Prophetic Suffering “Rivalry of Thyself”

    The nefariously barbaric death metal outfit, Prophetic Suffering, sets out to pave a pathway of unforgiving brutality with the release of their debut full-length album, “Rivalry of Thyself.” The Edmonton-based band draws influence from the profane death metal acts of the early to mid 90's, yet also mixes in some harsh black metal elements to achieve an utterly grotesque and pulverizing sound. 

    Following up their 2022 demo release, the band will be working with Sentient Ruin to unleash their debut full-length upon the extreme metal world on May 9th. I strongly believe that the band’s savage artistic vision aligns well with the other inhumanely insidious acts on the Sentient Ruin roster. Their sound and approach on this album is all about hammering out sadistically ruthless death metal riffs, while also finding ways to violently alter their arrangements by incorporating these agonizing dissonant noises. The vocals on this release add to the gruesome imagery, and sound as if they were recordings captured from some blackened abyss where fiendish creatures attempt to viciously claw their way of the obsidian like darkness. Similar to a lot of other profoundly brutal up and coming death metal acts drawing influence from the monstrous old school bands that paved the way, Prophetic Suffering offers up a plethora of ear shattering rhythms and deafening drum work. The production quality and sound of the drums on this album is unbelievably catastrophic sounding at times. 

    The eight tracks featured on the album are all merciless pieces of death metal music conveying a primitively aggressive nature that never strays away from the band’s pestilent vision. For example the opening song, “Holy Death, Sacred Rot,” is a punishing introduction to the band's vile sound that stirs up these cyclone like riffs of entropic destruction. During the song you can really hear the bass as the notes seem to ring out along to the devastating drumming. Of course, the guitar playing is down right incinerating throughout the song, and the overwhelming rush of brutal and dissonant sounds coming from the guitars seems to be fueled by an endless amount of sinister adrenaline. There are songs on this album like "Foul” and “Gift of Decay,” where the band does not waste a moment of time by feverishly blasting out short death metal tracks to completely overload your ears these monolithic bursts of putrid death metal. 

    On the track, “East Prey (Weakness Defined),” I liked how the band maintained their simple barbaric approach, which allowed the singer to deliver a hellish performance to compliment the relentlessly aggressive guitar and drum attack. Another creative moment during the song was as the band was going all out with their musical onslaught toward the end of the song, an explosion rocked the soundscape and then the following sounds were of church bells ringing which I thought really stood out. The final two song, “Rivalry of Thyself” and “Oppressor Beheaded,” are two abhorrent offerings evoking more of that same hateful energy that can be heard on the previous tracks. “Oppressor Beheaded,” is an insanely sinister track with some dynamically terrifying riffs and lead parts to create an unapologetic nightmarish atmosphere for the vocalist to unleash all these monstrous growls. 

    Instead of going for the over the top progressive death metal approach to where you become confused by the pointless shredding and odd time signatures, Prophetic Suffering decided to keep the music down right horrifically brutal on, “Rivalry of Thyself.” I highly recommend checking out Prophetic Suffering if you are a fan of abhorrent extreme metal music, especially given that they are working with one of the top underground labels in the extreme music world for their debut full-length release. In the end, I would saty that this is definitely not band looking to push the technical boundaries of extreme metal, but instead they are looking to walk right up to people and manically punch them in the face with a mighty fistful of unfathomable brutality. 

Check out the song "Gift of Decay" below:

Link to Sentient Ruin Bandcamp:

https://sentientruin.bandcamp.com/album/rivalry-of-thyself

Moonlight Haze “Beyond”

 

    The Italian symphonic power metal act, Moonlight Haze, once again conjures up an epic sounding journey across bombastic musical landscapes accompanied by plenty of awe-inspiring vocals and utterly catchy sounding riffs. For their fourth full-length album, “Beyond,” which will be released May 23rd through Scarlet Records, the band continues to enhance their overall sound which allows them to further explore their extremely deep and meaningful lyrical content. 

    Personally, I am very particular about symphonic power metal with a majority of the modern acts not really appealing to me given the lack of substance along with the repetitive sounding formula that has been beaten to death within the sub-genre. Also, I feel a lot of acts tend to put too much focus putting on their Renaissance Faire attire and they end up writing some very forgettable sounding songs. Such is not the case with Moonlight Haze, and after hearing their 2021 release, “Animus,” I could tell that they took their craft seriously and put effort into writing some profoundly passionate pieces of music. “Beyond,” isn’t just another step forward for the band, as I really feel as though they are taking a massive leap forward with this new material. 

    One of the areas on this new album that I noticed right away were the heavier elements added to their sound, thus injecting a more old school metallic edge at times. Also, vocalist Chiara Tricarico delivers another outstanding performance by showing off here magnificent range that confidently soars over the melodic instrumental arrangements. The guitar playing on this release is on point and the leads are fluid yet never over crowd the soundscape to where you find yourself bogged down by endless amounts of pointless shredding. Guitarists Marco Falanga and Alberto Melinato are talented players that come-up with some catchy sounding riffs that can deliver a more fiery flare when needed by throwing into some blazing solos, or an extra dose of heavy crushing riff sections. 

    The album’s opening song, “Beyond,” is a very calming introducing featuring a soothing piano arrangement accompanied by Chiara’s captivating vocals. I thought the intro’s ethereal overall tone was a perfect way to begin the album, especially considering the shift in terms of heaviness that can be heard on the album’s second track, “Tame the Storm.” I would say that, “Tame the Storm,” is definitely a more dynamically intense track and one that takes on a more fearsome old school power metal sound. Also, I was impressed by how Chiara’s vocals seem to naturally adapt to the music when the band transitions from a melodic section to a heavier sounding part. The same can be said on the song, “Chase the Light,” where the opening rhythm is utterly crushing, which I would attribute to drummer Giulio Capone’s monstrous drumming from behind the kit. From the energetic melodic lead guitar playing to vibrant chorus sections, the music just flows with such a graceful synergy. 

    Now, as much as I enjoyed the album’s heavier moments, I must admit that the calmer and more uplifting tracks are not to be ignored. One of the most deep and meaningful song’s off the album is, “L'eco Del Silenzio.” At first Chiara sings in English over a somber acoustic arrangement, but then she transitions into singing into Italian which I thought really strengthened the track’s bewitching sound. Another song that caught my attention was, “D.N.A. (Do Not Apologize),” with its scorching riffs and epic chorus where Chiara delivers a strong vocal performance. The final two songs on the album, "Time to Go," and "Awakening," are also very well recorded tracks featuring more brilliant symphonic power metal compositions as well as these truly electrifying chorus sections. 

    Overall, the “Beyond” is probably Moonlight Haze’s most sonically and lyrically impressive albums to date. The production on this album is extreme solid and I can tell that having the assistance of the highly skilled music producer Sascha Paeth made a significant impact on the final mix. If you happen to be a fan who enjoy symphonic power metal then I would highly recommend checking out Moonlight Haze. The band seems to really be pushing themselves in terms of their songwriting skills and musical abilities, which I could definitely hear loud and clear on this new album.  

Checkout the video for the song "Chase the Light" below:

Moonlight Haze website:

https://www.moonlighthaze.com/

Samiarus “Reign Destroyer”

 

    The debut EP from the sadistic SF Bay Area based black/death horde, Samiarus, is an inhumanely punishing release that seeks to land a profoundly devastating blow upon the world of extreme music. Titled, “Reign Destroyer,” the debut EP is a vile concoction containing some of the most profoundly extreme and down right unapologetic elements known to those within the underground music community.  

    Featuring members from Bay Area bands like Abstracter, Mentor, Doomsday, Abnutivum, Meth Sores, Flesh Dungeon and Slaughteruin, all of these accomplished extreme metal musicians in Samiarus really deliver a vicious decree of aural hostility. Right away I noticed the influence of war metal acts like Blasphemy and Archgoat, but I also could hear the anarchist punk/hardcore elements that seemed to fuel the band’s defiantly raw and savage vision. From the start of the EP, you are instantly hooked by the harsh surreal sounds of a world thrown into bleak entropic turmoil, which is eventually consumed by an utterly deafening riff onslaught. Songs like, “New Iron Age” and “Torment’s Spear,” feature plenty of bestial compositions as well as these horrifying vocals from the band's lead singer. I thought the vocals perfectly complimented the chaotic instrumental compositions by adding to the music’s agonizingly apocalyptic atmopshere. 

    Even though there are only seven tracks featured on the album, you feel as though you are constantly being overwhelmed by the band’s ferocious energy during each song. Also, unlike some of these modern black/death war metal bands that do nothing but mindlessly hammer away at recycled Blasphemy riffs, Samiarus really offers up something more with their sound and approach to writing songs. For example the song, “Throne Devoured,” is a monstrous piece of extreme music featuring some pulverizing rhythms, especially from the band’s fiendish drummer. The level of intensity from the beginning of the track until the end is almost unfathomable. “Crushed by Inferior,” is another solid track which once again contains some solid sinister guitar work while unleashing an aggressive sonic assault aimed at crippling the corrupt foundations working to oppress society. The album’s last track, “Exitium,” served as this more nightmarish industrial sendoff after all the decimating black/death metal riffs, and I thought the track was a clever way to finish off the album. 

    Overall, Samiarus did not waste one moment on this debut EP and they definitely left a ruthless everlasting mark when recording of this release. “Reign Destroyer,” is being released through Sentient Ruin on April 25th, so if you are a fan of extreme underground music then you better go get yourself a copy. I can honestly say that there are no half-ass compositions on this release, which is rare when you have so many extreme metal bands coming up with releases lacking substance, or just following trends to get noticed. Samiarus proves to be a band driven my uncompromising artistic ethos, which is why I would consider their debut EP to be one of the best extreme metal releases of this year so far. 

Check out the song "New Iron Age" below:

Link to Sentient Ruin Bandcamp:

https://sentientruin.bandcamp.com/

Pale Cremation “Communion [Soviet Tapes 1984]”

    Having snuck some recordings out of a secret underground base similar to the one from Resident Evil: Retribution minus the Russian zombie soldiers that knew how to operate motorcycles, Pale Cremation was able to obtain these never before heard recordings from 1984. Titled, “Communion [Soviet Tapes 1984],” the latest Pale Cremation album is one of the most diverse sounding releases to date and the plethora of different influences perfectly captures the dynamic mindset of the artist behind this release. 

    The mastermind behind Pale Cremation, Matt Lasserre, conjures up yet another out of this world sounding creation by bringing together a variety of different musical styles on each of the eight tracks. Pale Cremation’s early releases were very much grounded in old school doom metal and hard rock, but with the last few releases I feel as though Matt has incorporated more old school progressive rock elements into his music along with more experimentation with synths and ambient noises. On “Communion [Soviet Tapes 1984],” Matt really embraces the sci-fi horror world by composing some very cinematic synth arrangements that pays homage to the film scores from 70’s and 80’s sci-fi horror movies. The most notable movie being, John Carpenter’s The Thing, which is referenced on the tracks, “Mimic” and “Indistinguishable to Human Eyes.” During the song, “Indistinguishable to Human Eyes,” you can hear audio clips from the movie while Matt unleashes a decimating doom onslaught mixed with hypnotic synth breaks wedged between the heavy sounding riff barrage.  

    On this album, Matt has drummer Anders Wienerholden handling the drum parts and coming up with some punishing rhythms to complement the bombastic metallic sounding riffs. The opening track, “Walls of Ice,” is very surreal sounding with this frantic build-up of drums and guitar that seems to create an atmosphere of sheer terror and suspense. I would even say that there are some trippy industrial arrangements sprinkled throughout the album, which definitely strengthens the album’s sci-fi horror/government cover-up theme. “Indistinguishable to Human Eyes,” is a great example of a horrifying industrial/doom metal like track, especially when you hear Kurt Russell’s voice from The Thing being heard right before a savage arrangement shatters the soundscape. 

    Speaking more on the cinematic emphasis that seems to be very prevalent throughout the album, tracks like “Eldritch Prophecy” and “”Shodan,” are both very futuristic sounding synth wave style tracks that I could almost see being used as the music for video games. “Shodan,” especially reminded me of something from a haunting sci-fi video game, or even an 80’s horror film John Carpenter might have worked on, because the song has that utterly bewitching synth sound. For listeners who prefer more hard hitting riffs Matt has you covered with tracks like, “Malevolent Cosmic Forms” and “Communion,” that contain some heavy sounding psychedelic progressive rock structures. I have to say that, “Communion,” was one mind-altering listening experience and the lead guitar parts provided by Eric Doyle were down right mesmerizing as the notes rang out over the cataclysmic compositions. 

    Overall, “Communion [Soviet Tapes 1984],” has to be one of the most creative releases from Pale Cremation that vividly demonstrates Matt’s talents, as well as his eclectic musical influences. I think this album can be something a wide range of people will find fascinating given the mixture of heavy metal, progressive rock and synth wave used to strengthen the album’s themes about malevolent extraterrestrial lifeforms trying to overtake humanity. One day when the world meets it’s inevitable fate at the hands of some superior galactic race, they will discover Pale Cremation’s “Communion [Soviet Tapes 1984],” and realize that humans were not all useless sacks of insufferable crap like that damn Hawk Tuah Girl, or those douchey frat boy podcasters. 

Check out the entire album below via 666MrDoom's Channel:

Link to Pale Cremation's Bandcamp:

https://palecremation.bandcamp.com/album/communion-soviet-tapes-1984

Cathexis - S/T Demo

    Sometimes you don’t need a plethora of technical riffs and complex arrangements to make a profoundly compelling extreme release. The debut self-titled demo from Cathexis is a prime example of how taking savage crust punk mixed with some ruthless sounding metal elements can lead to a ferocious listening experience. 

    Cathexis is a one-man project that recently put out this debut demo on cassette via RoachLeg Records. The demo is a conjuring of raw punk elements that reminds me a bit of gritty old school crust acts like Amebix and Extreme Noise Terror, but then you also have this deafening primitive metal side that I thought sounded a almost like the early Hellhammer demos. Overall, the music is utterly intense and comes rushing out of the speakers with this supercharged level of adrenaline pumping distorted energy. The vocals paint these haunting and bleak dystopian scenarios as the riffs thunderously chug away. Throughout demo I felt that the music was very consistent sounding, yet the tracks never come across as painfully repetitive, which I would attribute to the feverishly relentless raw energy.

    There are four songs featured on the demo, and all of them are merciless sounding cuts of unapologetic chaos. Upon hearing the opening drum part on the song, “Revulsion,” as well as the guitar chords cutting through the rhythms with such malice, I knew instantly that I was going to be thrown into a maelstrom of ruthless punk/metal aggression. Also, the vocals during the song perfectly match the bellicose sounding instrumental compositions, thus creating a very hostile sounding nightmarish landscape. On the second track, “Xenogenesis,” the mastermind behind this project known as the, Neuromancer, continues to offer up these blistering rudimentary thrash/punk riffs that evoke an old school sound that I feel you hear rarely expressed these days on most modern records. Sometimes over produced releases can take away from what the artist is trying to express, so I'm glad that this demo found a way to preserve the anarchistic and chaotic musical mentality. 

    The third track, “Nightfall,” was a very unique sounding track that featured some sharp sounding chord strikes as well as these science-fiction like noises towards the end. I liked the creativity that went into this track, as the overall recording definitely stood out from the previous two. The final song, “Deadly Reign,” was an utterly abrasive conclusion to an already decimating demo. This track definitely contained some fearsome headbanging riffs and the rough production made for a killer old school sounding extreme piece of music. 

    After listening to this demo from Cathexis, I am eager to hear more given what was presented on each of the four tracks. The raw and unyielding energy that was displayed on this demo can definitely be used to fuel the flames of a future release, so I look forward to that potential creation. To me there are a ton of riffs and musical ideas that can be explored further, which is something most artists should strive for when creating a demo, as it can serve as the beginning of more complete musical vision. In the end, I highly recommend checking out this demo and keeping an eye out for more music from Cathexis. 

Check out the full demo below from the Felopunk Youtube Channel:

RoachLeg Records Bandcamp:

https://roachlegrecords.bandcamp.com/album/demo-27

Cathexis Bandcamp:

https://cathexis646.bandcamp.com/album/demo-2024

Top Ten Albums of 2024 / Rob "The Metal Guy" Awards

As the year 2024 comes to an end and we are all left wondering how in the world did people like The Costco Guys and Hawk Tuah Girl get famous along with all the other whacky shit that happened in 2024, it is time to look back on all the great music that came out this year. I felt that 2024 was a solid year overall in terms of new hard rock and metal releases, the battle for the number one spot was not as competitive as it has been in prior years. Sentient Ruin once again dominated in terms of underground extreme music labels, and the owner of the label does not need to run a Youtube Channel complaining like a toddler when bands are unwilling to do interviews with him like some other labels (cough...J-Dawg). Now, in regards to my pick for the number one album of the year, I am already expecting the self-proclaimed "true" metal readers to start calling me a poser as well as begin a petition to revoke my "Metal Guy" status. Honestly, just get over it and accept the fact that the best album of the year wasn't some obscure kvlt band that wears Party City vampire capes, or is a tech death band writing songs about aliens installing solar panels on The Great Pyramids. Just like how those cackling hens on The View had to accept the results of the Orange Man's victory, the metal community can chill out for one year as I give the number one spot to a non-metal band. Alright, enough of my blabbering, here is the list for my Top Ten Albums of 2024, plus the Rob "The Metal Guy" Awards at the end...

10. Örnatorpet “Fordomdags”

This just wouldn’t be a top ten list if a dungeon synth/ambient artist was not featured. As someone who has been a massive fan of dungeon synth music over the years, I always seem to come across some very creative artists. Örnatorpet is a Swedish artist who has really created some gems over the years, and this latest album “Fordomdags,” being yet another captivating dungeon synth tale. I like the Scandinavian folk elements that are sprinkled throughout the release, as well as the soothing melodies and bewitching synths. Even without words you can paint these vivid landscapes in your head while following along to the captivating noises. I highly recommend checking the album out if you enjoy dungeon synth and ambient music similar to that of Secret Stairways and Jim Kirkwood.  

9. Low Moments “Escape Artist/Ship Has Sailed” 

I just don’t think the world could have endured if we did not get another new Low Moment’s release and this new one that came out in 2024 was one that easily could have been nominated for a Grammy if only there was a way to payoff the officials like in the NFL. Actually, the music on this release is extremely catchy and the lyrics can be very relatable, which sometimes is scary if you really think about it. I would say that if you are a fan of gloomy post-punk then you will definitely want to listen to this album, as Low Moments just seems to fill that void which is missing in the music world today. Also, they sure do provide great background music for when you walk around the mall by yourself dressed all in black eating taiyaki and pondering as to why life keeps kicking you in the balls. 

8. Bütcher “On Fowl of Tyrant Wing”

I found out about this Belgium based speed metal/back metal band through an awesome friend who knows a thing or two about killer metal music. Bütcher’s latest release “On Fowl of Tyrant Wing” is down right badass from the album cover to the music. The album features a plethora of blistering riffs and skull crushing rhythms. Once you start listening to it, you cannot stop! This is definitely a band that I would like to see live one day, especially given the punishing and brutal energy that they were able to conjure up on this album. 

7. Deicide “Banished by Sin”

When it comes to older bands that are considered iconic and influential in the world of metal music, I personally feel as though some of them have really put out some sterile and overproduced sounding releases. Without sounding too harsh, I personally believe there are a handful of acts that just need to hang it up. In the case of Deicide, I definitely find that they have been consistent over the years and this new album “Banished by Sin” actually surprised me. Glen and the boys delivered a truly crushing death metal album featuring some down right brutal riffs. I would say that this album by far surpasses the last two albums, which I thought were just very average sounding releases. Songs like “Bury the Cross... with Your Christ,” “Woke from God” and “The Light Defeated” feature killer lyrics mocking religion, while showing that these guy still know how to pump out utterly agonizing extreme death metal compositions. 

6. Maudissez “Self-Titled Album” 

This debut self-titled album from sinister extreme metal maniacs, Maudissez, was sure one hellish listening experience. I thought this album was sonically decimating from the very start. It came as no surprise when I found out the that the band was working with Sentient Ruin on the release of the album. This group definitely fits in well with all the other bands on Sentient Ruin, especially considering the band’s haunting and profane musical identity. A lot of metal bands can dress-up and act evil with their chains and upside down crosses, but few can actually deliver an utterly malevolent sounding creation. Maudissez is a band that I would keep an eye out for in the future, as they are extremely talented when it comes to crafting long blasphemous sounding tracks with very terrifying atmospheres. 

5. Hemotoxin “When Time Becomes Loss”

A local Bay Area band that I have been following ever since seeing them live in 2013, Hemotoxin continues to push the technical thresholds with each new release. Guitarist/singer Michael Chavez is an unbelievably talented player who has also really evolved as a songwriter. “When Time Becomes Loss” takes a step into a more progressive direction, while still conveying a vicious old school death metal and technical thrash feel at times. I thought the album contained some very profound tracks with my favorite being, “Reborn in Tragedy.” Also, for the album Michael brought in a few talented guitarists to provide guest solos and give the music an even more blistering dynamic sound as well. 

4. Diabolic Oath “Oracular Hexations”

The savage blackened death metal horde known as Diabolic Oath once gain delivered a punishing full-length album to follow-up what was a very impressive debut album. This sophomore release, ““Oracular Hexations,” demonstrates the band’s savage nature, as well as their insane musicianship. From the apocalyptic blast beats and abhorrent riff structures, to the inhuman death growls, Diabolic Oath knows how to arrange some vicious tracks. Yet another band on Sentient Ruin which demonstrated tremendous extreme creativity to unleash upon the metal world an unfathomably deafening assault.  

3. Aberration “Refracture”

Ever since I reviewed Aberration’s first EP for Sentient Ruin back around 2021, I had been looking forward to hearing them come-up with a full-length release. The band’s sound takes on an old school death metal approach, but also incorporates some sonically defiling noises to create insidious atmospheres. There are a lot of dynamic and dissonant riff structures, which keeps you listening intently as the music viciously evolves. Aberration was determined to leave an impact with the release of this album, and I definitely think they accomplished their goal to create a purely evil sounding release. 

2. Nekus "Death Apophenia”

On their sophomore full-length release, "Death Apophenia,” Nekus once again unleashes a leviathan sized helping of death doom to shatter your ears and drag you mercilessly into the gruesomely distorted dark depths. The riffs on this album sound unbelievably deafening with monstrous amounts of reverb to send shockwaves across the musical landscapes with unapologetic force. Also, the thunderous drumming stands out as everything about this album evokes such a cataclysmic feel, which is why I really think this album is one of the best sounding extreme metal releases to come out in 2024. Nekus does not need to mindlessly shred through random scales to capture the listener’s attention. The band’s surrealistically profound delivery hooks you from start to finish by hitting you square in the gut. 

1. The Cure “Songs of a Lost World”

When I first heard that The Cure was going to be releasing a new album, I was not freaking out like most diehard fans, but I was interested to hear how it would sound. Although the album is not hard rock or metal, I made the decision to add it to this list because the album's overall production is phenomenal. From the opening song with its mesmerizing chords to the final track which hits you with a tremendous amount of profound emotional force, this album is just sonically impressive. Robert Smith sounds amazing as well compared to a lot of singers his age who have started to sound like utter trash and should check themselves into he retirement home (Morrissey being one of them!). I know a lot of my hardcore metal fanatic readers are going to scream poser when they read this, but all I can say to them is to get over it and acknowledge that even if you do not like The Cure, at least respect the quality of what this band was able to accomplish. The Cure could have easily just dialed it in and wrote an album full of gimmicky tracks that are cheap copies of previous material. However, “Songs of a Lost World,” actually takes elements from the band’s early years, but somehow ventures into even more grandiose post-punk atmospheric directions. Something that I think all bands young and old can learn from this new album from The Cure is that taking your time to compose a complete and profound listen experience is definitely important, and leaves an impression on your listeners more than a band cranking out albums mindlessly year after year which all sound the same to where why spending money when the music becomes utterly forgettable. 

The Rob “The Metal Guy” Awards

Label of the Year: Sentient Ruin

Best Live Performance: The Mission in San Jose at the Ritz and Kreator in SF at The Warfield for Klash of the Titans (Both get the award because both were amazing!) 

EP of the Year:  Cemetery Filth “Senses of Detriment”

Album Cover of the Year: Cemetery Filth “Senses of Detriment”

Music Video of the Year: VOID - “Return of the Phantom”

Music Venue of the Year: Brentwood Emporium

Best Punk Releases of the Year: Dollhouse - “I Hate You, Don’t Leave Me” and Yellowcake "A Fragmented Truth"

Most Badass Wrestler of the Year: Stephanie Vaquer

Biggest Douches of the Year: Taylor Swift, The Women on The View, and Dave Meltzer 

Örnatorpet - “Fordomdags”

    For those who are in search of a mesmerizing dungeon synth album to playing during these cold winter months, I would strongly recommend checking out Örnatorpet's latest full-length release, “Fordomdags.” Örnatorpet is a one-man dungeon synth project based out of Borås, Sweden that draws inspiration from Scandinavian folklore and nature to create these majestic sounding compositions. The enchanting synth arrangements along with the haunting melodies replace words with captivating sounds to paint serene fantasy themed landscapes. 

    Örnatorpet has been putting out a lot of solid material over the years and for this new album the one-man act is once again working with Nordvis to release the new album on CD and vinyl. I think what stood out the most about the album when I started listening to the first track was the ethereal synth tones that also captured this spectral feel as if the music was emanating from some ancient Scandinavian forest. Örnatorpet's sound and style is very similar to that of artists like Lustre, Secret Stairways and Jim Kirkwood, especially when pertaining to the way that the synths are utilized to create strong breath taking atmospheres. On this new album compared to some previous Örnatorpet releases, I feel the music really encapsulates the breath taking natural world in which the artist draws inspiration from to create these magnificent ambient tales, and sounds less like a fantasy themed video game soundtrack which has been done rather often in the world of dungeon synth. 

    The opening song serves as the beginning of this musical exploration, “Fordom i Sagor om Trolldomskult,” and the music casts a spell over you as the synth chords blare out of the speakers. I would say that the second track, “Över Ensamma Leden,” takes on a more solemn sounding approach with slower melodies ringing out to lull you into a drowsy state of mind. Throughout the album the diverse synth textures are very noticeable, which is why the music never loses its vividly compelling nature. For example, “Bland Stigar Fördolda,” really caught my attention when I first heard the song, because the music featured such brilliant Scandinavian folk-like elements. The last song on the album, “Den Bleka Dager Faller,” is another very well constructed fantasy themed epic tale with more triumphant synth arrangements. I felt as though I was walking through the halls of an ancient kingdom lost in time as the melodies lit forth a pathway of which I continued to followed until the music slowly faded away at the end of the song. 

    Overall, I would say that, “Fordomdags,” is definitely an album worth checking out if you are fan of dungeon synth music that draws inspiration from fantasy, nature and Scandinavian folklore. In this modern age where the natural world is becoming lost due to over development and the insane pace of modern life, I find that this music allows us to escape to a phenomenal sounding world as if we are stepping through some mystical gateway into a realm where we can let go our daily fears and stresses. Örnatorpet continues to be a powerful musical force in the dungeon synth and ambient music world, so I highly anticipate more music to come from this extremely talented artist. 

Check out the entire album below:

Nordvis Website:

https://www.nordvis.com/

 Örnatorpet Bandcamp: 

https://ornatorpet.bandcamp.com/