Erang "A Season Of Sand" (2022)

 

As the first of five new Erang releases I will be covering, this quintuple format of themed four trackers amounts to ninety minutes of new music. Each "season" has its flavor and sand is my favorite. The opening Guardian Of The Names emerges from is eerie low fidelity Dungeon Synth intro with breaks of Persian percussion and exotic instruments that conjure visions of sand swept cultures and societies bustling with life to a backdrop of endless dunes. The music that follows has a unique fusion of quirky, disjointed fidelity distortions and a slow soothing melody drifting at dreamy tempos, alluring one into its vast nightly journey.

Oasis Mysterio lumbers into a peculiar Jazz Fusion jam, as a lead jiving colorful keyboard sporadically splurges its notations with a jazzy free form over the dulled minimalist synth backing behind it. Unique, as quite a few things in this project were. Sands Of Innocence peaks my interest however, its unusual chemistry of temporal tones, cloaked in mysterious voice suddenly bursts apart, teeming with life as a 90s dance beat jolts the second half of the song into life. Very memorable.

Rating: 6/10

Napalm Death "Resentment is Always Seismic" (2022)

As the uncompromising titans of extreme music, now spanning five decades of music, news of a Napalm Death will always have me excitable. One can rely on them for quality, their fervor and tenacity an enduring quality continuing to yield fantastic releases to this day. Somewhat alike Apex Predator, I came off this thirty minute EP a fraction lukewarm. If its a maelstrom of ferocious aggression or uneasy atmospheres of burden and disgust, Napalm deliver swiftly. Navigating around a couple of cover tracks the following songs don't quite deliver the edge of its opening numbers.

Kicking off with Narcissus we steadily drift, steamrolling without breaks, a runaway train accelerating steadily and perpetuating the madness of its dizzying speeds. Riotous power chord riff machinations and pummeling blast beats flex of the groovy interchanges, culminating in a stomping conclusion. The pace evaporates immediately as Resentment Always Simmers takes a brooding stroll into the darkness with its stripped down percussion and tremolo guitar lick churning away at the dissatisfaction.

The following original songs lurk in the shadows of the ideas explored here. The choppy assault of Harris's frenetic power chord splaying, Barney's "osculating larynx" and the powerhouse rhythm section never quite scale these peaks again. People Pie is an interesting cover, mostly its lyrical proposition of animals eating humans provides food for thought in a disturbing atmosphere led by massive rumbling basslines of might and gristly texture. Don't Need It stands out for its blitz Thrash Metal guitar chops, wild unruly Slayer akin guitar solo and screechy vocals.

The closing title track too, a Burial Dirge of haunting vocals, unwelcome synths and heavy gloom makes its mark too. The key take away for me was how the covers stood out as the other songs circled similar ideas to that of the opening. With a lot of albums circling the thirty minute mark these days I can see why this is actually labeled an EP, perhaps in the bands mind not reaching the threshold of quality reserved for full lengths. Either way, its always fantastic to tune in with Napalm and hear what they are up to! Resentment is Always Seismic offers up interesting ideas worth your attention.

Rating: 6/10

Gelure "Into The Chesfern Wood" (2020)

Originally I passed over this debut album. The Candlelight Tomes was an interesting record, one with a promise of uniqueness that found me in my hearing recovery. Reaching out for usage permission on whim, Gelure has now become a regular rotation in my streaming diet of music. Into The Chesfern Wood has perhaps become the preferred of the two, its tone and mood more consistent with its charming meld of Dungeon Synth mood and Medieval Fantasy melodies feeling more whole together.

Its pallet of luscious plucked stringss and broody atmospheric synths has quite a dexterity only explored deeper in two of its tracks. With strikes of deep drums, Entrance To The Nekkethian Dwarves musters quite a force with its powering synths pushing towards abrasion. The track then pivots to an Electronic lead one might associate with Berlin School. A slightly Psychedelic moment to see out one of its more forceful songs. The following Tower Of The Wailing Moons sets sail softly with airy keys to cool the spirits. It eventually pivots to fear and wonder with nightly astral synths hinting at a forbidden darkness lurking nearby, a tone the album doesn't revisit.

From their its consistency returns with scenic castles and flushes natural beauty all wrapped in its typically nostalgic guise. The production is interesting, although likely to be all virtual instruments, the ambiguity that blurs edges has a slight sense of wobble in the pitch that could just be my imagination. A possible production technique that really aids the low-fidelity charm, as here it doesn't feel obvious yet the mood and atmosphere of the album embellishes the spirit of memories lost to time and decay.

Rating: 6/10

Soley "Mother Melancholia" (2021)

 

Last Christmas I experienced the magical resonance of a sparkling wintry record, Endless Summer. On the heals of that excitement I leaped upon this latest release. What I've found is far from that beauty and spirited charm. As implied in its name and powerful album art, Mother Melancholia wallows in the pains of an eternal attachment to a melancholy Soley explores with her music. This time the construct is sparse and atmospheric. Little inklings of song, blossoms out of the darkness with chilling piano melodies fading into bleak elongated ambiences aligned with hints of deviousness on tracks like Parasite and Elegia.

 There are scarce moments of warmth but Soley mostly sings with shyness from a vulnerable place. Accompanied by lonely brooding instrumentation the record often feels sad and lost, as if wandering through limbo for an eternity. Many of the compositions leads to swells as the gentle atmospheres steadily gather gusto. The devilishly slow and sluggish Blows Up has a grabbing two note guitar riff to conclude the progress. Its so apt and timely as much of the record is with its aesthetic and musical choices. Many ideas play out to a point.

Mother Melancholia is a fine record, bravely exploring despairing lonely spaces and other degrees of human sorrow. Where it falters is perhaps in the listeners mood. Contented to relax and absorb, then its a fine experience but its charm is a calm current to gently drift with. There isn't a lot to jump to for hits of excitement and skipping around the track listing reveals a lot of lengthy ambiences. A fine but fair record. I do like the darkly mourning of Soley's performances but without a counterpart, it does feel hard to get excited about in its persistent gloominess.

Rating: 6/10

Den Sorte Død "Den Sorte Død" (2021)

All to keen to explore this newly discovered Berlin School niche, I snapped up this side project by Offermose. Now, I feel a little burned by an impulse decision. What I initially heard at a glance alludes me through this dreary bleak experience that Den Sorte Død is. Translated to The Black Death, its inspiration makes sense of its glumly harrowing tone that hopelessly drifts through a sombre graveness. Track after track drones with an empty loneliness devoid of hope and wallowing in defeat.

This context has given me a greater respect for the record but before learning of this, I was somewhat dulled by it, having anticipated a more adventurous set of songs. Instead its a grueling journey of pale sorrow, a defeated human spirit trapped in perpetual misery, drifting from place to place with no uplift insight. The occasional swells of dark and menacing music gives a sense of seeing the horrors, carcasses piled high and the burning of bodies, a particularly grim endurance for any soul.

 Without the context, these aesthetics gave me strong cosmic vibes. Atmospheric synthetic strings and meandering saw wave melodies painted the astral skies at night. Thus initially it reminded me more so of Grimrik. There is also a ghostly wobbling synth instrument suggestive of cheesy old school horror soundtracks. Because of this it all felt a bit empty, set in the vacuum of space with an eternally drifting nature. I've come to enjoy it more now, the ending of Det Tabte Slag being a memorable note as it descends into gristly and unsettled territory but otherwise I could of passed this one by.

Rating: 4/10

Offermose "Stilhedens Tårn" (2020)

 

The journey continues, as it always does, now I find myself floundering blindly into a new scene. So familiar, yet built on a different tonality. The engulfing spells of Dark Ambient and nostalgic mystique of Dungeon Synth, channeled through shivering soundscapes, find a convergence on classic synth sounds resurrected from decades gone by. Known as Berlin School, my introduction has come through a musical darkness which I adore. Arcanist was my first and now I'm unearthing more of these broody plunges into the shadowy realms. Hinged on electronic tones, keys and modern conventions that are more often seen as fun and entertaining synthetic instruments than ones to conjure the eerie and ambiguous as Offermose does here.

With all that said, Stilhedens Tårn and its six chapters use this electronic force sparingly, acting more as atmospheric conjurings that journey somberly and morph into satisfying, driving swells of emotion. The haunting whirl of winds, unsettling ambiences and rustling sounds of nature nestle a rich sound design for its synths to bring haunting drones and chilling melodies too. The whole affair feels organic and natural as its potentially pristine synths are dressed down with an aesthetic tarnishing to ground the music in an earthly feeling. It does come in degrees though, Sjælens Ruin finds itself morphed midway by tight synth arrangements, playing out woven around a steady and simple percussive groove of snare and bass kick.

Much of this record lingers on an ambiguous spot, lonely yet beautiful. Meditative and broody but never drifting to far to the bleak, its poise hints at something devious with discernible human voices creeping into the backdrop on occasion. It all unravels with Tvillingeflamme as the pains of a despairing voice are muffled under a sinister vampiric synth. The arrival of a demonic voice and sounds of strikes paints a torturous scene in the imagination as the flame of the song flickers out with a funeral macabre air to it. A stunning way to seal off a wandering set of mysterious musical spells.

Rating 7/10

Lena Raine & Kumi Tanioka "Minecraft: Caves & Cliffs (Original Game Soundtrack)" (2021)

 

Following in the footsteps of C418's iconic Minecraft Soundtrack could of well been a daunting task. It doesn't seem to be so for Lena Raine, who has assumed the role of lead composer with no hiccups or birthing pains. Her contributions so far have been both apt and inspiring. The folks at Mojang have made the smart decision to stick with the powers of soft ambiguity and melodic resonance that powered the original music. Lena however brings a different flavor that suits the games spirit yet deters from its electronic origins a little. This new collection of songs stands tall alongside the originals, adding a new and welcomed variety to Minecraft's stellar atmosphere.

With four of her contributions, the influence of great ambient composers is a clear one. The luscious reverberations of minimal yet spellbinding pianos has an immediate parallel to Brian Eno & Harold Budd's memorizing The Plateaux Of Mirror. The airy ambience and spacious echos give magic to the enchanting piano performance. With it, however, comes a more adventures spirit! Chirpy key chops and subtle percussive drives on Stand Tall bring a playful charm. Left To Bloom and Wending brood groaning textural tones into the songs, worming from humble beginnings into dense swells of mood. The latter brings in these dreamy slices of bass guitar, crashing down to earth with slabs of notes. Song four, Infinite Amethyst, perhaps comes closest to home.

Left out of the game itself, for now, Ancestry is exciting in its embracing of the darkness. Set for the Deep Dark biome, its pushes into the shadows with deep swells of bass noise and shimmering sounds held only to the light by the echos of a piano that gently pulls the explorer through. Its conclusion is thrilling too as chilling alien voices can be heard, perhaps the voice of the Warden itself? Otherside Is the other track to break the tone. As an in-game record disc, its lively drumming, skipping pace and layered composition somehow holds over a little of that classic ambiguity, as the main upbeat melody and lead instruments feel sent from anothers quirky dream.

Sadly, Kumi Tanioka's three contributions feel underwhelming in comparison. If intentionally sparser songs to pace the games soundtrack, then so be it. To me, they mostly play like stripped down versions of the first four mentioned tracks. The sombre piano performance often wanders into lonely territory devoid of magical reverberations. Its swells of atmospheric pads below don't have the same intensity to blossom the music. They do however sound lush and moving in the peaks which make up a small portion of each song. These compositions just lack that little sparkle of oddity that made C418 and Lena's contributions resonate so wonderfully.

All in all, these songs only add to the game and with this soundtrack released approaching the final part of the update, I am hopeful that maybe each future update will come with some complimenting soundtrack to enrich the experience. The rest of the game has evolved over the years, so why not its music too?

Rating: 7/10

Old Tower "The Old King Of Witches" (2021)

 

Embarking with a renewed spirit and refined aesthetics, The Old King Of Witches is both familiar and surprising. Having established a niche within the confines of Dungeon Synth, this ten track release of three to five minute spells has Old Tower side stepping their current conventions mastered on The Last Eidolon. Now we have what feels like the background ambience to a Horror movie, an impression marked by its ghastly jump scare conclusion on the opening track Wych Totem. At its conclusion a harrowing, tormented scream lunges out of the dark as the song then fades to black.

The following Night's Spell gifts us an astral respite, a contemplative soundscape not adrift from the likes of Steve Roach. From here, the plunge begins as ambiguous atmospheric ambiences and mischievous eerie sound design conspire. Brief reprisals of that astral charm can be heard infrequently but otherwise is lost between its dark, lonely voyages through shadowy caverns and hallowed grounds. It takes on a burdensome delusional experience, as flourishes of unsettled synth drones briefly add disorientation with a psychedelic quality, akin to a tiresome paranoid mental trip. Although the horrors of the opening track are never quite as vivid again, this spooky journey does end with a warmer note as closing track, Temple Of The Blue Sun, brings about a little of that cosmic charm again with its final passing cry.

Reflecting on Old Tower's previous sound design, the difference here is staggering. The temperament of its esoteric suggestions and the brooding ambiences of emotional unease are ripe for the imagination to run wild. The balance is charming and satisfying, feeling complete as a collection of songs. I'd also bring praise to the album art too. Corpse paint is a tired tradition but paired with the creepy skeletal fingers and candid nature of the photo, its suggestion of stumbling across a beast in a cave is fantastic and really ties up what this record is about. You can picture that cursed creature lurking around for eight of these ten songs. The Old King Of Witches is a very well inspired and executed concept.

Rating: 7/10

Arcanist "Poseidonis" (2021)

 

Fortune or chance, whatever your fancy, had me stumble onto this record that speaks to a particular niche I've been into as of late. Perhaps it is more likely this luck was bestowed by internet algorithms figuring out our inner workings from the mass of data our listening habits feed it. Akin to Old Sorcery and Jim Kirkwood, this French artist Arcanist steps right into a sweet spot, close to the middle of a cross section between the gloomy Dungeon Synth but more so psychedelic 70s Electronica. The latter here being described as "Berlin School" is something I will have to research into further.

For me, this record feels shrouded by its own mystique. Slow, brooding and atmospheric, the excitement of its animated crescendos feel sparse and rare. Their magnificence often eclipsing the magic of its soothing build ups which conjure a majestic calmness through luscious interweaving electronic instruments offering both texture and melody to engross with. Distilled in unsettled atmospheres of creeping mischief, its synth tones and keyboard notes echo a little in the vein of Progressive Rock, most notably a similarity to Contact and the nightly chill of Oscillotron.

Its two part, seventeen minute epic, The Death Of Malygris, bursts this welcoming temperament apart as we plunge into the horrors of nightly creatures. Woven percussion and dense buzzing baselines usher in nightlife Synthwave vibes, vaguely reminiscent of Dead With The Dead but vastly more artistic. Its a wonderful execution of elements that play out an eventful journey leading into to big thematic theatrics with its densely orchestrated introduction to the second half. Here, a brief crossover between the records opening vibes. It then dismantles itself into an eerie Black Ambient horrorshow.

Its final track leaves me unsatisfied, a curious experiment in tonality and melody, shifting from one distinct arrangement style to another, neither of which ever feel comfortable. It fizzles out to the fading embers of an airplane engine drone that ends quietly. As a whole, its a stunning adventure but one that ends with the adventurer lured deceptively, lost forever in endless caverns of ruin. On paper an intriguing way to journey a record yet for me it never quite works? A small quarrel, Poseidonis is remarkably wonderful album, a nightly, mysterious and esoteric journey forged through the fantastic tonal ideas of an era long gone by.

Rating: 7/10

Backxwash "I Lie Here Buried With My Rings And My Dresses" (2021)

 

As a personally highly anticipated record, this one did not disappoint. God Has Nothing To Do With This grabbed my attention with its metallic crossover appeal, uniting the darkness available to Metal with the grittiness of Rap, uniting them with renewed artistry. I was swooned by the grabbing expressions and impressed by Backxwash's frothing flow. Returning a year later with this brief twenty two minute album, she's bottled the evil of the Sabbath inspired predecessor and unleashed it again in a darkly Rap context that flirts with the danger of channeled noise and anger.

As the record plays, it descends. The overall tone gradually lurches into the bowls of hell as drum grooves groan with the pains of its horrorscapes. Driven by deep, gritty and slow baselines, uncomfortable atmospheres are bred from noises that align conventions in an unsettling fashion. Distant screams, distorted voices and gritty Industrial sounds overcast the soft and subtle melodies that have an intentional lack of impact. Its design gives wake to the power of texture and aesthetic which powers the music forth on slabs of filthy, intriguing noise, guided by timely percussive patterns.

The lyrical content is harrowing. Is it the wrenching delivery gushing forth raw pain and hurt? The dark journeys the words walk us through, or the alarming concerns some of these tales turn up? At times its all three as Backxwash walks us through some troubling struggles. The tales of vulnerability, abuse and lack of support around transitioning and drug abuse are all to vivid. There is no cheese to be found, the malevolent tone of the record mirrors the underlying pain and suffering endured. 

The opening sample, purpose of pain is a rather underwhelming start but with reflection of the emotional narrative undertaken, it seems all to fitting that ones emotional pain extended to the wrongs of our environments. Clipping turns up an instrumental production for Blood In The Water on what feels like the "true" intro track. 666 In Luxaxa is an utterly fantastic repurposing of the jovial and spirited singing style one would associate with African music. Its misplacement in this darkness is fascinating. After a string of solo tracks, a slew of guests line for the last six tracks.

So many Hip Hop records feel routine with the roll of features but these collaborations feel so integral, defining the music with their presence. Ada Rock's scream rap hooks on the title track are simply unforgettable, sounding like a demonic entity raging with malice and spite. Wail Of The Banshee takes the win on my favorite Instrumental. Its a bleak and harrowing soundscape of human pain and torture, driven by monotone bass and slow drums that put all the emphasis on its evil, terrorizing aesthetic.

Like last time, I'm left floored, feeling like this album offers so much in its short duration that will continue revealing secrets from its dense textures for time come. Last time there was some uplift and reprise to be found in conclusion but this time we burn to ashes and ride out on a drive of speed and momentum as the music refuses to relent from its plunge into the abandon. Whats both beautiful yet glum is the dark attachment to reality. Much of the lyrics here are truly troubling.

Rating: 8/10

Wampyric Solitude "Carpathian Melancholy" (2020)

 

Intrigued by the despairing loneliness found among the deeper carvings on Lost Ages of Darkness, I set my sights on finding another record. Operating under a variety of other monikers, this anonymous musician's other incarnations where all to brash and obvious for my taste. The hazardous machinations of militant percussion and Dungeon Synth failing to evoke the magic its intentions clearly strode for under an awkward and bumbling aesthetic. So I returned to the aptly named Wampyric Solitude to find a different approach to a familiar feeling with a melancholic title all to fitting.

Pivoting from the contained variety of shorter tracks, Carpathian Melancholy lurches into the lengthy as its five tracks, averaging ten minutes each, births its inspiration through long, yearning passageways of brooding unease and distant tension. Minimal in nature, its groaning synths steadily build atmospheres that are ripe in the background, meditative as they sink into the subconscious of a distracted mind. Its opening number, The Night And The Sorrow, can't help but carry a subtle uplift in cloudy gloom that fondly reminds me Brian Eno's An Ending (Ascent). Its starlit astral synth tone, cutting through the reclusive lingering doom.

Each track pivots and this This Sanguine Affliction steers us to the smoky Noir Jazz vibes again as its haunting hi hat plucks at ones sanity with its grounded tempo. The song musters a rise in its conclusion as the eeriness gathers gusto but mostly it is a slow, drawn out affair of mood setting. The title track is the one song to offset this template of slow, methodical brooding. Its sorrowful opening strings suddenly pivot past the mid point, erupting with a startling piano, passive drum beat and grave vocals. They wretch in pain, smothered in a predictable reverb, howling despairing lyrics. Eventually some hazy distortion guitar is ushered in. Its tone intriguing but the song is locked into its depressive state, paralyzed in repetition.

I don't feel too strongly about it. Maybe it comes shy of something grander but overall this stretching out of duration made the music serve mood and atmosphere more so than its own spectacle. The softness and subtlety I once praised feels lost in its lengthy nature but still this record has offered another flavor of background music, for focus on other tasks, that I may return to on occasion if inclined.

Rating: 5/10

Hexenkraft "Deep Space Invocations: Volume II" (2021)

 

Being rather fond of this Doom adjacent darkly Synthwave ride into the depths of hell, I thought I'd give some time to this new two track EP, having now built up an itch for the ever delayed full length debut Permadeth set to arrive some time in the future. Unlike Volume I its cuts are half the length but twice as intense, taking a massive influence from the Doom Eternal soundtrack. Gone are the acoustic guitars, soft strings and general meandering to the unsettling quiet of space and nature. These songs ride percussive strikes and dense wave synths to the edge of oblivion as danger lurks nearby. Its breaks for respites always pull one back into the action like a force of gravity. Its synthetic edge bleeds the lines between tone and force as it ebbs and flows in rhythm and shimmers of melody as notation whirls in its dark frenzy. Its always intense, like a spree of action with moments to catch your breath, knowing you've got to do it all over again.

Its reminiscence of Doom Eternal is uncanny. Although devoid of big chunky Djent guitars, its follows many of the same tropes and tricks to create a hellish synth atmosphere for action and carnage in other worldly environments. Track two, Devastated, feels like a guilty partner for its blaring siren like buzz saw cutting in and out of focus like a heart attack. Going purely off of memory, this is either a lifted idea from the Doom soundtrack or a brilliantly crafted inspiration that would also fit sweetly into the games audio, which in turn complimented the gaming experience massively. These are two of Hexenkraft's best executed songs, yet closely ride the curtails of another beast. Most important though, they are fun, engrossing and immersive even if short lived in the eight minute runtime. Its craft is focused and doesn't need to go beyond its means, unlike its predecessor which felt as if it had room for something more.

Rating: 4/10

Burzum "Thulêan Mysteries" (2020)

 A year late to the party, this supposed final album from a musician of genius, wrapped in controversy, encompasses ninety minutes of estranged, spiritual and Nordic inspired ambient music. Labelled as a compilation, I initially passed it up. In fact its a compiled collection of original works from the six years since The Ways Of Yore. In the post-prison era of his career, Varg's ambient leaning creations had not sparkled with the magic of a Tomhet or Hliðskjálf. I wasn't expecting much but found myself pleasantly surprised to hear the peculiar sound that captivated much of my youth emerging again. Alongside a couple of reworked melodies from classic songs, much of this loosely arranged music dives into that special, lonely and timeless place.

With some solemnly spoken word and slightly sung sections, Varg brings a little Norse culture to a handful of songs that break up the flow with a tone rooted in heritage and mythology more so than the mystic. All his songs share the minimalist approach, a handful of simple melodies, steady in pace and calming in their presence. Repetitive and droning, many of these songs need little complexity to hold ones attention. Textural experiments with raveling distortions and whirling psychedelic synths droning on a handful of the longer tracks show he still has the knack for that deeply mysterious and nature inspired sound of a lonely darkness. Both chilling and soothing in its unforgiving starkness and archaic presence.

A Forgotten Realm stands out as a unifying track to bring all thees concepts together. Lumped in the midpoint its arrival is like all the others, without intention. The albums flow is unstructured yet enhanced through repetition as familiarity sets in. The lack of direction tends to aid the already lonesome and wandering mood these songs conjure. With many short one to two minute cuts in the first half there is an impression of ideas left unfinished. In the second stint where longer pieces reside, a notable shift to the denser tone fleshed with experimental reverbs and droning instruments takes place. In this stretch the music enters an entrancing meditative magic I simply adore.

I barely knew what to expect going into this record. His previous ambient works had been a disappointment. Given the nature of its release it strikes me as music inspired and composed without future thoughts to release it, despite that eventually happening. Given its lack of structure or focus the sound feels more lending to a mood than experience. It will be one to put on from time to time in search of that curiously esoteric yet relaxing sound linked to a Norse Mythology that only this guy can capture.

Rating: 7/10

Wardruna "Kvitravn" (2021)

 

These Norwegian musicians have been reviving their heritage for years now, utilizing historical instruments to ignite the flames of their viking ancestry. The last outing, Skald, was a performance piece of sorts, poetical recitals and minimalist accompaniment that failed to spark excitement with this listener. Kvitravn is a return to norms yielding a similar problem as its now established and familiar aesthetic passes without a gust of anything to break its gloomy droning march. Don't get me wrong, what these musicians achieve is beautiful and visionary but as there persona becomes expectant, groups like Heilung thrill with their claws lurching into the shadows and pulling out blinding horrors of ancient darkness.

Kvitravn plays with the same drudging pace. A weighty gloomy hangs overhead as the cold winds and constant rain batters its human inhabitants. Peering into a re-imagined past, Wardruna captures the spirit of burdensome life, one of hard work and death with a spiritual closeness to mother nature. Its songs tend to find different ways to this same macabre march of dragging heels and achy backs as its thick drone of flawed and aged instruments is led by the reluctant pattering percussion of bearskin drums, pulling the music along. Once established song meanders in its particular arrangement, circling the same rhythm and musical ideas over and over again.

 Its on inspection that its repetitious nature becomes obvious. Trying to gleam out moments or details that sparkle, perhaps only the haunting choral cries of Viseveiding stand out. Without such critical ears it is all to easy to fall into its spell, the dull drones of blunted instruments become the curtaining atmosphere to bring about a subdued meditative state. In its mild gloom many moments feel ephemeral as its range of cultural voices sing Nordic tales, hardships and occasionally dive into the hysteria of softly guttural chants. The human voice is the element that ties the music together but as already expressed it is the puritanical approach that gives it little leverage over their previous output. For now I will put this record down and whenever in need of that nostalgic viking majesty, I may resurrect it for the dusky tone it conjures.

Rating: 6/10

Grimrik "Die Mauern Der Nacht" (2015)

 

My curiosity in Old Sorcery's use of retro synths had this artist recommend to me as a link between Dungeon Synth and old school electronica, something that I don't think bridges the divide but I see the connection. Grimrik has been one of those instantaneous connections that needs little explanation however its darkness is of a different breed in my opinion. Die Mauern Der Nacht, translated, "The Walls Of The Night" has deep and lonely astral vibes of unending exploration through the dark abyss of the night sky. The synths that make it so brood and meander on the endless mysteries of the cosmos with an undercurrent of eeriness manifesting in spooky synth tones and puzzling melodies that conjure its peculiar position.

Its slow, atmospheric, taking its time to unravel as arrangements of buzz, sine and triangle saws work in tandem. Sprawls of classic textures sweetly stitched together over airy choral synths and murmuring baselines conjure the sense of vast distances between stars, the unending voyage. In doing so the album is structured as one seamless piece of music, cut into smaller fractions. Its events are sparse as many tracks explore the bare bones through minimal layers of sound, drifting to the next movement, often given a little gusto through quiet percussion, which looks to do little beyond creating a framework for pace with simple bass kick and snare arrangements.

Its gleam and shimmer is charming but musically the record is quite uneventful and sparse. On one hand it plays into the concept, on the other it does get a little dull for this listener as its tone and temperament is one I have explored before with the likes of Oscillotron. On that note, this theme too I have heard through the likes of Arkhtinn and Darkspace. Its the same slice of sound that others have smothered with satanic aggression in the form of howling screams, shredded guitar chords and pummeling drums. In the wake of all that, I've found this flavor a little lacking.

In the opening phases recurring melodies lock it in for a slow but steady pacing but the music never crescendos and slumps in the latter half as songs take on a cinematic flavor with string led compositions brooding on a temporal rhythm. The lack of spectacular hiders it. As much as I love these star struck nebula vibes, the music never evolves beyond much of a mood setter for my taste. Great as background music but after a couple of spins it felt dull to give my full attention. Definitely a worthwhile check out but something I might not come back to until a long night time drive home under the those walls of the night sky.

Rating: 5/10

Old Sorcery "Sorrowcrown" (2020)

 

Concluding our journey for the time being we arrive at Old Sorcery's third album Sorrowcrown, a lengthy epic wading into Black Metal territory. Its unsurprising given the natural link between it and Dungeon Synth, however in my mind it comes a bold and unexpected move given how such a distinct style had been harnessed. This is no flirting affair but a full on plunge into bleak darkness, adopting many tropes of the genre and its modern flavors. Phantasm is the lone synth song, the shortest at thirteen minutes among three other gargantuan songs. Its opening half consists of brooding strings yearning for warmth, spelling a shadowy caution of unease felt under its majestic gleam. Its suddenly pivots with a minimal delayed synths echoing off the tense atmosphere over a quiet percussive pattern. Giving way to a rich, gleaming flood of suspended pan flutes, the ice thaws in a moment of beauty. True magic before descending into the esoteric unease of monk-like Gregorian chants, distant to the lurching whispers and lonely winds. That later part feeling somewhat stitched on.

Its other three songs are of the Metal persuasion, with only a couple of notable breaks into Dungeon Synth interludes. Leaning to the pale and narrow, its mostly of the Darkspace production style with a lack of high frequencies and clarity in scarcity as its bass, drums and shrill guitars become a muddy momentous force. Over its three songs the unending roar of blast beats and shrill howls finds a few notes of intrigue while mostly being reminiscent of artists who have walked thees paths before. Closer track Blades Of A Reflection manages to conjure a guitar and synth aesthetic almost mistakable for the classic Det Som En Gang Var, something I have strangely not encountered an emulation of before. Voidborn is a track toiling with maddening synths and mischievous melodies to encapsulate a devilish environment. After a meandering interlude it concludes with a beautifully slow and lunging riff playing out under glistening astral synths that swell brighter as the tempo drifts apart.

Fortress Of Molten Silver has perhaps the most interesting opening. A cryptic voice makes shadowy utterances as the guitar fuzz melds with synths. It feels short lived as the arrival of hazy lead guitars pluck sad, lonely melodies through the mud of sound, much like I Shalt Become, which tends to be the nitpick of this record. I don't think Sorrowcrown would have lured me in alone. Much of what it offers are ideas I've heard fleshed out well by other artists before. The chemistry Old Sorcery has didn't seem to apply to this project. Its a lengthy behemoth that slugs through tones of fantastic musical extremities toying with the black and beauty of night. In length it feels more like a meandering journey, fantastical but also a collection of ideas lumped together. With a lack of originality in the mix, its sudden pivots to new shades of intensity feel reminiscent of others. The mixing is also questionable, although low fidelity in nature, its blurry guitars and quiet drums always seem tough to get used to.

Rating: 6/10

Old Sorcery "Strange And Eternal" (2019)

Every once in a while a record gives me writers block. Its as if I can't pinpoint where the magic emanates. It is of course from the sum of its parts but on this outing the tranquil immersion into this enchanted realm is so indulging the whole record seems sequestered by itself. Of course sitting down to write, giving focus and attention more of its elements reveal themselves and yet its strange atmosphere still mesmerizes.

 Old Sorcery's staple-mark whirl of psychedelia synth tones is as ever present and more involved on this outing. They embed mystique into scenic passages of warm and airy beauty. Its slightly estranged, with a ghostly, ephemeral charm falling short of spooky or eerie. With a richer set of instruments and layers its ambience feels more direct and involved as playful, mischievous melodies dance frequently in focus.

At the middle track rolls around the clouds are overcast as mood and temperament shift. It brings out a cryptic voice of esoteric conjuring, lurching discernible words from the shadows. The song pivots to a magical moment of colorful madness as echoing pianos and trippy oscilating synths dance in a spiraling tandem. That crafty voice returns again here, and then on its final fifteen minute epic album closer.

After a lengthy brooding of classic Dungeon Synth styling, the voice arises with arcane reverberations, reciting in a tongue and tone fitting of an occult ritual. I believe it is simply Finnish, the title translating to "The Sleeping King On Fire". As a non-native listener, the ambiguity stokes majesty within this deeply mysterious music. Its the one new element that really stood out among the endlessly entrancing normality.

I still feel as if this record is alluding me but whats obvious is with more involved instrumentation and less of a focus on ambience and atmosphere, both these aspects are enriched by the boldness it strides with. It occupies a friendly space yet is still shrouded in mystery. One of its best aspects are the pivots, when sudden transitions arise they feel rather integral to the overall vision and momentum this time out. This is one record for me to return to often as its magic feels rather untarnished.

Rating: 7/10

Old Tower "Plague Harvest" (2020)

With a history of patchy release in Old Tower's beginning, a stride of good form developed into a unique craft of darkness, culminating with The Last Eidolon. It is a stellar record, the apex of the Dutch musicians scenic Dungeon Synth spell. News of fresh music excited but ultimately disappoints as its lengthy, fourteen minutes halves dabble in the black ambience that usually builds to bigger and grander things. Plague Harvest however, meanders in the moments before, its shadowy reverberated sounds of eerie mystique and foreboding despair barely enriched by the creaks and cracks of movement in the tunnels of darkness ahead. Being a creature of atmosphere, the music drags its way into denser constructs, with only a flicker of melody and brief sense of event as lightning strikes under the downpour of glum rain and howling winds.

These details of particularity return in the second stint as distant clanks echo against the crackle of a dying fire. Its light stays as light, airy synths of temporal presences sway in against the gloomy weathers, overtaking it to eventually hear the trickle of a river and sounds of life in the distance. Eventually the flickering returns and darkness prevails on a rather uneventful affair. Writing these thoughts out makes it all seem more obvious that this is an exercise in a different approach to story telling. Against the backdrop of what came before it, Plague Harvest often feels like the calm before the storm this artist had forged before. On their own, it does feel underwhelming but its temperament is its own. Expectations may of caused disappointment but I don't think so this time around.

Rating: 3/10

Old Sorcery "The Path Lies Hidden" (2018)

 

Another journey has begun, Realms Of Magickal Sorrow lured me in and now I've become obsessed with Old Sorcery! This fantastical fusion of Dungeon Synth and enigmatic oldskool Electronica is a fascinating one. Fortunately, there is more to be unearthed! Between albums are two twenty minute, one song gems. The Path Lies Hidden is the first and firmly straddles the line between halves, for almost its entirety.

Kicking off win the bass region with buzz saws and sine wave synths, the music resonates and rumbles as a rhythmic melody forges a path through the foggy ambience, a low distant humming. As it repeats over and over a variety of instruments play along, awaiting there turn like destinations on a cosmic journey. Crystallized synths and sparkling sounds dazzle in little eruptions of magic along the path.

As the pallet grows the music sways between its halves with cosmic synths dancing and playful Fantasy melodies chiming in. It even deploys those classic "strikes" of synthetic sound among echoing percussive hits like the pioneers did. Its a mesmerizing ride that comes to transition in the mid point, an unnerving darkness sets in as the repetitive melody is textured to a sound design less astral and cosmic.

In its final phase, the playful Fantasy melody returns to stay as we arrive upon our destination. Its a peaceful, charming place with a cold, lonely touch to it. Like a serine garden that's frozen over, Its beautiful but chilling and empty. The Path Lies Hidden is a powerful song with an indulgent persuasion that has made every spin a pleasure. It is currently my favorite song from this most interesting of artists in the genre.

Rating: 6/10

Clipping "Splendor & Misery" (2016)

 

Last outing, their debut CLPNG, I found myself at odds with the swift articulation of Daveed Diggs and his Avant-Guard instrumental backing. Rapping to the sound of an alarm clock is certainly different but for all their merits and experiments, not a lot of the music clicked emotionally, despite the impressive lyricism. On the groups second, Splendor & Misery, the inventive approach to sound design seems aptly steered towards atmosphere and electronic industrial details that reinforce the emergent theme set down from the very opening.

Fuzzes, drones, deep rumbling bases and ambiguous swells of sound among the buzzing of electricity gives one the sense of interstellar travel marked by the mention of a ship in the opening verse, which hurls words rapidly from the perspective of a mothership observing a cargo ship. Its puzzling and thought provoking but following this narrative feels like a tangle of observation and emotion that becomes a blur in trying to understand the meaning of this tale from spaces cold abyss. Its like a puzzle, one I couldn't quite get my head around.

From its cold mechanical bleeps and bloops churning over like an 80s computer, radio static injects and transitions to bluesy music, a choral of burdensome vocals etched with a great pain sing their sorrows. Although these occurrences are brief, they add a further complexity to this mysterious story. Rapping over the sounds of old printer technology, True Believer brings about tension with convention, driving a regular percussive groove and uniting these contrasts for a brief moment. More convention arises again on Air em Out, a party track vibe resonates from Daveed's flow with minimal instrumental reinforcement.

Whats remarkable on this outing is how well the lack of convention works. A relatable anchor is unnecessary as the theme comes together cohesively. The opening raps are entrancing, a rapid mechanical monotone expression. As the album progresses I seem to loose sense of the narrative but there is no lack of appreciation for all remarkable that follows. Much like on their debut I find myself in great appreciation of the art but not finding a strong emotional bond with it. I will continue with this trio though, their music is deeply intriguing and this spacey outing is a big step up!

Rating: 6/10