Dämmerfarben is Germen for the colors of twilight. It’s also a black metal project with a colorful group of participants. Founder Nostarion started the band as a solo project to explore the mixture of folk, acoustics, black metal, and atmospheric music. He has paved his way in the scene, playing in bands like Seelenfrost, Folkodia, and is currently active as a member of Folkearth, Ulfsdalir, Dystertid and Panopticon (live). And a ton more…
Later he was joined by Dystertid, Idhafels, and Throndt bandmember Fergen Grimnir on bass. Having had a steady rotation of other members, they added Panopticon mastermind Austin Lunn as the drummer in 2015. The result is a band with a remarkable amount of talent among its ranks, and the result is audible on Des Herbstes Trauerhymnen MMXX. As Panopticon is my most important reference point here, it comes at no surprise that Dämmerfarben has elements of that sound too.
Songs for Autumn
The soft acoustic intro is reminiscent of ‘Roads to the North’ on opener Herbstsonne. Still, the transition to the full-on metal is more subtle and smooth. The folk metal influences come up straight here, with some classic heavy metal riffing in the mix. We would remain within the autumn theme on this album if that were still news with titles like ‘Des Herbstes Trauerlied.’ A lot of acoustic guitar work really creates the space and atmosphere for the album’s vibe to set in. It helps bind the songs together, stretch them out, and enables you as a listener to immerse yourself even deeper into their sounds.
It’s interesting to note that the first four songs are, in fact, older songs reworked for this record. You wouldn’t call anything on this album dated, though there is a certain timelessness to the tunes. It helps that some of the tracks are so smoothly meandering, like a babbling brook or the wind through the autumn leaves. I particularly enjoy the song ‘Herbstpfad’, with chanting that creates a bit of that Mittelalter rock vibe the Germans were known for a couple of years ago. The field recordings help put the right frame around that sonic picture.
As we drift off, with the wonderful ‘Golden Atem Letzter Tagen’, one is likely to always dream of autumn, the golden leaves and light of the setting sun. Soon…
Clara Engel is a singer/songwriter who has worked with esteemed artists, such as Aidan Baker, Armen Ra, ThorHarris, and SiavashAmini. Her music has been hard to put in a particular bracket, and descriptions as ‘minimalist holy blues’ and the stylistic portmanteau of ‘experimental folk’.
The songwriting of Clara Engel
Now, singer/songwriter is not a genre, but I’m going for that angle as I listen to this album by the Canadian artist, who resides in the wonderful city of Toronto. Many artists, who explore solitary musicianship fall into formulaic expressions of the floral dress girl with an acoustic guitar or the lumberjack shirt, bearded boy. But what makes an artist in this expressionist endeavor stand out to me is individualism. It’s not singing a song about emotions you’ve never felt all clear and precise as possible, it’s about the emotional charge of the notes and words.
Hatching Under The Stars
My first comparison when I listen to Clara Engel is, therefore, an unlikely one. The song ‘To Keep the Ghosts at Bay’, makes me think of Will Oldham, or Bonnie Prince Billy (or whatever moniker you are familiar with). Though I’d like to mention the lazy, sun-drenched guitars, it’s the voice that does it. It’s not perfect. But it’s the sound of weariness, at the end of the long night, ‘trying to keep the ghosts at bay’. It makes the song tangible, the theme real and convincing.
But there is also the element of poetry to the art of songwriters, particularly when one invokes larger themes and stories. ‘Oiseau Rebelle’ is a reference to Bizet’s ‘Carmen’ and the song ‘Preserved in Ice for Mark Chagall’ to me seems a reference to his pastoral works (an interpretation of some visual aspects I would presume). But I can hardly start unpacking that with any clear idea as there are themes that evoke new worlds for me. It’s how a song opens a thousand doors for those willing to traverse it.
There is a darkness in the work of Engel too, which no song shows as well as ‘Baby Alligators’. It appears cute and endearing, but soon paints a skyline not dissimilar to the apocalyptic visions in the music of Godspeed! You Black Emperor (Canadian is purely coincidental here). If you need a bridge that explains why Engel worked with Amenra, it’s here too, in the forlorn worldview, and the way words paint pictures and ideas more than tell you something directly. Both ‘Any Creature’ and ‘Old Feathered Devil’ are examples of this.
‘Time is a putty
in your grizzled claw’
What I enjoy about the music of Clara Engel, are it’s sudden shifts and turns. A song like ‘7 Minutes Past Sunrise’ may seem a bit like a Katie Melua song at first until you notice the crumbling world it describes, the grieving notes for a world that is disappearing. Let alone the title, that to me screams Iron Maiden, but hey… There’s a sense of escapism in here too, particularly in a song like ‘Little Blue Fox’, which talks about following the fox to a hidden valley. It’s one of the most straight forward songs on the album.
By the time we arrive at the final song, which is ‘The Indifference of Fire’, the sky has grown a little darker. There is an escape in the music, there is a better place in a world that is generally falling apart and seems uncaring. There is beauty in between the shards, growth between the ruins, and hope. And Clara Engel sings it’s songs.
Quebecois black metal is of a distinct kind, full of Francophone fury, gritty sound, and evil. Csejthe is no different in any of that. The band has by now released 3 albums and did a split with Monarque and Forteresse, two bands with an equal undeniable force and power in their sound. Just like these guys, actually, who also are active in some other acts.
Named after the castle of the infamous Countess Bathory, who murdered according to myth hundreds of girls, the theme is clear. Remarkably, this is a steady feat in the work of Csejthe. On this album, they even go deeper into it with a title ‘L’ horreur de Čachtice’ referring directly to the horror and telling the tale.
And we fall instantly into the darkness with ‘Terreur Nocturne’, a slow-paced, almost doomy track of drizzling black metal. The sound is hazy at the edges, creating this mesmerizing Burzum-like atmosphere. Slow and repetitive, that’s definitely what Csejthe is going for in their grinding tracks, though it picks up on ‘Lycanthropie misanthropie’ and the following title track. There are these wailing guitar melodies, this all-over barren feel to the songs, a certain grandeur… It’s what sets the scene apart and makes bands liket his so amazing.
The record doesn’t stick to a steady formula though and every following song has different nuances, strengths and expressions. But at times the band can actually surprise you. Not with their grim and dark stories, but when their music takes radical turns as it does on ‘Le Spectre de Soleil’. A moody, jazzy interlude breaks up the blast beats, like a sun ray through the clouds and its such a powerful thing. But when we hit the final track, ‘Sadique lunatique’ a vitalistic, suffocating intensity hits. The melody just creeps and writhes around the listener in an unnerving, illustrious speed. Hard to grasp, before the blade comes down.
If you bring together Lee Buford of The Body, Kristin Hayter of LinguaIgnota and Dylan Walker of Full of Hell for a project, you’ll get something special. That’s one thing to be certain of and you would know this is if you’re familiar with the relationship between these acts. Kristin Hayter is not someone who takes collaborations lightly and chemistry is essential. The result, Sightless Pit, is an audio exploration of bleak existence and darkness, unlike another on ‘Grave of a Dog’.
The vocal intro to ‘Kingscorpse’ instantly gives you the chills. It’s that weary, forlorn intonation of Hayter that lulls you to a sense of calm. Before you know it, the heavily distorted and gritty vocals overwhelm you over a steady beat. It is pulsating, threatening, dark. An incessant beat that swells and pushes you along into ‘Immersion Dispersal’. You feel as if you’re deep underground at some ‘end of the world’ techno party, where Skinny Puppy worshippers gather.
That vibe is only further enhanced with the ritualistic introduction to ‘The Ocean of Mercy’. It’s remarkable how there’s always tension. Even during the mellow, droney parts of this song with the clean vocals, it’s looming. I have to think of some of the more ambient works by Ulver. The oft angelical singing of Hayter breaks through the haze of noise and crackling effects, providing a new clarity.
Throbbing sounds guide us on ‘Violent Rain’, which takes us back to the minimalism of earlier tracks on the album. It’s a long build-up towards the minimalist piano and a bridge to the much more visceral ‘Drunk on Marrow’. A gloomy, dystopian soundscape, with barking bursts of distortion and pulse that booms in your ears like blood pumping through your veins at full force. In turn, ‘Miles of Chain’ feels more harsh and noisy, with a martial beat that reigns over the roaring sounds and reverberations. It’s a hazy track that turns more sinister and dark as it continues onwards, opening the gate for more darkness to seep in on ‘Whom The Devil Long Sought To Strangle’. Pounding rhythms and minimal, destroyed instrumentations lead us onwards, further down into the pit…
To end up with the sheer magic and tenderness of ‘Love is Dead, All Love is Dead’. It’s despair in its most fragile, hopeless form. A heap of shivering vulnerability, that is left when all is stripped away. It evokes a feeling of guilt, sadness, the sense of inevitableness. We did this, as a world and planet. But that, like anything here, is interpretation, but it’s one based on the power of evocation in this song and the whole album.
Label: Independent Band: Divide and Dissolve Origin: Australia
It’s convenient sometimes to think that the whole world is alright. We’re wrong though. Divide and Dissolve are highlighting some issues that are still part of our landscape and life. White supremacy is, according to Takiaya Reed and Sylvie Nehill, still a part of the world around us and the wounds of the past have not fully healed. That is what ‘Abomination’ is about.
Takiaya is part Cherokee and Sylvie part Maaori. Their music is designed to decolonize and decentralize and pay homage to the ancestors. With drums, guitar, saxophone, and live effects, they make music that shakes the walls and breaks down common perceptions of the world around us. I’m hooked. From a comfortable background, it’s too easy for me to say that all is well when there’s still so much hurt in the world. Luckily, those voices are heard.
The music is absolutely punishing with erratic patterns and a deep, droning vibe to it on opening track ‘Abomination’. The drums are so you feel them inside your bones before we get into the eerie intro of ‘Assimilation’. Almost painful, almost grotesque, is it still a beautiful howling effect that you here? Before you can really process it, the lumbering bass and drums hit you again. It stomps and curdles onward, through the next track, all the way to ‘Reversal’, which is a spoken word section about the immigrant mind. The light music support only emphasizes the words, makes them stronger and more potent. It’s touching in its alienating form, but also is the only word of explanation the record offers us.
At times the music almost feels ritualistic or even slightly jazzy, like the tune ‘Resistance’. There’s a mystique, a feeling of movie-like suspense to the tune. Repetitive riffs come by, enriched with even further effects and sounds that take you into this trippy realm. The sound is strangely subdued, almost inaudible at times and less structured on ‘Re-Appropriation’ and ‘Reparations’. They feel like strange sound experiments, full of droning bass lines.
‘Indigenous Sovereignty’ is the short, but foreboding closer of the album. Perhaps a sign, a light, showing what is to come in the following years. Guiding the path for change.
I like cats. I don’t think this should surprise anyone, because I’ve mentioned that before. So if you have an album cover that looks a bit odd, but features a black cat and a cool sounding name like Midnight Coven, there’s a fair chance I’ll check it out. And, I have to say, I do not regret listening to ‘Bewitched’.
The project is initially a solo endeavour by Aaron Baker, a 27-year old multi-instrumentalist who has several other projects going. I haven’t been able to find out much more, but there are some musical references given like Deep Purple and Black Sabbath. That’s never a bad thing in my book, so let’s get to the music.
‘Sinister’ sounds much like any witchy sounding, doomy psychy band you may be familiar with. Angsty, creepy… Think Uncle Acid & The Deadbeats, but a bit on overdrive on vocal effects. It’s cool. And weird. I guess both. I don’t get why the sound is rather wonky though. It wasn’t my headphones, I checked. What it does, is add a little spooky vibe to the song. The same goes for ‘Blood on the Wall’, which at times feels as if it’s merging all parts together into a formless mass of evil creeping up to you. The vocals are something else though, and might even hint at modern psych bands with that nasal tone that keeps sorta poking at you.
But let’s get down to the more doomy, theatric side of the record with ‘Midnight Summoning’. There’s certain bombast to the sound of the streaming guitars. A lot of space is left for those stadium rock-Oasis riffs that blow out with a slight dissonance as you’re familiar with from many pscyh bands. That slightly snotty whingy vibe, but Midnight Coven can do the riffing too in a grand heavy metal style. Just listen to the opening of ‘Corporate Slave’. Tell me that doesn’t sound like ‘Looks that kill’ by Mötley Crüe’. And that’s a great tune, so it works well here too in that specific vibe. At times the sound can be a bit highly processed though, which is very audible on ‘Welcome to the Horror Show’. The drums feel mechanic, the bass is just too perfect, and those soaring sounds in the back make it feel like you’re listening in a very, very tiny room. Does the job, though.
So, Midnight Coven is simply weird. It’s a weird sounding band, and therefore really cool. On closer ‘Conditioned Nation’, I like the flow, but I feel as if I’m listening to a synth track at some points. The lumbering guitars are so thick, like a frosty milkshake. The vocals are very clear on this track, though, which creates a unique vibe. I say, just check ‘m out.
It should come as no surprise that I’m excited about a new Possessor record. The horror-inspired doomsters from the United Kingdom have been quite prolific in the last few years, and they are one of the rare bands that I’ve interviewed twice already (you can read the interviews here, and here, they’re quite fun).
The main inspiration for this group is hard to define. Where before I had a strong Sabbath vibe from these gents, now we’re moving more towards a punky, upbeat sound. It must be that first wave-style black metal influence, but also, most definitely, Black Flag. It’s more energetic, pushier, more domineering. I mean, it’s all good stuff and good clean fun.
So the horror samples are still there, and you only need to glance at their artwork to get that vibe. ‘Gravelands’ is less spooky though, it’s more ‘scary-biker-gang-might-be-werewolves’ scary. I suppose that’s a thing. After that hardcore beatdown beat on ‘Jim The Mutilator’ (obscure reference to the Rotting Christ originator?), the buzzsaw bassline on ‘Backwoods’ is pretty rad.
We turn a darker corner on ‘Savage Rampage’, with a higher pace, which approaches that primitive sound of bands like Midnight. The guitar riffs definitely contribute to that, no warm walls, but gritty, grim bursts hit your darkening mood. All good and set to go for the next bangers, which are ‘Breathe Fire’ and ‘Creature of Havoc’. Here we get back to the good old hard-rocking vibes we love about Possessor. Punchy, heavy sounding tunes, with nice heavy metal hooks and riffs. It feels like music made for a simpler time. It feels odd to get this classic metal vibe in these times, but it also just feels fucking good to hear these riffs that sound like sludgy Iron Maiden efforts.
‘Hiking To Hell’ underlines the coolness of this album again, by returning more to the grimy, repetitive sound and mossy walls of sound from their ‘Dead By Dawn’ album. Groovy stuff. You gotta love Possessor.
Now and then, I write some reviews about records that I find enjoyable. I enjoyed these pieces of drone, synth and magic.
Earthencloak – Pipe Smoke & Faery Magick
Something exciting is happening in the dungeon synth genre. To be honest, it’s been going on for a while, but the sound is expanding. Certainly, purists argue about things like winter synth and other names, but the root of all these artists to me is similar. Steeped in atmosphere and storytelling in a straight-forward, isolated fashion that takes me back to the books and video games I grew up with. Yes, let’s nerd it out to this one, inspired by the artwork of Rien Poortvliet’s gnomes: Earthencloak. True fucking gnome synth and I love it.
Much like Fief, Earthencloak is not echoing the vast, dusty crypts of the traditional dungeon synth, but emulates joyful, foresty freedom. You feel that pleasure, that lush green land, with the bells and sprinkly keys on ‘The Rabbits, the Bees, the Whistling Trees’. It’s carefree and joyous music, certainly with the regular elements, but free from the doom, gloom and lurking darkness. Yet, listening to ‘To Picnic Beneath Toadstools’ I feel the same transportation to fantasy land. Yet, it is much like in a videogame with a sandbox world: you are often happy to find that peaceful, tranquil place in between all the darkness, and that’s what Earthencloak offers. The xylophone-like sounds also help to embellish the theme, as you imagine the gnomes creating the music. Get lost for a while, the other stuff will be there when you return.
Elbrus – They Grasp And Fight For Wealth As The Whole World Burns
Elbrus is the highest mountain in Europe, to the great chagrin of the French. Its inclusion in the European continent was an interesting one at least. I’d love to climb that thing one day, that’s for sure. Anyways, Elbrus is also a drone/doom project by Tanya Byrne, known from Bismuth. She started the project in 2011, coding and playing soft instruments and playing through many many pedals. Byrne is also a scientist and that approach ad look at the world permeates her work, which is very environmentally conscious, as you can gather from the title of this release.
‘All Life Suffers’ rises up gradually, slowly. There’s a power behind the trembling notes, a force that can be instantly felt, but it’s also mournful. A dirge for a world in collapse, although that is my interpretation based on what I’m presented with. The howling winds of the drones take you into ‘The End of Man’ and as emotions overwhelm you, you find yourself wondering if that would even be such a bad thing. A torrent of noise, crackling and static, unleashes on ‘The Collapse’. Sparing notes reverberate through the haze, coming from everywhere bouncing back at you as the drones start swelling to an almost painful intensity. ‘The River’ rolls in towards the end with a lot of peculiar sounds. The flowing of water, chirping of birds and ethereal vocals as the sound waxes and wanes.
Castle Zagyx – Cavaliers of the Western Heartlands
D&D inspired dungeon synth? Well, yes, I’m interested in that and CastleZagyx (a play on Gygax?) has done quite well with this record, titled ‘Cavaliers of the Western Heartlands’, an album full of songs dedicated to aspects of the sword coast in the Forgotten Realms. For those who don’t know, the Forgotten Realms are campaign setting created by Ed Greenwood, who also holds the rights to it. It’s the most successful setting, which has spawned a ton of books and background materials. Including are Ed Greenwoods self-gratifying Elminster books, a character based on himself that bangs absolutely any fabled beauty in the realms and survives death endlessly. It’s weird. Anyways, Castle Zagyx describes himself as a musician, grognard and reader and that’s what we have on him. Time to dig into the sounds of this one.
Castle Zagyx plays with drones and folky tunes, a bit in the vein of the above Earthencloak, but more rigid and stern, paying homage to the high fantasy aspect of its inspiration. ‘Rite of Passage’ includes Gregorian chanting, bagpipe sounds and eerie percussions. It’s like walking between the massive pillars of a forgotten temple towards that which is holy. But then the sound dwindles, shimmers and takes on a more mysterious vibe. And this is how we travel the lands, from the gates of Myth Drannor to the Dragonmere lake and onwards, ‘In Search Of Adventure’, full of strings, hope and bravery. It’s a bit cheesy at times, but if you didn’t like that you wouldn’t be reading this. And if you do love it, then ‘Honoring Tempus With My Vorpal Sword’ is the absolute climax of the record, soaring upwards with strings swinging and tensions brewing in a truly Hollywood-way, dazzling you with bright lights and explosions. Oh yeah!
Zandvoort & Uilenbal – Folk Triumfator
This is an intriguing project where electronic music meets medieval instruments. Collaborating under the alias Zandvoort & Uilenbal, we find medieval music expert Jimi Hellinga and electronic musician Danny Wolfers (Legowelt) working on a crossover between those classic instruments and electronic drones and ambient. Think hurry gurdy, Victorian harmonium, thumb harps and a German Mixtur Trautonium. Medieval drone space jazz sounds about like the weirdest stuff you are going to hear, but if you dig transporting music, this is something to really delve into. This is the second album the duo has made under this name, and by all means, they should make some more if it were up to me.
The result is a droning, dreamy collage of sound-stories, like opener ‘Safe Sailing for the Galleon Caladrius’. There’s also some use made of spoken word on ‘But Slowly I Made It My Own’, which helps in creating a narrative, but mostly the duo just allows you to sink into the mellow drones and easy melody lines. Stretched out with some dungeon synthy elements, that still have that organic quality of the instruments used to create them. It feels like a highly crafted album, no easy stuff here. I particularly like the play on ‘A Ski Resort Was Buried In The Avalanche’, which makes me think of Kraftwerk a little due to the disjointed elements that still create a vivid image together.
Seena Arya is a musician from the unlikely location of Iran and specializes in otherworldly synth sounds. His various projects include Varkâna, SunAddictedFamily, Vanelikt, Driftwood, and BeamKeeper. All this is part of the Ardawahisht collective.
He has been kind enough to keep me up to date on his work, which has fascinated me from the start. It’s therefore important to share this and give you a little idea of what awaits you in the crypts. Or in the discotheque… or the forest? As it seems that Seena is working on all fronts to expand the reach of his musical vocabulary to express the harrowing silence and sadness of the world.
You gotta love that. Header image from Varkâna Facebook page.
Beam Keeper – Volume 1
Beam Keeper is pure synthwave, but clearly steeped in the slow trod of dungeon synth where it originates in. If you imagine a dungeon synth project based on ‘The Neverending Story’ or another eighties-vibe movie (I know it’s a book first, I read it), this would be it. Slow, sonorous synths weave through the air, the beats come dully, indicating a slow pace and the vibe is more Blade Runner than happy Goonies. It’s dreamy, captivating and perhaps a bit too strangely droning to completely take you elsewhere and isolate you from your surroundings. For me, it is a perfect record to listen to at any time when I need to close myself into this pristine world that Beam Keeper creates. The throbbing bass lines of ‘Palm Trees Dream’. Please, if you dig synthwave, check this record out. You will not regret it.
Varkâna – Ahrimanic Chambers
Ahriman is the entity embodied with destructive force in Zoroastrianism, and therefore a great topic for a dark, cavernous dungeon synth record, so that’s exactly how Varkâna follows up ‘Rite’ with ‘Ahrimanic Chambers’. The oppressing, grinding synths have a bit of that Burzum vibe, though that may be the dry tom sound that pops up. Slow drones, and that feeling of disturbing the dust in ancient crypts hardly touched by the sun. But these crypts are different, more ancient and unfamiliar to you and speak of an even older myth. Slowly, with a tinge of the oriental hidden in its notes, it sucks you further in, further down the dark tunnels with strange glyphs and carvings, unto the underworld. Varkâna provides a specific atmosphere, which is particularly captivating thanks to the vastness of the sound. It’s dark, without immediate threat, but always something is lurking, something older…
Sun Addicted Family – Solar Dreams
It would be easy to start referring to Deafheaven here, but sonically Sun Addicted Family is far removed from the driven, grandiose sound of the vilified post-black act, yet there’s obviously a thematic connection somehow. This project relies on heavy sonic tapestries and keys to provide a sort of story anchorage throughout. The screamed vocals are intense within the frame of this blackgaze experience. It’s strange to have these sonic flares, chip tuney beats and mash it with that intensity. But that, to me, is exactly what makes Sun Addicted Family so enthralling, it’s otherworldliness, it’s weirdness in a way, blending synth-wave sentiment with black metal intensity and atmospheric black metal emotion. I mean, reading that sentence alone, how would you say that in a way that explains what you’re about to listen to. You should, by the way, do so. Listen to it and immerse yourself in irradiate sunlight, soak in solar dreams and drown in the astral driftways. Blissful forgetting, white light, white heat.
Varkâna – Cosmic Terror
And here my own slow pace has caught up with me because Varkâna has released a new gem inspired by none other than the great H.P. Lovecraft himself. ‘Cosmic Terror’ is a much similar release, with the creeping, meandering synths taking the listener down aeon-old pathways, basking in the gloom of Eldritch things. Obviously, there’s a connection to the Ahrimanic Chambers record released before, both speak of unspeakable entities that dwell in the dark recesses of our minds. I do feel though, that this album clears up come of the eastern elements in the composition, but this may also just be my perception. More ritualistic even, it expands the realms of Dungeon Synth into more obscure territories, where a haze emerges as the sand and air hit. Nothing is certain, nothing is absolute when elder gods dance in madness in the maelstrom. From the malign and dreamy ‘Space Lord’, to the creeping madness that is ‘Nyarlathotep’. It’s full of foreboding of threat and terror.
So much darkness in the underground of our welfare state called the Netherlands, that I just have to keep going and share it. This time, the furious harpies of Asagraum, the gloom and doom of Dodenbezweerder, the aerial soundscapes of Nortfalke and the icy hailstorm that is Asgrauw.
Please, enjoy, listen and perhaps purchase some of these tunes.
Asagraum – Dawn of Infinite Fire
Edged Circle Productions
It doesn’t take long to stumble upon the combination of the name Asagraum and ‘all-female black metal’. It is an oddity in black metal for sure, but I can’t say it makes a difference in the sound. Perhaps in the pitch of the vitriolic screams of Obscura, also active in Draugur, Wolvenbloed, Gestalte, and Hekel (both live). She also played in Nargaroth live, which is cool. She runs the ship with A. who used to beat the drums in Sisters of Suffocation. Originally, it was a cross-continental band with T. Kolsvart on drums, and a number of international musicians involved, but now the core is Dutch. Jeez, what an intro, did I mention that they play some sick black metal in the traditional way we love and relish?
Asagraum can sound harsh and unrelenting, as they do on most of their songs. There is, however, a melodic streak in their sound. The excellent production (no necro stuff here) helps to let that musical side open up when you listen to it. Particularly the track ‘Guahaihoque’ does a great job at dragging you in with its sweeping flourishes. It’s really good stuff to take your mind off things, but we return to fire and brimstone with songs like ‘Dochters van de Zwarte Vlam’. An energetic rhythm, ominous, and just that right speed-up moment when we surge into a new vocal bit. Personal favorite though is the final track that also features clean vocals. ‘Waar Ik Ben Komt De Dood’ (where I am, comes death) is a mid-paced burner, moving along a mist of distortion. The chanted words emerge from that same fog, difficult to hear at first in the haze, but on the other hand clear within the production. This is a great black metal record, full of fire and fury. You might want to check it out.
Dodenbezweerder – Vrees De Toorn Van De Wezens Verscholen Achter Majestueuze Vleugels
Iron Bonehead Productions
I am in no way surprised to find the name Mories connected to this project. The brain behind Gnaw Their Tongues, Aderlating, CloakofAltering, CapuutMortem, and a hundred other bands never sits still. Santino van der Aa plays drums, which he also does in dsbm legends Hypothermia. Dodenbezweerder was launched in 2019 and the full length is listed as released in 2020. You just know it’s going to be good, but somehow this has remained under the radar up to this point for me. Might be because the releases followed each other at a rapid pace. The artwork already shows an artistic inclination to the classic black and white, so I expect a sound like that.
Which is an expectation soon to be fulfilled with atmospheric, lo-fi, distorted darkness. The title track is all hissing, crackling, and has that good old necro sound to it, but Dodenbezweerder never goes into screeching overdrive, but calls up a fog of distortion, that clouds a massive sound of slow, lumbering movement. The tracks are full of anticipation, foreboding of a lurking presence. From the fog, the vocals arise in gurgling, gibbering tones, as a ghoulish reminder that there is something coming at you. Shimmering comes to mind when you listen to ‘Glimmende Zwaarden Door De Mist Van Het Evangelie’, minimal yet, maximal impact. Spartan is a word the band uses in their bio and that makes sense as a duo, yet the wall of sound Dodenbezweerder unleashes is not to be trifled with. You want to hear this.
Nortfalke – Atmosfeer
Heidens Hart Records
Is it dungeon synth? Not entirely, but there is something of that vibe in the Krautrock leaning sound of Nortfalke, which reminds you a bit of Jean-Michel Jarre and TangerineDream with its spun-out, soaring electronics. Nortfalke is an alias of Swerc, who is known from bands like Tarnkappe, Gheestenland, Asregen and a dozen other fascinating projects. This one, however, explores the cryptic mysteries of dungeon synth with a classic approach that never fails. It’s the sort of sound that immerses you in mystery and dreams, particularly this thematic album, titled ‘Atmosfeer’ (Atmosphere).
Repetition is one of the key tools for dungeon synth acts. It has a meditative and hypnotic effect on the listener as it all sort of starts to melt together into one flow. We don’t descend into crypts though, but ascend to the clouds and explore the beauty of the heights on ‘Hoogten’. I particularly enjoy the krautrock vibe on ‘IJskristallen’, which translates as ‘ice crystals’. The looped keys resonate like he pristine, crackling of ice that would surround you in the upper atmosphere (that’s pure speculation, but the shimmering sound matches my imagination). And this is the true strength of Nortfalke, it catches the atmospheric elements it describes. The sensations, the perspectives, they’re all there within the sound. And then we fall into the depth on ‘Diepte’. It’s notable that the sound is more organic, natural, thanks to the use of actual synthesizers. The result is quite remarkable.
Asgrauw – IJsval
Death Kult Records/Pest Productions
I’ve commented before on the peculiar artwork of Asgrauw, but I have to admit that it does kind of grow on you. ‘IJsval’ is the fourth full length by the band from Groesbeek (the bad end of Nijmegen I’ve been told). Keeping a steady pace of dropping a record every 2 years, the band is on a roll. Members of Asgrauw are also active in Meslamtea. And that’s great stuff and only offers more promises for their latest release, that seems fitting in these times.
Asgrauw relies heavily on the tremolo guitar sounds, the trickling, cold melodic elements and double vocals. Not entirely uncommon, but in their synth-heavy sound more than welcome to offer depth and complexity to the sound. ‘Leegte’ instantly delivers, creating a lot of space to breathe and just wallow in the sound with melodic breaks. But there’s also violence and cascading, icy riffs that flow with a thundering roar. ‘Stortvloed’ is one of those tracks, that just keeps going. What I like so much about this record, is that the title just permeates every single track. ‘Ijsval’ translates as ‘ice fall’, and that cold hits you every tune again. Sure, a little warmth seeps in with that Iron Maiden-esque bass line in ‘Broeihaard’, but it’s back into the cold again a moment later. Asgrauw is like a bike ride through icy rain in late autumn. Dutch people know what I’m talking about.