Saturday, January 6, 2018

ABOUT BARBARIAN SKULL AND THIS BLOG



1/6/2018

The Barbarian Skull Webzine began in 2014, with a name inspired by traditional epic metal bands such as Witchkiller, Exciter, Omen, and Manowar. The purpose of the zine was to promote Dungeon Synth, which at that time had very little resources online (and almost no social media presence). The zine was a useful resource for fans looking for quality Dungeon Synth (and related genres such as metal, ambient, folk etc.), and two print editions with most of the material were released by Haftvad Records. In 2018, the Dungeon Synth "scene" has changed more than I ever could have imagined. When I first started writing Dungeon Synth music in 2013, the only label I could find releasing physical copies was the now defunct Mithrim Records from England (if you have his Lord Lovidicus tape, don't ever get rid of it!). Now there are several high profile labels consistently releasing music, various blogs and resources online, and Mortiis has even began touring with his Era I material. This is more progress and attention than I ever believed Dungeon Synth could achieve. The time has come to lay the zine to rest, as I no longer feel the need or inspiration to work on it.

I am proud of what has been accomplished with Barbarian Skull and some of the legendary Dungeon Synth interviews we did over the past four years, including but not limited to Forgotten Pathways, Taur Nu Fuin, Sequestered Keep, Cernunnos Woods, Thangorodrim, Verminaard, Frostveil, Barak Tor, Arath, Grimrik, Trogool, Gvasdnahr... these interviews offer a unique insight into the minds of musicians making Dungeon Synth during the 'transition period'; from the modern day revival of Dungeon Synth, and right before the time when new Dungeon Synth projects started to appear on bandcamp on a regular basis. All those who have been following the zine from the beginning and have watched the genre develop and change over the years - thanks for your dedication and support of the underground.

Keep the ancient flame burning,
- Nate (Oldenhelm, Forest Wanderer, Cimitir)

“Barbarianism is the natural state of mankind. Civilization is unnatural. It is the whim of circumstance. And barbarianism must ultimately triumph.” – Robert E. Howard


FAERY RING (INTERVIEW)

Faery Ring is a new Dungeon Synth project hailing from England, which combines strong atmospheres with written fantasy stories. In this review I speak with project mastermind Blackthorn about his inspirations, writing process, and upcoming EP scheduled for a May 1 release.
  • Greetings Blackthorn! Thank you for answering this interview with Barbarian Skull. Please provide us with the history of Faery Ring.
Hello, Barbarian Skull! I’d like to start by saying thank you for the opportunity for the interview. I am a big fan of your webzine, and the reviews and interviews you conduct provide great insight.
Faery Ring started, officially, last year in 2015, although I have been dabbling in making dungeon music for a while. When I was a lot younger, I spent hours and hours creating dark MIDI music, unaware of any wider dungeon synth genre. I suppose what I was making was MIDI black metal, which, in retrospect, was awful! But I gained great pleasure in creating the ‘intros’ and ‘outros’, which, of course, are a significant source of inspiration for many dungeon synth acts.
As I got older, I was focused for a long time on black metal, and had a solo project that met with some success. So that became a big focus for me, from a creative perspective. While black metal was, and remains, my primary musical love, dungeon music has always been a part of my consciousness.
So sometime in 2014 I tried my hand at making dungeon synth, reviving some of the old songs I had made and reworking them, and eventually I found an approach I was happy with. After a few life changes, I settled in eventually and decided to formally start a project, and thus began Faery Ring.
  • Your first demo “Into Darkening Woodland” was very well received here at Barbarian Skull. You describe the demo as “A journey into an embattled, ancient woodland”, and it also contains a written prose story included in the digital booklet. Can you tell us more about this tale and what inspired you to create it? Do you plan on doing more written concepts for your future releases?
For me, narrative and storytelling has always been a major aspect of my enjoyment of dungeon synth and black metal. The ability of those two genres in particular to create a mental space in which a listener can travel to distant lands, and to different times, is one of the main reasons I am so in love with them. I write fantasy fiction and fairy tales anyway, so it seemed only natural to blend these two avenues of creativity.
The tale behind …Woodland is drawn from a fantasy world I write about, and when working on the music, it seemed so aesthetically reminiscent to me of the lands that I had been describing in those tales, that I made the decision to focus the music around the story. I found it very rewarding on two levels – firstly it is wonderful to create a soundtrack to a fantasy world that I feel I know intimately – and secondly, it creates real direction when working on the music.
I plan to always include written concepts along with Faery Ring’s music. For me, the two go hand in hand. The upcoming album will feature a continuation of the story introduced in …Woodland, and future releases will draw upon the same mythos, but maybe different time periods, or focusing on different peoples within the world.
  • While Into Darkening Woodland contains only four tracks, the songs are diverse in atmosphere, from powerful and triumphant to brooding and melancholic. On your Facebook page you’ve listed a great variety of influences, from classic Dungeon Synth (Mortiis, Gothmog) to modern day artists (Arath, Skarpseian). What music outside of the genre has influenced Faery Ring (if any)? Do you get inspiration from any other sources outside of music?
I think it would be very difficult to not allow a whole host of other influences to play a part in the creation of music.
Returning to an earlier point, old black metal ‘intros’ and ‘outros’ are a key influence – the anticipation one feels when pressing play on a black metal album to hear the intro, brooding and ominous, is incredible, and is something I wish to capture in my music. And black metal in general is, obviously, a sister of dungeon synth, so has a significant influence.
Power metal is another big love of mine, and although musically it has only a little bearing on Faery Ring’s music, the inspiration it provides is significant in terms of storytelling and scope.
Folk music, and neofolk, to a degree, is an important influence, and certainly is drawn upon more in the upcoming album. I like a lot of pagan and heathen folk, and traditional folk is often very beautiful too.
I also like a lot of ‘spiritual’ or ‘ethereal’ music, or music that is very much of a certain time and space. There are some wonderful projects that are very focused on specific geographic locations, and the ability to elicit the experience of a place, or to describe it in such a rich, visceral way to those who haven’t visited it, is a major influence. I think that is what dungeon synth aims to do, in a sense, only it elicits experiences of fantasy realms or different times. Black metal is also very much a lens into other places and times.
Film and video game soundtracks are well documented as a source of inspiration for many dungeon synth artists, and certainly they play a part in Faery Ring. Again, not so much compositionally, but certainly in the sense that they provide music that facilitates escapism.
And of course, reading, writing, walking all play a big role in providing inspiration.
  • The various layers of instruments and song progression in your music is very well done. Can you tell us more about your composition process and how you come up with ideas for songs? How much of a role did the story behind each song have on the direction of the songs on Into Darkening Woodland?
Initially, it is the atmosphere I wish to present in the song, or the mood. Even if I haven’t figured out the narrative behind it, I will have a vague idea of what sort of direction I want the song to go in, such as whether it is a song of journeying, a song of triumph, sadness, mourning, and so forth.
I’ll always start with a simple melody, or chord progression. Sometimes it will be something that comes into my head during the day, that I will record and work on at a later time. Once I have that on tape, I will loop it round and round and work on different layers to go with it. Sometimes I have disparate ideas that I will weave together. A lot of times, little melodies and sections get discarded along the way, or saved for another song.
Other times, I will improvise, straight to tape, over a chord progression. I think, especially in dungeon synth, that that spontaneity can often lead to some wonderful mistakes. Speaking of mistakes, I don’t edit too much, or replay a missed note, unless it sounds dreadful and will draw a listener out of the atmosphere. I think somewhere along the line amateurish playing, a certain shambolic quality, has become a trope of the genre and adds something to it. I am not sure why, and have pondered this for a long while. My partial theory is that it is because it is reminiscent of old ‘pulp’ fantasy / sword and sorcery movies, a kind of quaint charm.
I usually let a song sit for a while, then re-listen to it and finish it all up, add in little flourishes, work a bit on the production, listen to it on different sound systems to make sure it works.
I use a MIDI keyboard, and a whole range of VSTs, on an old dusty windows computer.
  • Faery Ring is described as “English Dungeon Synth”, a cool and interesting note considering that I haven’t come across any other Dungeon Synth projects that identify their project with nationality, although many projects (especially Russian Dungeon Synth artists such as Kashmar) are very inspired by culture. Are you simply aiming to represent your country with the label, or does “English Dungeon Synth” have a special meaning to you?
I’m not particularly interested in representing my country in any kind of ‘national pride’ sense. I just think that England has a beautiful, mystical and magickal, literary and romantic past, and I try to capture a bit of that in the music.
I think in particular, the landscape that surrounds me everyday is a big influence. I live in the countryside, in what would probably be described as a ‘quintessential’ english village in the country. There is a deep magick to the countryside, that I feel every time I walk out of my door, and I try to channel that into Faery Ring.
For me, Faery Ring is my attempt to capture, in music, the atmosphere of the lambent fields in springtime, the puddles, and the moss growing on old country walls, the crumbling churches and the miles and miles of hedgerows and bramble. England has wonderful folklore that is very inspiring to me.
Dungeon synth, and black metal (despite its ties with racism and nationalism) have always been a very multicultural experience for me. They are, as I hinted at earlier, very much of a certain time and place, a modern folklore, if you will. There is such cultural variety in those genres, and it is simply amazing to experience the beauty from many different places that others have captured and translated into music.

  • As I mentioned in my review Into Darkening Woodland, the unique promo photos add a mystical and otherworldly feeling to the demo booklet. How big of a role do the aesthetics of Dungeon Synth play in Faery Ring?
Aesthetic is very important. I have always loved the enigma of dungeon synth, the anonymity, the timelessness. Obviously Mortiis, as a progenitor, made great use of aesthetic, imagery and story, and I am just carrying on that tradition, as are many other wonderful dungeon synth artists.
The black and white decaying images, the crumbling castles, the moaning wind, the howling forests and the dank dungeons, are all so present in the music of dungeon synth as well as the imagery. They are inseparable, in my mind.
I have tried to take a slightly different route, whilst recognising and paying homage to the old imagery. I’m very interested in the way dungeon synth musicians choose to present themselves, as artists, if at all. And as the music of dungeon synth is so visually and psychically inspiring, I thought it would be a nice touch to share some of the imagery that has been inspiring in the creation of the music.
  • You have announced that a new EP titled “A Kingdom Beset by Despair” will be released this Beltane. What can you tell us about the upcoming EP? What can fans of the demo expect from the release?
The EP has eight tracks, and is bigger in scope than the demo. Both musically and from a narrative perspective. I have tried to refine some of the areas I felt needed improvement from the demo, and I have used a wider range of sounds and styles.
Story-wise, the EP deals with events directly after those told about in the demo. The Trolls, mourning the loss of their King, strike back with great hatred and vengeance against the Fey Queen and her peoples. It is a very tragic story for the Fey, but triumphant for the Trolls!

Musically, and emotionally, it deals with triumph, deception, travel, battle and mourning. So there are big, bold brassy sections, sombre reflective pieces, dreary passages, victorious strings, mournful organ. I have made a small use of more overt ‘synth’ sounds in some of the pieces, too.
  • Thanks again for taking the time to answer this interview Blackthorn! Any last words are yours.
Thank you for the very interesting interview opportunity and the interest in Faery Ring.
Dungeon synth is at a very fascinating point at the moment, there are some wonderful acts out there, many reviewed on Barbarian Skull. I would like to highlight, in particular, the music of Trogool, Skarpseian and Murgrind, as being truly representative of contemporary dungeon synth. But there are many, many others.
Also, those who are working to archive, share and commentate on dungeon synth – yourself at Barbarian Skull webzine, Deivlforst records, the dungeon synth blogspot, the dungeon synth tumblr, the many visual artists working on designs, the people on social media who are seeking out old treasures and sharing them. Long may it continue!
Thanks, Blackthorn

WOLCENSMEN – DEMO (REVIEW)

Title: Demo
Artist: Wolcensmen
Rating: 4 / 5
Genre: Heathen Folk
Year: 2013
Country: England
Label: Self-released


One thing I have expressed in this zine before and continues to be important to me is the lack of quality pagan music. By quality, I mean music that is created by actual pagans; not music that is “pagan themed” and is composed by musicians who are more concerned with focusing on mythological clichés rather than following the path of their ancestors. While I have nothing against those bands (and many do create great music), there is a serious lack of genuine pagan music; with Wardruna being the only project that is enjoying any kind of success or attention.
Luckily, England’s Wolcensmen has released this excellent demo consisting of three humble and honest heathen folk songs. This one man project from musician and artist Dan Capp is some of the best Folk music I’ve found in recent years. The opening song Wolcen’s Galdr is extremely powerful and sets the stage for the style which continues for the rest of the demo; vintage synthesizer sounds, melancholic acoustic guitars, stringed instruments, and vocal chanting (quite appropriate for a song involving “galdr”). This song is somewhat unique to the demo, as an electronic guitar is introduced near the end of the song; which despite it’s obvious metal orientation does not sound out of place at all in the nostalgic and dark Folk created by Wolcensmen.
The second song “Hooves Upon the Shimmering Path” is beautifully eloquent and creative lyrically. The official Wolcensmen page describes the song as follows: “The first part of ‘Hooves Upon the Shimmering Path’ takes from the Prose Edda the literal names of the horses upon which the Gods cross to Asgard, and then uses those names as nouns, verbs and adjectives to create a fluent, abstract passage”. The content of this song again demonstrates that Wolcensmen is not just another band with lyrics about Valhalla, but a serious venture into the heathen worldview and tradition. The combination of synth and acoustic guitar works flawlessly in this song, especially in the synth/guitar outro which evokes mental images of the themes described.
The last track of the demo ‘Shield and Spear’ is my personal favorite song of the album. The Wolcensmen page describes it as “a song about boldness (spiritual and physical) and its rewards. The shield and the spear are loosely equated with the Elk-sedge and Gar runes and are chanted during the song as an affirmation of this theme”. The song begins with the most memorable guitar melody of the demo, and I find the chorus of the song sticking in my mind for days after listening to the demo (“I hunted near, took shield and spear. I hunted far, and I chanted Eohl and Gar”). This song inspires boldness and the primal power of Thunor in the listener, again with the chanting and all other elements of the music coming together perfectly. This song demonstrates Wolcensmen’s talent in song composition and is definitely a remarkable way to end a great demo.
With just three songs Wolcensmen has created an impressive demo of heathen folk music that is of much higher quality (in terms of both content and musical composition) than the majority of bands you’ll encounter playing this style. I am definitely looking forward to what this band will offer in the future.

ALHAZRED – THE MUSIC OF ERIC ZANN (REVIEW)

Title: The Music of Erich Zann
Artist: Alhazred
Rating: 3.5 / 5
Genre: Dark Ambient
Year: 2014
Country: Germany
Label: Self-released


H.P. Lovecraft has been an inspiration for many Metal and ambient projects, and not without reason. His obsession with dark occult powers and unnamable ancient forces from beyond are the perfect themes for dark music. However, many projects fail to really capture the old, creeping evil that is present in the written works of Lovecraft. Indeed, it is no small feat to accomplish creating music which truly represents the mastery of Lovecraft’s work. Alhazred is one of the few projects which does just that with the album The Music of Erich Zann, taking the listener on a musical trip into the esoteric darkness of some of Lovecraft’s most famous stories.
The intro track Welcome to Arkham sets the tone of the album perfectly. Alhazred uses classic synthesizer sounds to create a gloomy, brooding atmosphere. The track begins with the tolling of a bell, before brass and airy synth pads begin to weave obscure minor melodies, accompanied by the slow beating of a drum. The second track The Nameless City is one of the highlights of the album, with a haunting cello intro and dark flute sections. The use of slow strings and reed instruments evokes the images of walking through the ruins of an unknown and forgotten city, where darkness and malevolent forces lurk in the shadows. These first two tracks work together in an outstanding way to get the listener in the Lovecraftian mood.
The remaining songs are quite a bit longer, each totaling over 10 minutes. Brass pads are used often to create a distorted buzz, with flute reed instruments creating dark melodies. The title track The Music of Erich Zann features a great harsh synth intro, which sounds as if a madman composed it. The track really exemplifies why synthesized ambient music is the perfect medium for H.P. Lovecraft inspired music. The track The Great Old Ones slightly changes tone, with a simple Burzum like melody opening the song accompanied with more brass pads. This track is not as excessively dark as the others, and instead carries the feeling of a very ancient god rising from slumber. The overall atmosphere is similar to the subtle ambient melodies created by Varg Vikernes, which perfectly leads into a great cover song of The Crying Orc by Burzum.
Alhazred have released an excellent ambient release with this album. It is perfect to listen to while reading, contemplating, or drifting into sleep. While other projects try and fail, Alhazred has captured the darkness of H.P. Lovecraft through dark, twisted, and gloomy synthesized compositions.

MIRKWOOD – MOUNTAINS AND LAKES (REVIEW)

Title: Mountains and Lakes
Artist: Mirkwood
Rating: 3.5 / 5
Genre: Epic Black Metal
Year: 2013
Country: USA
Label: Self-released


When the Austrian Metal masters SUMMONING released their second album Minas Morgul, they changed the Black Metal genre forever. Their style of epic and ancient Metal mixed with heavy medieval synthesizers was something that had never been done before, and presented a much different atmosphere than other “Symphonic Black Metal” bands were capable of; a world that embodied the mystery, adventure, and darkness of the works of J.R.R. Tolkien. SUMMONING set the standard for this new style of Black Metal which still to this day remains heavily unexplored.
There are however a small number of bands who create music in the vein of SUMMONING. While some bands such as the absolutely masterful CALADAN BROOD have taken the SUMMONING style and pushed it even further, others simply do a fine job carrying the torch and keeping the flame alive. MIRKWOOD is one of those bands who have not revolutionized the genre, but do an outstanding job playing this fantasy laden, adventurous form of Black Metal. Their latest EP Mountains and Lakes is a perfect example of this.
The EP begins with the synthesized instrumental, Victorious Return. Heavy brass sounds accompany simple snare drum marching patterns, creating the image of horse-mounted knights returning home from a long war. The synthesizer work on this intro is consistent with the synth on the entire demo; where other Black Metal bands use synth to create sorrowful and desolate atmospheres, MIRKWOOD create an atmosphere of journey and adventure. The second track Twilight Falls starts off with a great tremolo picked melody accompanied with synth and double bass drumming. The programmed drum sound fits this style of metal accordingly and doesn’t sound out of place, although the drumming is definitely Metal based, something which sets MIRKWOOD apart from the warlike, tribal drumming of SUMMONING. The fast riff stops and a mellow string section drives the song forward, before coming back in with distorted vocals and a riff that reminds me a lot of “Long Lost To Where No Pathway Goes”. The composition of the song is excellent, with enough variation in the drumming, synth breaks, and additional guitar effects to keep the listener engaged and interested the entire time. The last track Mountains and Lakes continues in the same style, again with powerful orchestral melodies which evoke images of vibrant mountains and deep lush lakes. The composition here is great as well, as the musicians know how to use different elements to drive the song forward using short flute breaks and tremolo sections.
Despite the short length of this EP, MIRKWOOD has created a fantastic piece of epic Black Metal. The songs take the listener on a high speed journey through the dangers and wonders of their own fantasy world, using heavy synthesizers without compromising or toning down the Metal elements in their music. Rather than creating excessively dark and depressive atmosphere, MIRKWOOD takes the listener through the dangers and perils of Middle Earth. I am very hopeful that this band will release a full length album in the future.

MOONGATES GUARDIAN – DARKNESS ABOVE MIDDLE EARTH (REVIEW)

Title: Darkness Above Middle Earth EP
Artist: Moongates Guardian
Rating: 4 / 5
Genre: Epic Black Metal
Year: 2014
Country: Russia
Label: Self-released

There have been countless Metal bands that have taken inspiration from the work of Tolkien. Some bands such as Amon Amarth only take the inspiration so far as a Tolkien based name, while other bands such as Summoning base their entire career around Tolkien. Many of the projects which focus solely on Tolkien rely greatly on symphonic elements, making the realm of “Symphonic Tolkien inspired Black Metal” a competitive genre where it is difficult to stand out.
Moongates Guardian from Russia emerged into this genre with the Darkness Above Middle Earth EP, and proved themselves to not just be “another Tolkien metal band”. With only two members (Skilar, who performs all instruments, and Alexey from the band Holdaar on vocals), Moongates Guardian have created a modern day release that can stand proud next to early 90’s classics. There are several elements which allow Moongates Guardian to stand out. The first that must be mentioned is the excellent production and sound quality of the instruments. The production is clear, loud, and strong, while the sound of the instruments themselves are very professional virtual instruments. While I am a lover of classic synthesizer sounds, I am also a fan of MIDI instrumentation when it’s utilized correctly. The overall production of the band creates a huge, orchestral feeling.
Skilar has proven to be a very talented songwriter, who is able to excel at using a variety of instruments. From full string and brass orchestras, to bagpipes, to choirs and timpani, his melodies are memorable and his composition is very strong. The song Wolven Blood is entirely instrumental, and is possibly my favorite track on the EP. The song features heavy choir work, militant percussion, and great folk inspired flute melodies. This was the first Moongates Guardian song that I listened to, and bought the EP immediately after the song was over.
While the guitar and drumming is minimal and the band is focused more on the symphonic elements, Alexey’s harsh and hateful vocals keep the Metal aspect of the music in the forefront. Even with the abundance of symphonic instrumentation pushing the music foreward, Moongates Guardian never allow you to lose the feeling that you’re listening to a Metal band; one that seems as if it’s fronted by a violent Uruk-Hai armed with a guitar and an entire orchestra. Even the percussion manages to maintain an aggressive Metal feeling when the classical instruments are being used; giving the drums an almost military march quality.
The band also makes very effective use of sampled clips. The song Isildur’s Curse (one of the EP’s highlights) demonstrates this, with the movie clips aligned perfectly with the instrumentation. The clips do not sound like they were extracted from a film, but rather as if they were intended to be part of the actual song, which is not an easy effect to achieve. These clips along with the progressive nature of the music gives the band a soundtrack like feeling, keeping the listener engaged and completely involved in the Tolkien theme. The band would not exactly be out of place in a collection of video game and movie soundtracks, with the exception of the fact that it maintains a dark and hateful Black Metal atmosphere.
While many bands aim for an epic, Tolkien inspired sound, Moongates Guardian are a unique band which flawlessly mix medieval, soundtrack and folk music with Black Metal. While this approach is not entirely unique, the band executes their music in a way that is unlike anything I’ve heard before (at least performed at this level of Metal mastery). Highly recommended for Metal fans who love Tolkien and heavy orchestra arrangements (and if you don’t, you probably should not be on this website).

MORKETSVIND – MORKETSVIND I (REVIEW)

Title: Morketsvind I
Artist: Morketsvind
Rating: 3.5 / 5
Genre: Dungeon Synth
Year: 2013
Country: Russia
Label: På Gamle Stier


Many of my favorite albums remind me that minimalist music can be extremely powerful. When I first became interested in metal, Burzum captivated me with simple riffs consisting of just a few notes. Even though the music was not technical in any sense, I preferred listening to it over many bands that had complex and progressive arrangements.
Morketsvind is a Dungeon Synth project from Russia founded in the 90’s, and reminds me yet again of the power of minimalist music. The project relies heavily on synthesized brass sections, with some songs not featuring any strings at all, something not typical for a Dungeon Synth project of this nature. This release was my introduction to Morketsvind, and I was immediately impressed with the opening track, simply titled “I” (the six tracks are named only after their number in Roman numerals). The song begins with simple synth percussion, followed by a low-ranged brass ensemble. Timpani drums are played in a basic and extremely effective manner. The simple arrangement of brass synth and timpani gives the entire song a very cold, militant feeling, as if the looming shadow of an invading army is on the horizon.
The rest of the album continues in this manner, invoking feelings of nostalgia and medieval warfare. When strings are introduced in the third movement, the album develops an epic feeling, while still maintaining a militant atmosphere. Visions of battles and heroic death begin to flood my imagination as the album marches forward with conviction. It seems that Morketsvind found a formula for songwriting that really captured what the composer intended to express musically, and kept this theme from the first to the last song. While the six tracks of the album seem to blend together giving the sense that the songs almost compose one long movement, this is not a negative quality. The album consistently delivers quality songs from beginning to end, and while there are minor mood changes, the overall atmosphere never lets down. This is a highly impressive release, and while it isn’t necessarily groundbreaking, there is not another Dungeon Synth album in my collection that is quite like Morketsvind I. For those who are looking for a cold journey into medieval warfare rather than the vibrant, colorful fantasy worlds that some Dungeon Synth artists create, this release is definitely for you.

WINTERBLOOD – : IL RICHIAMO DELLE VETTE (REVIEW)

Title: Il richiamo delle vette
Artist: Winterblood
Rating: 4 / 5
Genre: Dark Ambient
Year: 2013
Country: Italy
Label: De Profundis Netlabel

Dark Ambient is a genre that relies heavily on atmosphere. If the artist fails to create a sense of atmosphere, the music becomes flat, lifeless, and dull. The one man Italian project Winterblood describes itself as “Cold Ritual Shamanic Dark Ambient”, which alludes to the atmosphere that the artist aims to create. Fortunately, Winterblood succeeds in creating music that is cold, lonely, and dreamlike.
Il richiamo delle vette (The Lure of the Peaks) utilizes a small number of synthesizer sounds, which actually works in the artist’s favor, since the album feels much more focused and complete. Rather than individual songs varying greatly in structure and composition, the entire album flows together as one long, continuous journey into an icy landscape. The album begins with the track Il viandante solitario (The Lonely Traveler), and the listener is instantly overwhelmed with the lush sound of a traditional synthesizer pad. The music moves in slow, natural movements which seem to emulate a bleak Winter landscape from the artist’s imagination; deep bass pads act as a drone while higher notes make subtle, melodic movements. This great combination of droning bass sounds and light subtle melodies allows the listener to feel as if they are listening to the musical expressions of natural elements. Some melodies remind me of a falling snowflake, while others remind me of the slow melting of an icicle. Around halfway through the album, the song La notte alle spalle (The Night Behind) introduces the sound of an arctic wind, heightening the sense that the listener is walking through a dreary, snow-peaked mountainside. The album drifts away in the same solitary fashion that it arrived with the track Sentieri (Trails), which fades away after the last snowflake has fallen.
Winterblood has achieved the difficult goal of creating music that is both atmospheric and memorable, using very minimal instrumentation. The album carries a sense of loneliness and solitude, without feeling depressive or sad. It is simply the journey of a lone traveler, crossing the snow-covered trails of a dark ancient mountain, the snow, ice, and wind his only companions. I consider this album to be an excellent display of Dark Ambient, and is recommended for those individuals who walk their own path.

SYNTH BARD – GOLD BOX RENDITIONS (REVIEW)

Title: Gold Box Renditions
Artist: Synth Bard
Rating: 3.5 / 5
Genre: Soundtrack
Year: 2015
Country: USA
Label: Self-released

Synth Bard is a project that is a bit different from anything I’ve featured in the zine before, but I feel this excellent cassette tape is right at home within the Dungeon Synth scene. Synth Bard is a collaborative project made by die hard Dungeons and Dragons fans, playing all analog interpretations of songs from the “Gold Box” Advanced Dungeons and Dragons video games made by SSI in the late 80’s and early 90’s. Old role-playing games have undoubtedly been the influence of many Dungeon Synth projects, as the atmospheres and themes are always consistent, and projects such as Abandoned Places and Lord Lovidicus are their legacy. The music featured on these early fantasy video games also helped to establish the connection between role-playing games and epic synthesized music.
These renditions made by Synth Bard are not simply “video game background sounds”, but legitimately enjoyable compositions in their own right. Although the songs themselves were not composed by anyone involved in Synth Bard, the use of analog synthesizers and old guitar pedals give these songs a strong feeling of power and mystery. While the 8-bit MIDI songs featured on many old video games have a charm of their own, the analog synthesizers used by Synth Bard are exceptional and demonstrate the diverse dynamics of synths from the pre-digital era. A fitting example would be the song “Pools of Darkness”, sounding both mystical and foreboding at the same time thanks to the fantastic synths used. The song “Death Knights of Krynn” is also a perfect display of the synths used, as the analog “voice” and resonating oscillators create an almost sci-fi vibe, while still creating the feeling of danger and dread that only a classic role-playing game could provide.
I highly recommend purchasing the physical tape version, as the cover and layout is perfectly done to match the “vintage” presentation of the video games, and the tape also comes with a character sheet that will allow you to play as Synth Bard in your Dungeons and Dragons campaigns (a character who is armed with a Korg MS20 as a weapon)! Dungeon Synth fans and fans of old synthesizer electronic music should not be disappointed with this release, which is truly “retro” without trying to be. Synth Bard is a genuine homage to Dungeons and Dragons, old video games, analog synths, and all lovers of the fantastic and archaic.

RÆVJÄGER – THE TALE OF AXE & TORCH (REVIEW)

Title: The Tale of Axe & Torch
Artist: RævJäger
Rating: 4.0 / 5
Genre: Fantasy / Soundtrack
Year: 2015
Country: Russia
Label: Self-released

RævJäger is a fantasy project from Russia that is lost somewhere between the worlds of Dungeon Synth and video game soundtracks. In the same way that Erang has combined multiple music genres to create his own unique world, RævJäger has accomplished the same impressive feat. The music on The Tale of Axe & Torch does not carry the same dark, lonely, or melancholic atmospheres found in many Dungeon Synth projects. Instead, his music offers a much more adventurous feeling; as if you are leaving your home for a long and epic journey into far and unknown corridors of new worlds.
RævJäger’s music is similar to the last few albums from Lord Lovidicus because of the adventurous atmosphere, but this comparison is only for reference and doesn’t imply a lack of originality. RævJäger has managed to create a very unique style, excelling especially at very well-thought out and faster lead melodies. Using harp, key, or woodwind instruments, the melodies develop at a rapid pace, much like the work of the baroque composer Vivaldi. While a project like Murgrind shares more with composers such as Wagner and Beethoven, RævJäger follows more in the footsteps of Vivaldi or Bach. The pace rarely slows down and the lead melodies have an almost virtuoso-like quality in their composition and execution. This is probably RævJäger’s strongest aspect and demonstrates his competency as a musician.
The Tale of Axe & Torch also carries a distinctly Russian feeling for those who appreciate the Dungeon Lore Foundation and other associated projects. The song “Be a Trickster!” reminds me quite a bit of the amazing Russian act Darkstroll, with its upbeat melody and folkish percussive tempo. There is also a highly impressive cover of “Walking through the dungeon of Ghorgul” by Splendorius, which is not just a simple recreation of the song, but adds instruments more appropriate for RævJäger. By doing so he has effectively put his own unique touch on this great Dungeon Synth song.
For those who would like to leave the dark castles and grim pathways of the dungeon and venture forth into the mystical forest and sunlit mountains, The Tale of Axe & Torch is just what you are looking for.

TROGOOL – IN THE MISTS BEFORE THE BEGINNING (REVIEW)

Title: In the Mists Before the Beginning
Artist: Trogool
Rating: 4.0 / 5
Genre: Dungeon Synth
Year: 2015
Country: USA
Label: Self-released


In the past year since I started this zine, there has been an increase in the Dungeon Synth genre. There are now more active Dungeon Synth projects than ever before, we even saw the release of the first printed Dungeon Synth magazine (Masmorra) and the first live Dungeon Synth performance (Taur Nu Fuin). With the increase of attention to the genre, there is an increase of Dungeon Synth music being created. Some of these projects are exceptional, while others are less creative. Trogool is definitely in the first category rather than the latter, and In the Mists Before the Beginning is a prime example of the modern Dungeon Synth style.
In the Mists Before the Beginning is one of the best new Dungeon Synth projects I’ve come across, next to Faery Ring and the already classic Hedge Wizard. It is clear that Trogool was not created on a whim, but has a specific vision and intent. From the amazing logo to the concepts (according to the bandcamp page, this release is “A chronicle of adventures from North of the Rim” and is adapted the by works of Lord Dunsany), Trogool is the complete package; great art and concepts complimented by strong music. I was first drawn to the project after reading Murgrind’s review that Trogool has a “Conan atmosphere”, and this analogy is very accurate. While most Dungeon Synth projects will cite Basil Poledouris and his Conan The Barbarian soundtrack as an influence, not all show a direct similarity. Trogool’s music carries an almost Mediterranean atmosphere not unlike the Greek composer who created a soundtrack for Conan’s tales of high adventure. Whether or not this was intentional is not known to me, but the feeling remains in any case. The opening track “Far Foothills of the Morning” utilizes strong brass and choir melodies, the trumpets here especially bring the great work of Basil Poledouris to mind. However, this does not imply Trogool is simply imitating other artists, there is a special touch here that could only be found in the Dungeon Synth genre.
The track “Beholder of Ocean” is another great example of why Trogool’s music is exceptional. Rather than taking the listener on a journey into the dark forest, this track evokes visions of a vast sea from the dry coasts. In this sense Trogool reminds me of some of Lord Wind’s work, where the typical castles and European woodland tropes are not explored and the focus is more on the barren fields and dangerous seas of a Hyperborean landscape. The use of percussion adds to these visions and gives the music more depth and focus compared to the more ambient dynamics of many Dungeon Synth projects. Trogool’s debut is an impressive and promising display of Dungeon Synth, which builds upon the foundations of the classics of the genre while also crafting a unique and original vision.

ELADOR / MEDHELAN – A CROWN OF ICE AND STONE SPLIT (REVIEW)

Title: A Crown of Ice and Stone (Split)
Artist: Elador / Medhelan
Rating: 4.0 / 5
Genre: Dungeon Synth
Year: 2015
Country: Russia / Italy
Label: Self-released


A Crown of Ice and Stone is a wonderful split from two of Dungeon Synth’s most atmospheric projects; Elador from Russia and Medhelan from Italy. For those of you who are familiar with the past works of these two projects, many will agree with me that their work continues to improve over time. A Crown of Ice and Stone is no exception, and showcases some of the best ambient tracks from both projects. The beautiful artwork will provide a clear expectation of the mystical music to be found here.
The split begins with three tracks from Medhelan. Unlike his highly epic EP “The Minstrel’s Fireplace Tales” which I reviewed for the zine previously, these tracks are more in the vein of his “Nocturnal Wonderings” EP; melancholic yet powerful songs that take you on a lonely journey through the wilderness. This style fits better next to the scenic ambient style of Elador and was a wise choice on Medhelan’s part for the split. The three Medhelan tracks utilize sparce timpani percussion and airy strings and choirs to give the music a “floating” feeling. Medhelan also uses sounds that are not very typical among the regular orchestral ensemble that you’ll find in Dungeon Synth (for example, the dark use of 80’s style synth leads in the first track “Il cammino nella nebbia”). These songs bring to mind a similar atmosphere to Grimrik’s “Eisreich” or the newest album from Iamí, while still maintaining the style that I’ve come to associate with Medhelan. The chromatic percussion used in the last two tracks remind me of Burzum’s ambient interludes on his old black metal releases, except with slightly more variation and variety in the accompanying synths being used. The Medhelan songs are an excellent way to begin the split and are some of his most enjoyable tracks.
Elador offers four songs which continue in the vein of his “By the Pathways of Forgotten Legends” album. Elador has always been able to write great woodwind and flute melodies, which he continues to display with this release. The woodwinds are not used in a fast or folk inspired way, instead they play long notes which help to compliment the strings and synth pads. This technique creates a highly ambient mood while still adding a touch of folk music to the songs. The track “Sword and Sorcery” also shows Elador’s ability to write memorable medieval melodies, with the harp being the lead melodic instrument accompanied by great timpani and tambourine percussion. This song is the highlight of the Elador side of the split for me, and its title fits perfectly with the atmosphere. Elador’s use of field recordings and sound effects is also done quite tastefully, rather than relying too much on the samples he uses them as just another instrument to add even more depth to his music. The closing title track “A Crown of Ice and Stone” combines the best of Elador’s style, with a medieval harpsichord melody being played over ambient strings and percussion. A great way to end the split as it takes the listener to the snow covered mountain tops featured on the album artwork.
Elador and Medhelan have created a successful split where the music of both sides complement each other and flow in a natural progression. Not only is this a great display of ambient Dungeon Synth, but also represents the strength of the international Dungeon Synth “scene”. The music of both projects continues to improve and impress me with each release, and this is no exception. I look forward to hearing more from both of Elador and Mehelan in the future!

MOANING SHADOWS – FROM THE DARKEST HERITAGE (REVIEW)

Title: From The Darkest Heritage
Artist: Moaning Shadows
Rating: 3.5 / 5
Genre: Dungeon Synth
Year: 2015
Country: Germany
Label: Swampkult Productions

Moaning Shadows is a new Dungeon Synth project from Germany which made a strong impression on me instantly. His debut “From the Darkest Heritage” is likely the closest release I’ve heard that resembles early video game soundtracks. The soundtrack influence is obvious in many Dungeon Synth projects, from RaevJager to Barak Tor. Moaning Shadows truly resembles the early video game days of old by approaching music with a more “8-bit” style. Not only are the synths used very primitive and in the vein of old 8-bit video game sounds, but the songs follow a similar structure. There are typically only a couple of instruments playing at any given time, sometimes only a single instrument. Old video game soundtracks were often limited due to data space restrictions, but Moaning Shadows is able to take this similar “limitation” and use it to his advantage.
In terms of composition Moaning Shadows also seems to be more advanced than the majority of Dungeon Synth musicians. His melodies are very developed and complex at a level I haven’t really seen since the demo days of Depressive Silence. Although the songs average at about 3 minutes each, the high level of composition and music theory displayed give the songs a quality that doesn’t leave the listener feeling as if they are short. This review is also based on the CD version released by Swampkult Productions, which features 11 songs rather than the 7 available on the bandcamp page. Fans looking for minimal yet complex Dungeon Synth should not be disappointed by the wonderfully primitive work of Moaning Shadows.

VOORMITHADRETH – SIGN OF MUNG (REVIEW)

Title: Sign of Mung
Artist: Voormithadreth
Rating: 3.5 / 5
Genre: Dungeon Synth
Year: 2016
Country: USA
Label: Self-released


From the deepest depths of obscurity comes Voormithadreth, an extremely mysterious project which debuted earlier this year with “Sign of Mung”. The only thing that is known about the project is the description on the bandcamp page, which reads “Paracosmic music dedicated to Clark Ashton Smith and Lord Dunsany. NO TOLKIEN”. While Tolkien’s Germanic world of elves, orcs and grand heroes has been a popular theme since the earliest days of the genre, Voormithadreth has made a conscious effort to explore stranger and less common fantasy tropes, and does this quite well musically.
The opening song “Dorozhand, Whose Eyes Regard the End” instantly draws the listener in. The production is extremely raw, at times instruments can even blend into each other. It’s likely that the creator intended this, and like the Hedge Wizard tape, this doesn’t detract from the vibe of the music. While many Dungeon Synth projects prefer the 90’s digital synth sound, Voormithadreth prefers to compose using more primitive, analog style synth sounds. These strange and alien synth sounds only add to the otherworldly atmosphere and are a nice break from the digital sounds many of us are used to. While the opening track has several layers, the title track “Sign of Mung” is much more ambient and isolated. “Kilooloogung, Lord of Arising Smoke” continues in that vein, while “Kib Is Kib” features more percussion than the previous tracks, ending the release with a fading delayed synth sound. With 40 minutes of music Voormithadreth has managed to create a very raw and interesting Dungeon Synth release which brings the listener to even darker and more unknown worlds.
Voormithadreth’s existence may actually be more important to Dungeon Synth in general than people may realize. I think of Dungeon Synth today as being in the same place that Second Wave Black Metal was in the late 80’s / early 90’s. Bands such as Master’s Hammer, Necromantia, Von, and Enslaved were all Black Metal, but each band had its own identity and unique sound. The genre was more about a certain feeling and aesthetic, rather than being very strictly defined. We are now seeing this evolution in Dungeon Synth. Voormithadreth has chosen to break away from the Tolkien theme which has dominated the genre (either directly or indirectly) and pursue a different path. Despite not sounding like any other Dungeon Synth project I know of, Voormithadreth has created a release that is still very much traditional Dungeon Synth in essence and style. The fact that projects like Voormithadreth exist proves that Dungeon Synth is evolving and growing for the better. I will definitely be looking forward to hearing more from this project in the future.

SKARPSEIAN – FRAGMENTER AV TROLLDOM (REVIEW)

Title: Fragmenter av Trolldom
Artist: Skarpseian
Rating: 4 / 5
Genre: Dungeon Synth
Year: 2016
Country: Russia
Label: Self-released / Out of Season (cassette version)

Skarpseian is a project that I have meant to feature in the zine since day one, but have never had the chance to until now. I have followed Skarpseian since his first release “Skygge Slottet”, which was a dark and primitive dungeon crawler. The second album from Skarpseian “Tan Gil” showed a progression in the project, as the songs took on a more epic style. Fragmenter av Trolldom is most likely Skarpseian’s finest work to date, and the perfect definition of traditional Dungeon Synth.
Musically Skarpseian relies on the repetition of melodies that are almost always accompanied by timpani or orchestral drums. What sets Skarpseian apart from other projects is that these repetitive sections are extremely well composed. Despite being simple in theory, each section is memorable and full of atmosphere. These sections seamlessly transition from one to the other, taking the listener on a journey. While a project like Barak Tor carries a rich “high fantasy” atmosphere, Skarpseian is definitely a “sword and sorcery” Dungeon Synth project. The images that the music evokes are that of far-away lands, roaming nomad warriors, epic and dangerous quests, and the days of high adventure that Robert E. Howard wrote extensively about. The use of timpani percussion always gives the songs an adventurous and heavy feeling, while the melodies themselves feel mysterious and full of power. The production is also improved compared to previous releases, although the music still carries a raw, unpolished sound throughout. There is also a great Burzum cover (Der Tod Wuotans) featured near the end of the album, which gives a unique perspective to what is actually my favorite Dungeon Synth song of all time (Der Tod Wuotans to me is the pinnacle of Dungeon Synth).
This review is based off of the digipak CD version of the album, which comes with a cool Skarpseian magnet, but a tape version is also available. Skarpseian has improved with each album and has already proven to be one of the best Dungeon Synth projects around today. Fragmenter av Trolldom serves as a great introduction to Skarpseian and is sure to appeal to fans of the previous albums as well.

BARAK TOR – SILENT PASSAGES AND HIDDEN REALMS (REVIEW)

Title: Silent Passages and Hidden Realms
Artist: Barak Tor
Rating: 3.5 / 5
Genre: Dungeon Synth
Year: 2015
Country: Greece
Label: Self-released

The mysterious Greek Dungeon Synth project Barak Tor appeared last year and released two great EP’s; “Silent Passages and Hidden Realms” and “Wizards of Morcar”. Little is known about the project except that it is inspired by the board games HeroQuest and the Dark World Trilogy (Dragon Game System, Village of Fear, Dragon’s Gate). Both EP’s are similar in approach, containing two tracks each.
Silent Passages and Hidden Realms begins with the EP’s title track, and instantly brings to mind early RPG soundtrack music. Stylistically Barak Tor is similar to the middle era albums of Lord Lovidicus, both in composition and sound. The basic Yamaha keyboard sound fits very well here and perfectly matches the themes and artwork. Barak Tor is a prime example of how the aesthetics of Dungeon Synth can be used to enhance the listener’s experience; the sounds used here are not simply for the sake of being “retro”, but actually suit the feeling of being lost in an old fantasy board game. The title track begins with excellent folk percussion mixed with layered melodies that build up over time. More atmospheric, ambient passages help break the song up and add a more dynamic feeling before returning to the percussive, traditional dungeon synth melodies. The Lord Lovidicus influence seems strong here with the heavy use of trumpets to carry the melodies. This was the first Barak Tor song that I listened to and I was instantly hooked; not only does this song demonstrate Barak Tor’s talent for composing Dungeon Synth but is also a great example of the atmosphere the project aims to create.
The second song “The Halls of Dwarven Kings” begins with strong percussion and a simple string pad sound. Despite the heavy percussion used here, the song is a little less epic and adventurous than the first. Instead the song feels like an awe-inspiring descent into a dwarven mountain stronghold, with slower melodic structures and crystalline chromatic instruments that give the impression of gleaming gems and shining structures built by an ancient race. About half way through the song the percussion stops entirely and dark saw synths and choir pads create a spacey, ambient passage. Barak Tor’s ability to transition from one atmosphere to another is effective and makes the songs more engaging to follow. Heavy timpani drums help build the percussion back up and again the trumpet is used to carry the melody before a low, distorted spoken word passage appears (in the vein of early Mortiis). This spoken word passage was a really nice touch and brought to mind the earliest days of Dark Dungeon Music. Because this song is slightly more subtle than the title track, it makes an excellent end to the EP.
Barak Tor is a promising act which definitely shows a lot of potential. Fans of Lord Lovidicus and fantasy game atmospheres should enjoy this excellent EP.