Old Tower "Spectral Horizons" (2016)

I'm growing rather fond of Old Tower's stellar approach to Dungeon Synth. The Dutch musician has a knack for composing in this mysterious, illusive realm. It calls from just beyond the horizon, always distant, out of reach, a seemingly calm and uneventful place yet its full of intrigue. The music lingers in its moment, you focus your gaze upon a frozen statue, its pose different with each lapse of attention. Subtlety is the power it yields. With its soft synth and dreary drones Spectral Horizons conjurers a gloomy, majestic atmosphere of time, place, culture and nature that is most likely a personal one for the listener, depending on where your imagination wanders too.

Its soft, elongated melodies and gleams of event in the form gong crashes and buried, pounding tribal drums calling from the deep create quite the sense of epic within this aesthetically meek setting. Its instruments play to their quiet selves, no conflicts arise as they do not compete for attention. Its a cushioned production where the sounds meld sweetly, allowing its most eventful passageways to pass a distracted listener yet suck in the attentive captivated by its shy spell. It has some awkward moments of wind whirling and rain transitioning the music but between them long stretches of yearning, ancient synths and archaic choral chants suck one in.

Like The Rise Of The Scepter, Spectral Horizons is split into two halves around twenty minutes in total and its songs have distinct shifts, clear breaks in its tone and instrumentation that could of been broken into smaller sections however it is not labeled in two parts. The nature of the music commands it to be enjoyed as a whole. With a shorter run time one feels the benefit of curation as these compositions hold well for their duration. They may not call for the most lavish of praises but within their own realm Old Tower is produces some unique magic with this project.

Rating: 5/10

Mistigo Varggoth Darkestra "Midnight Fullmoon" (1997)

Continuing our journey through the nostalgic realms of Dungeon Synth, I cast my mind far back as memories reach commands. Into my mind popped this strange cassette I obtained well over a decade ago. My memory of how and why I got Midnight Fullmoon are vague but I remember finding the band name somewhat hilarious. The music itself didn't captivate me since I only listened to it once, at the time I had no knowledge of DS or if that term had been coined yet. It was just a strange and peculiar piece of music from the early days of a now evolved and blossomed sound.

Its opening track wains in a balance between harsh, cheesed synths and whirling, spell bounding wave forms in the background. They relish the low fidelity setting and start to conjure the dark and indulging atmospheres one might expect. The following track nails this, a primitive composition pined by a beating heart as the sound of rain drops lowers the tone and thunder strike reinforce a lonely, gloomy setting steeped and an eerie, mystic vibe driven by its subtle synth lines. Track three is one I remember, or more so its familiarity to a well known melody which I couldn't pin down. The music is fine but the aesthetics are just to bold and punchy, it stands in contrast to what came before it.

At this point a direction, arching theme or sense of place fails to define itself. A swampy song is clustered with a selection of sounds including trumpets that seem to pull it in multiple directions, only to be followed by a dizzying six minute experiment with techno synths and buried electronica drums. It too suffers from an arsenal of contrasting sounds that fail to gel. A brief uplift from the short The Last Rays Of A Dying Sun is a brief glimmer as the following track plays around with bells and reoccurring theme of unsuited instruments chiming in with one another in an unmusical fashion of gap filling.

Its easy to point out flaws and focus on negatives. If I were to rid myself of the focus a charm does emerge, one of mysticism and distant voices of despairing figures. Its dark allure has a safe distance and a couple of passages ways do strike something of memorability, especially that ever present heartbeat. Another consideration is how primitive this was. I have no idea as to how these ideas spread beyond tape trading and its relation to the Black Metal scene. Although records like Depressive Silence had far more to offer at its time, this could be seen as a jewel if isolated in its inception. There are interesting and intentfull ideas at play here, they are just far behind the then curb.

Favorite Tracks: Raining Darkness Of The Forestland Midnight, The Last Rays Of A Dying Sun

Rating: 4/10

Nine Inch Nails "Bad Witch" (2018)

Trent Reznor and Atticus Ross are offically the duo that makes up the current Nine Inch Nails line up of this specific era. Atticus expands his role into songwriting with Trent after having produced all the groups albums for the last decade or so. Bad Witch is the third and final in this series of mini albums following Not The Actual Events and Add Violence which the pair have written together. The three records make up a larger experience which I am yet to enjoy in one session as a whole musical piece.

In my mind this thirty minute ride splits itself into three phases with the first two songs focusing on the lyrical content. Shapely words fit to mold your feelings can be interpreted in many ways but give the focus on the now and the mutation of change, one line in particular "celebration of ignorance" strikes me as being aimed towards the social-political climate we currently endure. Its fuzzy, hard and grizzly guitars channel the aggression into singular moments as its tightly tuned drums propel us through the aesthetic landscape of Industrial noises and layered synths that forge a disenfranchised mood.

Its next songs include the saxophone which adds a distinct voice to two songs that unpack themselves with groaning landscapes, heaving, expanding and contracting as the musics various layers of sound slowly evolve through their duration. The first track has a beautiful break in the middle for layers of sax to work mysterious magic before the track winds down gracefully. God Break Down The Door seems to mirror this approach with the sax taking a backseat. The inclusion of Trent's voice and the lively drum and bass percussive loop greatly ups the energy it exudes.

Moving into the third phase we have our ambience tracks, the first a soundscape piece of paranoia and phobia driven by a brooding baseline that drags us forward as alien, dark and dystopian noises build up a closing sense of dread that culminates to a hellish moment in the middle, letting the music repeat itself over. The following Over And Out is my favorite song from the record. It lays down a foundational drum groove and woven synth sounds for a big grooving baseline to patrol. Ready for extensive repetition, these quirky, off key, ambiguous piano notes float around the music, mixed into their own carving of audio space. The song sets itself up for length but wisely Trent brings in his voice to drive home a narrative that time is running out and the instruments are pulled through the volume sliders before descending into a drone of airy reverberation to let the music calmly fade out.

Its hard to say exactly what I feel about this record. Much of Nine Inch Nails music from this era demands much of your time to unpack the depth these songs possess. With each listen more is uncovered but it is only inches to the mile, excuse the pun. After quite a few listens the music still feels like it has a lot to offer however It does not wedge itself in the mind. I will listen to all three together at some point and then happily move forward with this band who I appreciate greatly but never quite get sucked all the way in.

Favorite Tracks: Play The Goddamned Part, Over And Out

Rating: 6/10

Old Tower "The Rise Of The Specter" (2017)

Our journey through the dark mystical realms of Dungeon Synth continues on and this thirty minute project split into two halves is a peach of a find. Hailing from the Netherlands this Dutch musician has been active in the past couple of years releasing many mini albums comprised of one to two songs usually ten or more minutes in length. Each record comes with its spooky artwork of high contrast, black and white imagery using ambiguity to evoke ancient nostalgia. This one in particular sets an unsettling tone, at first glance one might mistake the hooded figure for a tower next to the brooding castle. On closer inspection the ominous black circle in the sky gives one a sense of night time, as if the image as been inverted and the moon is now black, it sets a spooky atmosphere for the music that awaits.

The darkness of the music is not terrifying, or as mysterious as one might suspect, Old Tower is a uniquely meditative and calming experience as its slow, lethargic approach to melody soaks in its surroundings within a low fidelity, reverberated setting. Bold punchy synth tones loose their cheese in the wake of an aesthetic that's mostly akin to hearing a church organ from within the church itself. The naturalistic echo lets notes bleed into the space of a large hall and when instruments layer up their is an emergence of spiritual sound that becomes difficult to decipher yet heavenly in its presence. It takes on a temporal form so to speak.

The two halves of The Rise Of The Specter have clear progressions which we might normally expect to be split into individual tracks, I believe the split may take homage to tape nostalgia and the turning over of sides. Either way the songs go through obvious shifts and some passages drift from the power when composed with fewer instruments, many listens has worn them a bit thin but the middle phase of the first half is a prime example of the magic at work. Slow scaling synths churn over between distant choral voices and culminate to the menacing rise of a foggy, deep war trumpet, setting an unshakable sense of importance to which a second gleaming synth rises over creating an epic sense of scale.

The records vision is particularly vivid for me, on some occasions I see visions of vast ethereal forest and in overs its cliff side castles battling the walls of fog rolling in from the distance. It is however a truly Dungeon Synth sound and can aid ones imagination in visiting the places associated with it. This particular style however comes with a soothing pace, softness and meditative state perfect for a more relaxing and introspective experience that is rather unique.

Rating: 6/10

Depressive Silence "Depressive Silence" (1996)

My recent return to Dungeon Synth music via Örnatorpet had me on a curiosity binge, another plunge into the depths of Internet search results, aiming to learn more about the genre. I stumbled upon a treasure trove, a list of over three hundred records leading me to discover this classic cassette released by a German duo in the genres infancy. With retroactive ears the influence is obvious and astonishing, however my enjoyment of such a gem may have been tarnished by hearing the trail of successors to this sound beforehand.

Despite the name, Depressive Silence is a rather mellow and peaceful music project that has a distant haunting of darkness beyond the realm of its ethereal, fantasy driven atmospheres. They may have first steered the genre into more adventurous territory than its gloomy, dark, dungeon alike origins. With big and vivid synths and organs the music brings on a hypnotic persuasion as its think back bone of ethereal fog is graced by luscious, serine melodies that echo Medieval ideals similar to Fief.

 The music transpires in a meditative state, undoubtedly helped along by its low fidelity recording that muddies and muffles the clarity of instruments, allowing the reverb and textures to inspire an allusiveness that feels grandiose, heavenly and deeply mysterious. I find myself often envisioning clouds and pearl white sky cities peaking out between the layers of cloud. Its minimal, and powerful, this low-fi approach lets simple compositions of two to four layers come to life in the ambiguity of their chemistry.

This self titled record is a wonderful, calming and hypnotic listening experience, soothing, mystic with a natural vibe. For its time, a very much unique, visionary take on the scarce Dungeon Synth sound. Its first two songs are utterly fantastic however the following tracks tend to blaze the same trail with a little less magic. They may pale in comparison but it is still magic none the less. Really impressive record, no doubt it would of had a bigger impact on me if I didn't know this sound so well already.

Favorite Tracks: Forests Of Eternity, Depths Of The Oceans, Dreams

Rating: 7/10

Örnatorpet "Blodbad Och Efterspel" (2018)

I found this record by chance, browsing through the Dungeon Synth tag on twitter, the bold gothic font leaped at me, screaming Burzum worship. The first track I played on bandcamp "Farden Till Dalarna" certainly reinforced that idea. The covers aesthetics, musical composition and ancient keyboard tones all sounded very akin to the genres origins from over a decade before it would flourish in the microcosms of the Internet. Unlike other projects, or perhaps my ignorance, Blodbad Och Efterspel is rooted firmly and inspired by historical events from Örnatorpet's native country. Set in 1520 the record is themed around the events transpiring a Danish king, Christian II, who took the Swedish throne by force.

The record gets of to a slow start, its opening track consisting of a lead piano, foggy choir synths and the occasional striking of war drums reveals a rather minimal and brittle construct. The instruments show their rigidity with sharp attacks and hasty releases that leave little room for ambiguity and subtlety to work magic, it is very direct. It does however set a tone for an aging medieval era, the gloom of harsh realities ruled by monarchs and conquerors looms as a grave burden.

As the album grows, more instruments wage in. Trumpets and horns impose an imperial persona counterpart to the mystical bells and organs which embellish ancient and nostalgic feelings of a mysterious unknowable past. These thicker key tones and denser compositions start to conjure the low-fidelity magic and allure in the Dungeon Synth charm. Some organic uses of reverb take the rigidity down a notch and as the album rolls through its songs it becomes rather entrancing and mystical as each track takes on its own form without feeling farm from the last. Some majestic, others hold the gleam of monarchs. It all ends up becoming a solid record, fit for a particular that shade of mystique and medieval alike atmosphere.

Favorite Tracks: Farden Till Dalama, Den Nye Hovitsmannen

Rating: 6/10

Erang "Endless Realms And Nostalgic Gods" (2018)

The saga continues, Erang emerges once again from the shadows bearing a new beast. This self titled acronym marks a longer break than usual between records with it being the first to arrive this year. At thirty one minutes its a short and sweet affair that musters a new cultural energy to redefine the sound, yet fit firmly into the identity built over the years. On Endless Realms the wondrous melodies and timely instruments that so often conjure the magic take a backseat to the power of atmosphere as the subtle and subversive dominate the moods that flow forth.

Wandering through domineering settings the records most defining music occurs as atmospheres brood and swell in the absence of obvious melodies. Textural sounds of wind and weather accompanies the slow groaning of horns and archaic voices lost in the distant whirl of wind. Rumbles of bass and sounds of metallic echos enforce a desolate environment as eerie synthesizers gleam in mystery. When in this mode the use of lightning strikes and environmental sound effects go a long way to paint a picture of the scene and setting.

Only in bursts does the record step truly into these atmospheric passageways, a lot of the record swings and sways between the charm of fantasy melody and thus gives it an exciting amount of variety that is held firmly together by recurring tribal vocals that sound very native American to my ears. Some of the vocal performances are very powerful, impressive and deeply humanistic. I'm assuming these have been collected from an archive rather than impersonated by Erang himself.

This mixing of styles and transitioning between approaches does have it shortfalls. The vivid and intense track The Drunken Marshal misses out on its own power as the opening atmospheric piece is shortly transitioned to a juxtaposing release of introspective, mysterious, astral electronic melodies. Both half's feel as if the magic they conjure is short lived, the ball gets rolling and in its peak the mood is cut off.

Voice Of The Wind and the opening song make great use of dirty, rumbling guitar tones and again muster energy from the textural, aesthetic experience which really comes to fruition on this project. Overall the albums path feels a bit mixed and not as precise and formulated a vision as Songs Of Scars is but this new avenue of dark atmosphere mustered by subtlety environmental sounds is invigorating! Ive always thoroughly enjoyed those types of dark ambience projects and it seems as if Erang can work this angle too.

Favorite Tracks: Another Town Another Tribe, The Drunken Marshal, Child Of The Thunder, Voice Of The Wind, Lost In An Endless Peyote Dream
Rating: 7/10

Erang "The First Age" (2017)

The vast and rapid output of Erang continues, a man with an unwavering inspiration for the vision of his kingdom brings us another installment, the forth this year? Seventeen in total? I'm loosing count but alas, The First Age may suggest a return to roots but his evolution as a composer sounds aroused and fertile on a handful of songs littered among a cast of temperate mood setters. Years of experience have blossomed into a craft for intertwining layers of simple melodies on reverberated instruments that hits home every time, commonplace yet spell bounding in the right mood. The First Age is memorable for its strongest tracks which jump of a track listing that doesn't stick to one direction.

A loose concept of returning is presented with the albums titles and knowledge of the various ages within the kingdom. Album opener "1986" has Erang narrating a diary entry under the downpour of soft rain as an industrious click clack bustles away on the typewriter. As his entry draws to an end a storm erupts, leading us on a retroactive journey, replaying clips and soundbites from past records as we swirl through a portal of sound, ending on the first Erang song "Another World, Another Time".  The concept of returning to the origin is explained but thrown off balance as a couple of tracks, notably the gloomy yet enchanting tones of "All Kings Must Die" & "Everything Is A Lie", deliver the ancient wonder of more traditional Dungeon Synth sounds, both their aesthetics and theme strike close to the classic Trolldom by Lord Lovidicus. Its found again later in the record but Erang's inclination to richer, luscious sounds has the vibes expanding into different crevasse.

"Birth Of A Shadow" hits a ghastly, dark note as graveyard bells ring out over a fog that creeps in as the night falls and we fall witness to harrowing screams and roars emerging from pain over the mischievous chanting of bells. Its cinematic, gripping, the music paints a scene to embellish in, one of his best. Followed by "La Nuit Noir" we change direction with another wave of inspiration as a stunning piano piece cries out its burden of mortal agony on crimson chords. Its lead hand far more developed than usual, given fluidity to break to conventional loops that dominate the music.

For me the record is marked by standout tracks, "Escape The Lonely Madman" another that needs mentioning for is slow and grueling of withering dread that collapses into ancient eastern cultural sounds that has one envisioning trade and travelers indulging under the desert stars, the shimmering of fires lighting their midnight engagements. The best of this record seems to be pulling from different sources and I'm not sure how I feel about that, the opening sets it up to be a nostalgic rewind which I didn't feel past a few tracks, on the other hand its an excellent set of songs where Erang continues his progression as an artist, yielding more fruits of the labor than ever. On a final note I just have to say the synth in "Unmasking" very similar to the Concrete Jungles game soundtrack, took me a while to make that connection, very similar synth instrument, had to boot up the game to confirm it.

Favorite Tracks: All Kings Must Die, Escape The Lonely Mountain, Birth Of A Shadow, La Nuit Noire, Unmasking The Dead Oracle.

Rating: 7/10

Nine Inch Nails "Add Violence" (2017)

Its been four years since the last full length NIN record and fans are still crying out for more! At the end of 2016 we got the short EP "Not The Actual Events" and seven months later another short experience comes our way with rumors of a third in the works to make up a trilogy. In my mind this record sets itself up for disappointment with a huge contrast between the remarkable opening track "Less Than" and its ambient, atmosphere driven tracks that follow. "Not Anymore" musters aggression again in a noisy whirl of gritty bassline distortion and ambiguous, eerie synths that culminate with an explosive emergence of industrious groove and textural ecstasy from its crying sirens. It though, doesn't par with the vibes of its opener.

Its to short of a record to bridge the gaps between the different avenues of Trent's genius. It kicks of with retro jiving synths pulsating over muddy dissonant bass noise, the words and rhymes sung with a 90s edge that kicks into a sublime chorus so fitting of that era. In a strange way Trent's "So what are you waiting for?" hook reminds me of Oasis, if anything its a sign of where the musics coming from. A simple power chord arrangement flying high in a dense wall of sound the breaks out from the verses. Its one of the best songs Ive heard from him but that's not saying much given my lack of time with the NIN discography.

The energy, intensity and momentum is switched off instantly as the next two songs roll into the quiet and calm of downtempo electronic ambience. "The Lovers" has a fantastic backbone beat and murmuring melody that plays like the beating of a heart or ticking by of time, ceasing a sense of passing time as Trent calls through the fog of a chilling and lonely soundscape. The following number is similar with Ethereal vibes creeping into its dense and rich layers of sound that subtly moan and groan with what sounds like an effeminate voice buried between layers of sleepy sounds.

The record drones out with an experiment in noise manipulation as the final loop of music at the four minute mark is repeated over and over for a further seven minutes with increasing distortion, eventually devolving into a tonal mess with no resemblance to where it started. It stretches the run time with little avail. Its been an interesting listen but the stellar songs really deserved a slot in a full length project, on this EP they might go by unnoticed by some fans.

Favorite Tracks: Less Than, This Isn't The Place

Rating: 5/10

Manet "Dark Side Of The Valley" (2016)

With my late night rabbit hole browsing of the Internet Ive stumbled into another Doom Jazz artist! Perfect, I was looking for more after being introduced to the genre via Bohren & Der Club Of Gore. Manet is a one man band project from Norway, this being the fifth of sixth releases and on my initial listen I felt the same crime riddled city blues of moonlit streets, smokey alleyways and shady dealings that I have so far identified as the Doom Jazz vibe. With each passing listen the experience grew and although this record has a similar tone, aesthetic and pace, its ambience and vibe didn't journey to the same city, or any place at all for the matter. Although soft yearning pianos and a suspect VST trombone murmur in similar shadows, it doesn't feel as Jazz like as one might expect.

With a template of deathly slow pacing, quite, unmoving drums and slow, cautious instruments one would suspect there isn't a lot of depth to the genre, that's a dangerous assumption. Despite a composition and tonal similarity none of these songs spark that rich atmosphere my previous encounter had done. "No Rest For The Dead" may stir some emotions with its elevated lead piano but mostly the record just passes by, only managing to stir so mediocre atmosphere and soft ambience. The record finds a strong moment with "Movember Pain", a reference to mustache growing? The soft groaning of distant whirling synths over its backdrop strings gave me goosebumps!

I believe this records shortcomings is in what is most likely a digitally composed piece with VSTs and the like. Because everything is tentatively slow, soft and quiet, hearing the distinctions of an electronic instrument isn't so obvious. Listening back to Sunset Mission again in comparison It becomes very vivid how much life and character each musician breathes into their soft and subtle playing. Manet also misses a very expressive saxophone or trombone like instrument that can act as a voice for expression amidst the slow smokey atmospheres. Its a reasonable effort but obviously amateurish in counterpart to a professional Jazz outfit.

Favorite Tracks: Movember Pain, Obscured Visions

Rating: 5/10

Ho99o9 "United States Of Horror" (2017)

The New Jersey duo Horror, stylized with three nines, blew me away with a wild performance at Download Festival last year. Their anarchistic fusion of Hardcore Punk and Hip Hop has a lot to offer, unfortunately their EP Dead Bodies In The Lake didn't quite live up to the hype bar one song. With their debut full length, things are different, the ideas are in sync are ready to bombard us with rebellion and chaos. Released a few months back, this one managed to sneak past me, in a moment of excitement I foolishly ordered an import copy from America, rather than checking Amazon... A silly mistake that cost me a pretty penny and had me waiting a few weeks more to listen. Given the bands underground vibe I figured it would be hard to get hold of but as everything is commodified these days its no surprise to hear they are signed to universal records with worldwide distribution.

The music is the message, and horror's message is a weapon, aimed at our societal norms and the values that need questioning. Kicking off with a child reading a corrupted pledge of allegiance, swearing loyalty to the nines, the duo fly head first into the critical mindset to set a spotlight on the perverse and corrupt. It rattles off at a sprint, flying through short burst of songs, swaying between its fast guitar thrashing metallic Punk and the dark, disturbed Hip Hop personas with an unusual ease. The styles are held together with a strong Industrial current of pounding mechanical drums and pumping, dense electronic synths that electrify the sound and give power to the wild energy the pairs dissatisfaction inspires.

Retaining a twisted atmosphere, the album drifts into its Hip Hop persona effortlessly, the tropes easily corrupted to fit the anarchistic mold, the fast shuffling Trap hi-hats and dirty sub baselines are menacing. "Hydrolics" takes up a fantastic opportunity to lace the track with a thick layer of sarcasm that serves their purpose well. Its a real collision course of sounds that the two use to forge a unique and distinct person that comes to fruition in the diversity through the track listening. Each time they lean into Industrial noise, Hardcore thrashings or devilish Hip Hop, it comes out the mixer with a distinctly different sound yet through all this diversity the album flows a charm.

I enjoy this record more so based on my mood and apatite, where sometimes it isn't as appealing or enjoyable. Objectively, I think all the positives here really add up to something special. As much as I like the idea of the chaos this duo brew, It isn't always my preferred taste. The way they have fused styles is inspired and unique and this debut full length comes together with a plethora of ideas and some solid direction. From here the coin could spin either way, I hope the continue to push and redefine themselves as the best could be yet to come.

Favorite Songs: Ware Is Hell, Face Tatt, Knuckle Up, United States Of Horror

Rating: 8/10

Oranssi Pazuzu "Muukalainen Puhuu" (2009)

Finnish band Oranssi Pazuzu have been one of the most impressive in recent memory. Their blend of psychedelia and Post-Black Metal has been a breath of fresh air and with this recently released to bandcamp I was under the impression this was their new album but alas, upon setting out to write this blog I find out its actually their debut which has got to be a sign of strength given that this In no way felt primitive, conceptual or like a band taking their first steps with their sound. "Muukalainen Puhuu" is a fully formed beast of darkness, poised to drag you into the abyss with its eerie, haunting atmosphere fit for the unending shadows lurking deep in the cosmos.

In its metallic element its distortion guitars glide forward with nefarious tremolo picked riffs, shaping up to pack a punch with lively aggressive rhythmic assaults which absorb themselves into the ongoing eeriness, never a frontal force but another elements in the melting pot. Bold pacing baselines shape the tempo as the drums theatrically rattle and cue the shifts in intensity with their loud, peaking cymbals that make quite the thunder. Between it all, lurking mysteriously, organs provide the texture to unsettle and the accommodating synths, distant and inhuman, accenting the darkness like voices of ghosts they whisper their cruelty while in the musics trance. The presence of twisted howling screams and groaning guttural taunts drag the human element in.

The album plays well, shifting intensities, shimmering acoustics lead the mellower moments with a prominent roll in the psychedelic tone. There is a good variety that holds the same distant, spooky and lonely vision of the cosmos. Perhaps intentionally the song "Dub Kuolleen Porton Muistolle" has a Dub baseline prowling throw the song from start to end, one of the albums best with its rich yet strangely relaxing atmosphere. The drumming is a little rough around the edges, perhaps to effect but the cymbals can bring a lot of clatter to the balance, not always to my taste. Its a stunning debut, one that could of passed as their next record, in finding that out though Ive learned they have released another four track EP this year I cant wait to get my hands on.

Favorite Tracks: Dub Kuolleen Porton Muistolle, Kerettilainen Vuohi

Rating: 8/10

Navie D "Hyper Light In The Key Of D" (2016)

Often eliminating the percussion section and stripping back the layers of composition, Canadian producer Navie D chooses a striking change of pace for his full length debut. The ambiguous, alien sentiment of his striking synth driven style finds itself stricken from the mold of Hip Hop beats into an ambient, atmospheric piece resonating in mood and tone. In this change of pace a lot more convention is found in the often small set of instruments that grace us with intuitive minimalism.

 With a low density of sound, singular noises glance past one another over the rumble of distant buzz saws, fostering an atmosphere spacious, distant and ambiguous by design. With token instruments and a keen ear for volume, reverb and all things to further the desolation, a rather stark and lifeless feeling emerges from the small set of synths that hold these songs together. With no crescendos, progressive builds or moments of climax we very much step into the abyss for a brief glimpse at the beyond as lingering glimmers of melody forge the moment with a handful of notes.

In a fair few moments the album musters up a whirl of rhythmic energy where a buzzing rattle inspires the mechanical, percussive march of electronic dissonance on "The Hanged Man". A subdued pace has the striking of anvils and clanking of ratchets keep tempo with an industrial menace on "The Emperor". Half of the tracks here find mechanical tempos, devoid of groove and intent on atmosphere. They bounce back and forth between the minimal tracks which bare little resemblance to melody and tune.

It ends up being a somewhat impressive record that could pass you by if you fail to give it your attention. Already flirting with the void its alien synths, unsettling noises and eerie vibe may become background noise if your focus is consumed. Its lack of event or immediacy may leave you with little impact or memorability but in a way it feels as if the place we visit is intended to be forgotten. A change of pace that isn't fresh or original but well executed. My favorite moment is the end, "Credits" which for a brief moment leaves us with a whiff of melody and fading sentiment.

Favorite Tracks: Home, The Hierophant, Credits

Rating: 6/10

Sorath "Devil Daggers OST" (2016)

Devil Daggers is a hellish, brutal and difficult game that hails back to the glory days of fps and Doom clones, where the themes were menacingly dark and demonic beasts assaulted the player, putting them under an intense physiologic challenge. The game was too much for me to handle, in terms of staying alive. The free soundtrack that came with it caught my attention. There is nothing quite like the sinister soundscapes these dark ambient tracks can conjure up and so the four tracks that barely make thirteen minutes have been playing over and over. I could find next to know information about who made the music, Sorath is simply the name of the developers studio attached to the MP3 files that came with the game.

"I" starts with the sound of a dead orchestra, dense layers of deep synths and organs unite with a tonal presence that commands attention as in the distance shimmering voices and bells can be heard. Its bright, luminous yet shrouded in mystery as no comfort can be drawn from its presences. "II" Plunges us into the darkness with whispering noises lurking in the shadows. A prominent voice calls out like a cry from the abyss, a warning to an intruder. With disjointed, alien synths a few notes feel devoid of musical meaning but speak like words of the danger approaching. The pitch shifting and distortion of this instrument is fascinatingly detailed and dense in its short bursts of life between the darkness.

"III" sets in the waves of fear and terror as wretched noises observe from the black culminating to a section of heart racing paranoia as pounding industrial strikes pound rhythmically alongside shrill screams and a growing arsenal of hellish sounds as the walls close in to a narrow escape that provides some respite despite a sense of dread not over. "IV" has a sense of conclusion as a melody creeps into lead synth. The shadowy noises are in retreat and its as if a bright light is shining deep into the abyss, revealing its corruption through the oddities of electronic distortion. It ends with the darkness still breathing, awaiting its next move.

Sorath has created a very memorable set of short dark ambient pieces that are both cinematic and nontheatrical in nature. There is a plethora of textures and intrigue to the sounds at play, they don't conclude and so the music hangs in a dreading sense of ambiguity. A lack of melody or convention leaves each listen feeling fresh new, and not so memorable as the record does not stale with each returning listen. Each time the harrowing adventure starts over again.

Rating: 7/10

Forest Silence "The Eternal Winter" (2002)

This short, twenty minute, three track demo is Hungarian Black Metal duo Forest Silence's third before landing a full length record in 2006. Its part of a patchy discography where the tone, aesthetics and style shifts from each release. The previous demo is a collection of dark, weary ambient soundscapes and their one album is very clean and riff driven. This demo however carves itself a niche of sleepy, hellish, atmospheric Black Metal that I could only compare to a few bands, I Shalt Become's "The Pendle Witch Trials" comes to mind, however this release has a lot more aggression, fire and menace about it than the witch trials.

The first two tracks follow a similar structure where the same riffs and patterns play over and over, back and forth while the noisier, less coherent instruments grow the atmosphere that surrounds them. Deep nefarious, windy synths lead the tone as they resonate from behind the other instruments that stand in front. They play singular notes at a distance from one another, letting the attack of the instrument slowly expand out. The drums are rather thin and pasty, lost in the mix however a deep thudding tribal drum makes a distinctive mark on the songs like the heart of darkness pounding away. The guitars alternate between strung out chords and snaky tremolo riffs, they too are thin and buried in the muddy mix. To much effect they compliment and add a density to the synths despite being smoothed by them at times.

Its a low fidelity affair where the messy mix lets the gloomy, unsettling synths create an engrossing atmosphere. The vocals initially feel laughable, cliched weak raspy screams groan out over the instrumental with echoing reverbs. Their balance however works amazing for the music, another snarling malicious voice to strengthen the harrowing atmosphere. The two songs are equally brilliant in their longer run times and to wrap it up a somber and lonesome ambient track leads the demo out.

Its an instrumental track with sweeping synths like winds, a soft murmuring bass and lonely melody calling out over the desolate, baron landscape. It evolves with some acoustic guitar accents and bongo drums playing a soft rhythm. It doesn't aim for a climax but fades away and serves as a calm and solemn unwinding. Another memorable song and merit for a fantastic demo from this obscure Hungarian duo.

Rating: 6/10

Majeure "Union Of Worlds" (2015)

Another discovery from within the Pittsburgh electronic scene, we have "Majeure", the pseudonym of composer A.E. Paterra who cites Vangelis, Steve Reich and Philip Glass as inspirations. Unfamiliar to me they will be the subjects of my research as once again Ive found another interesting record that dives into a side of electronics I'm very fond of, the Ambient, Minimalist and Sci-Fi oriented soundscapes that could set the tone for a movie, video game or your imagination. "Union Of Worlds" is a record of variety that holds the tone, mood and atmosphere intact as each of its six songs take a different approach with intensity, pallet and tempo.

The record doesn't play through in two halves, but of the six songs you could easily split them. Three tracks have percussive tracks with synthesizer hits, the other three are slow, minimalist ambient soundscapes. The albums opener "Overmind" goes gently through the motions with sweeping synthesizers coming in from the sides and its main melody drones indifferent to its surroundings throughout the track, similar to the style of Tangerine Dream. "Appalachian Winter Blues" is my favorite track by far, the strings sound gorgeous here, eerie, deep, mysterious and foreboding their slow progression creates a sense of danger and wonder that is to be remembered. Its linear and singular, on instrument that has maybe three or four separate instruments coming together to create a density to the sound. A fluttering noise accompanies it, like flocks of birds in the distance.

Of the percussive tracks "Physis" stands out for two reasons, firstly its lead instruments, a buzz saw wave, creates a sense of two tone melody through volume shifts as it continually attacks. Giving it a sense of pace and urgency the synth drums rapidly fire away without a groove. This is a machine like continual pounding that pitch and volume shifts for a sense of variation or change in its continual motion. "Posthuman" implores a slight sense of groove with more open space between each strike but again finds a machine like vibe that doesn't feel Industrial but simply inhuman with a strange Sci-Fi vibe. Its what I adored about this record, how well it tapped into a particular niche. I also loved how momentary these songs were, with very little overall progression, no direction shifts and just continual droning they brought out the essence of their vision effortlessly for me, the listener.

Favorite Tracks: Appalachian Winter Blues, Physis

Rating: 7/10

Oscillotron "Eclipse" (2012)

This record, Oscillotron's debut, is much like its successor, a synthesizer journey through the stars led by astral keys and stark minimalism, letting the waveform textures do the talking. Many of its songs mimic the same experience and feeling of observation, one has a sense of distance from events yet understands its magnitude as the record strolls through the cosmos. Overall its a little unpolished in comparison, fruity loop drum kits stick out to those who know them on "Oracle". The various synths achieve similar vibes but without as strong a chemistry to be truly engrossing like "Cataclysm" is.

These tones and key choices are a little louder, chirpier and focus less on subtlety and more so on the power of the alien melodies. There are moments where this clicks and the atmosphere is creaked further open. Mostly though the synths hammer away through spacey scales with a retro vibe similar to the early days of electronic music where it was more novelty. Its what makes the record different and that works well with a soft percussion track like at the later stage of "Assembly".

Another big similarity is the track "Terror", a slow and brooding song that builds up a menacing atmosphere of... you guessed it, terror! It progresses in a similar way to "Mutation" but doesn't find the same climax, it tends to fizzle out after a flat snare drum comes in. The watery sounds in the intro of "Eclipse" give a sense of confinement, as if in an underground cavern filled with water. The eerie background synth builds a sense of tension and the upfront buzz saws play out like a mischievous monster. Glitchy computer noises arise too and it gives off a confined vibe which was a nice shift from the otherwise distant nature. Its both a similar and different record but musically its aiming in the same direction but not pulling it off with the finesse its successor does.

Favorite Track: Eclipse

Rating: 6/10

Oscillotron "Cataclysm" (2016)

Here's a tip on how to find music you like, stalk people! No, joking aside the way I discovered this record was by reading a review of another record I recently enjoyed. I thought "this person knows what they are talking about" and decided to look at other albums they had talked about. Despite being vastly different I found a string of records from the Pittsburgh electronic scene and this peach from Stockholm Sweden that demanded my attention. David Johansson is the one man band Oscilotron, an electronic artist, who composed and recorded these spectacular 40 minutes in its entirity.

Much like its bleak, pale and near greyscale album cover, the music conveys a timeless sense of scale and atmosphere through somewhat colorless electronic instruments. With dense waveform synths and textural sounds they harmonize without melody, illuminating with a cold, lifeless and spacious vibe capturing the essence of the void. Its not all about the empty vastness, moments of this record perk up into life with adventurous, quirky melodies yearning a sense of exploration, journey and destination. In the track listening between each eventful musical moment there are slower, drawn out atmospheric pieces painting vivid soundscapes of the nebula. Its closing track is rather chilling, a brooding atmosphere of tension and unnerve that winds down with a sense of dimming light, creeping out while staring fate in the eyes.

It neither starts or ends in a "happy place" and for the most part doesn't convey much direct emotion. Listening to this record one will feel like an observer, watching over travelers who eventually meet there doom. Being disconnected from them directly we are treated to a dense and scenic atmosphere that will let your imagination run wild. For the most part a selection of luscious synths drone out their textures with subtle shifts and minimal melodies. These eventually lead to grander moments where the baselines pick up a rhythm, the drums cautiously take command and the synths will evolve into sturdy melodies along with the inclusion of a few other instruments, sometimes pianos, organs or event what sounds like an overdrive guitar in one song.

"Cataclysm" is an impressive record. So precise and focused it is an expression executed with vision. Every inch of sound feels perfected aesthetically and in terms of musical satisfaction it brilliantly drifts in and out of its ambience to strike with engrossing moments of magic. Exceptional record, one I feel will be with me for years to come!

Favorite Songs: Twlight, Mutation

Rating: 9/10

Neptune Towers "Transmissions From Empire Algol" (1995)

The second of two ambient records by Norwegian Darkthrone musician Fenriz has little of the ambiguous charm "Caravans To Empire Algol" did. Its another oddity of transforming sounds with little direction or immersion to offer. In its merit there is an aquatic quality about the first songs choice of sounds, sometimes resembling whales, however it amounts to very little in the grand scheme of things. The first tract slogs its way through a collection of friendlier sounds with less drone and fuzz than its predecessor, a chilling organ pops up in the middle and other electronic leads take over following it. Although unnerving, mysterious and illusive in their own way they never get to add up to anything grander with what mood the instrument sets simply drifting out into next shift in the song, dispelling what little magic it conjoured.

The second track bares an uncanny resemblance to Kraftwerk and possibly "Endless Endless" with similar electronic tones and even the melodies sounding distinctly similar if not reminiscent of their approach to composition. It could also be a case of the equipment used having default sounds but I have uncovered no information on how it was composed. Again it drifts through a set of sounds however the aimlessly dispel the vibe when they transition with little correlation. The first record had more ambiguity and mystic going for itself with its dense drones and occasional whiff of a tune in the baseline. "Transmissions..." is more accessible but in that the lack of direction, purpose or composure is further exposed, resulting in a rather forgettable experience if not mildly enjoyable in the mood for ambience.

Rating: 2/10

Neptune Towers "Caravans To Empire Algol" (1994)

This record had the makings of something great, a mysterious album cover, the promise of dark and eerie ambient music. Side project of Norwegian Darkthone musician Fenriz, at the bands creative peak and released on Moonfog Productions. Unfortunately the music didn't quite live up to what one might expect but nothing appalling is in store, rather a mediocre ambience piece that does enough to define itself with a touch of memorable atmosphere that it can call its own.

An organic horn like noise confronts us as it morphs into a deep wall of fuzzy noise. Perilous to any tune or melody it shifts and transforms through bizarre and claustrophobic sounds packing sharp wave forms into a narrow range of frequency. Eventually a deep plodding melody creeps into the forefront to find itself quickly replaced by roaring noises and sweeping hisses. This continual metamorphosis resembles organs at one moment before our baseline returns to be replaced by a fluttery, swirling, heaving growth of sound around the twelve minute mark. At the sixteenth minute the rapid fluctuations make an uncanny zap lazer sound, dispelling the ambience with its lack of subtlety. The second track starts by falling to a black, unnerving atmosphere with low, creepy, rumbling distortions, soft and hidden in the tracks reverb. The rest mostly experiments with cascading sounds often feel as if they are descending, being sucked down into the darkness before ending with some rather paranoid sounds.

Its a strange and unusual experience, reminding me fondly of old black and white sci-fi horror movies with its stark and and adventurous use of primitive technology. I now find myself fascinated as to how this record was composed, in many moments the turning of knobs and dials can be felt but many of the tones and sounds created are quite mysterious and do not lend themselves to be understood. The process behind its creation could well be remarkable as its ambiguity serves to be its strength. Great listen but I didn't experience much that warranted my return after a few listens.

Rating: 4/10