Let the horns sound, in triumph and in victory. Not all is doom and sinister amongst the catacombs and dungeons inside the kingdom walls, and within sight of the magnificent keep. When the hours sound with cheerful impact, a cause for celebration is abound. This is the sound that dominates the magnificent debut by Odivm Vitare. Composed of six tracks of gratifying synth music with an emphasis on horn effects and narrative samples, this is a unique spin on Dungeon Synth music, showing a lighter, more victorious side that is normally dominated by sinister, war-like dirges of darker desires. This album represents achievement, massive strides toward community strength and homage to the more conducive, Medieval times.
Heroic album opener, “Manifestovertvre” is a cheerful and bold statement that firmly guides the direction of the album with audacious horn effects and decisive narration samples. It’s sets an ancient mood that allows the imagination to branch out beyond life’s current existing state. Pounding drums also indicate a time of ceaseless victory and passion throughout a venerable kingdom. “5 Finger Hat Die Hand” is an impressive follow up as it includes impulses of outlandish horn arrangements and harmonious backing effects. Once the angelic keys are introduced, layers of sonic excellence fully engage the listener in a tranquil motion of audial combat. The inclusion of drum patterns and fills adds a modern spin on an otherwise relic of a sound. “Sonata Adversvs” takes the album in a slightly different direction with discordant synth effects and ominous background ambience. Early into the song, a groovy drum line prevails, causing an immediate head bob that resides in unison with the addictive cadence of the track. More narrations are heard throughout as whimsical tones sooth the soul. Classical elements are fused around the middle of the song, as a vibrant arrangement produces an alleviating radiance. “Metvs Et Odio” is an inspiring comfy synth anthem that builds upon layers of haunting synth effects and sonic narrations. Mollifying drum beats begin as synth soundscapes build a relaxing wall around the listener, providing an environment of soliloquy and security. “Linkentanz” continues with the pacifying melodies as this is like a lullaby from ancient times. As the easement of sound continues throughout, a change in atmospherics and synth effects maintain the dreamy experience of this track, from start to finish. The final track on the album is the peaceful endeavor, “Canto Di Speranza”. This is a playful tune with an infectious drum pattern and looping synth leads. Relaxing ambience builds in the background as this daunting little melody is a sure sign of peace and happiness wherever music can be heard throughout the lands.
Odivm Vitare has created a charming and inspiring Dungeon Synth album that is different yet appealing on so many levels. From the arcane narrations and creative synth techniques to the impressively playful drum tracks, this album has a plethora of styles and sounds that contributes to its fantastic arrangement. If you’re seeking a new flavor of Dungeon Synth, look no further than the self-titled album by Odivm Vitare. Please support this excellent project by downloading the album from the link below.
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I truly enjoy the bleakest of Dark Ambient albums. As with any other genre, there are times for a particular taste that maximizes the power of connection between music and the listener. One of my favorite sub-genres of Dark Ambient is Drone. Sure there are some similarities between Drone and say, Industrial Ambient but it has some differences as well. Instead of harsh tones and mechanized discordance, there is a reticent, more ominous sound that allows for the utmost space for meditation and a dream-like state for potential out-of-body experiences. One artist that majestically captures these types of moments is Sonologyst. The latest album, ‘Interdimensional’ is a top-rate experience in eerie modulations and dismal tones that are equally creepy as they are thought provoking. These six tracks create a dynamic world of gray, scenic prowess and a cold atmosphere that blurs the line between dark and light.
Haunting lead off track, “Ad Astra” slowly comes into picture, like a group of propelled planes slowly flying overhead, destined for a doomed mission. As soundscapes fuse this modulated terror, a complex scenario builds despite the minimalistic tones. The various sounds create a revolving intonation that builds and collapses, causing terrifying moments of anxiety and angst. The relentless chaos doesn’t let up, even as the track fades into oblivion. “Interdimensional Beings” immediately sets a lethargic pace with low-end rumbles and spots of synth notes that blend in chaotic discord. As this nightmare settles in, the tonal quality increases and expands to include random sound bytes and unhinged effects. As it nears the final moments, celestial tones produce a nostalgic effect, which shows a complete balance between disorder and minimalist aptitude. At just over four minutes long, “Paraphysical Phenomenon” is not only the shortest track on the album, but probably the most adventurous one as well. Beautiful synth melodies clash with spacious drones and the result is a mesmerizing blend of sonic tranquility that gives the illusion of endless travel beyond the deepest corridors of space. Going from the shortest song to the longest, ‘Through Memories And Galaxies” is a near fifteen minute ride through muffled voids and spacey vacuums and exudes a supremely addictive host for traveling through blissful territories of the mind. Barely audible vocal narrations and lengthy drones complete this lengthy effort that goes from dreamy modulations to terrifying screeches. “Multiverses” commences with some of the darkest drones presented on this collection of songs. Unparalleled soundscapes hint at a celestial vibe while the overall tone continues to thicken throughout. There are moments of psychedelic sound play that emphasizes a tumultuous moment in time. Complete with very eerie undertones, this is one of my favorite tracks on the album. The last track on the album is “God-Level Traveller” and it begins with very demented droning sound until a peculiar instance comes into play, altering the scaled synth notes at a slow pace. The natural hissing in the background adds a dreamy essence while minimalistic noise continues to gather, creating an abrasive tone that is quite quixotic. This is certainly an impactful statement to end this very dark and brooding musical collective.
Sonologyst exquisitely bridges the gap between several sub-genres of Dark Ambient music while producing elite electronic euphoria. ‘Interdimensional’ is masterclass in drone music that branches out with a plethora of haunting soundscapes and production tactics. The end result is an amazing album that is surly to stand the test of time. Don’t sleep on this album, as I highly recommend it for those that expect an esoteric and ominous audial output. Check it out at the link below and support this prodigious artist and the addictive music he produces.
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Since I started this blog – almost 3 years ago – I’ve experienced (and enjoyed) a vast array of music from various genres and it’s been the most fulfilling experience one could imagine. However, it’s even better to come across an album that’s simply fun to listen to, no matter the genre. One artist that provides such enjoyment is Count Von Günter and on his latest album, ‘A Tomb For Rebirth’, there is much to take in and the savoring experience is well worth the thirty eight minutes of your time. A splendid blend of Dungeon Synth and Black Metal, this album is like a retreat into ancient times while relishing in the glory of metal mayhem.
Right from first note of “Dawn Awaits Greater Violence”, we are reminded of heroic Black Metal intro’s and ancient Medieval battles, as a barrage of synth leads pummel through harmonious chords of melody and menace. About halfway through, volumes of distorted synths and Black Metal shrills instigate the start of violent beginnings and the dawn of something evil. This is as good of an album opener of any album I’ve heard. “Traversing The Ghostly Void” continues the destructive commotion with war-like percussion and valiant synths, layered with musical unity and vibrant tonal colors. The sound of horn effects catapults this track to grand scales with offerings of royalty and bloodshed. “Failed Pantheon” continues the frantic pace of the previous tracks but introduces lyrical hymns via the stylings of Black Metal vokills. With enough reverb to keep the music necro, it’s the fusing of light synth tones that makes this sound unique and addictive to listen to. “All Is For Naught” is more in the vein of traditional Dungeon Synth, as it’s reminiscent of a more peaceful period with a variety of instrumentation and production techniques. “Hymn Ov The Spectre” commences with a funeral dirge-like cadence before shifting into more of a doom-laden canticle that has a mesmerizing tone with airy synths and bombastic drum rhythms. The harsh vocals blend nicely, especially when the more strident aspects of the track come into play. This song yields a huge sound that could easily become an anthem for Dark Dungeon Music. “Visions Ov Valhalla” begins with a sultry synth chop that hammers away at a mesmerizing melody. Soon after the intro, Black Metal styled narrations reveal a near in-audible storyline but aligned with the solid and steady percussive beat, the realization is that this is a track of inevitable war and destiny. The sudden inclusion of horn effects are always welcomed and the end results is beyond amazing. “Dragging Bones” is a short piece that includes droning keys, modulated synth tones and eerie soundscapes that together, present the beginning of a dark demise. Old school Black Metal riffing are somewhat buried beneath the chaos but are loud enough to appreciate the ominous atmosphere that they bring to this track. The final offering is “A Tomb For Rebirth” and it’s the most grandiose oblation yet. Beginning with a soft, clashing noise and a ticking clamor, the title track runs through a gamut of maniacal changes that cycle through several genres of music. Soon after the introduction, Black Metal vocals and doom styled drumming change the pace, keeping this an interesting endeavor. As the verse finishes, the pounding of double bass drums and additional synth layers create a cinematic tone of blissful arrangements and beautiful atmospherics. Although the momentum shifts focus several times, this beautiful composition continues to find its way back to a creative spot before closing out in a short blast of chaotic noise.
Count Von Günter has created a masterpiece of Black Metal-fueled Dungeon Synth and the proportion of each genre is exquisitely represented. There are many occasions – with multi-genre albums – in which one genre is dominant, but that’s not the case here. Because of the exceptional blend of musical endeavors, this is a very fun album to listen to. Each track is different, exciting and certainly memorable. The cassette release sounds even better, as the classic tape hiss adds another layer of overwhelming power to enhance the listening experience. I highly recommend this album, as well as well as ‘Forced To Wander’, the jubilant debut album. Click on the link below to enjoy this magnum opus and please support this amazing artist.
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The coldness of industrial music has a particular haunting effect that emits emotional angst, rebellion and sometimes fear. The influence of an industrial-themed environment is the essence for blazing energy across multiple genres of music. Boasting an apocalyptic setting or ventures in dystopian wastelands, Industrial music is a tantalizing hybrid of music and machine, joining forces to lay the foundation of corrupt manufacturing lineage. In the realm of Dark Ambient, industrialized influences play a crucial role on one of the genres most harsh sounding sub-forms. Ideal Father grasps that ideology and doesn’t hold back with delivering a savage performance in ‘Paradice Death’. Nine tracks of grinding decay is all that it takes to create a despondent world of barbarous and strident modulations to help desensitize the traumatic situations of futuristic environments.
The dissonant lead off track, “A Mind In Evil Ruin” pulls no punches as it crashes in like a video game character warping to a desolate world, right in the middle of scenic terror. Haunting, reverberated drones drift in like a sandstorm on a reluctant desert town, unable to flee the grasp of demise in any direction. A variety of effects set a creepy vibe as the wall of noise surrounds you in every direction with no viable means of escape. “In Paradice Death” commences with a supernatural narration that sounds like a menacing black metal styled vocal with an echo effect that is made for ruining all positive thoughts. A squall of ear-piercing synths and soundscapes project an even darker world of hatred and corruption while inaudible voices and screams can be heard throughout, cementing this nightmarish vision of disturbing results. “Blood Torrent” begins with heavily distorted tones that are reminiscent of the distant buzz of mechanical infrastructures running on autopilot and out of control. Various disturbances echo from left to right, as if you’re being stalked by a maniacal being. “Crepuscular Soul” emits a muffled, underwater sound that loops uncontrollably while discordant tones and buzzes build around it. This track also offers clean and clear synth passages that are just as poignant as the other, darker tones set forth on this album. It’s almost as if it’s playing a bizarre scale that is melodic in nature but instead discharges an accord of sadistic intent. “Tongue Mosaic” is one of the shorter songs in this brooding collection, but it’s intermittent spikes of tonal despair, set on top of a sustained drone, presents a harrowing look at nightmarish entities in the void of nothingness. “Crosshair Mantra” starts with a doom-laden drone with heavy modulated breathing sounds that soon fuse with vociferous synth shrills and gruesome effects. The field recordings in this track display a scene of horror and ferocious resolve toward the end of existence. Life forms become scarce as mechanical objects rebel and conquer in pre-programmed unison. “Wall Of Crying Eyes” is a minimalistic piece with divergent drones that sway in and out of audial captivity, while mechanical noises meander aimlessly in search of their next victim. Sonic and celestial modulations depict a retrospective vibe while the tonal distortion of assorted soundscapes create a sense of abandonment and isolation. The massively distorted take off of “Nobody Will Know” is a severe reminder of a condemned society and the point of no return to normalcy and conventional existence. As this dynamic increases in layers, the sound thickens into a spiteful wall of harmonized noise and it’s deafening quality becomes even more mesmerizing as it continues to play out. The final track on the album is “Dream Slurja”. Signaling the end of existence for living organisms, this minimalistic piece represents the true dawn of industrial power and it’s agonizing takeover of humanity. With a deficient dose of harsh effects, this is one of the more peaceful efforts in this collection but none less terrifying than the rest of the album. Hints of stifled vocals and discrete field recordings are antagonizing reminder of the strength of industrial components and the new mechanical civilization that will forever remain a dark spectacle of potent energy.
Ideal Father just may be my new go-to artist for when I desire the hasty sounds of industrial ambience. With only a few albums in circulation, ‘Paradice Death’ has proven to be a jolting experience in the harsher side of Dark Ambient music. This sound and style isn’t for everyone but for the unique audience that lives for this experience, then look no further than Ideal Father. Please show your support by checking out this album at the link below.
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This album has been in my review queue for a long time and I’m so excited to finally be able to share my thoughts on this unique and triumphant effort. Many times when Dungeon Synth fuses with aspects of other genres, the traditional essence of the music takes a back seat to a more modern approach of genre melding. However, that’s not quite the case with Skuggkonungen’s mystical offering, ‘Det Glömda Landet’. Eight esoteric offerings of synthwave influenced Dungeon Synth produce a propitious atmosphere that will haunt the various era’s of influential realms
Album opener, “Äventyrarnas Brunn” dabbles in the territory of Dark Ambient before a quaint Dungeon Synth melody bursts through the bleak foundations and extends a harmonic dimension of lush keyboard melodies. Synthwave effects seamlessly enter the fold and takes this track to levels beyond musical imagination. The buildup of synth leads are undeniably refreshing and this is just the beginning of a hauntingly beautiful album. “Adralei” commences with ominous effects and begrudging background hisses while devilish pads seem to infiltrate at will. Somber Medieval leads are introduced and have a retrospective feel to it. This track boasts a strong refrain of good versus evil as dismal tones are crafted to blend transparently with light-hearted harmonies. “Lärkdal” quickly blasts an eloquent synth lead that is airy and peaceful. Comfy Synth styled intonations create a dream-like state and the layers of abating refrain is charming. Next up is the hypnotic, “Gråskägg”. Elongated synth effects are used to produce an environment of retro gaming influences and nostalgic characterizations. As the leads come in massing a grandiose sound, it slowly begins to fade, preparing you for the next suspenseful song. “Riddare Av Hella” begins with a slightly reverberated synth chop that continually loops in a light cadence. Menacing effects establish an eerie setting and vocalized sounds add a touch of cinematic elegance. “Thursagash Grymkäft” contains percussive elements atop a blissful synth lead that is reminiscent of an early morning dawn amplified by fog and drizzling mist. This is definitely a track to get lost into – if it were only a bit longer to enjoy it’s mesmerizing affect. Next up is the ghostly incantation, “Dödsdrömmarens Sista Vila”. The way that the main keyboard loop interacts with the melodic effects is completely enthralling. Psychedelic styled synthwave sounds establish an alluring dirge that is sure to garner repeated listens. The final track on the album is the grimly arousing title track, “Det Glömda Landet”. This spooky offering seems like a mix of random effects and digitized modulations, but is more like a bleak anthem of terror to the point of no return. It’s almost like an unforeseen evil lurks around every corner but predicting when that will be, will create a serious dose of anxiety.
This is another fantastic album for the Dungeon Synth community, especially for those that like an expanded sound with a no holds barred aspect – with regards to styles and influences from other genres. Skuggkonungen has laid a foundation of synthwave influenced Dungeon Synth and ‘Det Glömda Landet’ is the fascinating results. I’m really impressed with this release and I’m most certain that you will be too. Please click on the link below and support this amazing project.
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If I asked you to provide one word to describe how you feel about music (in general), I’m sure their would be no wrong answers. No mater what adjectives are used to characterize your perception of music, there is no doubt that it’s a powerful entity. Music is inspirational, emotional, provides comfort, describes other subject matters in a relatable way, and is a reliable source of affection and warmth. Many of these identifiers can be associated with the massive audial offering by Monstruwacan, ‘Mourn At The Grindstone’. Six tracks of haunting modulations that provide a ritualistic listening experience through grim guitar tones and decaying vocalizations. These songs are an amenity for coping with grief and well, life in general as the turmoils we are all faced with on a regular basis seem to never end.
Blistering album opener, “Which Side Are You On (w/The Windborne Singers)” just may be my new favorite song! Featuring a sorrow song-style vocalization about old Union worker banters, this jubilant piece supremely incorporates droning soundscapes to give it a cinematic sound that are reminiscent of the musical endeavors of early Zeal & Ardor. The vocals specifically standout, as the quartet harmonizes beautiful with crystal clear annunciation, thwarting the listener back to the days of coal mining and black lung disease along with the perils of that era. “Mourn At The Grindstone” quickly builds into an eerie, minimalist drone that captures the essence of dread. Faint wails of a guitar can be heard in various spots, adding to the mystique of the song. As this tonal creature grows in volume, the sense of misery become obvious while the shrills of ominous soundscapes continue to fluctuate. Suddenly, harsh narrations divulge information of sincere pain. You can hear the agony as the vocals elicit painful cries and every strum of the guitar is like opening an emotional tomb of anger and resentment. I can imagine this is what it would sound like if Sunn O))) and Blood Of The Black Owl we’re to collaborate. Next up is the somber, “Pupils Like The Hole In Space Where It Sings”. Commencing with a melancholic guitar part, things quickly spiral down into a harsh guitar tone with full-on distortion and resonance. This doom laden masterpiece also features deafening screams and harrowing, bleak ambience, as the mood is quickly set for a slow decent to annihilation. The torment continues with “Feast In The Dark”. A perpetual drone is accompanied by low, back end soundscapes that are audible enough to peak your curiosity. Just as this mild endeavor begins to settle in, heavily modulated guitar chords bear down like a speeding freight train while strident vocals evoke a story of bitterness. “Song For The Dead” begins as a spooky Dark Ambient piece that casually infuses bits of guitar effects. The elongated drone provides a demonic backdrop and when the harsh narrations come in, this becomes a complete ritualistic experience. The middle section of this eight minute opus softens to a simple drone that fades to the point of obscurity and then blazing guitar chops ignite a doom laden offering that showcases the climactic ending of angst and fear. The final track, “What Keeps Us In This Wretched Place” begins with a dose of sonic soundscapes that reside more in the background instead of the forefront, as if we can soon expect vociferous leads to play out. A ton of reverb is used in the beginning section, kindling a stark setting of bleak space ambience. As the droning grows louder in volume, it’s apparent that we will soon see the end of this amazing journey. Layers of drones and effects dredge forth until the song faintly comes to an end.
Every once in a while, an album comes along and completely blows me away. ‘Mourn At The Grindstone’ is that album and then some. These songs are well thought out and put together with meticulous detail so that is flows with utter transparency. Caldon Glover, the mastermind behind this project, knew exactly what he was aiming for with this album and the results are in – Monstruwacan are already becoming a heavy hitter in the Drone Metal/Dark Ambient sub-genre. Although this album has been out since May of 2021, it deserves to be heard by a much larger audience than what it already has. Do yourself a favor and listen to this one right away and support this artist by downloading this masterpiece at the link below.
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Two of Dungeon Synth’s upcoming artists – Caliginous Empire & Natura Carcerem – have joined forces for the monumental offering, ‘Shadows Reflected’. However, this is no simple collaboration; this is two compelling creators showcasing the best side of their craft and extending a long overdue exposure to up and coming artist as they show solidarity in one of the best musical genres around. Caliginous Empire exhibits a soothing blend of symphony tones and melancholic soundscapes, while Natura Carcerem ventures more into aspects of Dark Ambient and ominous atmospherics. However, on this joint venture, they both step out of their comfort zones and expand on their musical creativity resulting in an ethereal experience that flows with haunting transparency.
“Before I Depart” is the somber album opener that starts with melodic keys and piano chops that slowly builds into a grand intonation. A short narration constructs an ancient storyline before percussive beats and layers of melody complete this soothing musical affair. The excitement really begins on “Hidden Penumbra”. Commencing with the soft crashes of ocean waves on a desolate, ancient shore, dense keys and pads create a fantastical soundscape of cinematic proportions. Soon, the tonal keys descend into an emotionally-charged passage of atmospheric modulations and alluring patterns. Out of nowhere, the track blasts into a melodic Black Metal section, complete with harmonic guitar chords, blast beats and ominous vokills. It then dwindles down to a quiet symphony of swaying keys that close out the track. The next track is “Reflected Shadows” and it showcases the talents of both musicians as they merge their unique sounds to present this stunning effort. A gentle piano ballad starts this epic adventure then an array of sounds and effects slowly builds a wall of discordance that is hypnotizing to say the least. Toward the end, tasty guitar leads mirror the main melody and establish a theatrical dose of affinity and atmospheric creativity. Natura Carcerem presents the next two tracks, the first being “On The Precipice Of Despair”. This is a beautiful flowing song that is held together by rigorous drum beats and celestial keys. Filled with eerie arrangements and haunting soundscapes, there is also an effervescent crypt hop beat that will have your head bobbing for the last portion of the song. The final track is the ghostly, “These Shadows Know My Name”. The cawing of crows and frightening modulated tones produces ghoulish atmosphere of haunted mansions, graveyards and nocturnal creatures that are bound to scare all those in their path. A soft Berlin School sequence adds a nice touch, as it increases the nostalgic vibe. More narrations and Black Metal vokills close out the track as this exceptional album draws to an end.
It’s never too late to recognize a fantastic album. ‘Shadows Reflected’ was released almost a year ago and it – so far – has stood the test of time, as these songs are unique, impressive and memorable. Caliginous Empire and Natura Carcerem have successfully blended their talents for supreme song writing and arrangements on this album and I can only hope that they will team up again in the near future to present us with another endeavor of this magnitude. If you like your Dungeon Synth meshed with other style of music, do not look past ‘Shadows Reflected’ as this is a one stop shop for your extreme Dungeon Synth needs.
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If the thought of legendary creatures don’t get the creative juices flowing, I don’t know what does. The chimerical energy that is produced by such entities is not only astounding, but it creates a boundless spectacle for imaginative tales of nefarious beings and settings. Missouri-based electronic musician, Fugue In Sea, uses these obscure entities to an advantage by creating an unconventional soundtrack for their existence. ‘Py-A-Saw’ is a five track excursion that demonstrates the agility of music and how it can translate to a vicarious world of ingenious resolve. From Dark Ambient tones to hypnotic and industrialized sequences, this is twenty eight minutes of unprecedented and ritualistic storytelling.
“The Bird That Devours Men (Theme)” is the insanely crafted lead off track that commences with obscure sound bits and eclectic drones that drift slowly like frozen air flow over a daunting mountain peak. The bizarre sound effects carry on in a chaotic commotion as if frantically trying to communicate with other entities in an unfamiliar tone. Suddenly, the clamor resends into a particular calmness before fading into oblivion. “Attack Along The Mississippi” begins with a tribal-like cadence, as layers of peculiar effects rapidly ascend with stunning creativity. More communicative reverberations begin their sequence as an industrial screech comes bellowing in with menacing fortitude. Heavily distorted guitar shrills create a trance-like instance as this ritualistic track comes full circle. “Cave Of Bones” begins with a mix of ethereal soundscapes as somber drones quietly come into play. Constant, pulsating beats create an agonizing experience of bleakness while aggressive key’s emphasize an ambiguous setting for unknowingness. “The Return; Ouatoga’s Ambush; Aftermath” introduces and dark, industrial-type aggression with loud frequency screeches, heavy modulations and the sensation of an icy cold wasteland. A durable beat instills a harmonic essence of mechanized allurement for most of the track, but fades into a space ambient offering that is completely meditative. The final track on the album is “The Bird That Devours Men (reprise)”. This frigid offering continues with the space ambient theme by creating a droning void of eclectic sounds and effects that throttle the listener to a desolate demise. This ends the album on a very eerie note (literally) and you’ll immediately want to listen to this mythical experience all over again.
‘Py-A-Saw’ is a well put together, well thought out ambient adventure. Although just an EP, there is a ton of adventure and sonic madness that is typically experienced on a much longer dark ambient album. Fugues In Sea has the dexterity to incorporate many aspects of electronic music to create a symphony of auditory compositions that are unique and captivating. ‘Py-A-Saw’ is just another notch in the belt for hopefully a long career in Dark Ambient creativity for Fugue In Sea. Please check this album out at the link below and support this exceptional artist.
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I was first introduced to the wonderful world of Mora-Tau by way of his 2020 album, ‘The Light Of the Winter’. Something about it was very nostalgic…very haunting. Upon further probe into his Bandcamp page, I discovered an alluring and eclectic cosmos of improvisational recordings that are addictive and more importantly conceptualized based on a specific theme – particularly around horror, nightmares, worlds end and retrospective subject matter. Needless to say, Mora-Tau has become one of my favorite Dark Ambient producers and I couldn’t wait to have a conversation with him to find out what makes this project so unique and special. Hope you enjoy this interview.
1. Thank you very much for this interview opportunity. Mora-Tau has a rather short recording history but has left quite an impression on my. How did this project start for you?
As you pointed out, I only started publishing my work around 2009. I was born in 1959 and I will be 63 this year, so it’s not a long career.
For about 10 years, from the age of 15, I listened exclusively to progressive rock. I now listen to a wide range of music genres, including jazz, avant-garde music and club music, but most of it came through progressive rock. Even punk rock.
The most influential artists at that time were Pink Floyd, Yes, Genesis, Jethro Tull, Mike Oldfield, Steve Hillage, Gong, Popol Vuh and of course King Crimson. Well, this is a very conventional list.
I started working under the name ‘mora-tau’ around 2008. I had been creating music before that. But I was satisfied with just playing them for my friends. I didn’t do any live performances. I had no formal musical education, so I’m not very good at playing an instrument. So I couldn’t even imagine the day when I would be playing in front of other people.
In 2008 or 2009, I discovered the music publishing website jamendo.com. By registering on that site, I was finally ready to release my music to the outside world. It was then that I named myself ‘mora-tau’. The name comes from my favourite 1950s horror film The Zombies of Mora-Tau (with my favourite actress Allison Hayes playing the bad girl, who turns into a zombie at the end).
Around the same time, an acquaintance invited me to perform at his shop (which was a bookshop) for almost the first time in my life. That was a lot of fun! And that was the start of my live career.
I consider myself ambient music, drone music and experimental music at the moment. I feel that these three genres are often balanced and mixed in one piece.
It was only after 2000 that I started to listen to this music seriously, in other words systematically and consciously. Before that, I was looking for my own music, imitating what I had heard. So it wasn’t until I started performing live that I got the style of music I was aiming for.
The first music that made a big impact on me was Eliane Radigue, a pioneer of electronic music who manipulated an ARP2500. I found the drone music she produced to be very simple, but with immense depth.
Another hero of mine is Morton Feldman. When I met Feldman, who produced very long, very slow music (sometimes over five hours of music), that music melded with Tangerine Dream, Harmonia and Eliane Radigue in my mind and became a big part of my own style It has given me suggestions.
This is ‘the origin of mora-tau’.
Wow, it’s a very long answer! I’m sorry.
2. I’ve noticed that on the liner notes of many of your recordings on Bandcamp your work mainly consists of improvisations. Do you typically have a plan of what you are going to play before recording or is it completely improvised?
I record almost all of my compositions as completely improvised performances. On very rare occasions I may write a musical score, but it is a sketch for memory.
However, in the last few years, I have often decided on a scale only at the beginning of a performance. Especially for live performances, I always decide on just the scale. Sometimes I move on to another scale during the performance, and sometimes I just finish it. The reason why I decide on it is simple. I don’t want to make a mistake in front of the audience :-).
Recorded performances are edited using DAW software. Sometimes it is just the same thing as played, with a few tweaks. In most cases, however, editing is essential. Balancing between tracks, noise reduction, sound quality adjustment, etc. are always done. The song is then cut into several parts. Sometimes I’ll delete parts, sometimes I’ll change the order, and sometimes I’ll layer completely different tracks that were previously unreleased. Sometimes I create a piece by layering several tracks that were recorded at completely different times and have different tempos, tunes and tonalities.
Once I have finished recording, I change my mind and think: ‘This is all just material’. And in the editing process, I emphasise an improvisational sensibility. I rarely work in advance. My style is as improvisational in the editing as it is in the performance itself.
3. You have quite a few live recordings from Bar Lynch (in Utsunomiya, Japan). How do you prepare for those sessions and how is the audience response to your work?
Lynch is a very small bar in a narrow alleyway; it overflows when 20 people arrive. The sound system for live shows uses the shop’s audio system. Otherwise, artists bring their own amplifiers.
I always have about three synthesisers available, with the necessary effectors connected to them, and record them on a mixer/recorder, a ZOOM R-16. The output from that is then input into Lynch audio.
So the sound quality is by no means top-notch. But because my recordings do not go through the shop audio, I can guarantee the same quality as studio work. Many of my customers listen to me while they chat. No, they are not listening? But some of them listen intently, clap seriously and ask questions after the performance. Yes, about one person every six months.
My turnout is very low, only a few people at most gigs. Sometimes there is only the master. On those occasions, I play around with phrases and developments that I think the master will enjoy. Of course, I never play to the extent that the whole structure collapses, though.
4. I lived in Japan for almost 24 years and really loved the music scene however, my only electronic concert experience was seeing Merzbow live in Tokyo a few times. How is the Electronic/Ambient scene in Japan these days?
Sorry, I actually don’t know anything about the music scene in Japan. I live in Utsunomiya-City, which is 100 km north of Tokyo. The famous Shinkansen bullet train will take you to Tokyo station in an hour, but I rarely go outside my area. I’m like Rapunzel living in a tower.
I keep up to date with new music through streaming services such as Spotify, YouTube and CD shopping, but so far I haven’t found the Japanese scene to be very interesting.
5. You’ve made several recordings for International labels such as Church Of Noisy Goat (Brazil) and Kalamine Records (France). How did those endeavors come about?
Both labels approached me through them. I never approached them myself. I think they liked something about the music I was making and invited me.
6. Do you plan to release anymore albums with those labels, and possibly others?
Neither of the two labels has a specific release schedule. I send my work to them about four times a year. Then I ask them, “If you like it, will you release it?” I have never had anyone say “No”.
I will continue to regular releases, where possible. However, there is no fixed schedule. If invited by another label, I’ll see what they’re up to and think about it. Of course, my basic attitude is “anyone, anytime, is OK”.
7. As for your music style and influence, how much of it is influenced by Japanese culture, folklore and spiritual meaning?
The deepest part of the psyche must be inseparably influenced by it. For example, many of the phrases I play unconsciously have a Japanese melody.
But it’s rarely conscious. Before making track, I watch a film or read books, looking for something to inspire me. If I’m inspired by something Japanese then I’m strongly influenced by it. I’ve never been aware of any other influences beyond that.
Of course, consciously or not, ‘Japan’ is firmly rooted in me. When I improvise, I am very conscious of this. Such as when I play the ‘Japanese phrases’ I mentioned earlier. Perhaps I am imprinting ‘Japan’ more deeply in my mind through improvisation.
8. One of my favorite albums by you is called ‘Swirl’. It has a very retrospective and minimalistic vibe to it. What was it like to record this album and what is the meaning behind this amazing music?
Thank you very much. I like that album very much too.
At that time, I was thinking of putting my impressions of the B-Movies of the 50’s to music. The theme is “guidelines for music production” for me. The light of the lighthouse. A guide to the completion of the work.
This is the case with most of my work. I say to myself ‘Let’s start to make music inspired by “The Thing”! ‘. But when done, it can be The Thing, but it can also be “Quatermass Xperiment”, or “Frankenstein”, or “Twenty Thousand Leagues Under the Seas”. You must have been disgusted at how lazy it was.
Shortly before making ‘Swirl’ I bought an analogue synthesizer with a sequencer. And I wanted to use it to make endless music. That’s how I started with my technical interests.
It’s all about how to combine different approaches: adjusting parameters to make small changes, changing effects in real time, using delays to layer sounds from other equipment. “Swirl” is the result of this research into how different approaches can be combined to create long ambient pieces of music. It’s the honest answer. I’m sorry if I’ve disappointed you.
9. There is another album called ‘Still Here’. In my opinion, this is one of your darkest recordings. What was the main focus behind this album?
This one, contrary to ‘Swirl’, was made with technology I already had at my disposal.
First, there was ‘Story’, which I wrote in the liner notes. How can I live in a world where the world has disappeared and no one can hear me? This was expanded upon in Still Here.
At the same time, I was obsessed at the time with the image of a ‘world on the brink of destruction’ as depicted by J.G. Ballard. I felt that I was living in a terrible world, in a time when I was trapped. To express this, I partly used contemporary musical techniques such as atonal and whole-tone scales. I think these techniques also promote darkness.
10. One of your latest albums is called ‘Brave New World’. However, in the liner notes, you state, “There is No New World Anywhere”. How does that tie in to the music on the album and what is the meaning behind this recording.
Mmm… When write it like that, it seems to express a deep philosophy. But there’s a bit of deception there.
It started from my own feeling that “there’s nothing new in this album. Every part of it is a repetition of what I’ve done before”.
Of course, I don’t always try new things in all my work. I think it’s fine to use only familiar techniques of expression, if the resulting work is emotional. That’s why I can write “There is no ‘new world’ anywhere.” It’s a self-deprecating joke!
The music for the album was done, I thought “This album is GOOD!”. But I couldn’t think of a title. At first I thought of “fragment of memories”, but then I thought it sounded like the title my past albums. After a few days of deliberation, I decided on the current title as a kind of compromise.
11. I’m really interested to learn about the equipment you use for recording? Can you please share your setup to the fans?
The main equipment is listed below. This is where we choose and combine the equipment for our gigs.
Analog Synth: Moog Sub Phatty Arturia minibrute Behringer Crave Pico System Erica Synth
Effector: Delay BOSS DD-20 GIGA DELAY tc electronic Flashback2 JOYO D-SEED II
Reverb BOSS Digital Reverb RV-5 Behringer RV600 Reverb Machine
Looper BOSS Loop Station RC-3 tc electronic DITTO X4 Looper
Multi Effector ZOOM G2
12. Other than Bar Lynch, do you play live gigs at other venues?
Yes. Since last year I have been playing at ‘Igno…. . book plus’ (an antiquarian bookshop) every three months or so. There are also a few live music venues where can play. All of them are in Utsunomiya city.
13. Do you plan to release any physical media of any of your albums or will you stick with digital releases?
I actually released a CD a few years ago under the title “the old village”. 300 copies were made and over 200 are still unsold. I don’t think releasing any more CDs. It’s too costly. I would like to release a cassette tape.
14. I’m always looking forward to hearing new music from you. What do you have planned for releases in 2022?
Thank you very much. In 2022 I’m aiming to release an album every month, hopefully one that You will like.
15. Thanks again for your time and for sharing your musical journey. Do you have any final thought for those that will read this interview?
I was born in 1959, so I don’t think I’ll have another ten years to be an active musician. Nevertheless, I don’t want to stop playing music and I hope to go deeper into it. If you don’t mind, I would be very happy if you could stay with me for a while longer.
It’s almost mind numbing to see how great the Dark Ambient genre has not only grown, but expanded in sound. It seems as if harsh noise and industrial ambience is coming more into existence and coupling with the bleak intonations of Dark Ambient soundscapes and drones. The albums in this list represent change, growth and also homage to the influences of modern day Dark Ambient music. I hope you enjoy these summary reviews as much as I did putting them together.
1. The Owl – Beyond The Vastness Of Infinity
The Owl specialized in noise terror and monstrous modulations that are presented in a controlled chaos offering. ‘Beyond The Vastness Of Infinity’ is an improvised endeavor that plays on the decline of normalcy and the abruptness of ataxia. Rigid guitar tones set against the strident sounds of industrialized soundscapes and eerie narrations set a precedence of tonal despondency. As mesmerizing as it is turbulent, this albums is just another gem in the vast The Owl discography.
Multi-talented, multi-genre artist Aleksis Tristan Shaw, once again dabbles in the world of Dark Ambient music with the twisted oblation, ‘Loud Nothing’. Combining the forces of demented horror sounds, spacious soundscapes and drifting drones, this is a compelling story of electronic proportions. Elongated drones provide a hypnotic state while supernatural subtleties and sequences keep the listener from completely going under with hints of smoldering tension. At times, spacey, and other times downright grim, this recording is a full offering of Dark Ambient amusement and is fascinating to say the least.
‘Zwolf Bagatellen’ is an exercise in harsh frequency delivery and the chaotic amplification of audial discord. Consisting of twelve tracks of white noise, with belligerent modulations, this is a test of determination and surviving the true grit of noise ambience. Filled with abrupt soundscapes and extreme reverberation, this album is a massive overdose of music that is meant to overtake the sense and infiltrate the mind. Listen at your own risk but prepare to be amazed at the indulgence of extreme electronic music.
‘Drone Islands – Volume I /II / III’ is a massive collection of ambient magnificence, containing beautiful audial offerings from an array of artists. This album combines the work of all Drone Island releases to include, ‘Land Rising’, ‘The Lost Maps’ and ‘Stellar’. Some of the biggest names in the Dark Ambient community lend their services to this recording such as Ashtoreth, Kammarheit, BlackWeald, Taphephobia, Alphaxone and Infinexhuma. These types of collective albums are a real treat, as you get a cluster of unique musical achievements in a single album. This is an exemplary collection that must be heard.
‘Illusion’ is an assemblage of beguiling drones with cinematic-like production. Although starting out with a light ambient vibe, the mood swiftly changes on track two, “Untold Mind” and a belligerent tone is thrusted into this space ambient endeavor. These songs sequentially crescendo into a mammoth-like sound and slowly fade out into oblivion before shifting to the next moment of surprising moments. There are moments that are influenced by the Warhammer 40k sound, while the majority of the album is like a dark space excursion. This is an excellent album that fits right in with some of the top names in the genre.
Pavor Nocturnus specializes in flowing light drones that are delivered in an obscure pallet of ominous soundscapes, torturous industrial sounds and peaceful samples and field recordings. All fused together, this is an eerily harmonious endeavor that will be pleasing to fans of multiple Dark Ambient sub-genres. ‘Bosch’ is eclectic blend of soulful modulations that don’t have a particular flow (from track to track), but works very well in the overarching concept of the album. This is an amazing recording that I cannot recommend enough.
Sij & Textere Oris is one of the most fascinating Dark Ambient collaborations on the Cryo Chamber label roster. Although only having released two albums on the giant label, they are both top quality endeavors that are unique in their own way. On latest effort, ‘Reflections At The Sea’, soothing drones are met with enchanting vocal melodies and theatrical reverberations that produces a theatrical-like sound. From piano chops to random sound effects, this album is put together magnificently and will warrant multiple listens. This is definitely one not to miss.
In my opinion, Melanohelios doesn’t put out music often enough. There is something very addictive with Melanohelios albums and I can’t quite put my finger on it. However, I can say that what you’ll get with each album is an exclusive listening experience – one just as good as the next. On ‘The Durance Machine’, there are two tracks of mind-melding drone work that lasts the better part of thirty six minutes. While listening, you’ll find yourself drifting between peaceful experiences and terrifying moments that flow together with extreme transparency. This is another alluring album from such a reclusive entity.
Dark tones and blistering keys set the backdrop for this escapade of quality electronic tracks. With a plethora of samples and soundscapes, this short album is a cacophony of aggressive moment and angst-filled resilience. The genius aspect of this album is the malevolence hidden in the peaceful details – like a field of beautiful flowers in the dead of winter. Even with just twenty minutes of playing time, this five track album is a beast to contend with and will surely please all fans of Dark Ambient music.
If you’re a fan of Dark Ambient music, you should at least be aware of the haunting entity known as Northumbria. With a list of unrivaled albums on the Cryo Chamber label, the stringed duo often ventures out independently and continues to produce quality ambience. On 2021’s ‘Isolering’, we’re presented with four ominous tracks containing nearly seventy five minutes worth of mesmerizing intonations. These extended efforts take the listener down a blackened path and instill a relentless blend of lethargic tones and reverberated modulations that are simply paralyzing. In my opinion, this is one of their best efforts and the mood that it sets is quite compelling.
Dungeon Synth & Dark Ambient Reviews!! 