Erang "The Kingdom Is Ours" (2024)

 

 Now over twenty albums deep, one might suspect familiarity to dominate first impressions. What awaits within, is quite a humbling surprise. Wonderment and novelty return as Erang unites the Dungeon Synth scene on a gallant stride to glory. The Kingdom Is Ours plays as a love letter to the shared passions among his peers. Its title reflects a unity tied into the realms of imagination led kingdom lore.

Pulling in both legends Mortiis, Depressive Silence, Jim Kirkwood and contemporaries into the fold, nine of its thirteen songs play in collaboration with a fondness, steady paced and endearing. Together, the spooky realms meander by in a stiff nostalgic peculiarity, a whimsical stroll through ancient fantasy melodies of shadow and wonder.

Acting alone, Erang's solo efforts feel expectant. Yet Heroes takes a bold stride upon a scenic frenzy of bellowing percussive strikes and gong strikes delivering warring drama. A grabbing moment, bi-polar to the luscious aquatic lullaby of Isles. Its beachy sound design and exotic steely lead synth deliver a melancholic warmth over these endearing and serine plucked acoustic guitars. Its a firm highlight of mine.

The collaborative peak is undoubtedly with Dame Silú de Mordomoire, who flips one of Erang's classically eerily bleak and emotionally morose indulgences on a dime. With her arrival... transformation, a beautifully graven gushing of sorrow unloads. Her deep operatic voice replaces the viola halfway in unleashing a brilliance held within.

Other notable indulgences include moments of scratchy low-fidelity embrace. One with Hedge Wizard, an unraveling of ghostly groans and fiendish shivering guitar leads. The other with Fief, on the albums title track. Its baroque, royal fantasy vibes so expectant yet mutated into a fierce Summoning alike Black Metal stint, lined with drums from the deep, howling screams and Tolken inspired spoken word segments.

This has felt like a special moment in Dungeon Synth, a scene which for me has become tired. As a spark of light in the dark, this union of artists birthed some much needed freshness. Mostly, it played like a love letter to craft and community, a revel in shared creative obscurity. Its been an intriguing moment to celebrate, also introducing me to a handful of new names to investigate!

Rating: 8/10

Erang "A Season Of Leaves" (2022)

 

The final of five, A Season Of Leaves was the least enjoyable for me. With a misdirection of soft bells at its opening, the music crashes in hard with the Summoning's blueprint. Distant hazy distortion guitars bleed over thunderous drum strikes and shrill wretches of screams chime over a counterpart melody played via the bright key tones. With breaks from extremity led by a deep, epic narrative voice, the Tolkein vibes emanate. Admittedly, its a competent piece of music but the lack of originality leaves me with a sour taste.

From here the format is stretched, pushing the ugly Black Metal in sideways directions and fusing with more Erang-like folkish instrumentation. Its a true mishmash that reaches a low on Le Loup, La Chouette Et Le Vent. The sloppy extremity has no candor. The final track actually finds some fascinating chemistry in stints. The racing drums batter along with thees ascending chorals in the backdrop. Its momentous and rallies to an esoteric realm as zany synths wage in. Without cohesion though, it falters.

Ultimately, this was a brave release to put out there as an artist. Making bold decisions and striving for something different, its five seasons offer up a lot of intriguing musical ideas. In places in sparks, in others it falls flat and that might be down to preference, or simply artist fatigue as the traditional tropes lay all to bare for me. Either way I am glad Erang keeps pushing on! This was quite unlike any other listening experience I have had in some time.

Rating: 2/10

Erang "A Season Of Frost" (2022)

 

Home to a song that really turned me off, this quintuple of mini albums hints a rough patch with A Season Of Frost. Les Sentiments Puissants has Erang delve into Black Metal aesthetics with a style I simply can't enjoy. The influence and direction becomes more obvious on the Leaves chapter but here the lone track shows its blemishes boldly. Tape stretched synths and other garish tactics are deployed to descend its decrepit direction into the unruly strangeness of uncomfortable listening. The song is miserable in nature but rather than offering immersion the production slaps one in the face with its stark ugliness.

The other three tacks happen to be the least interesting non Black Metal types. They stand firm to the gloomy early chapters, ones very enjoyable when fresh over ten years ago. All this time later it feels over explored and stagnant. Opening with At The Gates Of Lobrok, its steely build of atmosphere has a little momentum groaning for whats ahead but its dungeon spirit drops off at the arrival of brash howls and a stiff distortion guitar. Sadly, this and the next chapter did not work for me.

Rating: 3/10

Erang "A Season Of Bloom" (2022)

 

Third of Five, A Season Of Bloom was the first of this ninety minute saga to grace my ears. Initially I was unassuming of what was to come. Led by a gorgeous cultural acoustic guitar, I was swiftly reminded of Erang's previous use of this instrument. Where much of the music to follow has an oddball character, led by experimentation and unusual ideas, this felt far more conventional and thus unalike for other reasons. The following three songs continue in this vein for the most cohesive of all five.

Accompanied by curious instruments of luscious dreary timbre, the guitar blooms brightly with a spirit distant from both the Fantasy genre and cultural sounds, yet seemingly they would be its closest companions. Its as if Erang birthed an identity for his realms, expressed through folkish tales that drift between the real and imaginary. Its beautiful and warmth with a subtle sadness, heard deeply on The Day I've Lost My Dog. I do think the shorter, four track focus serves a moment like this one well. A whole hour in this lane may end up loosing some potency along the way.

Rating: 6/10

Erang "A Season Of Magic" (2022)

 

The second of five new Erang release. The french musicians five part collection of seasons finds its most curious moments here. Possibly the most subdued of all flavors, on paper it would seem closest to tradition. Somehow the foggy atmosphere keys, gleaming strings and waveform synths converge on a new mood. Its mysterious, drenched in a lonely nostalgia, an oddity of execution that is somehow without that distinct Erang footprint.

The Absolute End Of Everything Human hints of an abysmal tone. Its opening symphonic brooding and despairing voices create a "fallen from heaven" epic that gives way to limbo. Two of the remaining three tracks very much reside in a curious space, where the dark and light feel deceptive. The Calm Tower balances out with a Fantasy akin stride through the warmth of sunlight with an eerie underbelly always lurking yet when focused on its disjointed percussion dissipates all tension. Its ever so curious, as much of what unfolds on thees five are.

Rating: 5/10

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

Erang "Prisonnier Du Rêve" (2021)

 

Its album number nineteen for Erang! A release that arrives with a drastic stylistic shift, the first to truly shed the Dungeon Synth and Fantasy origins. Heading for a new adventure in the realms of electronic nostalgia, the pallet of instruments migrates to buzz saws, sine waves and all manor of oscillating synths to house a familiar sense of composition and melody. Initially starting out with a chirpy and upbeat vibes of childhood wonder, Machine Humanoïde reels the mood in towards familiar darkly Synthwave vibes of Anti Future and Songs Of Scars for just a few tracks. Its presentation and promotion, all conducted in native French, plays into the albums narration, a mischievous voice narrating the twists and turns that come about with each song. Of course as linguistic illiterate, this is just my interpretation.

With a more familiar middle, its start and end sections jostle melodies in such a predictable way that I almost want to abstain from opinion. The shift in pallet doesn't drift far enough for a surprise. Being this deep into the French musicians discography, there is little that of the chord progressions, arpeggios and general notation that feels fresh or unexpected. The production style also leaves little out of focus. With all its instruments and percussion crisp and clear, the textures of big bustling old-school synth waves overpower the focus and rather quickly does it overstay its welcome. Its a nostalgic affair for old school synth and early electronic music with spacey overtones. It doesn't always click when dealing with and aesthetic heard many times before.

That being said, Erang always has vision and intent. Emotion is ripe and present as one feels the realm they carve out for themselves. For me, C'était Demain and Demain Les Mondes ride the basics a little to hard on bare bones compositions where as L'avenir Et La Mer and Passage land the ending well scenic and soundscape alike compositions weaving between the melody led strides. Ultimately I've enjoyed Prisonnier Du Rêve for being what I like about this musician but the artistic stride for something new and different feels only knee deep this time around.

Rating: 5/10

Erang "Imagination Never Fails" (2020)

 

Last year was the first since Erang's inception that passed without new material released. The French Dungeon Synth musician now brings us the eighteenth installment in this lengthy saga. The brief absence is perhaps explained in its eclectic opening songs and lack of manifestation to new territory. Unlike the direct pivot to another aesthetic like Songs Of Scars and Anti Future, Imagination Never Fails toys with new ideas before providing a variety of flavors from this mature, distinct sound.

With sampled narration, or presumably voice actors, its opening title track, A New Age Is Rising, Far Away and New World Slave adorn the music with promise of something carefree from the lands beyond limitations. Digitized voices reminiscent of Daft Punk and retro synthesizers whirling in astral majesty rub up against the atmosphere led by ethereal voicings. Crashing onto triumphant horns and percussive drives of ancient war, fleshed out with shouts and battle cries, Its as if anything is possible in this peculiar union of inspirations. It is unexpected but attention grabbing and fun.

 Then with Long Ago In The Hidden Kingdom we shift to the Erang of old, mystic and meager instruments play curious yet lonely melodies of eerie nostalgia and beauty with that particular craft. Its lovingly composed and as the songs roll on some excursions into percussion akin to "world music" as it might be called, help shape up its narrative, building up momentum and dropping out aptly, giving rhythm and movement to the fantasy worlds these tunes do conjure.

These songs are certainly nothing to gloss over, Shipbuilding Memory has a powerful uplifting sense of melancholy to it, reminiscent of Ascent by Brian Eno. The issue is simply familiarity, after seventeen records these additional numbers simply slip into the vastness of all that share their distinction. For a new listener however, these may be fresh and exciting sounds within the world of Fantasy and Dungeon Synth music.

I Would of liked to hear more of that opening intrigue. The narration gave a sense of direction and adventure, only recurring briefly on one other song if I recall correctly. The whaling overdriven guitar resetting the momentum on the opening track before returning with an arpeggio was a delight but a lone moment. Those initial retro synths helped shape a new path too but alas it was not walked upon for this listener. Listening to Erang is always a pleasure and always will be. I am just hoping in the future they can find new avenues to explore as that's where the excitement is! As it where in the opening four songs.

Rating: 5/10

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

My Top 10 Albums Of 2017

Another year rolls around and looking back over my posts there was a lot of good music enjoyed which I struggled to narrow into a list of ten. With almost ninety new releases covered this year I have noticed to no surprise a bit to much Metal. I think that's why my top ten is proportionately less metallic than the bulk of music I enjoyed. I think next years goal should be to avoid predictably dull Metal records and get into new sounds that can have a bigger impact on me!
 
(10) Trivium "The Sin And The Sentence" link

I was a little hesitant to put this one on the list, its all a bit fresh to me still but given their reputation I don't think Trivium's music will fade on me anytime soon, this record is so well crafted, all its hooks and riffs are balanced so well, the fuel tank never runs out from start to finish it has you in its grasp.

(9) Lorde "Melodrama" link

 

Some albums take a little time to show themselves. On release It was obviously impressive but later in the year revisiting this record the emotions flowed and all the intricacies of the production come washing over like a flood, especially Lorde's voice which has certainly shown its charm.

(8) Wiley "Godfather" link

Hes a name brand! Or at least that's how the hook goes. This was actually my introduction to Wiley, I name I've heard of since the early days of Grime. I was blown back by how tight the production and rhymes are, Godfather is a solid record loaded with fun hooks and goofy bad man characters that are so much fun given the technicality of Wileys flows. Looking forward to the sequel in 2018!

(7) Cavalera Conspiracy "Psychosis" link

Its hard to get excited for straight up balls to the wall metallic heaviness these days but from an unexpected place comes an album so tightly crafted its groove and heavy bombastic noise is tuned to full throttled. With a fantastic scope of creativity in the instrumentation beyond Metal's bare bones, the record is elevated to a place where the best of old and new ideas meet in flawless execution.

(6) Kendrick Lamar "DAMN." link

I don't think anything comes close in terms of Hip Hop this year. Kendrick is serving the old generation and new with fresh creative beats and a fiery, ambitious flow loaded with intelligent lyrics to chew into. It was a slow burn for me at first but I enjoyed it most when my phones shuffle feature would pull me back into the record time and time again, that's when it really clicked for me.

(5) Erang "Songs Of Scars" link

Although its part of the Anti Future off shoot, Songs Of Scars is Erang's best work yet. In this vision the music really hits its stride, delivering cinematic music drenched in a mysterious eighties nostalgia that's creepy, playful and adventurous. The instrumentation is lush and the production right on point for a riveting listen that holds you from start to end.

(4) Godflesh "Post Self" link

Broadrick has out done himself here, twenty eight years on from his prolific Streetcleaner album you wouldn't expect that stroke of genius again but with Post Self he has reinvented the Godflesh sound for something truly riveting. It wasn't actually until I sat down to write up on this record that its genius really struck me. There is so much brilliance in the intricacies that it engulfs you with ease.

(3) Fever Ray "Plunge" link

I have been thrilled by the release of this record! Given the large silence since Fever Ray I thought it may never come! Plunge is a similar beast but more experimental with Noise and Industrial influences making an earthly racket on an album that feels initially challenging but doesn't interrupt the core of the music which is very much in the same vein, its not as good as her self titled but still one heck of a record you can place alongside it.

(2) Horsebeach "Beauty & Sadness" link

 A viewer was kind enough to share their bands bandcamp with me, I had no clue what was in store, least of all did expect to find such a gem! I adore this record, the music, its aesthetics the quirky interlude tracks. It feels like a slice of time frozen, the mood and tone frozen, only to come to life when you hit play. Really blown away by this one, its a gorgeous swell of emotion and passion.

(1) Sikth "The Future In Whose Eyes" link

With each and every listen this album failed to loose the charm it bestowed after only a few listens. I thought these riffs and hooks might fade with repetition but it has held up so well over the months making up this year. Time and time again it has delivered, I think the lack of intentionally bombastic or obvious moments lets the craft of the songs hold up. I also got to catch a couple of the songs live which was a real treat!

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

Erang "Songs Of Scars" (2017)

The unwavering inspiration and output from our beloved French musician Erang strides onwards! After King Of Nothing reunited us with the land of five seasons, Songs Of Scars returns to the mysterious Sci-Fi dystopian realm of Anti-Future. Its presentation, a striking front, sets the tone. The eerie gaunt corpse painted skull featured in much of Erang's artwork stares us face on. The bold red font illicits the danger that lurks, the subtitles set the stage for a soundtrack of freight.

Where Anti-Future stepped into new territory, Songs Of Scars owns it. These deliberate compositions set the perfect tone for your John Carpenter 80s flick. The breeze of suspense, a soft paranoia, the looming of evil and smog of future tech all from the comfort of your sofa. Its a true soundtrack, one that needs no cinema in front of it convey the atmosphere it will soak you in. Each song a master stroke of tone to illuminate the never ending nightfall in which our adventures will play out.

Aesthetics is king and with a touch of minimalism and measure of balance our synthetic instruments, buzz saws, sine waves, bells and strings, swoon in their glossy packaging. With just a few key sounds resonating on one another, the bold, rich textures and gorgeous reverberations dazzle and delight as the songs play simplistic and singular melodies. Chiming notes cast the spell as they play off one another. From gleaming bells of fortune to deep swirling, sweeping synths of despair every song finds its own degree of the chemistry so swiftly established as the record begins to spin, bar the first track.

Despite sections of repetition on reasonable lengths of song, the craft carries the music forward, along with the slow, steady, often bare yet effective snare kick drive. Instead of opting in to key shifts or tempo changes Erang find the opportune moments deliver magic in the form musical unwinding of sensual events with swirly synths dancing without a melody to conjure a vision. This never feels overplayed, in fact the balance across the record feels stunning as these imaginative atmospheres conspicuously lure us through there transitions. From front to back It feels like every opportune moment has been realized yet fed to the listener unknowingly.

Where Anti-Future left me with a lack of event, or teetering for something more, Songs Of Scars fully satisfies. The subtle unfolding of songs in their minimalist exterior fleshes out a journey the atmosphere inspires. There are some favorites that come to mind, on occasions where the drums muster up more energy and the instruments find a colorful melody the tone borders on a form of dark Synthpop. "Street Klowns" takes the cake for its mischievous, quirky sounds, grooving, playful and fitting the mold! It makes a break to the traditional Erang Dungeon Synth sound, linking the ages together. "Metal Magic Madness" also opens this rift between worlds again.

With all this magic at work, I strangely enough find the opening and closing tracks, "1984" and "2084" to be rather underwhelming in comparison to everything else. The intro a bit to energetic and overly synthetic, it doesn't quite address whats to come, equally the outro doesn't unwind as much as I think its sweeping synths intend to. At fifty one minutes the record certainly entertains for its duration and may just be Erang's finest release yet and definitely the best of "The Last Age" records.

Favorite Tracks: Sequenced Suicide, Street Klowns, Home Schooling, Ruins Of The Lost Underground Kingdom

Rating: 9/10

Erang "King Of Nothing, Slave To No One" (2017)

The new year gets off to a great start with a record from Izioq and now Erang, both of whom we feature on the channel as well as Crinkles, who's released a record too, which I wont be covering here. If I'm not mistaken this is the fifteenth in five years, an astonishing feet of work for a musician who's inspiration never seems to dry up. Once again we return to the mysterious realm of magic and dragons in the land of five seasons that resonates with another perspective, this time the mood is measured and the tone cinematic as we fly across the lands, getting a richer sense of setting.

"King Of Nothing, Slave To No One" for the most part tones down its melodies in favor of deep foggy synths that stir up the atmosphere from below. Where normally many melodies would dance around one another we find a much bigger emphasis on the landscape as singular leads caress the sights the deep synths set in their often gentle form. Its tempo is unhurried, measured, giving the listener much time to soak in the environment conjured without distraction.

As a result its a record experience, rather than a collection of songs with not much to cherry pick as rarely these songs compete for more that the concurrent fame of atmosphere. "Day Of The Troll" stands out as possibly the best yet of all the troll songs, a playful and mischievous group of melodies playing of one another. A couple of tracks bring an imperial vibe with the hammering of deep militant drums, accompanied by thematic horns and trumpet like sounds. This reaches new heights with "The Madman And The Dragons", the drums intensify and a tired, ancient voice narrates the premise of a hermit raised by dragons. We then encounter the both terrifying and majestic roars of dragons buried between the tunes of curios mystery.

 Its a gorgeous sounding record, mixed well, instruments are lush and softened up with engrossing reverbs. For all it sets up in the first half of the record I do feel as if the dominant theme of slower tempos and minimal compositions start to loose their charm as the record moves through its last stretch. In between the changes of pace with more upbeat melodies and the imperial songs the album musters a sense of event that is lost in the sprawl of moods that follow. In its best moments there are some brilliant inspirations at work and within its atmospheric songs finds much charm but across the records length it feels lost in the tempo that drags after some time.

Favorite Tracks: A New Magic Arises From The Steppes Of Kolm, Day Of The Troll, Spirits Of The Greenberry Haven, The Madman And The Dragons

Rating: 6/10

Erang "Anti Future" (2016)

With a distinctly different album art and futurist themed title, Erang has stepped bravely into new territory as the fantasy driven Dungeon Synth sound takes on a dystopian Sci-Fi angle, attempting to bridge into new territory. Its an effortless transition where the musical sensibilities re-arrange themselves for a shiny pallet of glossy echoing synth leads, chunky robotic baselines and dense atmospheric moogs. Its a vision similar to an 80s future fiction movie soundtrack where technology is paired with smoke, litter and crime. Shady aliens, dark alleyways home to mutants and black market tech riddles the distant cities and planets through Erang's "eerie" or creepy quality which remains firmly intact, painting this futuristic world in mythic stature.

Within its clean and glossy production balanced with measures of timely reverb lies another collection of visual, vivid melodies that carve eternal times and places into the mind. One that stands out is "Time Vision", diving into a dark and harrowing space with spacious execution of sweeping synth and an unsettling melody, echos of misfortune from the fading piano, haunting the listener with its sorrow. The record only steers into this darker phase on its way out and the majority of tracks have a playful touch with the safety of distance from the oddities we encounter in the anti future.

Erang has never been one for progressive music and despite a sharp, memorable record these songs do what many of his do, meander in the moment, dance around a select group of melodies that compliment each other in short expanses. On records like "Our Dreams Are Made Of Dragons" It works brilliantly, beautiful snapshots peering into the beyond but here the tone and atmospheres set in the opening songs makes me feels as if something is just starting, we are about to embark on an adventure. Before you know it the moment passes and the next song musters up a whirl of potential that feels underutilized.

Its a strange dissatisfaction to want more from something you enjoy and something out of your control. There are moments in the record where the blood gets pumping as crisp drum kicks and snares pound a mechanical rhythm with echos of an Industrial sound. It comes to fruition on "2082" where the marching pace is accompanied by a robotic chugging of crisp distortion guitar to much satisfaction. Its a short lived song though, another that visits a singular moment. I love this record for its aesthetic and theme, the melodies are gorgeous as ever but somewhere in there it feels like the stage was set for something grander.

Favorite Songs: The Highway Goes Ever On, Another Zone, The Drunken Maniac, Floating Children, Video Sunset, Time Vision, 2082

Rating: 7/10

Erang "Our Dreams Are Made Of Dragons" (2016)

With little surprise a second Erang album hits us this year from the one man band who has pumped out twelve records in just four years. This installment in the ongoing journey revisits the origins, the "Tome" era where Erang's sound was distinctly more primitive, spooky and eerie. Over time his compositions have become more layered and visual, the vibe shifted into fantasy but still holding onto the Dungeon Synth ideals. With this new record Erang revisits the "Tome" era with a wealth of knowledge and inspiration from his musical journey to enrich an old sound which has been shadowed by such records as "We Are The Past".

From the first, through all the many listens Ive given this record the magic flows effortlessly through minimal compositions that inspire engrossing atmospheres. Dreams and dragons certainly come to mind as each of the songs spellbind us with eerie, mystical nostalgic wonder. You can travel deep into your imagination with these melodies which feel both human and of another world. Each melody and song offers its own tale but looking over the track listing these names further illuminate the experience with their suggestions for what might be taking place.

Like the older "Tome" records, a lot of these songs focus on two or three instruments dancing around one another with a lack of percussion. There's a select and complimentary pallet of instruments at work, all armed with subtle reverbs and are fine tuned to occupy the same spaces gracefully. No instruments clash or feel out of place, they compliment one another and more often than not a quiet underlying synth lays down soft notes, almost unnoticeable but deepening the atmosphere.

"The Saddest Witch" Is a brilliant, simple song that showcases these qualities. A gentle, foggy bell like lead creates the air of mystery and wonder before a counteracting saw synth comes in with a mischievous, curious melody that dances around the other. With a clash of cymbals the song elevates, the melodies switch instruments and a soft guitar takes place of the saw wave synth. Below them deep synths arise feeling buried in the reverb that washes away from the other instruments and cymbal clashes. "Children Of The Frozen Forest" is another song with a remarkable atmosphere through simplicity. In its opening stages a women's voice can be heard faint and distorted through the cold enchanted atmosphere. It starts to shift with eerie synths talking like voices and the sounds of winds bustling up slowly in the distance.

Much of the record follows simple principles, one or two melodies, shifts in tone and direction that never become extravagant. Its modest, direct and within that design and construct emerges inspired melodies, tunes and music that fires up the imagination. With such a large discography it can be tricky to picture where it rests in the frame. Revisiting some of the "Tome" records I hear the same spirit but with the instrument choices, use of reverb, composition and of course the music itself having matured vastly. "Our Dreams Are Made Of Dragons" is a quiet record, one that will creep up and charm you with its own realm of fantasy and imagination.

Favorite Tracks: The Saddest Witch, The Old Knight's Farewell, The Twins Troubadours Of Tadyar, Children Of The Frozen Forest

Rating: 8/10

Erang "Land Of The Five Seasons" (2016)

This latest Erang record had me at a distance, in wanting to connect with it Ive been pushed away and when Ive made no attempt I have been sucked in. When live streaming the power of the music pushes through into focus at various points in the record, engulfing me in its persuasion. When listening intently, analyzing and thinking about my thoughts the magic is dispelled and In thinking of what this means I have come to my conclusion on what I think is the least progressive work Ive heard in a while. It is not without its charm and my undying passion for new and interesting sounds might make that sound a little harsh but I am speaking in the realm of meaningless expectation, to hear an artist find new ground, where as this one revisited.

Land of the five seasons could be considered a return to the roots, the "Tome" era, noticeably 13 tracks in length too. Simpler, melodies and song structures led by fantasy driven nostalgia for the imagination to drift away is where its magic lies. With a lower fidelity and with a touch more Dungeon Synth aesthetic, we sail through misty winds into the mysterious unknown. Its a calmer, slower record that sets its eerie accent gracefully. Its steady and balanced, conjuring its atmospheres with carefully chosen instruments to inspire and charm.

What makes this record is frustrating for me is its secrecy and lack of immediacy. I say this because most often I put on an Erang record and I'm there. However with this record I cannot get there if I pay attention, listen closely. But maybe that's just me, or my mood but when its on in the background it goes deep into the subconscious and unexpectedly creeps up on you with an explosion of magic. Two things I loved was to hear Erang's voice, clean and honest on "Deep Down Into Your Heart" and the fiery "The Red Snakes Of Amang" getting a great sound out of FL Slayer with its shimmering distortions. I have mixed feelings about this one, It has powerful subtleties and a strange transparency too.

Favorite Songs: The Tangerine Theif Of Tadyar, The Red Snakes Of Amrang

Rating: 5/10

Erang "Tome X" (2015)

That time has come again when out of nowhere the day is illuminated by the arrival of a new record from French musician Erang, the one man band and composer of nostalgic, atmospheric Dungeon Synth, the microcosm genre that has flourished in recent years. Following the progression of this project has been enjoyable but with the last few records Erang has really come into his own, mastering his vision and elevating his compositions to the next level. "Tomb X" is the 10th full length and forth with the mysterious Tomb name. At first glance I thought this might be a trip back to the roots and on some levels it is, however much of what has developed on recent records is to be found here again.

Its no surprise to find a wondrous collection of melodies that spark the imagination, visions of rich fantasy realms lost in nostalgia come to mind with every passing song. Each song has its own moment, memory, story to tell and establishes its presence quickly for short and indulging tunes which rarely break the themes they define themselves with through a diverse set of lush and charismatic instruments mixed with grace and care. There is a constant duality of string and lead that has one or two melodies dancing over deep, atmospheric choirs and strings that fill up much of the void the simplistic nature of these songs could so easily leave unfilled.

This is possibly the best sounding Erang record to date, however with nine full lengths to compete with many of the songs do wash up into a haze of similarity. The atmospheric nature of this record is fantastic for setting a mood and indulging oneself, but flicking through the tracks reminded me there aren't to many sparks that jump out in the track listing, though there is a strong group of adventurous songs in the mid section. Another great chapter in the tale of Erang, as always I'm left with an appetite for more.

Favorite Tracks: The Crocodile Fairies Of The Mayoo Wood, Lord Phantom, Ghouls Grotto, The Infinite Steppes Of Kolm

Rating: 7/10

Erang "Kingdom Of Erang" (2015)

With a seemingly endless source of inspiration Erang brings us a ninth installment "The Kingdom Of Erang", moving on from the brilliant "We Are The Past" without looking back. As a whole, its a typically indulgent feast of fantasy and boundless imagination with a theme that encompasses a lot of what were familiar with, no surprises or anything out of the ordinary. It is maybe this factor that made it so difficult to asses my thoughts and feelings for this record, Its very familiar, easy to listen to and yet for the countless listens I am left a little unsure of what to say about it.

Over the nine records Erang has grown both as a musician and the fantasy expressed through the avatar. Reflecting on previous records you can hear the difference in production quality and aesthetic choices but most importantly the richness of theme and the expression that comes through at the core, the melodies. The "Tomb Era" had a eerie, creepy vibe of mysticism and forgotten wonder that came through esoteric melodies that expressed through its underlying abstraction. Evolving from primitive dungeon synth the music has matured with direct, fluent and expressive melodies best heard on "Night Of The Troll" as pan pipes, plucked strings and xylophones dance around one another in a spell. The strength of the melodies fuel the fires of imagination and paints vivid images. The aesthetic choices are attentive and subtleties of quieter rolls are further developed behind melodies that have real backing in rich and dense themes that absorb the listener.

In a nutshell, this record didn't feel like anything new, challenging or progressive, and therefore many of my thoughts and feelings remain the same about this music. One thing I'm certain of is the melodic genius displayed on "We Are The Past" is resonating through the kingdom. This latest record may reside in the comfort zone, but its expressions are enhanced by a positive evolution and the fantasy tales expressed in sound are as enjoyable as ever. Especially the opener with its tinge of Black Metal. Snarly vocals and narrow, hazy guitars under epic synth leads were a real treat!

Favorite Tracks: All The Beauty We've Lost, The Underwater Zeppelin Whale, Where The Grey Legion Fell, Night Of The Troll

Rating: 7/10

My Top 10 Albums Of 2014

The end of the year is upon us, and now its time to write about my 10 favorite albums of 2014. Most of them have been reviewed on the blog which has only been going a few months. Writing about music has given me tremendous focus when it comes to appreciating music. I am now much more organized with my listening habits, I only write about records after I feel an understanding and connection to that without the blog wouldn't have been the same in the past. I'm thankful for this blog and everyones support by reading the articles, Its improved my musical experience greatly and this article will cover my thoughts of each record in brief.

(10) Panopticon "Roads To The North" Link

Delightfully different approach to Black Metal, Kentucky folk influences, an appreciation of heritage and culture made this a colorful and palleted record that is enjoyable on every listen.

(9) Yagya "Sleepygirl" Link

 

Not an especially distinguished or grabbing record, this was just simply what I wanted from this artist, some chilled out super mellow dreamy electronics.

(8) Earth "Primitive And Deadly" Link

A masterful record that saw long running band Earth find their inspiration and direct it into a mature and well developed record that brought vocal elements into their usually instrumental sound. An unexpected and welcome suprise.

(7) Erang "We Are The Past" Link

Erang has pumped out a lot of music in a short amount of time and each record brings a variety of interesting and indulgent music, but unexpectedly this one really stepped up the game with some of his most inspired and captivating music yet. Makes me excited for the future of this project.

(6) Wolves In The Throne Room "Celestite"

Stripping out core elements of their sound and focusing on the abstract synthesizer sounds, the group made a remarkable record that goes on a vivid and mysterious journey through space and time with and eerie and cold undertone. Gripping soundscapes

 (5) Behemoth "The Satanist"

Stunningly dark, evil and well composed. What could of been another run of the mill album for their 10th effort turned out to be focused and ambitious record that despite sitting in a comfort zone, turned out to be monumentally engrossing and heavy.

(4) The Underachievers "Cellar Door - Terminus Ut Exordium" Link

A pleasant surprise to find a Hip Hop record in the modern era I could get into. Very much enjoyed the atmosphere of this record which borders some dark moods at time. Great beats and flows outside of my comfort zone made this an expansive record for my taste.

(3) Saor "Aura" Link

A brilliant record that appreciates Black Metals melodic side, bringing together the abrasive aesthetics with culturally inspired melodies and instrumentation. A pleasure for the ears.

(2) Messenger "Illusory Blues" Link

A Progressive Rock record that draws inspiration from many of the greats while creating its own identity. This record is mature for a debut and paves the way to a bright future for this creative band.

(1) First Aid Kit "Stay Gold" Link

Picking my favorite was as easy as it gets. Since I first heard this record Ive found myself more and more engrossed by these gorgeous songs that are charming and relate-able with down to earth, uplifting and reflectional lyrics that are driven home by the pairs beautiful voices, which put me in a good mood every time I hear them. Simply can't stop listening to this one.

Erang "We Are The Past" (2014)

We are the past, the eighth full length from Fantasy / Dungeon Synth artist Erang, an album title that boldly marks the intent and direction of this album, of which this became vividly apparent as the themes and melodies of this record unraveled themselves in captivating glory. Erang's inspiration shines bright as ever. Spiritual, cultured folk tales sing their songs, capturing the essences of our heritage in a lush and immersible record.

The album starts of with "Im Ajinar Nost Alije", a tribal drum pounds, ghoulish chants and lightning strikes guide us through the mist as our journey begins. Accompanying, possibly oriental?, instruments lay down the folk foundations for this record that take on many forms as the album progresses through varied instrumentation and aesthetics. From here the record develops through some beautiful and stunning moments where harmonious melodies weep over gentle, atmospheric backings that tell the tale of cultures lost by time and dust. The mood is varied, with some lifting songs come some moodier, darker vibes as Erang explores both the bright and darker sides of the ancient world. 

The production of this record feels almost flawless with no noticeable technical discrepancies. The instruments and sounds on display are lush, crisp and enigmatic. The mix is spacious and roomy which the instruments fill with their eloquent color. My only disappointment with this album was the track "Wine And Beer" which felt very out of place, obviously its a folkish pub song, but it heavily contrasted and broke up the mood of this listen which has been stunning and immersible, Erang's best work to date.

Favorite Songs: I Dreamt Of An Emerald Forest, The Loneliest Fighter, The First Snow, Lament For My Horse, Forever Gone But Never Lost

Rating: 8/10