Vinterriket – …Gjennom Tеkete Skogen [Germany, Dungeon Synth / Dark Ambient] (2000)

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Neodawn Productions — NDP 001

DS1e / DS2e — An adventure into dungeon synth of the 1990’s and 2000’s as it grew out of ambient, neoclassical, darkwave, medieval, and underground metal. Presented as retrospective album reviews and given edition numbers like RPG rulebooks.

At the moment, the entire work of German dark ambient / dungeon synth project Vinterriket is cataloged on his website. In this catalog are links to webpage discographies and also ever social media and music cataloging site that many have forgotten. This meticulous attention to detail is the hallmark of a creator who has been operating for 20 years creating various tributes to fantastical landscapes. Throughout the 2000s, Vinterriket’s creator, Christoph Ziegler, would lend his talents to various dark ambient, neofolk, martial industrial, and atmospheric black metal acts. If one would go back to the genesis of a long and sprawling career, it would be a chilly inaugural demo and the start of the record label Neodawn Productions.

…Gjennom Tеkete Skogen is dark ambient music that sounds at home in a dungeon. This music typifies the type of sound before it even had a name but perhaps appealed to fantasy inclined listeners who were interested in playing necromancers in Dungeons and Dragons. The ominous synth are pipe organs which rise out of castle spires as they pound through whipping rain. the demos opener “På Tåkete Enger Og Myrer” (On Misty Meadows And Marshes) acts as an overture to the dammed with the addition of wind samples which muddy its soundscape. The atmosphere created by Vinterriket is an inhospitable world which could be called winter synth if that winter was wet and still freezing cold.

Arden – III [France, Dungeon Synth / Dark Ambient] (2000)

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Cauldron Music – CDR004

DS1e / DS2e — An adventure into dungeon synth of the 1990’s and 2000’s as it grew out of ambient, neoclassical, darkwave, medieval, and underground metal. Presented as retrospective album reviews and given edition numbers like RPG rulebooks.

I really wanted to put the genre of “Neoclassical” for this release but everything listed is either dungeon synth or dark ambient. What is neoclassical then if not gothic sounding chamber music? I might need to investigate neoclassical a bit more but in the meantime we are presented with the third album from French based composer Stéphane Flauder. Along with projects like Maelifell, Fin de Siècle, Al Amor de la Lumbre, and Par Hasard un Soir de Brume, Flauder helmed Arden from 1997 – 2000. Collectively Arden released one album, one demo, and two splits along with a collection of unreleased tracks and The entirety of the work is housed on the Bandcamp page and can be downloaded for free.

Arden leads our exploration into the dark period of the 2000’s for the style eventually known as dungeon synth. During the revival, the foundational records of the 90’s would be enshrined as well as the new projects recreating the sounds of the 90’s. The 00’s would be a period that would see less conversation and to this day remains a nebulous period of dark ambient, dungeon synth, neoclassical, and lofi medieval worship. Arden is all of that with little distinction for the sounds that would eventually have names and zones. III is the sole full length from Arden and the last release from the project. In a way this is the final resting place for the project and its dark and ominous tones are its sepulcher. While the project began as dark ambient, III explores repetition in lofi extravagance making compositions around ornate drum beats and ostentatious melodies. the production gives the entire production a feeling it has been sitting under cobwebs and dust for centuries. The vampiric synth aesthetic has been a popular niche for dungeon synth in the past few years and with Arden, we have a long forgotten vampire.

Necrophorus – Sadness & Somnolence [Sweden, Dungeon Synth / Dark Ambient] (1991)

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B.o.C.a. Tapes – B.o.C.a.t-008

DS1e / DS2e — An adventure into dungeon synth of the 1990’s and 2000’s as it grew out of ambient, neoclassical, darkwave, medieval, and underground metal. Presented as retrospective album reviews and given edition numbers like RPG rulebooks.

Necrophorus is the name of a project led by composer Peter Andersson. Andersson is known for a variety of endeavors but perhaps most connected to the dark ambient project Raison D’etre. At the same time as his other projects, Andersson explored dark ambient and medieval soundscapes with the project Necrophorus. Sadness & Somnolence is the debut demo from Necrophorus and is shockingly modern in both its production and sound of dungeon synth in its revival. On Rate Your Music, Sadness & Somnolence is listed as the first album with the dungeon synth tag even coming before foundational artists like Jim Kirkwood and Mortiis. At 30 minutes, Sadness & Somnolence presents somber soundscapes that would be at home on a limited edition cassette. Songs like “A Soporific Tale” and the title track are near visionary to the sound that would be popular decades later. The songs crafted by Andersson have the magical naivety that would be the bedrock of what would eventually be known as dungeon synth.

What is fascinating about Sadness & Somnolence is its divination to future styles as well the fact Andersson explored more dark ambient and drone on future releases. 1996’s Underneath the Spirit of Tranquility and 2000’s Drifting in Motion both are interesting but drift more away from the style explored in the debut demo. Andersson would continue exploring these themes throughout the 2000’s eventually exploring progressive electronic with the series Music For Film And Exhibition. Andersson’s work is fascinating for his many facets of sound even outside of his uncanny prescience for the dungeon synth sound.

The 1991 demo was re released by Andersson in 2008 along with other early works in a compilation titled Moments of Sleeping Sadness. Also includes are the re recordings / remastered compositions as well as the original demos which are worth the time for anyone interested int he sound.

Strix – Obscurent Nos Tenebrae [Italy, Black] (2022)

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Dolomia Nera | 10-31-22

If there is anything that can be said about Strix, outside of having a cool name, is their longevity. Formed in the mid 00’s this black metal duo has weathered over a decade of existence with one full length, one EP, two demos, and now two splits. Strix releases are nothing but glacial and one would think this void of production would lead to a 2022 split that would be average. Obscurent Nos Tenebrae is anything but with 12 minutes of misanthropic rain which pours from the its black skies. These two songs are so deft in their execution it is a wonder why this act only releases something once a decade. The two songs are accompanied by a band called Inverno. I would mention more about their contribution but there seems to be nothing on Bandcamp. Regardless the sheer presentation of Strix out of almost a decade of silence is impressive and combined with stunning artwork makes this split one for a desolate night.

MURGRIND – The Power of Yourself [Germany, Dungeon Synth] (2022)

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Uralte Herrschaft Productions | 8-21-22

If Murgrind is good at anything it is rolling out the carpet for their releases. Murgrind is the creation of Sven Strack who has also created other dungeon synth projects such as Draped in Shadows, Haryon, Arath, and runs the label Uralte Herrschaft Productions. Murgrind’s 2013 record Journey Through The Mountain was an important artifact in the early days of the dungeon synth revival and subsequent works have been met with a deep admiration and regal fanfare. The Power of Yourself might be the fourth full length in almost a decades worth of existence but each release from the artist commands a few years worth of attention.

The Power of Yourself, at a staggering, one hour running time, is a cinematic experience which transcends what most people would think of dungeon synth. Nowhere is there any hints of bedroom production rather widescreen fantasy orchestras which put the listener in the role of adventurer and conqueror over dark shadowy mountains. This is what Murgrind does the best which is spend years creating a campaign world for its listener. Each record might come with a long procession but the experience with each release is undeniable in both craft and execution.

Burgfried – Geistertum [Germany, Raw Black] (2022)

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Narbentage Produktionen | 7-1-22

“BURGFRIEDs 2nd strike of Primitive Franconian Black Metal. Dedicated to the chivalric specters that roam the Upper Franconian valleys & hillsides.” I love this line which is on the Bandcamp for Burgfried’s Geistertum. It is near absurd but is unique enough to be evocative. The images of ghost knights roaming the hills of the French country side is something that feels comfy to imagine. Add to the the crashing sounds of shredded black metal and one has an evening of terror and abject horror. Geistertum is the second release from Burgfriend following the equally gripping and hilariously named 1631 which I am sure is the date of some obscure French atrocity. Burgfried brings history, or at least the flavor of history, to the table and messily mixes it with black metal producing something that may not be novel but is undoubtley effective. Chivalric specters certainly carry the banners for these dead rulers which seem to ride into battle on horses that are probably also ghosts or some shade of dead.

Tales Under The Oak – Swamp Kingdom [Germany, Dungeon Synth] (2022)

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Self Released | 8-7-22

I do not think I was aware of this magical kingdom until today. Tales Under the Oak is a German act who in a year’s time has crafted two amazing releases which seem to weave a tale of mystical lore. Swamp Kingdom is the 2022 release which follows The Toad King in 2021. Both releases have uniform art and direction which makes each release feel like a chapter in a storybook reads by fireplace. Tales Under The Oak employs lush music still under the veil of lo-fi bedroom music yet the landscapes feel more open and rich than dungeon synth contemporizes. Swamp Kingdom is medieval music being played by bards who just happen to be submitting music under the dungeon synth label. This is truly transcendental music as you are no longer just hearing this on Bandcamp rather from a distance as you travel a strange and enchanting land.

Offernat – All Colours Retract [Denmark, Sludge] (2022)

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Self Released | 9-2-22

Part of the reason why I first picked up this EP was the cover as it was so non descript and without any trace of bandname, release title, or anything. It is as if this release just materialized and we have to deal with its existence. Offernat is a Danish sludge / post metal (?) three piece who play music in the style of Neurosis and old Isis. While comparisons are easy to make at first, Offernat quickly becomes dense and complex. The only track available at this monument is a 14 minute preview called “The Winds” which is a raucous maelstrom heavy sludge which tempers into a slow ambient unravel of both form and temper before forming into something unexpected and delightful. “The Winds” is a powerful declaration from a band who has had just one EP to date. All Colours Retract, when release, has a possibility of being a robust release with music that is understated in its album cover.

檳榔袋鼠 Betelnut Kangaroo – 天地頌 [Taiwan, Ambient] (2022)

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The Tidal Charm | 7-10-22

Complete the treasure map and solve its accompanying puzzle before Season 1 ends to find the hidden treasure TCX001, a private album on BC exclusively available to these treasure hunters.

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Absolutely charming. I wrote about a compilation from The Tidal Charm earlier this year mostly because I fell in love with it and if it was a school yard, I would be following this label around asking to be their best friend. We are going to be stepping outside the bounds of even dungeon synth but I feel this is where the spirit lies. Somewhere between ambient, new age, vaporwave, slushwave, and a dozen other names that only exist inside the internet, The Tidal Charm is a marketplace of the dreaming where tapes are made for people seeking dreamwave music. 檳榔袋鼠 Betelnut Kangaroo is listed as a Taiwanese artist making music in Guitar Pro 5 ( a popular tracker software in 2005). 天地頌 is a hidden wonderland of surreal synth, ambient landscapes, and enough sincerity that nothing feels like a farce. 天地頌 is a 2021 release but comes in a tape packaged together (?) with 浮咒 which doesn’t seem to be listed anywhere on the artists Bandcamp page. The tape comes with a quarter of a treasure map which seems to be a hidden album listed as TCX001. The Tidal Charm continues the tradition of esoteric puzzle music and even puts a time limit on the game which makes me wonder how many dreamy treasure hunters are out there. I will absolutely support ventures like this and hope there are more liminal games that are pushed out into the real world warping the fabric of reality.

SCUMSLAUGHT – Knives and Amphetamines [France, Thrash] (2022)

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Caligari Records | 6-23-22

Baptized In Piss.

I think when I opened up my email and saw the name SCUMSLAUGHT, I was immediately sold to whatever style of music these three were selling. Whatever it was, it was going to come with the force of a toppling building. Knives and Amphetamines is the debut EP following a 2020 demo which was rightfully called High on Death. Scumslaught in in the same gross orbit as other French death / thrash bands including Sépulcre, Skelethal, Cadaveric Fumes, and Repugnizer. Its all disgusting and they are probably all waiting for us outside. Knives and Amphetamines takes a giant step in terms of production brining out the energy which was buried under the floorboards during their demo. Now the band is inside the house and they are wielding horrid instruments of destruction. Thrash might be in a weird time period in 2022 but I am glad it is being nurtured by loving and tender maniacs.