Труп Колдуна "Melodies For Ghosts" (2025)

 

Competing with a slew of low effort bedroom producers, this stark cover art aesthetic suggested such presumptions, the phoned in part at least. I have no doubts about its home-brew production, this is "one man" synthesizer composition through and through. What struck me with awe, was a delightful enchantment emanating from these simplistic compositions. With musical charm before textural dressing, Melodies For Ghosts for ghosts achieves its esoteric suggestions, one with a whimsical stride.

Each track is a meditation on an idea, a premise laid out its in titling. These curious arrangements of dreamy synths play approachable yet mystic. Classic Dungeon Synth motifs, leaning towards a nostalgic fantasy realm. The Kazakhstan composer carves themselves a harmless niche of colorful magic into an otherwise darkly realm. I could hear no suggestions of Middle-Eastern cultural, or even musical influences. Had I not done my research, I would not of guessed this came from outside the western world.

Highlights include the opening Ghost Theme, a dense mystic of broody instruments, evoking the realms of beyond. Sanctuary Of Supernatural Cats perks ones ears with a classic 80s drum machine percussion boldly woven in. Phantom Tempest toys with bass and groove, taking us on a nightly stroll through this otherworldly plane. Melodies For Ghosts is a brief sub twenty minute record but a thoroughly enjoyable one!

Rating: 5/10

Old Sorcery "The Escapist" (2025)

 

One of the greatest artists to emerge from the bloated Dungeon Synth scene, Old Sorcery blazes a trail of excellence, transforming decrepit dusty nostalgia and esoteric ethereal fantasy beyond the bare bones bedroom composer of contemporaries alike. From the impressive Berlin School tinged origins of Realms Of Magickal Sorrow to a visionary Dragon Citadel Elegies, Old Sorcery has been a delight to venture with.

Highly anticipated yet a curiously slow burn, The Escapist arrives as another exploration of familiar realms whilst not trying to repeat oneself. Its a quality I admire, each new record feels like a transformative step to new territory, without shedding ones admittedly amorphous identity. Old Sorcery has a distinction learned through repetitious indulgence rather than overt aesthetics or musical particulars.

This "slow burn" comes fueled by its atmospheric beginnings. Dethrone Reason, Crown My Heart opens, setting lofty goals. A grand yet sluggish snare kick groove ushers in epic, alongside salient guitar leads and quirky esoteric synths. Proceeding, the next few tracks delve into various sculptures of immersive aura. Ambience reigns supreme, as sound design and aesthetic craft mesmerize with ambiguous intent.

Gem Hoarder Goblin shifts gears. Its toying melodies conjure mischief and mystique, befitting of its title. From Dungeon Synth to Orchestra, its second act switches up the instrumental pallet for a scenic painting of animated events. A dazzling set of classical instruments transmit the intentions of this cave dwelling beast. One can almost see a stage inhabited with actors performing a play. Its a wonderfully vivid moment.

At The Wayfarer's Lantern shows off an impressive step into nostalgic rural Folk, eventually melding its pastoral antiques with otherworldly synths, orchestrating enchanted magics into the past. Starlit Belfry Tower comes with a touch of dreaminess through its bells and lullaby nature. Again the progressive touch never settles for repetition as the song broods through a quirky synth phase so distinctly Old Sorcery.

The we close with Immortal Passion. A gentle build to distant yet mighty adorning synths casts a spell. Like a timeless sunset, the last inches of light reach before an enteral night. The composition is wonderful, venturing us into dusk, building through familiar motifs. Then the sudden pivot, we are lunged into a soft Black Metal conjuring of dual tremolo guitar distortion tension that never finds the shift it suggests is coming.

Instead we fade out to a few audible moans and groans, suggestive of a characters perspective. Its a strange ending, not quite gratifying yet immense in its build up. It suggests a missing piece where Dragon Citadel Elegies hit every beat perfectly. Another brilliant record however, I will enjoy this for many moons to come.

Rating: 8/10

Enya "Amarantine" (2005)

 Potentially saturating my own Enya experience, Amarantine has struck me as a step backwards for such an esteemed, visionary artist. Held afloat by an ever persisting enchanted chemistry between her sublime voice and magical synths, a familiar cast of motifs emerge as creativity dwindles. From yearning folksy numbers to nocturne piano pieces and elegy hymns, the experience narrows in scope as fresh ideas elude.

 

Amarantine lacks an ambition, resulting in toned down approach less spectacular, sparingly subdued into commonality. Resting on ones laurels, Enya paints a beautiful soundscape, inescapable of familiarity's to her back catalog. On occasional, its gentler touch and moments of minimalism highlight her incredible singing, Water Shows The Hidden Heart, yet these quieter stints feel like lost space for inspired inventiveness.

 

 Its not without its merits. Amarantine certainly achieves to indulge one in Enya's Ethereal realm across its forty five minutes but more as a background piece. The title track itself plays a bespoke lyrical craft, touching deeply upon loving themes through the metaphor of its flower. A memorable song for that reason alone, as its instrumental make up seems bare bones in nature. That may just be the point, to strip things back, prove the magic works, however all that fantastical embellishment definitely elevates.

 

Rating: 5/10 

Enya "Enya" (1986)

 

To experience it at the time, would have been something else. To now venture back to her origin after reveling in such masterful inspirations as Shepherd Moons and A Day Without Rain illuminates the soft amateurish blemishes with a most endearing charm. All the familiar and distinct songwriting approaches arrive matured and unique. Its the albums production and synthetic instrumentation that are yet indulge in sound design.

The aesthetic of these early Roland, Yamaha and Kurzweil keyboard synths play with a punch and immediacy, as so many early synths do, yet to nurture the crafts of soft attacks and roomy reverbs. It gives many moments in the record a feeling of bedroom composer, in the best of ways. Despite that, Enya's brilliance to sway between singer and instrument with her saintly voice often fills in that need for a gentler touch.

In terms of pacing, the music flows through a myriad of ideas, often lacking direction but given its indulgent nature, all destinations seem fantastical, other worldly, spiritual, humanist or even heavenly. With dashes of playfulness and colorful experimentation along the way, it rarely runs short of steam, just a couple of two minute songs feel unfinished. A wonderful variety that also lays foundations for many future Enya tacks.

Highlights include the dazzling arpeggio sequences of Aldebaran, the moving folk leads of The Sun In The Stream played on uilleann pipes. Its opening track, The Celts, another delight and a Hip Hop surprise with the darkly hummed Boadicea, which acts as the main sample for Fugees with their classic Ready Or Not. Fantastic debut!

Rating: 7/10

Enya "The Memory Of Trees" (1995)

This could be my now established familiarity with Enya's remarkable music but The Memory Of Trees has a touch of "by the numbers" to it. The overall flow reveal a familiar structure, uniformity and similarities in songwriting find footing in cadence to that of other records. Anywhere Is has that playful tropical jollity to it, a charming track none the less. Pax Deorum takes an early dive into the dark side, conjuring echoes of Mordor war drums in the deep to guide its foreboding menace. A brief resolution of angelic respite emerges before plunging back into the fantastical devilish demeanor.

From there, the album drifts through its calmer sentiments. Endearing voice and string harmonies, emotive piano compositions and touches of childish joy on tracks like Tea-House Moon. That familiar mix of English, Gaelic and wordless singing guides the way. Ending with On My Way Home, that and the hymn-like Hope Has A Place strikes with an uncanny sense of Deja-vu. Surely I've heard these exact ones before?

Its a strange sentiment to emerge from an otherwise thoroughly enjoyable record. A stagnant moment from a musician in peak stride. Not something to complain about. The Memory Of Trees is a luscious listening experience, a craft of pure inspiration but seemingly the same inspiration, leaving me with a lack of fresh vocabulary to expel despite being enthralled once again, another wonderful chapter.

Rating: 8/10

Enya "Shepherd Moons" (1991)

 

Understated yet sublime, Enya returns with a seemingly subdued take on her previously adventurous, occasionly tropical music. Shedding the New Age traits, she hones in on deeper, humanist inspirations. Clearly inspired by Irish herritage, voice and instruments form a union around the spirit of Folk hymns. A harmonous, intimate tone emerges, capturing a spiritual connection through seeming but deceptive simplisity. Stripped back composotions commonly pair strings and pianos, laid bare against Enya's exemplary voice. They strike at the heart of a songs intention, without the melodic garnish and fluffy fanfare that could easily slip into these compositions.

Thus Shepherd Moons almost seems broody on first encounters. A lengthy foray into atmosphere over immenence. Regular intervals linger on these minimalist passages, maximized by the aesthetic claritty of immaculate sounds suspended in gentle, spacious reverbs. This approach leans into the spirtual sentiment, a soothing breeze of mortal meaning, profound and almost devine in its church hymn nature. So to does her singing in Gaelic evoke that emotive power found in traditional communal music.

 Describing the magic of Enya's voice is such a feat. Words evade yet a prevailing sentiment remains. She seems like a muse unto herself, channeling heavenly inspirations to a humane destination. Learning of her seclusion from the lime light and reluctance to perform live elevates this mythos. Citing she cannot do her carefully crafted songs justice, I end up with a sense of finding perfection that works.

When her voice graciously drifts over adorning strings or moving piano chords, its simply wonderous. So often she arrives in different measures, from gently singing words, to humming tunes and many places between. Layering melodies and chanting like choral synths, it all comes together with a touch of divinity. On this incarnation, it all flows like a river of time, continuously flowing, giving one a dose of tranquility.

Rating: 9/10 

Gelure "Inner Sanctum" (2025)

 

The purist pleasures of these peaceful yet esoteric atmospheres has affirmed Gelure's elevated stature. My initial fondness for The Candlelight Tomes and Into The Chesfern Wood has matured with much exposure. Those arcane magics have delivered time and time again. Returning refined after a few years break, the character depicted pitches partly Medieval, churchly, with a dash of Tolkien Fantasy grandiosity. Cultural stringed instruments yielding folksy melodies ground its era. Saintly chorals, vibing on soft cloudy synths, bewitch one in a captivating calmness. Swaying between these masterful constructs, we venture upon scenic swells, conjuring natural beauty, fantasy landscapes and occasionally battles through the crashing of gong cymbals, deep laggard drums and triumphant horns. At its opposing end, sleepy subdued melodies, smothered in reverberations, upend darkly mystic moods, both soothing and curious.

The words Dungeon Synth barely crossed my mind before writing out these inspired thoughts. Gelure has ascended its shackles, arriving upon a grand stature, crafting beautifully mediative music adrift from a genre awash with low effort imitations. Inner Sanctum indeed evokes introspective refuge. A haven of sorts through its spellbinding ambience. Best of all, its eleven minute finale surrenders to metallic convention. Modern percussion houses its historic instruments in the rapture of blast beats and fiery groove to venture upon Atmospheric Black Metal's alter. The initial mellowed tremolo guitars hide its extremity well, masking what is to come. At the eight minute mark a truly epic power chord riff gratifies to no end. With monumental sway, its repitions toy with dazzling tunes and tempo deceleration, in a stroke of genius.

Rating: 8/10

Fief "VI" (2024)

 

I've raved about prior installation's of Fief's exquisite Medieval Fantasy compositions. Often a niche relegated to background music in RPG games, this artist elevates the sound of antiquated royalty with class. Armed with Lutes, Harps, Bells, Strings and Woodwind instruments, a whirl of jovial melodies rapture the halls and courtyards of monastic reign. Earlier chapters ventured towards natures charm, with softer tones cultivating meditative atmosphere. Over time, a sovereign personality has emerged.

VI arrives unchanged, locked in by dancing merry melodies and an eloquence befitting these nostalgic times' royal grandeur. Sadly, it leaves me with little more to remark on, a fine set of eight arrangements conjuring a soothing mood of simplistic pleasures, dance, chatter, fruits and wines in the presence of kings. With little new to offer, it swiftly becomes a familiar shade of music operating in the backdrop.

Rating: 5/10

Fogweaver "Magelight" (2023)

Working with a typical set of Dungeon Synth keyboard tones, Its clear Fogweaver has mastery of the magic. With no surprises in wait, Magelight charms with its enchanting melodies. Located somewhere at the crossroads of soft esoteric murmurings, mystic natural beauty and joyous adventuring innocence, we arrive as a lonely wandering spirit, set to journey through these soothing sights of wonder, mystique and fantasy.

Amidst a meld of classic synths used by pioneers, familiarity paints itself within a luscious dreamlike production. Deep airy synths and apt reveb casts a mood inducing calmed atmosphere to melt into. Tranquil in spirit, yet cautiously animated, a layering of tuneful instruments and subtleties is delightful to indulge with. Arrangements feel inspired, meaningful, enriched by the visions guiding these artful compositions.

Venturing here after hearing Fogweaver on The Kingdom Is Ours, I found myself immediately persuaded and the magic persisted after numerous spins. Magelight has much to offer, from mystic melodies in scenic settings, to gloomy swells of bewitching fog. Its varying shades conclude with the ambitious Inien, pushing its keys towards noisy terror. A chilling reflection upon the same crashing waves it opened with.

Rating: 7/10

Dame Silú De Mordomoire "A World Of Shadows" (2020)

 

 Introduced via an operatic indulgence on Erang's gloomy levitation Despair, I had to seek out the French singers solo material. Dame Silú De Mordomoire is not just a powerful voice but an enthusiast of Dungeon Synth, composing vivid instrumentals, melding melodic Fantasy and weighty Neoclassical into a Medieval nostalgia. A World Of Shadows plays through diverse shades of imagination, venturing upon unique constructs shaped by deeply dramatic singing. Its a worldly experience tinged in a lightly Gothic veneer. unlike much I've heard before it. Perhaps the esoteric leaning Dead Can Dance arrangements with Lisa Gerrard may come close.

Its strengths are varied, Fantasy elements toy in the dance of bright, playful instruments exchanging melodies yet rarely a fresh delight. Its the brooding stretches of dark and empirical tunes that dazzle. Grim Banners a keen example of militant led percussion heard before yet her deep bellowing voice finds a fresh touch of magic. From heavenly and Ethereal, she descends into solemn emotions, epic, sorrowful and weighty. On occasion, even turning to ghostly apparitions and Orcish growls.

Given the albums diverse nature, moods do chop and change, pivoting between songs. Subsequently its special chemistry in voice and instrumental feel fractured upon the records flow. I'm left fascinated by the darkly compositions yet stumped with a sense that a higher grandiose lays in weight. A strange reaction to such a stroke of brilliance with a stale genre. Maybe it speaks volumes to my personal fatigue, or perhaps Erang plucked some of that yearning charm on their duo Despair.

Rating: 7/10

Dead Can Dance "Anastasis" (2012)

Returning from a lengthy sixteen year hiatus, no fresh spark of light, or flash of genius awaits us. Instead, Anastasis plays as an amalgamation of the duo's best cultural aesthetics and voicings. All eight songs bestow simple, gratifying song structures. Luscious clear instrumentation enables layers of satisfying melodies to link together on introspective meditations. Mellow tempos, broody baselines and aromatic synths let an array of worldly instruments peruse on flavorful, exotic paths.

From the offset, no distinct sense of historical or societal vision for these songs emerges. The vastness of Worldbeat influence converges on unique spaces, almost fantastical in their pleasing persuasion. A steady flow of tuneful notation, funneled through the sounds of distant instrumental heritage, lets their natural songwriting strengths become a dominate force, leaving space for imagination to fill the gaps.

The duo's voices still charm a delicate delight, another dimension of worldliness mysteriously woven in. Gerrard is exceptional, her performances on Anabasis & Agape help sway a deserty Middle-Eastern mystique. Perry on the other hand, a delight yet lacking cultural unity with the instrumentation. At times it as if the modern, spotless nature of its production holds back a clear vision. Perhaps a little lower-fidelity aesthetic could of enabled some healthy nostalgia. Either way, I love this for what it is. Fantastic songs finding new spaces out of old ideals.

Rating: 7/10

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

Moutain Realm "Frostfall" (2024)

 

A soft, recent fondness for Greyshadow Ruins had initial excitements lulled by the subdued nature of this tempered beast. Mountain Realm caught my ear for a shapely craft of Dungeon Synth venturing into the darker leanings of Fantasy themes with a meditative quality. Frostfall aptly achieves this again, yet to less fanfare with familiarity taking hold. This similarly structured set of short synth pieces is the quieter of the pair. Routinely drifting into glacial strides devoid of any urgency, a glum dankness steadies as its main thematic feeling, fit for the damp dark dungeon realms it clearly aspires to.

Stripped out are the moments of reprieve from a gloomy yet meditative nature. On the prior record, sparkly melodies would flux from ambiguities into focus, creating a sense of spectacle among these sullen tones. Here they are suppressed, present but drawn further into retreat. We trudge through fuzzy murmuring of ambling bass. Organ like synths drone with sombreness, even choral chants seems burdensome and lonely.

The whole record dials into its own shadow. Seemingly a negative, yet only when trying to focus on its present merits. Leave this on in the background and calmly, without notice, will it delicately transcend your surroundings, ascending to somewhere sequestered, cloudy and dead yet spiritually soothing and serine. Its an odd record to enjoy, brilliant in its own peculiar way, yet tired on these old ears for now.

Rating: 4/10

Paths Of The Eternal "Quest For The Sacred Blade" (2022)

 

Following up on Search Of True Ascendance, this next installment amends prior folly as a cohesive set of songs maintains an enchanting, spellbinding atmosphere throughout its stay. Steeped in mystique, a graceful venture through nostalgic realms teeters on spirituality as many melodies find moments of playful warmth intersecting with an Ethereal breeze. At its core, journey and adventure emote strongest, befitting of toned down VGM music, yet the Dungeon aesthetic and instrumental swells of curios composition lead these innocent tunes to grandiose themes.

Opening with A Light From A World Far From Ours opens, swiftly grabs ones attention. Its bold upright baseline takes a commanding presence among a brilliant thud and clatter of percussion. Mixed in sudden reverb, it illuminates the peculiar design. Icy cold drums that offer a familiar yet distinctive crumbling castle timbre. It sets a fine tone for the music to come. Songs explore with the same instrumentation, often venturing into swells of melodies guided by this charmed percussive force.

Only a touch of eeriness presides in this magical place. The Final Trial Of Will takes a strident plunge into the shadows as for one track the albums spirit is flipped to the dark side. Starting out on foreboding plains, the song pivots at the middle into a funeral gloom, turning occult as ritualistic chants elevate its darkness. Its a fantastic counterpoint to root its ancient sorcery in classic Dungeon Synth motifs.

Rating: 7/10

Mountain Realm "Greyshadow Ruins" (2023)

Imbued by the powers of thematic suggestion, Greyshadow Ruins' sleeve artwork and track titling aptly fits the dusky, seldom mood that awaits within. An array of Casio and Korg akin keyboard synths greets us, whispering cautious tales of what once lurked in this now abandoned place. Dressed in glum, dusty aesthetics, each of these brief stints ventures upon forgotten tales and mythic settings to fulfill its titles promise.

Mountain Realm takes an even handed approach, an acute balance of mystic synth tones, edging towards a minimalist design at times. I most adored this eerie, curious magical glistening sound that emerged from blurry shadows on tracks like Crystal Pool, Goblin Cave, Pyre & Mana Flask. Its other half, a more traditional castly vibe, conjures familiar nostalgia's with a smidge of Wizzards and Orcs battle fever.

Dungeon Synth has been thoroughly explored by this traveler, not much surprises me now. Competent executions of familiar inspirations like this are enjoyable but leaves me stumped when it comes to finding words. I end up repeating myself, as does a fair bit of this record in terms of retreading territory. There is potential here, yet currently it fits well within the confines of expectation from a genre I adore but lacks progression.

Rating: 5/10

Myrkur "Ragnarok" (2023)

 
Danish outfit Myrkur had a busy 2023. Not only Spine but this TV show soundtrack too. Surprisingly, Ragnarok is the more straightforward of the two. Rocking rural stints of Heathen Metal, guitars frequently drop in with overdriven power chords, chunky rhythms and a touch of Doom Metal lurches. Bruun's Scandinavian tongue roots its viking feeling when in spoken demeanor, her ascensions into charming sung passes feel like a softly symphonic charm to dress up the rather dirty, gritty guitar tones.

Each Metal song alternates with an orchestrated alternative, softer instrumentation, often keyboards, pianos and strings. Odins Sang offers a Nordic folk chant over primitive percussion. For the mesmerizing Modgunns Tema, a different direction. Deeply calming, mysterious and natural, the gentle lonely notes that glimmer in its lingering reverb feel like a tribute to first light over a pristine snow swept forest.

This shuffling variety is refreshing, creating quite a journey. Initially I was drawn to its softer side but the Metal tracks have a charm in their simplicity. The aesthetic is spot on for conjuring pagan visions and rural hardships worshiping ancient gods. Its subtly impressive and a firm reminder of why I'm still interested in what they might do next. Although completely fitting, Ragnarok is still candidly bewitching, even more so Spine.

Rating: 7/10

Bal-Sagoth "The Power Cosmic" (1999)

 

Scouring the web for more unturned stones within Symphonic Black Metal, I found my way to fellow Brits Bal-Sagoth. Although not akin to my favored Dimmu Borgir incarnation, The Power Cosmic has been a lively listen! It possibly representing the band in their best stride, with an aesthetic production scaling a welcoming clarity.

Far from the dark depths of Black Metal's reach, its extreme nature, felt through bombarding drums, bombastic orchestration and howling screams, would feel unfitting elsewhere. The musics core characteristics are Fantasy and Epic in nature, weaving big symphonic adventures akin to the likes of recent discovery Fairyland.

Bal-Sagoth's identity lacks a distinction beyond the merits of its various textures and intensities, sticking firmly inline with much of the Fantasy music I've heard before. Its array of synthesized instruments emulate triumphant trumpets and battle horns in aggressive strides. Harps and stringed sounds deliver the swashbuckling adventurous melodies. Behind it all, a soft, ever present glow of choral airy synths.

The rhythm section mostly acts as a sturdy foundation. Lead guitars erupt into the music frequently with squeals and creative arrangements to add an expression less rigid than its symphonic counterparts. Its all stitched together with touches of Progressive Rock influence as the band shake up their own blueprints on occasion.

Overall the experience rarely transcends a sense of expectancy dark fantasy styling offers. Great as an album to serve a mood but lacking stand out moments. Its mostly a pleasant dazzle of upbeat, gleaming instruments sounding off battle-cries. At forty minutes, The Power Cosmic is a lean and concise offering, shy of true glory.

Rating: 6/10

Örnatorpet "Evigt Fr​ä​mmande, Evigt Fj​ä​rran" (2023)

  

A passing listen sparked limited curiosity. Another ruinous bout of mystic woes? Örnatorpet caught my ear in the past but this latest release doesn't quite distinguish itself. Wedged between an ensemble of broody eerie synths, mysterious murmurings, cryptic voices and rustling ambiguities toy, as soft touches of Berlin School emerge infrequently... a strong whiff of Old Sorcery influence is in the air perhaps.

Its a competent execution of ideals, atmospheres built through steadily layering simple melodies, instruments treated to carefully crafted sound design, imbuing scale and distance between more intimate imaginations. The chemistry slants from creepy shadows to fantastical weirdness as brighter compositions create curious settings.

Sadly, among its nine tracks, none were able to leap of the page. For all its interesting sound design and zany Dungeon Synth vibes, the whole project remained in the background, unable to command ones attention. Although mostly appealing and capable of conjuring the mystic moods I love, this latest effort was either too reminiscent of a genre I've explored extensively, or just rather average.

Rating: 5/10

Rune Realms "In The Wild North" (2016)

So far this journey has been propelled by sequential surprises, as scene setting triumphs in constructing naturalist and fantasy ambiences. In The Wild North is the first instance where much of the music drifts from its scenic powers into drab spells of soft instrumentation lacking a thematic potency its album title suggests. Its opening two tracks weave strong melodies into its web of chilled, shimmering instruments. Between lulls upon snow blanketed fields do surges of valiant adventure arise. Dancing melodies move with gusto among the castly brooding synths below.

An excitement short lived, the following songs meander into a string of uneventful quiets, resting on its icy tone. The pace is sullen and lingering, not quite luminous to paint the vividness felt among these soft temperaments before. Individually the aesthetic chemistries are pleasing to the ear. Collectively they amount not much as direction feels lost among these frosty enchantments. Around the mid point, one song, Discovery Of The Ice Chasms, does turn the ear. A shivery mortal danger lurks in the shape of its unforgiving terrain, suggested only briefly in its one minute duration.

Another short piece, Emerging From The Caverns gains a similar distinction with the sudden shimmer of animated melodies. The song names suggest directions I didn't quite follow. However these pivoting moments made intentions obvious. Perhaps I've been spoiled by other works, or maybe this one could grow on me with time. Either way, its pleasant stay didn't hit me quite the same as the other incarnations.

Rating: 5/10

Rune Realms "The Stormcoast" (2016)

 

I find myself in awe again. Next on our Rune Realms journey I picked The Stormcoast. Adorned with a teal stone runic border and painted landscape of mountainous crevasse shorelines, my curiosity for a sea fairing adventure was both peaked and eventually satisfied. Led mostly by long aches of unmovable stoic string sections, accompanied by the soft, distant commands of horns, a mystic sense for exploration of the unknown is birthed. Unsurprisingly its themes echoed The Fate Of Atlantis, produced later but perhaps the soundtrack itself served as an inspiration.

With its theme suggested, the music herein fit the bill. Ones imagination will wonder through natural beauties, unscathed by man. Fantastical terrain, treacherous to traverse, yet gazed upon at a distance, from rivers, streams and coastal regions. Here lies no sea sickness, no sense of endless waters and torrential storms but a curious exploration of foreign lands inhabited by illusive natives who watch unseen.

Much of the record traverses the quiet and cautious. Meager in stature yet gratifying upon inspection, its miniature excursions are delightful, however can pass one by if distracted. Between its many soothing, calmer spells erupts the main theme of exploration and glory! These crescendos of strings, with the sounds of waves crashing and harp or flute melodies, converge to create grandiose magnetic spectacles. They command ones attention with their intense brooding and rock steady pace.

The Stormcoast is another remarkable chapter, found early on. It seems the what I would of hoped to be an evolution of the later records is actually here early on, the ability to lead the music into more nuanced spectacles. The melodies and progressions here work wonderfully with the aesthetics for some nostalgic sea baring that doesn't lean heavily on any tropes. Its really tasteful and so well crafted. Bravo!

Rating: 8/10