cathedral-like organ arrangement and subtlety introduces distorted tones to add extra layer of grit to this hypnotic ending.

Mimico has release an excellent recording in the valiant debut EP, ‘It’s Dead’. Containing four spellbinding tracks of medieval themed Dungeon Synth with great use of percussions, sound effects and multi-layers of synths, these songs range from battle-laden hymns to soothing, theatrical arrangements and are sure to please fans of both Dungeon Synth and Classical music with a soundtrack quality. Please support this amazing artist and download ‘It’s Dead’ from the link below.

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Links:

https://mimicods.bandcamp.com

Scott Lawlor’s Conceptual Dark Ambient Thriller, ‘But Everybody’s Gone, So I Will Never Know’, Is Not Far From Becoming Reality

Space exploration has to be one of the most daunting and exhaustive tasks ever faced by humans. From working in zero gravity, claustrophobic-like conditions, astronauts face many physical and mental constraints that only a few percent of the population are privileged to encounter. Other than a couple of audio and video transmissions, astronauts are segregated from all of society and communications with friends and loved ones are atypical. ‘But Everybody’s Gone, So I Will Never Know’, is a conceptual, dark ambient odyssey about a lone astronaut finishing up his mission on an orbiting space station before heading back to Earth. However, garbled transmissions over the airwaves have indicated the rise of a global pandemic, in which the Earth’s population is suddenly succumbing to a deadly virus. Although it’s too late to turn back now, voices across the airwaves are telling the astronaut not to return to Earth. This story tells of his harrowing adventure as he returns to the unknown.

“Pandemic Unfolding” begins with space station communication transmissions accompanied by eccentric samples and effects. As this coalescence of interstellar sounds begins to fade, deep drones and various news transmissions paint a vivid picture of what’s to come. The seriousness of the situation is evident as “Departure From Space Station Omega” blasts off with more compelling drones that sound abysmal and gravely hollow. Final audio transmissions can be heard as the astronaut prepares to depart for Earth on a doomed trajectory that is not yet known. Back on Earth, the pandemic is in full eruption as “Shelter In Place” is the order given to everyone in a last ditch effort to stop the spread of the rapidly expanding virus. Containing more ominous drones and narrative samples, this track is a vivid reminder of a stark reality that is a part of real-world current events in 2020. The minimalist approach makes this seem even more disturbing than usual. The near sixteen and a half minute long “Quarantined In Space” is one of the highlights of the album as the massive drone tone sounds as if the astronaut is orbiting the Earth, waiting for that final transmission from Mission Control, verifying that it’s safe to pierce the atmosphere and navigate to the landing zone. However, that authorization doesn’t take place and the astronaut feels as if this wasted time is like being quarantined in a void. Eerie voice narrations haunt the protagonist has he anticipates his own arrival back on planet Earth. About halfway through the track, the drones change in pitch, as if circumnavigating the globe has brought the astronaut back to sun lit conditions. Peculiar sound effects add a sense of terror to this track as this doomed mission keeps getting worse. Back on Earth, panic mode has set in as “World Closing Down” sets the scene for the new normal through the globe. From teleworking, lack of supplies, social distancing, permanently closed businesses, home-schooling and a disparity of local governments, the pandemic has taken over society and has set new standards. Minimal drones with bleak yet soothing tones incite peace and calmness, but the narrative samples provoke a sense of anxiety and panic. “Approaching A Condemned World” is full of garbled transmissions and placid drones that provides a safe path for the astronaut to finally come back home – so we think. Unsure if the transmissions are giving the authorization to return to Earth, the astronaut makes a command decision – based on his low return provisions – and starts the trajectory toward home. The albums title track, “But Everybody’s Gone, So I Will Never Know” features some manic narrations with the help of a miniport speech synthesizer. In the background, a thumping bass symbolizes an erratic heartbeat as the horrors unfold before the returning astronauts eyes. The albums final track, “Empty World” combines the menacing sound of a deep space drone and the peacefulness of piano keys. Un-acknowledged upon his return from Space, the astronaut departs his spacecraft and finds a world much different from the one he left behind. The piano melody in this track symbolizes the beginning of a state of depression that he starts to feel as he soon realizes that he stands alone in completing his mission. A very dark, but excellent way to end this amazing album.

Scott Lawlor is a jack-of-all-trades musician that excels with themed ambient releases. Whether it’s light ambient, dark ambient, noise, experimental, or piano improvisations, Scott puts his imagination to work in order to release some of the best ambient music around. ‘But Everybody’s Gone, So I Will Never Know’ is no exception, as it’s one of Scott’s darkest and most ambitious releases to date. Fans of space themed dark ambient will love this album and I can not recommend this one enough. Please show your support and download this grimly amazing album from the link below – and check out Scott’s massive back catalog while your at it.

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Links:

https://scottlawlor.bandcamp.com/album/but-everybodys-gone-so-i-will-never-know

Criptadel Takes Us On A Mythical Adventure Into The Precarious Part Of The Village Known As ‘The Goblin Market’

Goblins are grotesque and fabled creatures that are known to do malicious harm to humans. Imagine a market place in a chimerical village completely dedicated to these diabolical beings. I can conceptualize a forlorn situation for any outsider as goblins would completely terrorize anyone that visited this sacred location. Filled with mischievous activity and crude actions that are borderline malevolent, but at the same time, there is a sense of whimsical solidarity in this close nit area. Criptadel supplies an amazing soundtrack to amplify the necessity of this heinous village district simply titled, ‘The Goblin Market’.

Album opener, “The Goblin Market”, sets an abhorrent scene as various soundscapes and inaudible narrations provide an unhinged welcoming to the market place. After a quick, harsh black metal-esque vocalization, the Market opens for business as glorious & melodic synths – along with compounding percussions – provide an addictive jingle to display a sort of pleasantry for those that wish to conduct business in the Market. “Trolls Atelier” begins with a bold synth tone and the builds upon layers of clean synth sounds. A drum beat soon kicks in, playing a fast-paced anthem that is both cheerful and anxious. At about the halfway mark, the music gives way to a drone sound with a grotesque narration before picking back up with a more discordant melody. “The Coal Shop” plays a galloping harmony that features a soothing combination of beats and buoyant synths. After a few minutes of cheery tones, the song takes a more cinematic approach and changes things up a bit. However, it soon gets back to the original melody and closes out the track this way. “Dragon Spa” starts with a beautiful, classical moment and then dives right into a traditional dungeon synth part, along with some inaudible narrations that sounds like a old goblin explaining the details of his store. The last half of this song has a real soothing vibe, complimented with some middle-eastern beats. “No Sales” is a delicate little piece that unifies deeper synth chords with blissful overtones. There are several solo synth moments that provides a musical consonance throughout the track. “Frog Store” properly begins with the sounds of multiple croaking frogs, as the music crescendos into a bright mix of clapping percussion and richly layered synth effects. Deep horn sound effects are featured on this track and fit in perfectly with the theme that this track is portraying. “The Mush Room” is a short interlude that features someone walking up to a door and then knocking on it. Afterwards, creepy and inaudible narrations take over with some hallucinogenic-type laughter at the very end. “The Trasgo Inn” ignites things with a fiery field recording that molds into a hypnotic synth tune that strides alone with a jubilant beat and robust keyboard sound in the background. The track picks up the pace toward the end and fades out on a dashing note. “Cirque Cadavre” begins with a quirky keyboard chop as if you’ve stepped foot in a bizarre circus tent and madness of sorts is happening all around you. However, intricate synth melodies are interwoven to make this an intriguing, yet outlandish listening adventure. The final track on the album, “Ghoul Funeral Service (feat. Uxor Mortis)” is an eight minute finale of what all can be expected once you step foot inside ‘The Goblin Market’. From the slightly twisted intro and grand cathedral organs to the slower theatrical parts, this epic track completes this unique album in the most fascinating way.

‘The Goblin Market’ is an intriguing, conceptual Dungeon Synth album that is sure to entertain die-hard fans of the genre from start to finish. Not only is the music astonishing, but the production is pristine and the additional field recordings and vocal narrations are all done in good taste. I highly recommend checking out this album as it’s definitely a contender for Dungeon Synth album of the year. Please support this unbelievable artist and recording by downloading it from the link below.

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Links:

https://criptadel.bandcamp.com/album/the-goblin-market

Common Eider, King Eider, And Cober Ord Collaborate On Mind-Blowing, Ritualistic Soundscape Called, ‘Palimpseste’

If you think that it doesn’t get any more desolate than the sounds of brooding drones and the menacing soundscapes of dark ambient, then think again. Add in the natural textures of ritualistic ambience and horrific field recordings and the nightmares that you can only imagine will come to life. This is the haunting sensation the listener will undergo while listening to the jolting collaboration between Common Eider, King Eider & Cober Ord called, ‘Palimpseste’. With these five tracks clocking in at around forty seven minutes long, the listener should be prepared for a darkened, ritualized experience filled with essential tones, frightening whispers and bleak drones that are not only mesmerizing but intensely thought-provoking as well.

“Tombs – Earth’s Sacred Womb” begins with a deep, rumbling drone with the sound of soft, dripping rain. There is a slight commotion going on in the foreground and as it stops, ritualistic tones commence. Distant screams can be heard in the background as Tibetan-like chanting start a ritualistic process. Solid instrumentation assists the ritual, like the rumblings of an older model propelled aircraft. Additional instruments are introduced as well, as malevolent sounding whispers signify that the ritual is well in progress. After some harsher tones, the final few minutes consists of a heavy rainfall field recording and the dissipating sounds of wretched vocals and various drones. “Reclamation Of Water” is another ceremonial process that features layered chanting and nightmarish whispers. The assorted tones and field recording heard in the background add to the viscous tone of this recording and it draws the listener in as if they are participating in the reverent events. “Offerings A Wound” contains more of a normal styled vocalization than the chanting heard on the previous tracks. The thumping bass track adds a layer of random assault sounds to the mix, creating a dark and tribal-like offering. The use of assorted ceremonial instruments maintains the integrity of the spiritual aspect of the overall recording. “Calling To The Feral Ones” uses acoustic instruments to create a liturgical vibe, as if ancient cultures were calling upon their deities for guidance. The use of hollow whispers makes this a really creepy track and I can honestly say there probably aren’t many other recordings quite like this out today. The final track on the album, “As The Spirits Watch Over Us, We Reciprocate”, is one final ceremonial experience that combines all of the strengths from the previous tracks. From the deafening whispers, emotional drones, diversified ritualistic instruments, and acoustic sounds, this track is the perfect grand finale for this spectacular recording.

‘Palimpseste’ is not your typical dark ambient recording, it’s a ceremonial experience that demands the listeners time and attention in order to fully appreciate the magnitude of what all is going on. It’s easy to tell that Common Eider, King Eider and Cober Ord dedicated a lot of time and effort to make this a solid listening experience. I highly recommend this for fans of ritualistic dark ambient and heavy use of field recordings. Please support this incredible release by downloading it from the link below.

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Links:

https://cycliclaw.bandcamp.com/album/palimpseste

Vää’s ‘Ur Sägen Och Hävd’ Is The Equivalence Of An Award-Winning Motion Picture Score

Like many other genres of music, Dungeon Synth has many facets when it comes to styles, production type and songwriting. Whether it’s a lo-fi synth track recorded straight to cassette tape or top-of-the-line equipment used for large-scale productions, I love it all. As long as the songwriting is good, I can get with any style and tolerate any production method. Vää is more like the later, with beautifully engineered music and crystal clear production quality, and the output on debut album ‘Ur Sägen Och Hävd’, is of cinematic quality and could easily be a soundtrack for a medieval fantasy-based movie.

The grandiose synth introduction on “Swarthnor” will immediately grab the listeners attention and as soon as the bass pads make their presence known, the real feast begins. Right from the beginning, the theatrical nature becomes a dominant fixture, not only in this track, but with the rest of the album as well. Swaying through adventurous parts, acoustic passages and bombastic percussive arrangements, this is an excellent lead off song. “Land Ur Havet” begins with an austere acoustical score before massive synths fill the air with such allure and clarity, that you’ll find yourself drifting off to a medieval time, where ancient kingdoms, forest folklore and dragons existed. The classical elements on this track really stick out and are very well written. “Vittradans” starts with a charming and melodic arrangement that slowly grows into a majestic adventure. The percussion elements really stick out in this tracks and are performed flawlessly with the rest of the music. “Vääflickan” is another melodic, yet adventurous piece that easily rivals any soundtrack score of this nature today! Probably my favorite song on the album, it has a slightly dark undertone but is arranged in a magnificent way, in that it ebb and flows like a montage scene from a fantasy film. The depths and layers of synths are magnificent and the clear production gives each of them the glory they deserve in this track. “Ur Hävd Och Sägen” is another large-scale arrangement with percussion and layered keys that sound extremely effervescent in the beginning before slowing down into a middle acoustic passage. The track finishes strong with flute sound, backed by strong keyboard arrangements and additional percussion. “Rå” begins with a delicate string arrangement that puts the listener right in the heart of the Middle Ages. The charming sounds promote peace and prosperity throughout the kingdom and happiness and friendship is at an all time high between the commonwealth and royalty. The string and flute duet in this track are amazing and really stick out as one of the albums finest moments. The final track on the album, “Drottning”, is an awe-inspiring score that signifies the glory of medieval times as well as the luxuries and success of a thriving kingdom. Peaceful synths and harmonious drum patterns play a key part in the tranquil sounds of this track and I can’t think of a better way to end this album.

Vää have produced one of the most exuberant albums I’ve ever heard from the Dungeon Synth genre. Although I love me some lo-fi, crusty dungeon synth, this album is absolutely amazing. ‘Ur Sägen Och Hävd’ is one of the cleanest sounding, top-quality produced albums I’ve heard from this genre. If you like Dungeon Synth with a cinematic quality to it, look no further than Vää. I can’t recommend this album enough so download it from the link below.

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Links:

https://vaamusiikki.bandcamp.com