Boschivo Form Anomalous Compositions On The Outlandishly Diverse ‘Bardo Dell’Autodistruzione’ Offering

Now it’s time for something a little different. And when I say different, I mean a cacophony of obscure musical genres ranging from Dark Ambient, experimental, noise, dark folk, and any twisted ritualistic audio terror that you may not think of, to form an integrated euphonious choir of melody. Welcome to the distinct world of Boschivo, where anything goes and there are no borders for harmonic tastes. On ‘Bardo Dell’Autodistruzione’, elemental bizarreness is pushed to the limits as magnetic drones are accompanied by acoustic guitar, clean & harsh vocals, various synths & pads, and an array of styles to keep things interesting from song to song. Although this may be a challenging listen for some, it’s without a doubt, a rewarding experience for most others. Let’s dive right in.

“Pozzoscuro” starts with a single droning sound and some ceremonial overtones before a grim acoustic guitar riff takes over. Priest-like chanting accompanied by some eerie background noises blend well with the music. Soon the chanting is replaced by distant sounding vocals, but just for a few bars. The track ends with multiple guitar effects playing altering notes. “La Dania Perversa Delle Falene” is all over the place as it begins with cathedral-style organs and strange vocal effects before giving way to a deep guitar and bass riff that is played over a narration. Soon, that is followed by some harsh vocals while the guitar tone becomes more distorted. About halfway through the track, sampled effects and whispers mesmerize the listener before a frightening organ sound once again infiltrates the airwaves. Like a disharmonic orchestra, this part of the track is like listening to the dead come back to life. “Il Rituale Delle Mosche” features dissonant guitar riffing and haunting narrations, as well as industrial ambient noises. Additionally, soothing guitar riffs and clean vocals come from out of nowhere, almost seemingly out of place but fitting right in at the same time. “Essenza Di Te” continues with the clean vocals, but the guitar riffs are played on on an instrument that seems out of tune. Interestingly, it sounds rather awesome – especially for this album, and I wouldn’t expect to hear anything less. This track also features a great bass line as well – that is played in tune. “Distorta Luna Sterile” is a dark folk track with some excellent droning going on in the background, as well as some creepy sound effects. “Venere D’avorio” has a dark pop vibe to it, albeit with a very discordant sound effect in the foreground. The vocals are very clear on this track but there are echo effects in use to give it a grim feeling. “Quando La Morte Verra’” is a beautiful, dark acoustic passage with whispering narrations and deep droning in the background. Although this is a short and simple piece, it’s one of my favorites on the album. The final track on this underrated masterpiece is the title track, “Bardo Dell’Autodistruzione”. At almost eighteen minutes in length, it’s the longest track in the album and definitely shows what Boschivo is all about. Starting with background drones, ringing bells and simple percussions, other samples and effects are thrown in along the way, including deep, death metal like growls. As these heinous growls continue, church organs begin to play, adding another element of surprise to the album. Eventually, multiple loud bells begin to ring at different tone levels for a divergent sound mix.

Boschivo is an interesting artist that knows no boundaries. Combining all sorts of obscurities to produce a compelling musical experience, this album demands your full attention – and multiple listens – to really appreciate the value of the art for which it provides. ‘Bardo Dell’Autodistruzione’ is an addictive album that doesn’t reside in a particular genre, however it belongs everywhere. If you have an open mind for challenging, but rewarding music, look no further than Boschivo. The album is available for FREE DOWNLOAD from the link below, so check it out.

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://totenschwan.bandcamp.com/album/tsr-112-bardo-dellautodistruzione

Eyre Transmissions V: Interview With Dungeon Synth Mainstay, Erythrite Throne

If you’re a fan of Dungeon Synth, then you are well aware of the many talented artists that contribute a steady amount of music for our listening pleasure. One artist that I consider a linchpin of the community is none other than Erythrite Throne. Releasing some of the most consistent blackened Dungeon Synth there is, Erythrite Throne continues to challenge the listener in diving into a medieval world of dark imagery, vampires, and lust for malevolence. With a distinctive sound and style that is unmatched by any other artist, Erythrite Throne is constantly progressing and improving with each release. I recently had the pleasure of interviewing Erythrite Throne main man, Davey Sasahara, to talk about his Dungeon Synth endeavors, Serpents Sword Records and anything in between.

1. First of all, thanks for taking the time to respond to this interview. I have to ask, where do you find the time to write the massive amounts of music that you do? 

It’s pretty much the only thing I do with my free time haha. It’s something that I enjoy doing a lot so I write music as often as I can, I also have pretty bad ADHD, so this is something that helps me sit down and work on my concentration.

2. How many projects have you released music under?

Right now, I have 16 active projects, but I have a lot of projects I’ve stopped working on completely and there’s not much of a trace of them on the web. All together I’ve released music under maybe 30 or projects of varying musical styles.

3. When you are writing new music, do you go into it with a specific project in mind or do you improvise and let the music guide your path? 

I usually improvise everything and just feel it but there a few times that I sit down with the intention of making music for a specific project.

4. Take us back to before you started releasing Dungeon Synth. We’re you involved with music from other genres? 

I was! I was in a hardcore band as well as doing a few projects by myself. I was making some gothic electronic stuff, some vapourware, some trap. I like to experiment with music a lot. 

5. What influenced you to start writing Dungeon Synth? 

I’ve actually been making this type of music since around 2014, I just had no idea it was called Dungeon Synth, so I was just calling it gothic music haha. Actually, the first Voslaarum album Forgotten Vale is a compilation of stuff I made around 2014-2016, some of it is actually still on YouTube under a different name. 

6. I know this year you were slated to play live at the Northeast Dungeon Siege and due to the COVID-19 outbreak it was modified as an online festival (via Twitch). How was it preparing to play live online? 

It was good, it was my first time streaming so it took me a bit to figure it out, but I had a lot of help from my friends in the community and I think it turned out great. All those people put a lot into making NEDS happen and I appreciate them so much, it was a great time and I was honoured to play! 

7. I highly anticipated seeing your set and thoroughly enjoyed it. Did that inspire you to want to play more live gigs in the future? 

100%! I would like to play many more live shows in the future. 

8. It seems like Erythrite Throne is the “mothership” of all your projects. Is that the case? 

It absolutely is. I played around with a lot of other projects and musical styles before I landed here, it has a very special place in my heart.

9. Some of your earlier Erythrite Throne works contains a good bit of Black Metal (Instrumentation & vocals) whereas the more current material is mostly synth based. Was there a plan to make Erythrite Throne a more metal based project at some point? 

Erythrite Throne was always made to infuse Dungeon Synth and Black Metal, I never want to choose between the two because I love them both so much. Which direction I take an album really just depends on how I’m feeling in that moment.

10. One of my favorite projects of yours is Abholos. Although I can hear traces of Erythrite Throne in Abholos, the sound is more ethereal, and the texture is of a primitive nature. What influenced you to start this project? 

The first Abholos demo was actually supposed to be an Erythrite Throne album based on the work of Lovecraft, but it just felt different from Erythrite Throne, so I created Abholos which still has my kind of sound, but I try to make it it’s own entity.

11. Do you have more Abholos albums planned for this year? 

I absolutely do!

12. Another newer project that I absolutely love is Moss Golem. Initially “mislabeled” a Comfy Synth album, it’s actually like a synth-based black metal project. Did you create this project to defy the sub-genre stereotypes that seem to exist these days? 

I did. It was pretty much a fuck you to what you think something is or has to be called. MOSS GOLEM is a really important project to me..

13. One of your less talked about projects is Vokaron – which I think is an amazing project that leans toward the Crypt Hop genre. How did this project come about and do you plan to continue it? 

I actually made this album for my partner when he was recovering from surgery. He likes to sing so I made him this album to sing with well he was at home getting better with nothing else really to do. I do plan to drop at least one more Vokaron album!

14. Other than the projects that I’ve mentioned, what are some of the other ones that are near and dear to you, and why? 

I can’t really choose one honestly. All of them are important to me in one way or another and I try to put a lot into each one.

15. Tell us a little about Serpents Sword Records? 

I created Serpent’s Sword so I could have one spot for all my projects and tapes under one banner. I figured it was better than having 20 different Bandcamp pages.

16. Other than physical cassette releases, are there any plans to expand the merchandise (t-shirts, patches, stickers, hats, etc.) store for Serpents Swords Records? 

Absolutely. I’ve already had patches done for Erythrite Throne, but I’d love to get shirts and stickers done for that and a few of the other projects on Serpent’s Sword.

17. Have you toyed with the idea of releasing other artists material on Serpents Sword Records?

I have and I actually will be releasing some other artists music in the near future starting with a very special release for a good friend of mine! More info will come soon for that.

18. I really appreciate you taking the time to answer these questions, as well all of your contributions to the Dungeon Synth community. Do you have any final thought you’d like to share with anyone reading this? 

I appreciate you taking the time to interview me and listen to my music; it really means a lot to me! I want to thank all the amazing friends I’ve made in the Dungeon Synth community and all the people who listen to and support my music, it really means more to me than I can describe. I’m excited to continue working on music for you all!

Links:

https://serpentsswordrecords.bandcamp.com

https://erythritethrone.bandcamp.com/music

https://www.facebook.com/serpentssword/

Borg Produces Quirky, Yet Highly Addictive Medieval Anthems On Clever Sophomore Effort, ‘Woodland’

Dark medieval times were known for unruly kings, countless battles filled with harrowing bloodshed, serious structure amongst the township and an all around malevolent aura that plagued kingdoms and villages alike. Within the Dungeon Synth genre, we are constantly reminded of these scenarios with fascinating music that brings forth imaginative tales of what may have been during those desolate times. Fortunately, there were also festive times where constant partying and bantering seemed to be the norm throughout the commoners. Enter the bewildering music of Borg. Instead of austere synth tones that exemplify the aforementioned, Borg creates an unconventional and bizarre twist on the genre that is more like a menagerie of maniacal misfits with a trunk full of random instruments. Surprisingly, this is some of the most addictive music I’ve heard in quite some time. Not only does it showcase a buoyant side of Dungeon Synth, but the musical showmanship and songwriting abilities of Borg are simply captivating. ‘Woodland’, the sophomore effort from this quirky creator, brings forth sixteen new tracks of unorthodox Dungeon Synth that will have the listener hooked from the very first note.

“Toward Woodland” is the perfect track to get the festivities going, as a single obscure sounding instrument plays a harmony and then is slowly joined in by additional instruments until a jolly rhythm section fills the air with free spirit and gracious tones. “Pt. 1 – A Trusty Companion” is a galloping guitar sectional that is backed by some bizarre instrumentation. “Pt. 2 – Lullaby For Lonely Mountains” is a slow, dirge-like track that could have been taken from a 60’s spaghetti western film. The acoustic guitar passages sound amazing and the fact that there is a short brass instrumental interlude, is very impressive. Just the amount of the various instruments used on this track is enough to make this one of the stand out pieces amongst the sixteen fascinating tunes. “Pt. 3 – The Scorched Land” is a short ballad-like anthem that sounds like a recorder and a guitar providing individual solo ideas in a synchronized ensemble. “Woodland Theme 1” brings back a little of the quirkiness that Borg is known for, as the main harmony is played over child-like instruments, but sounds extremely fun in the process. “Woodland Theme 2” is more of a recorder led tune with some slight percussion but without a doubt it fits right in with the rest of this uniqueness. “Foliage Fade” is another ballad-esque type affair, almost like something you would hear if walking through a field of flowers while mythical creatures gallivant about vicariously. “The Last Summer” is an acoustic guitar heavy tune and various eccentric instruments can be heard while classical-style strumming and picking complete this song. “The Garden Of Fruit Trees & A Bad Omens” is a jubilant synth track that changes into a darker tone and features various instruments toward the end. “Empty Halls – Greeted By Sorrow” is a wondrous violin based track that contains a great Medieval dance melody and ancient style percussion. “Empty Halls – Funeral” is a short, droning dirge played over a well produced (and layered) wind instrument recording. “Empty Halls – A New King” once again introduces the unconventional instrumentation, simple note playing and play-along style rhythms. However, these are the types of songs that really stand out as being true and authentic to that medieval style. “The Joy Of Water” begins as if it could be a western tune and features the sounds of what could be an accordion. Very laid back and jubilant, this represents the best of peaceful times. “A Proposal In Moonlight” again features the high-pitched sounds of a recorder, with various other instruments – including a xylophone – playing synchronous sounds of a tranquil nature, as if an adventure deep in the woods yields a prosperous reward. “Wedding Dance I” is a minute long canticle that’s pays celebratory tribute to one of the most joyous occasion their is, and “Wedding Dance II” continues that celebration – but probably after a couple of pints of ale. In the end, everyone is happy, celebrating the happiest of occasions and without a worry in the world.

There simply isn’t any other artist in the Dungeon Synth community like Borg. Although this idiosyncratic style of music may not be for everyone, it sure it appealing to these ears. Additionally, I can totally admire the musicianship, effort and thought process that must that gone into creating a precarious project of this nature. However, this music is needed in Dungeon Synth and from what I’ve seen so far, it’s been welcomed with wide-open arms. If you are one of the few that has never had the opportunity to checkout this unbelievable artist, then do so at your earliest convenience. I can not recommend this enough, so click on the link below and check out ‘Woodland’.

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://borg.bandcamp.com/album/woodland

Cult Of Terrorism Unify Soothing Ambient Textures And Hypnotic Industrial Samples On ‘Megváltozhatatlanság’

When calmness and chaos collide, it can be an intriguing affair. As two distant-end spectral forces merge at the point of emotional confusion, the outcome is often unexpected – like the age old battle of good versus evil. In music, the aftermath of this emotional merger is a little more advantageous as our mental state is already at a heightened state of awareness with an illusory fixation. ‘Megváltozhatatlanság’ by Cult Of Terrorism portrays that same disconcerting situation with its unique brand of Dark Ambient. At its base, ‘Megváltozhatatlanság’ uses minimal drones and textures to devise a sense of tranquility, while on the other hand, Industrial soundscapes are injected to agitate the mind with frenzied audio terror. However, the combination of the two will escort the listener to a fascinating gray world where nothingness provides a soothing sense of anxious turmoil.

Sensational album opener, “Mitochondria, O Sindrome Di Le Tour (feat. 52-Hearts Whale)” instantly catapults the brainwaves into a hurried state as Industrial frequencies flow from side to side, creating the epicenter for a daring new world. However, ground zero quickly recovers as the menacing sounds give way to enticing drones, field recordings and melodic keys. Occasionally, harsh sounds can be heard in the background, reminding the listener that all is not safe when beauty and bleak collide. The next track is “υπναγωγικών [UNO STUDIO]” and it features synth pads that create a melodic atmosphere. Haunting keys play at intervals in the background while various effects add layers of warmth and stability. The muffled piano notes in “Qualcosa E’ Perduto” are soothing yet disturbing. Barely audible wind effects add a touch of mysticism to this otherwise cold and minimalistic track. “I’ll Sequestro Emozionale Prima Dell ‘Ultimo Gesto” kicks things back into high gear again, as a droning and discordant synth tone plays unadjusted for several minutes before layers of rigid effects and soundscapes take this song to a whole new dimension. By the time the track comes to a close, screeching synths are at the forefront, but somehow remain quite melodic. “La Fortezza Di Spine (feat. Valerio Orlandini)” keeps the Industrial momentum going with its dark, spongy drones. The addition of malevolent narrations and evil sounding textures makes this one of the standout tracks on the album. “Notturno [Il Tuo Cuore E’ Sacro] (feat. Testing Vault)” is another disturbing track that dabbles into Indistrial sampling and perfectly placed random sounds. The maniacal keys in the background maintain a monotone pattern, providing just enough normalcy to offset the controlled chaos that is happening in the foreground. The final track on the album, “Megváltozhatatlanság (feat. Meanwhile In Texas)” is a slow building track that centers around spacey drones and desolate soundscapes. At around the four and a half minute mark, the sound shift to a higher frequency with trance-like qualities. Soon thereafter, this song dissolves into oblivion, going out peacefully – just the opposite of how this album started.

Although Cult Of Terrorism has a frightening name, the music says otherwise. Even with spots of Industrial-tinged madness, this album – for the most part – is a a peaceful yet dark affair. ‘Megváltozhatatlanság’ is a very mesmerizing album, and with a great song foundation and seamless transitions between tracks, is also extremely enjoyable. It can be streamed in its entirety at the link below, so head on over to the site and check out this great work.

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://totenschwan.bandcamp.com/album/tsr-111-megv-ltozhatatlans-g

Live Instrumentation And Middle Ages-Themed Atrocities Are The Focal Point of ‘Lux Tenebras’ By Akerius

The Medieval period is one of the most commonly referenced eras in human history. From the Early period of the massive Byzantine Empire and Viking invasions, to the Late period horrors such as religious conflict, war and the Black Death, the Middle Ages contains a massive amount of history, romanticism, and influential subject matter that is perfect for the Dungeon Synth genre. One artist that transcends greatness when dealing with these themes is Akerius, and on the heavy medieval influenced ‘Lux Tenebras’, superior songwriting and frequent use of live instruments catapults this album to a realm all of its own. Although containing only five tracks with about twenty minutes of playing time, these tunes are exquisitely crafted and provide a solid domain for transiting the listener from a modern setting to a dimly lit castle forged high on a mountainside during times of extreme peril.

The felicitous album opener, “Ouverture 1209”, slowly crescendos from an initial deep growl sound effect into a theatrical canticle. The feeling of anticipation and anxiety grows as turmoil sets a grim scene. Beautiful acoustic guitar passages are occasionally accompanied by harsher guitar tones and tribal drum beats. Atmospheric keyboard parts give off a barbaric tone that blends perfectly with the rest of the arrangement. The keyboards in “Tuez-les Tous!” have a 90’s style gothic sound to them that have a dreamy, echo-like effect. As the percussion elements are introduced, the synth notes – with their galloping like quality – are reminiscent of a time when crusades are fought to a bloody death. About halfway through, an alluring acoustic passage plays a peaceful setup to the final valiant march of the crusaders. More distorted guitar tones are added to show power and strength during this trying time. “Mon Âme Sombre” begins with a water-like field recording and a serene narration before drifting into a synth heavy Medieval-style tune that contains robust melodies with grim atmospheric tones. “Melioramentum” has a touch of 70’s prog influence, especially with the acoustic guitar riff and accompanying keyboard sounds. Ancient sounding percussion beats give this track an added archaic influence that ensures its relevance amongst the rest of the songs. The final track on the album, “Lux Tenebras” suns up the overall feel and theme of the album with its long, brooding keyboard notes that are arranged in a melodic way with sparse percussion usage and bell sounds throughout that signify the ending of a specific period or conflict.

Akerius creates a magnificent Medieval period influenced recording that contains some of the most epic songwriting I’ve heard in this genre. With the addition of live instrumentation and percussive elements, ‘Lux Tenebras’ packs a powerful punch that will appease not only fans of Dungeon Synth, but also 90’s symphonic Black Metal and even Goth. This is one artist that I’m really looking forward to hearing more from. I definitely recommend checking out Akerius, so please show your support by downloading ‘Lux Tenebras’ 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://akerj.bandcamp.com/album/lux-tenebras

Empty Chalice Ignite Cold And Repressed Auditory Visions On ‘Mother Destruction’

One of the missions of Dark Ambient is to instill otherworldly emotions and senses in order to expand the horizons of the conscious mind. If you allow your psyche to open up to the music, the reward can often be rewarding. Whether the listener is seeking solitude, darkness, horror, a deep space adventure, or just an escape from reality, no other genre of music will capture that experience quite like Dark Ambient. Empty Chalice excels are doing just that, as their brand of Dark Ambient is a culmination of ritualistic ambience, terrifying field recordings, grim sequences and sampling, as well as vocal narrations. All of these combined create the malevolent recording known as ‘Mother Destruction’. At just over fifty one minutes long, these five tracks of neural dread, will anesthetize the senses and draw the listener into a hollow realm of consternation as they try to find the exit back to a normal reality.

Prominent album opener, “Unholy Light”, penetrates the ear canals with jarring synth pads and frequent cymbal crashes as a bombinate drone sound breaks through and add a depressive dynamic to the track. Moments of eerie near-silence pull the listener down even further before more deep drones start to rumble again. Various instruments add brief moments of angst, but this track halts on a grim & long silent ending. “Treblinka’s Snow” begins with a calming drone with dreamy instrumentation heard in the distance. Soon, beautiful female narrations add to the story, and it creates a numbing effect with its soothing structure and pacing. Scattered samples are amply placed throughout the narration, followed by a harsher droning sequence. “Qva Resvrget Ex Favilla” is a downright sinister track, as it features black metal vocal style narrations, as well as clean, operatic singing. At around the seven minute mark, the track begins to morph into more of an industrial ambient piece, with screechy drones and piercing synth pads. The near fourteen minute long “Rest In Pain” begins with inaudible narrations that have a echo effect on them. Combined with some high-pitched drones, and melodic sequences playing in the background, this track is a slow builder but very rewarding in the ends. At around the three and a half minute mark, a mid-paced drum beat enters the picture as the melody of this song becomes more prevalent. Even after the drums fade away, the melody continues to play on for a few minutes and then too it fades into the hisses of the synth sequences. The final track on the album, “Mother Destruction” begins with haunting tape loops, obscure samples and alluring synths slowly fade in. As the drones grow louder and harsher, the tone of the track becomes more evil sounding and bleak samples can be heard throughout. The final couple minutes of this song is a slow burn into obscurity as all of the noises gradually seize to exist.

Empty Chalice takes the listener to a cold and empty world, where escaping becomes the nightmare. Over the course of fifty one minutes, ‘Mother Destruction’ creates atmospheres that are both serene and nefarious. Featuring various vocal and narration styles, as well as elements of percussion and sampling, this is a very diverse and musically versatile album. I highly recommend this if you’re into the more obscure styled Dark Ambient recordings. Show your support for this amazing artist by clicking on 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://emptychalice.bandcamp.com/album/mother-destruction

Two Obscure – Yet Groundbreaking – Genres Collide On The Unfathomable ‘Crypt Hop Compilations I’

Who would have ever thought that two musical genres at the farthest ends of the sonic spectrum could provide so much listening pleasure when combined? Well, quite a few obviously, because it’s definitely a thing. Crypt Hop was born out of the enigma known as Dungeon Synth and the ambiguities of Memphis style hip hop from the early 90’s. If you’ve not heard artist from that genre such as Manson Family, Gangsta Pat and Three 6 Mafia (among others), you’re missing out on some of the early, most innovative artists from the Memphis Horrorcore genre. If you strip away the gangsta rap, hip hop beats and underlying samples, you’ll actually hear an early 90’s rendition of Dungeon Synth, that typically features lo-fi production and the structural hissing of vinyl and cassette tapes. Fast forward to 2020 and we have the Dungeon Synth-led ‘Crypt Hop Compilations I’, which features thirteen daring tracks from various artist that intend to leave their mark not only in the Dungeon, but also in the Crypt!

The track that begins this morose phenomenon is “Poltergeist Manifestation At Midnight Cemetery” by Kravtun. Ghastly lo-fi synths compete against background static before a stunning hip hop beat immerses to synchronize everything. A swift breakdown in the middle with layered synths before the massive beats and bass tone reignites to finish out the track. “Astrals” by Leneaux has the warm sounds of fantasy synth that is soon accompanied by smooth drum & bass with a constant clap track. The background organ tones throughout add a nice texture to the track. “The Horla” by The Spirit Of Luvenium begins with a traditional Dungeon Synth sound then is bombastically merged with a mid-paced trap beat that is right on point. “Unterwelt Pt. 1” by Orcaluv is more of a hip hop track, as it features some grime style rap but the music is undeniably cemented in Dungeon Synth. “Tenebris Et Spiritus” by Lurk starts with droning synth notes that tip the creepiness scale. Barbaric percussions are interlaced to give a big, theatrical sound as layers of instrumentation continue to build. As soon as it reaches that “wait for it” moment, narrative samples take over, leading the anticipation, then it happens – slow, doom-like hip hop beats explode onto the track for the final minute. “Towers Of Time” by Moon Druid is truly unique in that it features an early 80’s style hip hop beat and clean sounding synth tone. Soon in, it changes to a more modern sound with a lush atmosphere. The track then morphs back into its original beat to close out the track. “On The Darkest Occurrence That Has Ever Happened By Right Of My Own Hand” by Pharanick is a straight up horrorcore rap track with eerie backing music and with medieval rapping about wizards and daggers, what can go wrong? “Windy Night (Crypt Hop Remix)” by Francis Robert is another superb fantasy/forest synth-based track with manic hip hop beats and throbbing bass lines. “From The Ashes Of Bael’s Kingdom” by Erythrite Throne is my favorite on this compilation. The multi-layered synth work is amazing and the quality Of Dungeon Synth in this one track is unmatched. Not only is the production spot-on, but the beats are amazing as they consistently ebb and flow with the tempo change of the music. “His Crimes Against The Realm” by Poodle Knight is another amazing track as it has multiple genre influences. Not only hip hop and Dungeon Synth, but I also hear influences of early synthwave on this track and it fits in perfectly. “Skull Bong” by Resinator begins with ambient undertones, Tibetan bowl sounds, and narrative samples before introducing a dark dub beat and discordant sound effects that are reminiscent of early-90’s pioneering electronic experimental artist, Scorn. “Noblesnatch” by Were-Panther is one of the most unique tracks on this compilation as it features medieval times centered rapping, 8-bit sound effects, chorus breakdowns, and a whirlwind of strange instruments. However, as weird as it is, it’s also a highly addictive listen and probably my second favorite track on the album. The final track, “Belabored With Mysteries” by DJ 行者, is a three and a half minute trip hop, psychedelic adventure that properly closes out this astonishing compilation.

What more is there to say? This compilation album is pure fire! The artists selected for this project have a gift for fusing two seemingly incompatible genres of music and making it sound like a band of gangsta’s should be raiding a castle with 9mm’s instead of swords. At any rate, this compilation is an incredible body of work in which these artists should all be proud to be a part of. If this is any indication of what’s to come, then I can’t wait for what the future has in store for Crypt Hop! Show your support for these artists and download this album 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://crypthopcompilations.bandcamp.com/releases

Beyond The Below Offer Disturbing Sounds With Tranquil Piano Arrangements & Turbulent Field Recordings on, ‘Heart Like An Empty Coffin’

Every time I listen to a Dark Ambient recording, I hear it as a soundtrack to a particular moment in time. Whether its from a horrific era that has passed, an ominous & futuristic existence that has yet to happen, or the treacherous present that continues to unfold before our very eyes right now, this genre excels at bringing out the most emotional state of our being in order to imagine such scenarios and how humanity has evolved (or continues to evolve). On ‘Heart Like An Empty Coffin’, Beyond The Below covers each of those era’s by using intelligent field recordings, well-crafted piano arrangements, and modest use of long-form drones to create a unique sound that can be identified with a specific aeon. That’s not to say that there are several distinct sounds on this recording, it just means that Beyond The Below has a keen ear for sounds that expand the epoch of time. Let’s dive into this extraordinary recording.

Engaging album opener, “Downpour”, starts with a menacing piano note that embeds its presence in the conscious by its continual mesmerizing play. Scorching synth frequencies create an unnerving expanse as the field recordings start to filter in. The time setting seems to take the listener from a not-so-distant past to a near-distant apocalyptic future. More beautiful piano notes play over evaporating synth drones as the song comes to an abrupt end. “Kill The Past” begins with haunting piano melodies and distorted field recordings, creating a very bleak atmosphere. Majestic synth arrangements are introduced, establishing a smooth tone, while cosmic sound effects randomly break through as if introduced from a futuristic time portal. “Cleansing The Cursed” starts with night time sound effect, then the abrupt breakthrough of piano notes and industrial synths real havoc as if providing the score for a horror movie. “Solitudinous” features the looping hiss of antique recording techniques as retro-wave keys influence a time where industrial wastelands ruled the earth, and bands of outlaws protected its natural resources from other groups. Although one of the shorter tracks on the album, this one stands out as one of my favorites. “Creatures Sing At Night” is one of the creepiest songs on the album, as the opening elements feature obscure vocals and deep piano notes. The constant inaudible field recording in the background is enough to bring on additional anxiety. “Ghosts Of The Sun” has some of the best piano melody on the album and the echo effect really sets this track in high gear. The warm drones in the background, offer a safe haven for the imagination as this track is calming, while offering bits of discordant harmony. “Love Once Lost” starts with a synth tone that sounds like a submarine sonar. As this sequence continues to play, industrial synths are layered in, as well as additional sound effects that creates a sense of angst. The final track on the album, “Darkness Speaks”, wastes no time creating ominous sounds as harsh industrial frequencies and beautiful piano notes collide in absolute harmony. After several minutes of alluring synth overlays, the track transitions into an industrialized nightmare filled with dissonant sounds and a short blast of nightmarish vocals. Such an ideal way to end this fantastic album.

Beyond The Below take a more theatrical approach to Dark Ambient than a lot of other artist. Shedding the constant, enduring drones and epic track lengths for shorter, cinematic structured tunes that contain a variety of instrumentation and styles, ‘Heart Like An Empty Coffin’ is an enigmatic album that will appeal to a wide variety of music listeners. I highly recommend checking this one out, so please click on the link below and add this gem to your collection.

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://beyondthebelow.bandcamp.com/album/heart-like-an-empty-coffin

Influenced By The Appalachia Region, Leander Summons Cultural Sources On ‘A Journey Lost To Time’

The scenic beauty of nature has been the source for countless number of artistic endeavors for centuries and the stories they hold are memorable and irreplaceable. When you combine the scenery from a specific region with a cultural temperament that has been inherited from previous generations, the story telling can become quite grim, yet fascinating. For a genre, such as Dungeon Synth, this value still holds true as the listener is use to vacating the premise of vocals for providing a story and relying on the musical experience for setting the scene. This is quite a call to action for the artist that tell the stories with their instrumented crafts, and many are able to capture the resilience of this synchronous endeavor perfectly. Leander is one of those artists, and on his debut Dungeon Synth album, ‘A Journey Lost To Time’, the essence of mountainous isolation is captured beautifully in these five tracks.

“Elegy For Gone Days” begins with a soothing and dreamy piano melody that plays repeatedly until it resonates with the soul. Quietly, synth tones are introduced that resemble more traditional Dungeon Synth arrangements. These haunting sounds have more of a Forest or Fantasy Synth feel as the gentle vibes are warm and extremely melodic. Next up is the heavily percussive “Wandering The Summerlands”, that immediately kicks things off with a thunderous drum beat and synchronized keyboard tone. At around the minute and a half mark, the song settles into a keyboard heavy groove with a steady drum beat that sets a hurried pace. Halfway through, synthwave sounds are introduced, creating a despondent atmosphere that is dark, yet sublime. Without a doubt, this is my favorite track on the album. “Beneath The Ridge” has a low and reserved sound that focuses on the somber tone of the synth notes. The refrain during the last minute or so has an alluring sensation that you’ll not want to end. “In The Deep Glades, A Blade Lies Buried” is a slower-paced canticle that has almost a 70’s progressive/psychedelic vibe to it. The combination of the various synth tracks and the drum beats work really well together. The final track, “A Spirit Kneels By Singing Waters” begins with slow, droning notes that create a haunting backdrop for the spirited keys as they provide a solo story line that transcends the imagination.

Leander definitely uses the landscape and surroundings to his advantage to create isolation-themed Dungeon Synth that is based on the myths and culture of the area. Not only are the keyboard elements on point, but the addition of percussion really oscillates through these recordings with positive effects. I’m really impressed by this debut effort and am looking forward to many more recordings by this talented artists. Please show your support and download ‘A Journey Lost To Time’ 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://leander33.bandcamp.com

Abhasa Amalgamate Ritualistic Dark Ambient And Bewildering Black Metal On ‘१’

Ritualistic forms of art have been around for centuries, providing people with an outlet for conveying their ceremonious rites. In music, it’s an all-out free form, and emotional channel that allows artists to express their craft freely and without restraint. Abhasa epitomizes this condition by combining metal, ambient textures and liturgical sentiment on the massively impressive album titled ‘१’. Showing huge amounts of restraint, Abhasa lets the music and atmosphere set the pace by creating the beautiful, emotional tone that will catapult the listener to an ethereal location – for at least the fifty minute duration of this album.

Holistic album opener, “१“, sets the spiritual tone as the hum of Tibetan bowls and ringing bells provide meaning and direction for this ceremonious journey. Field recordings of a natural setting amplify the experience. This vibe continues and seamlessly leads into “२”, which features more Tibetan bowl sounds, and the introduction of more modern instrumentation. Droning guitar riffs slowly crescendo their way into the mix, becoming louder and at their apex, the strums of distorted guitars make their presence known. After a few strums, it stops and after a short break, a beautiful acoustic passage begins, taking this track to new heights. As this track fades into “३”, the ambience slowly fades and gives way to a harsher, post-black metal sound. Interestingly, it has a very dreamy sound thanks to the ghostly production efforts. The next track, “४” starts with an acoustic riff that is quickly abandoned for a louder, more depressive tone. As this being one of the longer tracks, it gives the listener time to soak in the alluring guitar tone that’s equivalent to polarizing dark ambience. “५” begins with malevolent soundscapes and obscure field recordings that provide a sense of dread. The hiss of a guitar creates additional atmospheric tones as well. As the ambiguity fades, the sudden violent rush of distorted guitars introduce the next track, “६”. At just over twelve minutes, this saga runs through harsh metal parts, acoustic passages and ambient atmospheres while maintaining an even keel of emotional moments. The final track on the album, “७” blazes with discordant and blackened riffs, while the drums blast through like an assault weapon at a firing range. At around the half way mark, enticing keys create an exuberant atmosphere before the harsh tones pick up again. After a few minutes, the song finally fades to the sounds of the strums of an acoustic guitar.

The ritualistic sounds of Abhasa are undeniable, as they penetrate the ears and soul with emotional atmospheric music that border the genres of black metal and dark ambient. Now with the backing of the incredible Mystic Timbre label for a cassette release, this prodigious effort can be heard and enjoyed across multiple platforms. Click on the link below to download this ceremonious release!

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://abhasa.bandcamp.com/