'Lists of Chaos' Dungeon Synth Articles

[Pilgrim's Shadow]

Hello all. 
I am writing on a hebrew magazine named "Lists of Chaos", it is of underground culture, mostly Metal. I however, in charge writing about Dungeon Synth and other electronics of the Metal family. 
Here i will post articles of Dungeon Synth which i will translate into english so you can enjoy. You can expect Reviews, General Articles, and Interviews. 

I will start with this general article of the Dungeon Synth Genre. Enjoy!

Original Version: www.reshimotohu.com/articles/#/songs-of-dreaming-kingdoms/



-------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Songs of Dreaming Kingdoms

31.8.2017

Anyone who likes Black Metal knows that the genre acquires, among other things, a great passion for fantasy literature. And in this desire: in its depths of the underground, at the gates of where the forbidden gods dwell, or at the bottom of an ancient tomb of a terrible sorcerer (each person has it differently) - this place reveals a rare treasure that only the one who sought it, often unconsciously, manages to find it.

This is Dungeon Synth - the music and soundscape in the inner worlds of the humble creators, who always engraved the fantasy literature on their hearts. As the name suggests, they tend to use synthesizers and electronic virtual instruments to create a dreamlike sound that matches the concept. In recent years, the genre on the margins has received much more attention.

Simply and generally, think of Burzum's famous Ambient albums as an entire genre that has evolved and changed over the years, in which the artists express their inner worlds in a highly intelligent range of emotions, but in the most homely and modest way.

This is, by the way, where the explanation of the “Underground” ends; Because it is not a scene with a certain ideology or an anti-establishment movement, and the community does not seem to make any effort to remain on the sidelines. It is simply an Internet community that shares a common passion, The reason they are on the margins, is because of the natural personality of the music.

Many of the works tend to sound like old recordings, or have a slightly more avant-garde sound. In some cases the melodies themselves may be too minimalistic or 'experimental' for most people, and that is because they are always created from a personal and internal place that not anyone can connect to. It's okay, there's no attempt to make money. Most artists, including the known ones offer their albums for free download.

The emotion in this music is not expressed with tearful violins or bombastic orchestras, but in the dreaminess and the out-worldly bizarre atmosphere that characterizes the genre. Empathy with the artist plays a significant role here, because there is a kind of understanding between people with a strong desire for fantasy, who are fleeing from reality to this “escapists nexus”. It is easy because there is no distance between the artist and the listener, although this also depends on the extent to which the artist chose to remain anonymous.

The community is of partnership. Although there are some artists more loved than others, the existing discourse in the community is encouraged to create and express the inner world, of what the to be-artists really passionate about, even if it is not necessarily something that supposedly goes "by the book". This allows creators in the genre to produce an amazing circle of various works that express a wide range of emotions and provide a platform for experiences and innovations.

Burzum is only one of the founders, there are many others and earlier ones, such as the Ambient albums of the original bass band of Emperor, Mortiis, and the album Fjelltronen, Released under the side project Wongraven of Satyrcon’s lead vocalist. Jim Kirkwood, creator of electronic music from England, is responsible for the earliest release of what is now considered Dungeon Synth with the album Where Shadows Lie (1990).

During the first wave, the term "Dungeon Synth" did not exist. The genre developed through the side projects of Black Metal bands that produced ambient albums in the same vein. These usually dealt with topics related to fantasy, mythology, Paganism, and Satanism

The origin of the genre's name was and seems to be dim, but it is likely to be something that grew out of Mortiis first ambient albums, which he called “Dark Dungeon Music”.

It is important to mention that during this period there were no such materials on the Internet. Those interested could hear this music only if they encountered the correct tape. Today in the age of the Internet, the genre breathes a sigh of relief in the growing community, although all the underground supporters do not have to worry about that. As noted, it is the nature of this music that keep the genre on the sidelines. Or maybe I'd better say it this way: there probably will never be a Reality-TV program to be shot on an island with a haunted castle where Corpse Paint-clad contestants have to survive against Varg Vikerness chasing them with a knife.

Note that ambient music existed since the 70's long before Black Metal was influenced by it. And as Black Metal is a completely different genre, so is Dungeon Synth different from its 'spiritual father' despite its similarities. In its contemporary form it is Inspired by other musical styles such as Video Games Soundtrack, other types of electronic music such as Drone, Noise, Berlin School, Chiptune etc, rock, folk and musical melodies from the ancient world. Still, the scene is very connected to its sources. Many albums sound like an old recording deliberately and sometimes even released on a tape. Like many other medias today, Dungeon Synth also has a strong element of nostalgia, which makes sense for a genre music that tend to express an inner world.

To describe the variety of Dungeon Synth styles I will present to you some of my favorite albums and describe them in general (Notice that the albums shown here are not selected just because they are considered a "must" album, they are simply my favorite).


Jim Kirkwood - Master of Dragons (1991)

You may be familiar to the classics black ambient roots of the genre, but another important source of Dungeon Synth's development is the electronic music artist Jim Kirkwood, influenced mainly by the ambient music of the 1970s and the Berlin- School. Apart from albums with a general surrealistic concept, he also produced albums that are strongly influenced by the literature works of Tolkien and Moorcock. It is not clear whether he knew the black metal scene on the days when this album was released, but later on Kirkwood shared an action with modern Dungeon Synth artists.


Onoskelis - The Golden Temple of Onoskelis (1997)

This album was released during the classical era of the genre but was not considered a classic album. "The Golden Temple of Onoskelis" is an excellent example of home production, built on very artistic ideas and minimalist melodies. For example, the Synth plays an analog piano that sounds as if it is out of tone, When Pitch-Bending is sometimes used. There are also theatrical screams, with "raw" sound, all enveloped in a mysterious, haunting fantasy atmosphere with the sound of an old recording.


Erdstall - Caverns of Endless (2013)

The style in this album is known as "Dungeon Drone". It is an hour of pure horror fantasy in an obscure world full of sorrow. The sound of the minimalist synthesizer succeeds in creating an atmosphere an adventure of supreme importance, which is condemned to bitter fate from its earliest moments, and thus accompanied by sorrow and suffering to its tragic end.


Chaucerian Myth - The Canterbury Tales (2016)

Do not think it is all about minimalism. I present here one of my favorite albums, which is 3 and a half hours of delightful music with complex, developing and interesting melodies. Nonetheless, the work is full of the same soul and desire characteristic of the genre. The artist was influenced by the "Canterbury Tales" - a medieval literary work that depicts a group of 30 pilgrims with different positions from the three classes. The book is a collection of tales through each pilgrim tells his story. The album devotes a complex musical piece to each of the tales. The music combines influences of medieval music with advanced rock classics from the 70's, mainly King Crimson and Rush.


Roman Master - Roman Master (2017)

This is without doubt one of the more obscure works of the scene. The album is defined "Dungeon Noise". This experimental work sounds like something composed, among other things, of the synthesized sounds of a human voice that was cruelly distorted, and then used to record melodic. Sometimes accompaniment does not match the melody.

All of this compound creates a cynical and morbid listening experience. The names of the songs in the album deal with defeat in battle and self-death. It is possible that according to the historical and fantasy subject implied by the name of the album and the names of the songs in it, it is a glance at the mind of a man who loses his sanity while dying painfully on the battleground of the Roman Empire. Let the imagination go wild, that's the best we can do to understand this bizarre masterpiece.


Fief - II (2016)

I would like to sign this article happily with this peaceful work that meets the definition of Idyllic Synth. The album presents no conflict, but explores a world that appears to be calm by every angle from which it is examined. It is a warm, pleasant and joyous music. The artist uses virtual instruments in the sound of flute, guitar, harpsichord and the like, which are presented in sound that does not sound like synthesis at all. It is even possible that the guitar is not synthesized but recorded. In the less restful parts they seem to be full of happiness and sound like dance music in the woods, Undoubtedly, this is an album that is a real escape to a world that is all happiness, calm and all-good.

[nahadoth]

A nice selection of releases covered. Look forward to reading more as you have the time.

[Pilgrim's Shadow]

Dec 3, 2017 0:08:40 GMT -5 nahadoth said:

A nice selection of releases covered. Look forward to reading more as you have the time.

Thx Nahadoth! Will post another soon.

[andrewwerdna]

Good read, thanks for writing it up in English.

[Pilgrim's Shadow]

Dec 4, 2017 2:39:34 GMT -5 andrewwerdna said:

Good read, thanks for writing it up in English.

For sure, it really is my pleasure. Thanks!

[Pilgrim's Shadow]

A Review of Moëvöt – "Abgzvoryathre" a Dark Ambient album from the Black Metal family, an art by the scene of Les Legions Noire.

Original Version: www.reshimotohu.com/reviews/#/please-dont-break-the-circle-of-darkness/


Please, Don't break the circle of Darkness!

"Whoever you are, you who reads this: this work comes from the very depths of my soul; it is shared with you sincerely, from Darkness, to Darkness. So please do not break this circle of darkness! On the contrary, protect it, by simply keeping this work far away from the light of mankind and not exposing it in any way - especially on the internet; your help in this way is very valuable to my eyes, highly appreciated, and has all my gratitude. 

Thank you.

Sincerely,
Vordb.

From darkness to darkness.

"Abgzvoryathre" is a dark ambient album of  Moëvöt from France. The name derives from a hidden code language, which is also given to the names of the songs appearing in it. Their names are a combination of French and German, composed of garbled syntax, misspellings and strange words. I plowed the Internet in search of lyrics; and discovered that apart from the first song written in French, all the remaining content of the songs remained a mystery and I suspect that they were written in that same mysterious language.

This is not surprising, since this is an album released from the scene of "Les Legions Noires"

("The Black Legions"), a small black metal circle founded around the city of Brest. The scene was established between the late '80s and the early' 90s, in response to the Norwegian black metal scene.

Among the well-known bands on the circuit are "Mutilation", "Vlad Tepes" and "Black Murder".

Those Black Legionists preferred to stay as close as possible to the Underground, to share their works mainly among themselves. The meaning of this decision is that, to this day, the audience finds it difficult to find albums to buy, and sometimes even download or listen to the Internet freely.

In order to preserve the spirit of the underground, they used their own language in the names of albums and tracks. No one else besiede them seems to know the meaning of the strange words.

In 1995 Vlad, one of the members of the scene, was interviewed in "Kill Yourself" magazine [1] and was asked to tell about their faith. He replied, "We have our way of worshiping something." In addition, he was asked about rumors regarding his accusation by the police of sending death threats to several bands and labels. Vlad confessed proudly that these were not rumors and that "the police will not be able to arrest us. Nothing can stop us. "Other quotes provide a glimpse into their worldview:" The Christians shall face the black Holocaust, it is close, "" We are not an organization, we are a circle of souls, "and" Now that Mayhem has died, Black Metal can return to darkness "[2]

The last quotation actually refers to the famous murder of the Euronymous. The listener to some of the bands will understand that Vlad believes in what he said, because I have never encountered a more brutal black metal than these bands.

One of the circle's members is Vordb, which under his solo project called Moëvöt, recorded in 1993 the album "Abgzvoryathre" [3], the first of two recorded in the project [4]. The album was released independently on tape and stepped beyond the circle of darkness. Today, every time it pops up on Youtube, it goes down after a short time. In fact, it's almost impossible to hear it without downloading it. And so, after falling in love with it at first listen, it melted in my hands again and again until I finally got him off. Despite the attempts to make it disappear, the album was released again 21 years later, this time on a CD, through the label of its creator. Inside the CD cover is a letter from Vordb asking the listener to keep the album secret. I found out about it not long ago, and I managed to grab a copy by buying online [5].

Abgzvoryathre is one of the most minimalist albums I've heard: there is no song that contains more than three instruments, all played in a weak volume, their roles are spookily repetitive.

However, its atmosphere is extreme: it freezes the spine of the listener in fear. Filling him with quiet hatred, sadness, and giving him a taste of death. With a male and female singers, a guitar and an organ, Vordb created an album in which all the participants sounded like tortured soulds of the dead, as if the album had been ejected from an eternal abyss of blackness, and  the silence of the abyss is used as an instrument to the forlorn melodies.

In this abyss of silence and blackness, the listener floats blindly, while the emotions aroused by the album caress him and lead him along the bleak landscapes that appear in his head as sounds and tormented figures that tell their horrific past.

The album opens with the song "Notre Pere", which means "Our Father", and immediately puts the listener into the unique and gloomy atmosphere, when a ghost that is heard as a prisoner meets with cries of pain accompanied by an organ. In the middle of the song, Vordb grunts a monologue in French, which is actually a dark version of the famous prayer "The Lord's Prayer," in which he replaces the words praising God, in derogatory words expressing true hatred (elegantly,should be noted). Translated from French:

"Disgraceful Father in Heaven

Erased be your name

Your kingdom ceases

Your cowardice lost you

On earth as in Heaven

Give us today our hate and our love

Regret our sufferings

As we regret for those you so deceived

Save us from your temptation

And deliver us from you

For the insult, the lie, and the operanda are yours now and forever

Adieu"

The second track, "Voultehtr Voaguprueed", is a guitar solo accompanied by a terrible silence, in a unique black metal role. The electric guitar is devoid of distortion, almost clean, and it sounds like a more "pure" version of the genre. I did not find a translation for the title of the song, but in my mind, the fast and non-tonal solo takes the form of a twisted road which winds between silent horrors and serves as a passage to the entrance of the third section "In Einen Friedhof, Errance", which means "In A Cemetery, Wandering". I know I'm not the only person who would go out to the cemeteries in the dark hours to absorb some atmosphere. This is likely to be the case with the listener Vordb turns to (or the reader who reached this point in the review). The song recalls those nights, but gives the wanderer the role of the spirit rising from the grave. The song is composed of slow and simple organ, but amazingly beautiful and evolving, accompanied by Vordb's dormant cries, there in the background.

Every time anew, my hairs stands up in horror when the fourth song "Zwightrape, Chant D'eternite" begins. Thats because of the disturbing intro. The understandable part is "Chant of Eternity" in French, a term that describes the track accurately. Vordb is also endowed with singing ability and he assembles himself into a tortured ghost choir. the singing in itself is morbid, but the most chilling element is the sound of Vordb's voice, which forces the listener to identify with the eternal pain and it's despair that comes thousands of years later.

"Wolken, Ma Vie" also combines the languages: "Wolken" means "clouds" in German, while "Ma Vie", "my life" in French. The song opens with a dark guitar pass. The piece combines a threatening non-tonal role with melancholy harmony. This solo also serves as a transition, but slower and more tired, as a preparation for the climax of the album, which is "Oraison" in French 'speech'.

The organ at the beginning of the section freezes the listener and holds it in place, like a satanic spell, prepares it for Vordb's charismatic speech in monstrous groans and double voice. The  dramatic and disturbing hold, especially when background voices that sound like a group of ghostly dead repeat him dutifully. The multiplicity of voices screaming together again and again the same sentence to the background of the threatening organ continues until the song recedes.

"Ehepr Abgzvoryaerv, Chant D'eternite II", is the song that closes the album. In its enigmatic name, "Chant of Eternity II" can be identified. He, like his predecessor ("Chant of Eternity I"), an eternal psalm, now sung by a female vocalist. She sings in a weak, tired voice that suits the melody that carries the listener back up into the real world. Toward the end of the song, she stops. And from the silence, if you try, you can hear Vordb's last whispers, before the singer leaves the song. I think it is significant that Vordb presented us with the eternal psalm twice, the second time as a song that closes the album. Why is the last psalm sung by female? Is it a coincidence that she only participates in the first song and the last song? It is worth noting that the name of the album appears in the title of the song, in a different variation.

When discussing about the "Les Legions Noire", it is clear that there are many discussions on the Internet about whether they are a violent satanic cult or just a representation for image needs (or anything in between). In my opinion, their great passion for the genre and adherence to the work and investment is real and I appreciate them for it, although it is hard for me to take their worldview seriously. It might be that the attempts to keep the works in a mystery box come from a lofty and elitist place, but in my opinion it is an act aimed at improving the listening experience to all those who invest in time searching for such materials; In doing so, they succeed in their quest.

In light of the album's virtues, the question arises: Is it different or better from other darklings of the genre?

"Abgzvoryathre" is a work based on fear and horror and  it is well done, but these qualities do not necessarily separate it from the rest. "Abgzvoryathre" is first and foremost a dramatic story. A rich inner world created by music, which serves as a spark that creates the images in the listener's head. Simply - a sharp, well-made atmosphere. The secret language and lack of information about the album gives more place for imagination.

Believe in what you want, but if you like atmospheric eerie music and are willing to take it seriously, there is no doubt that this album will be amazing for you.

Appendix
[1] You can read it yourself Here, and Here!
[2] Appeares in the articles linked in [1]
[3] "Metal Archives" define this work as a Demo: www.metal-archives.com/albums/Mo%C3%ABv%C3%B6t/Abgzvoryathre/27188
[4] The two works were released between 1993 and 1994, and single in 2015.
[5] Discogs

[Erang]

Good work Pilgrim's Shadow !
Congrats!

[Pilgrim's Shadow]

Dec 6, 2017 3:51:39 GMT -5 Erang said:

Good work Pilgrim's Shadow !
Congrats!

Thanks!

[Pilgrim's Shadow]

a Review of Alder Deep - Chapter 2: Kobolds, Goblins, Cretins, Fiends.

Original Version: www.reshimotohu.com/reviews/#/blood-and-mud/


Blood and Mud

What dwells beneath, what dwells below,
Within the Earth, in caverns low;

Kobolds, goblins, cretins, fiends,
Many dwelling go unseen.

Where prey is body, soul, and mind,
Where the Unseeing are not the Blind.

In deepest darkness lurks the worst of them,
An ancient being - the Alderen.


The Alderen, a terrible entity beyond imagination, is the mind behind the Dungeon Noise project, Alder Deep. In two albums he invites the listener to explore his subterranean world, to which he named the project: This is a vast system of dungeons and tunnels in subterranean worlds, deep below the surface. There, impossible sights are occuring, sounds that are not supposed to be heard are rising, distorted memories and thoughts are eaten by the murky depths, down there is the home of the Aldern. The dangerous experience however, is not for nothing, if the rumors are true, for the greater the evil lurks in the depths of caves, so is the glory of the unknown treasure.

All who wish to experience the adventure fully , as the creator ment, should listen to the albums on tape, using tape recorder. Anyone who orders a tape gets a polished stone; This will serve the adventurer as an amulet to hold during the blind walk in total darkness.

The anonymous artist was inspired by real experiences of cave delving: one gloomy day was a sparkle of idea. He describes total darkness with a disgusting silence, in which one can not help but hear the flow of blood in the body and every drop of water dripping in the deep dimension.

"Kobolds, Goblins, Cretins, Fiends" is the second album by Alder Deep, and accordingly, the second part of the journey into it's kingdom. It opens the stage where the light is seen in the front - but do we want to illuminate on what is hidden later on? This part focus on the visions of the living (or non-living)  in the world of the Aldern. The wheels of imagination are brilliantly activated when two important elements are the triggers: noises and melodies, walk down the tunnels of the album; Sometimes they sound like two completely separate entities and sometimes merge into one, creating imaginary and rich images in a vague and bizarre world.

These are the synthesizer melodies that depict the inhabitants of the underworld: Cavaclade of the Unclean or the groping of the unseen, (but their twisted bodies correspond to those caves i believe). The  instruments used in the album are diverse: ranging from the melodies of an Arabian scale flute, through a chilling organ in the scent of the 1960s horror films, and string instruments.

The extreme noise is responsible for the powerful claustrophobic experience, The same experience that  accommodates the morbid feeling characterizes the events. This noise describes the soundscape, whether it is low and static like an ancient mud ("Deepest Darkness - Laier of the Alderen") or droplets falling from drips over an opened tunnel, seen as a silent, monstrous moan ("What Dwells Beneath"). This is achieved through increased use of distortion (Perhaps of an electric guitar), static noises, wails, ringing tones and whistles that rise and fall at varying speeds.

The album is characterized by two main motifs: melodies that convey the ways of the demonic creatures, and noise that describes the murkey setting. This is an intriguing decision, in light of the author's explanation. He says that when creating noise, he feels as if he is dealing with an organic creature. Could it be the Aldern? If so, is the "Aldern" himself the kingdom? We may still find out, since this album is  second part of five or six albums in the series.
Later, Alder Deep explains that this division is what makes the Dungeon Noise genre an excellent tool for telling a story.

The name of the album "Kobolds, Goblins, Cretins, Fiends" is the name of the second track, perhaps the most iconic, and one of my favorites. It is a mass of demons in an underground violent and disturbing celebration: rhythmic and cheerful music of a synthesized flute in an oriental role, meet with appalling, well-formed noises. Impressively, it is not clear whether it is the noise that accompanies the melody or vice versa. In my opinion, the idea is to describe the demons as accessible, coming out of a cartoon that seems amusing, but turns out to be distorted in a wild and grotesque way.

Another excellent passage is "The Delver Invocation," in which an old church organ and hars-noise elemented imerged into a single entity with sickly distortion. It describes the frantic sanity of the adventurer, who for the last time wails a prayer to save his mind and thoughts that stand as prey to growing anxiety, loneliness, and intangible fear. Morbidly, the delver find out that his best option of survival is descend deeper into the kingdom.

Despite all the blackness that fills every corner of the album, like a closed room that can not be escaped, it is surprising to discover that the album actually evokes also positive feelings of adventure, curiosity and determination. It seems that the listeners to the album will not find it difficult to contain it because it is quite airy and imaginative. This is one of the works that does not offer an insidious experience for the listener, but rather an intriguing adventure in the end.

[Pilgrim's Shadow]

My English Interview with Chaucerian Myth:

www.reshimotohu.com/interviews/#/pilgrimage-burnt-with-passion-english/

[thekeeper]

Pilgrim's Shadow & chaucerianmyth, great interview, and thanks for the translation. Always nice to read interviews and thoughts from Andrew. Speaking of, when are the rest of the track-by-track Canterbury Tales videos coming to youtube?

[chaucerianmyth]

Jan 23, 2018 14:50:20 GMT -5 thekeeper said:

Pilgrim's Shadow & chaucerianmyth , great interview, and thanks for the translation. Always nice to read interviews and thoughts from Andrew. Speaking of, when are the rest of the track-by-track Canterbury Tales videos coming to youtube?

Unfortunately it might be a while. I'm working two jobs, finishing my degree, applying to graduate schools, and trying to finish two personal film projects, so my plate is probably more full than it's ever been. Can't say I'm enjoying it, and I wish I had more time to just dedicate to Chaucerian Myth stuff, but it is what it is. I do plan to finish them at some point, I just don't know when I'll have the time exactly.

I'm glad you enjoyed the interview!

[Pilgrim's Shadow]

Not 100% Dungeon Synth, but still might interest you guys:

My Interview with Nox Arcana:


monolithgraphics.com/interviews/scriptsofchaos.html