Örnatorpet "Hymner Från Snökulla" (2019)

I've held off from this record a while. Blodbad Och Efterspel was a great listen but I couldn't say the same of other Örnatorpet releases. Once I did get around, I was quickly whipped up into the majestic world of chilly cold atmospheres gleaming in the magical warmth of daylight. Its unsurprisingly a Fantasy, Dungeon Synth hybrid and its tone is identifiable immediately. It leans into pleasantries of simple melody and steady notation akin to the medieval sovereignty of Fief. Its pallet of icy bells, prestigious plucked strings and soft synthesizer creates a welcoming atmosphere of natural beauty, mystery and charm all within a chilling, snow setting fondly fitted by the records cover. Snowy trees on a warm day with a clear sky, it is that beauty.

The first few spins were magical, the absence of this music in my audio habits made for a returning wonder that didn't stick around as much getting deeper into the record. Its pacing, tone and structure is very one dimensional. Instruments often operate at the same temperament and tempo, looping simple arrangements with little in the way of progression or event. It quickly becomes a linear journey, serving better in the background, casting a stellar mood and tone that seems plain on closer inspection.

The gorgeous pallet of instruments and whirling, windy synths that bustle in the background really props up the music that has little in the way of progression. Every song seems to end where it starts and although a couple peer into a more mysterious and distant angle, the music mostly resides in a safe and consistent setting. Only one song musters a little sorrow and darkness but it is the albums dullest. Buried in the fifty minutes are a couple of dazzling melodic arrangements but they too hide within the musics stiff arrangements. Its a really good listen but simplicity holds it back.

Rating: 6/10

Wardruna "Skald" (2018)

Having enjoyed the Nordic ambience and cultural folk of Runaljod, I brought this album without a first listen. Its a departure from what I remember as Skald trades off depth and indulgence for a grounded minimalism that far better represents what this may have one sounded like. Einar Selvik stands as a dominate presence, a lone ancestral voice to guide us through the echos of heritage and its accompanying instrumentation, of which there is little. Naked and bare, his language is sung with inflections and an honest rawness to invoke what may have been in centuries past.

Purely by impression, his performance resembles runic scriptures and handed down heathen hymns. The poetry of cultures lost to time. His lone voice holds strong as simple single stringed instrument melodies repeat to set the tone. Only on Vindavla do the instruments switch to bring a darker, tense tone as the Lute alike instrument mostly delivers soothing and warm music. One can envision Nordic ancestors sat around a campfire as they exchange stories and sing poetry together.

At its end the record dulls with a fifteen minute accapella. His isolated voice not as charming alone. On my first few listens I struggled to be sucked in to this world but with patience it grew a little. The fault is probably with my own preferences as a richer instrumentation would have lured me in and cultural hymns are often not to my liking through human voice alone. It is however a remarkable performance in the right mood, a soothing and spiritual listen that will evoke historical echos of our humanity.

Rating: 5/10

Old Tower "The Book Of Ages" (2015)

 Now we arrive at the roots, a debut release for Dutch wizard Old Tower. Fourteen minutes of creaky, fumbling Dungeon Synth. Amateur and hazardous in nature, its futile attempts to conjure atmosphere and mystique fall flat on the back of inexperience and lack of vision. Its a typical entry level record similar to many who have stepped into the genre with the likes of Mortiis and Burzum on the mind. With spurious shifts between often singular, low fidelity synth tones the music drifts from one to the next with little beyond its imitations to grasp at. Its cuts to deep foreboding voices, far to ambiguous for comprehension signal a narrative that alludes me.

It does in one or two moments match a key tone to its spooky aesthetic for moments of intrigue. Its attempt to cast a soundscape of medieval battle with the sounds of burning fires and swords clashing reminded me of my own folly into similar ideas with the end of Eternal Myst from my Forgotten Conquest album. It puts to mind my own personal experience adventuring into Dungeon Synth and how my own passion may not be conveyed in amateurish enthusiasm. As harsh as Ive been there is no doubt passion was put into this project and its second half does shape up better but overall its forgettable and I'm glad I didn't start here as great things were to come.

Rating: 2/10

Fief "IV" (2018)

A joyous smile swept across my face upon receiving news of this forth chapter by Medieval Fantasy musician Fief. Despite being a predictable set of instrumental songs, the knowledge of new music to command the imagination and transform ones surroundings was precisely what I was in the mood for. Seven songs, twenty eight minutes and illustrious harp-like instruments dancing in display, this newest installment leaves me with little to say I haven't already.

Once again we have uplifting melodies played on a variety of gleaming string instruments. Several layers of these form acute and splendid music that frolics through an innocence lost to time. Always keen of spirit and festive, Fief brings about visions of enchanted gardens, natural beauty and adventure without consequence. The wholesome melodies conjure our romanticism towards the best of kingdoms and landscapes lost to the perils of time.

Clearly composed with VSTs and a dose of soft reverbs, the crisp production lets the color of the instruments fill the spaces. A simple and pleasing construct for melodies one could imagine being played for kings and queens of forgotten monarchs. It is as keenly focused on one vision as its predecessors. No surprises. However the closing tracks guitars, playing in tandem, sparks a strong emotional reaction, perhaps it is a tad more exceptional than the rest.

Favorite Track: The Waiting Hearth

Rating: 6/10

Dead Can Dance "Dionysus" (2018)

Blessed we are to have another Dead Can Dance project on our hands. After a six year absence the duo return with a mid length, sweet and exotic piece of music. Its around seven songs split into two sixteen and nineteen minute tracks. Through the journey of this blog I have been digging into their catalog and unearthing several gems, Aion being the first. They compose and perform meditative, spiritual music inspired by historical, cultural and worldly sounds. Time has not been a hindrance, this release is fondly inspired and fit to sit among the best of their wonderful discography.

The first act is luscious, exotic and wild. A modern production doesn't particularly give the duo anything they couldn't achieve already but its crisp and silky aesthetic has the percussion popping. Earthly choral singing over viola strings sounds dazzling too. It has a warm climate feel that plays out with powerful melodies conjuring deep earthly moods, reinforced by vocal cries of emotion from under the building layers of exotic instrumentation. Its a very primitive and rooted experience, a scenic interlude of rain, howling and chirping of wildlife grounds the link between these songs as its final piece goes into a primitive trance. One can envision star splattered night skies, camp fires, ritualistic dancing and singing around the glowing flickers of flames.

The second act feels colder and humanistic, the pace and tone turn to a nightly setting and Perry brings mysterious language to his singing. Brooding cultural voices and dazzling melodies stir up a climatic build up on the following song. Its another engrossing atmosphere and then The Forest really throws things back in time with a warm, upfront and gently bouncing baseline giving the track a Post-Punk feel, going back to their roots as a band. The singing is gorgeous, enriched by worldly travel. Its the albums peak as the following song slowly winds things down quietly as the record drifts back into the shadows from which it came. Its a brilliant record that does the best of what these two are known for with exquisite execution. The inspiration is ripe and with that a wonderful thirty plus minutes of riveting music has been birthed.

Rating: 8/10

Sequestered Keep "The Vale Of Ruined Towers" (2017)

Continuing our dive into the mysterious, adventurous realms of Dungeon Synth we come across this praised release by an artist I was already familiar with. I have many of the previous records from the American composer known as Sequestered Keep, because they were free and plentiful. In a span of a few months they released a dozen albums onto bandcamp, all with a striking monochromatic covers of mythic castles, epic landscapes and darkly forests. Unfortunately I wrote the music off as being far to minimal and effortless, I got the impression it was more about the fantasy of Dungeon Synth than the music itself, minimal because it was put together hastily.

If that is true or not there is no doubting this new logo and introduction of color in the album art signifies a shift in quality. The majesty unfolds with a gleam of medieval fantasy and mystic imagination not far from the kin of Fief. With bright melodies reflecting playful adventures and carefree mischief The Vale Of Ruined Towers paints a rather warm and serine setting within the so often gloomy and decrepit micro genre. Playing into the fantasy side of its sound, a welcoming tone invites the listener in to stay in this carefree realm.

The aesthetics take on a bright, pronounced and glossy sound as luminous instruments in the form of harps, bells, horns and choral synths chime in tandem through compositions of layered melodies which often stack up to several layers, creating a colorful web of sound. Its held together by a constant but easily overlooked percussive line of steady hi hats and the meek shaking of a quiet tambourine without a kick or snare in sight to enforce any groove beyond keeping tempo. Its result is a colorful vision of glory from mystic realms of surreal natural beauty where kings and queens bestow their lands.

With a fairly consistent tone its scope may sound a little narrow as its song structures and musical progressions rarely break the mood and atmosphere of the instruments. It gives the whole album a stagnancy within a beautiful setting. When instruments fade, melodies shift and songs turn direction its as if it goes around in a circle. The record sets a fine tone and atmosphere for the specific mood but on closer inspection feels like it has the power to grow and expand yet the songs remain firmly in the same spot. A great record in some regards yet being familiar with this style It feels like the opertunity as passed to push it further.

Rating: 6/10

Depressive Silence "Depressive Silence" (1996)

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

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

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

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

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

Rating: 7/10

Örnatorpet "Blodbad Och Efterspel" (2018)

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

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

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

Favorite Tracks: Farden Till Dalama, Den Nye Hovitsmannen

Rating: 6/10

Dead Can Dance "Into The Labyrinth" (1993)

After a string of five records, Australian duo Dead Can Dance take a little longer to get their next effort out with a compilation released just a year after Aion. It follows a familiar construct of the two exchanging the lead roll as a sole voice over enchanting, cultural instrumentals. Two mesmerizing accapella's make an appearance in the eleven tracks mainly distinguished by an Mediterranean persuasion. First heard in slapped bongo grooves and steady tambourine alike percussion it grows with the record as the melodies feel increasingly sun soaked and the rich tapestry of instruments grows increasingly exotic and foreign with a desert sand tinge.

Its mostly Gerrard who indulges in these traveled voices. Sublime might be an understatement, her singing was under no contest but one has to be taken back by the cultural echos she inhabits with an ever expanding set of voices. Rich in texture and flawless in execution a emotional resonances illuminates her songs. Perry on the other hand often pulls the record back to the mystical, fantasy, medieval side of their sound, choosing to sing on the tracks rooted in sounds previously explored. They two are equally enjoyable but certainly fitting into whats been heard before.

Into The Labyrinth has little surprise. The excellence and inspiration this band can achieve is performed again and perhaps where they could of fully dove into new territory they have tread the lines between two strong ideas for an album most excitable when exploring the aforementioned cultural sounds of heated climates. With balanced measures of complimenting instruments, they once again muster together another set of magical songs to transform your imagination and take you on a journey through other worlds, times and beyond.

Rating: 7/10

Dead Can Dance "Spleen And Ideal" (1986)

Freeing themselves of the Post-Punk shackles their Self Titled debut was wrapped within, the Australian duo take a shy stride toward the vivid world they would come to inhabit on Within The Realm. This humble and quaint beginning is an exploration of imagination with a striking sense of nostalgia from cultures lost to the perils of time. Whatever the duos inspiration and vision for their music was, I find myself always overcome by a sense of worldly, earthly epic within the roots of a simpler existence, close to mother nature yet drawn to mystic and esoteric.

Initially the record strikes me as a half way house, a transition of sound but so swiftly do the supposed short comings of this record evaporate as its atmosphere engrosses with its rolling repetition. Drum arrangements and especially the baselines have hang overs from the Post-Punk record beforehand. The base guitar pops and plucks at a steady, unshakable pace on almost every song as if it were backing thick walls of distortion guitar. The drum patterns are somewhat stiff and repetitive, always churning away as if a requirement. Ironically it maybe these droning elements that help conjure the atmosphere as they provide a sturdy hypnotic backbone for the duos voices and spell bounding keyboard melodies.

With higher fidelity production and a richer array of synthesized instruments the spark is ignited. Gerrard's resonating voice memorizes without dense guitars muddying the rapid vibrato texture in her singing. Perry's deep and wholesome words relish in the reverb afforded to him in a more spacious production. It all amounts to a wonderfully relaxing and vivid experience of simpler lives yet beneath it all lurks an undercurrent of something eerie and haunting that never surfaces, always lurking in distant shadows. Despite the sense of mortal coil it remains a rather warm and endearing listen.

Favorite Tracks: Advent, Indoctrination
Rating: 7/10

Fief "III" (2017)

A wave of excitement took over as news of the third Fief record graced my inbox. It was the sort of enthusiasm for familiarity that has since been my focal point of thought beyond enjoying the alluring atmosphere of the record. Fief graciously invites us to relax in the luscious gardens of kings and queens, courting in the magical fantasy lands of yonder. It was precisely what I had expected and hoped for, another swooning set of short songs to indulge in. Visions of jesters, minstrels and dancers entertaining their masters in cordial company or a young adventurer, journeying through the forests of friendly creatures and ancient fairy tales, Fief sets the tone perfectly for an ancient world of eternal wonder without worry or fear.

I however find myself distracted by the lack of evolution or expansion in the sound, I am always interested in new sounds, ideas and for exploration into what music can offer. Had I listened to this directly after I and II I may have found myself disappointed but the distance in time has been healthy for my apatite. Fief is executing this idea, this vision with brilliance and there is no complaint on my behalf, I am perhaps all too aware of my own attention span, that eventually I will exhaust this fruitful experience and wish for something new.

For now though I have really been enjoying the immersion into this fantasy realm, pleasant, bright, uplifting and soothing its the perfect soundtrack for relaxing and letting your mind wonder. With no major change in sound it is once again a typical affair of layering lush instruments together with inspired melodies alongside the occasional tambourine shuffling percussion. The songs can build and fall, with up to five instruments singing together at once, and in calmer moments a single lead instrument can path the way, whats nice is the fluctuation, the elevating and calming of songs lets its best melodies charm you when the songs reach their respective peaks. At thirty minutes this is the strongest installment yet!

Rating: 7/10

Fief "II" (2016)

Not much more can be said about this record than previously mentioned in yesterdays post "I". Unsurprisingly, "II" is the second record from the Utah based musician, released just a month ago. Its another transformative piece of music for meditation as one is enveloped by the simplistic beauty and melodies that conjure ages of old. The album cover is far more suggestive of the setting than its predecessor, images of caves, forests, nature and magical beasts match the gentle music which will take you on a stroll through the pleasantries of your imagination.

Musical differences are hard to come by, aesthetically the instruments feel unchanged and produced with the same level of crisp clarity. In composition "II" is sparse in many places with less instruments layering up around one another. This is especially notable in a handful of tracks which clearly set out to work with less. As a result this may be a longer listen but Its a step behind the density of "I" which was an engrossing quality, a busying of sound which doesn't charm in the same way when its mellowed down. Its still fantastic, magical music but mostly resides in the realm of expectation.

Rating: 6/10

Fief "I" (2016)

With a finger on the pulse of a fantasy realm, Fief captures a friendly, uplifting tone of familiarity within the lands of imagination. With soft, quaint plucked instruments and gentle pianos working in tandem, the mood is inviting and conjures images of medieval charm, a world of magic and wonder without the grit and grime of technology-less society. Its a realm of simplicity and majesty where battles between good and evil come without collateral damage. Fable is the game I am reminded of however its been years since I touched it. "I" is the perfect soundtrack to a fantasy RPG, one that is without a darker side of its reality and It could so easily work with such a game however its powerful enough to stand on its own feet.

At twenty minutes its a short but sweet affair of lush compositions as harmonious instruments dance around one another with an endless string of melodies and chords to vibe from. Its without a rhythm section or vocals, however an occasional low key plucking can keep a steady tempo for the other instruments to work around. Flutes, harpsichords, the chiming of bells and the like make for a soothing set of sounds that are without anything experimental or obtuse. Its direct, well executed and my only complaint is the short nature of the record which could command a mood for far longer!

Rating: 6/10

Dead Can Dance "Garden Of The Arcane Delights" (1984)

Released later in the year of their self titled debut record, Australian duo Dead Can Dance make an important distinction of ideas, moving away from their Post-Punk, Gothic Rock roots on two of these four tracks. Its with singer Gerrad that the leap is made to rid themselves of imposed restrictions and follow inspiration. Her voice is primed with character, ethnicity and mysticism as ancient cultural vibes are conjured through her vibrant singing. She leads the way as the percussive instrumentation weaves itself between different instruments, a continual beating of tribal, human drums and plucking of dense melodies.

In the other two songs Perry sings along to numbers that still have echos of the Post-Punk baselines and dreary gothic guitars heard before. More so "The Arcane" sounds like a left over from the debut, very much in the same vein as most of the music on that record. Production is a little clearer but with four tracks there isn't much to marvel, however with the two we hear the important steps towards their greatness first taken, and it should be said they are no primitive inceptions but rather bright, shining embers of spirit and imagination.

Favorite Tracks: Carnival Of Light, Flowers Of The Sea

Rating: 4/10

Dead Can Dance "Within The Realm Of A Dying Sun" (1987)

This may be the one, "my" Dead Can Dance record. So swiftly and immediately did it command my interest with mystical enchanted bells playing over a foggy and eerie choral synth that chimes in a moment later. It set the tone for an ancient, dark an deeply nostalgic experience of fantasy music with a similarity to the likes of Erang. In its first half this record borders on Dungeon Synth many years before its primitive inception in the 90s from the likes of Burzum and Mortiis. Unlike its predecessors the bands recreational element is yet to be developed and the visions and atmospheres here tell tales of the land of the dead and forgotten mysticism with a remarkable touch of color and vibrancy.

The records second is my favorite, a short and stunningly crafted piece to send your imagination soaring. Rhythmic synths echo the chimes of war as secretive strings expand and contract through a fog. More instruments chime in to add to the cryptic, mystical atmosphere and I feel as if I'm lost on the foggy moors of forgotten lands, safely observing a supernatural event. The rest of the record has a stronger human element through the sturdy, soft voice of Perry on the first half of the record and Gerrard's on the second, sounding as always like she is from another era of time.

Where the duo take two half's of the record there is a split that can be felt as the gears shift from fantasy to a strikingly dark and serious tones of remorse and suffering. On "Cantara" the mood is lifted with tribal rhythms and more stunning vocals from Gerrard. The other three create sorrowful, grave moods of funeral and loss with little respite for any melodic charm in the wake of heavy, burdening compositions that hold a great immediacy within the musics momentum. From the technical perspective this is a well produced collection of instruments for 1987. Its rigidity of timing may be noticeable but does little to dispel the magic that emanates through the speakers.

Favorite Song: Windfall

Rating: 8/10

Dead Can Dance "The Serpent's Egg" (1988)

Following up on the riveting "Aion" we take a step back to Australian duo Dead Can Dance's forth record released two years prior. The band are still in their recreational spirit, creating inspired, immersible atmospheres conjuring nostalgia of ancient civilizations and our mankind from a different time. The record plays in two halves and opens with a song that is surely their magnum opus. A low organ hums under Gerrard's voice pouring with emotion and strength, the quiet crashing of drums creeps in underneath and after a short pause we are whisked into an overwhelming moment of beauty and sorrow. Divine strings enter and illuminate her voice to another level, its a moment that resists all doubt.

Unfortunately this moment of genius overshadows what is an underwhelming record in comparison to "Aion". Having taken the time to listen to it again I find a portion of songs in this track listing fall flat of their ambition to captivate. Maybe a touch on the minimal side, or perhaps Ive just experienced my share of this medieval music, either way the songs not listed below didn't grab me like the ones that are. Its an album of two halves, in two different ways. On one hand theirs an inconsistency to reach the soaring height set by the opener, on the other a record with two distinct vibes.

The first five tracks have the familiar medieval theme ripe with biblical organs, bells and chants. The second half, starting with "Chant Of The Paladin" shifts gears to an exotic, Mediterranean sound. Starting a touch dry at first the last two songs invoke mesmerizing rhythmic melodies around eerie synths conjuring images of fire, sands and Arabian mysticism. "Ullyses" is an luminescent finale, treating us to swift melodies and linear emotional progressions led by Perry's sentimental vocal presence. As a whole it has some weak moments but also produces a few on the bands best songs, well and truly worth your time, for the opening track alone.

Favorite Songs: The Host Of Serphim, In The Kingdom Of The Blind The One-Eyed Are Kings, Mother Tounge, Ulyses

Rating: 6/10

Dead Can Dance "Aion" (1990)

Here's a fascinating record that was sent to me by a dear friend, I've had it on repeat often and have been looking forward to sharing this gem. Dead Can Dance are an Australian duo who formed in 1981 and have produced eight records under a myriad of musical styles and influences mostly from within the sounds that emerged from Post-Punk and Neoclassical. On this record we get a strong Medieval vibe that feels recreational and purist in spirit but lets a few modern musical ideas in to great effect. The records cover features a tiny snip-it from the Triptych "The Garden Of Earthly Delights" from the early Renaissance era.

In a truly recreation style the dramatic moments of this record follow the breath taking performances of Lisa Gerrard, who's vocals transform time and age with a stunningly powerful and spiritual performance that changes ones surroundings to the aged wood oak of church pews. You can feel the cold stone beneath your feet, the robes around ones body, the smell of candles drift by as we get a feeling of our ancestry through sublime Gregorian chants. Brendan Perry also gives enigmatic performances that are transforming as if from a man not of this time. Its truly remarkable and the backing vocalists that join them on a couple of tracks also give a spirited performance.

The record drifts between three types of song, some instrumentals composed though sounds of the era, vocally led numbers with minimal compliment, like an organ or bagpipes and songs that trip gently into modern ideas through the use of 4/4 drum beats. It's the use of rigid drum machines and sequenced electronic instruments that gives this record a point of interest. Not to tip the scale in either direction they are both recreational sounds and inventive elements. For example "Black Sun" has the most rigid and repetitive sounds looping from a sequencer and its atmosphere is less purist as a result, yet its also one of my favorites for its captivating atmosphere.

Its a mixed bag of nostalgic treats, all of which has been a joy to indulge in. Id like to hear more of this group, however it would appear that something different should be expected of each record in their discography, which in a way gives me more reasons to give them a chance considering the quality of this one. I'm left curious as to how often I'll get an inkling to return to this one.

Favorite Songs: The Song Of The Sibyl, Fortune Presents Gifts Not According To The Book, Black Sun

Rating: 8/10