Honorable Mentions, Part II

The second installment of this series of posts, wherein I point out artists who I've considered for the list and explain why I decided not to add them.  These posts are quite important, because the genre of dungeon synth is not for me to decide.  I think all of us here recognize what this genre is, and can make our own decisions when it comes to the artists that are nearer to the edge.  So this is where I will explain my personal decisions in why I don't consider certain artists to be "dungeon synth," and bring up some artists who I think deserve mention despite being far from that sound.

Nox Arcana/Midnight Syndicate

I put these two in the same grouping because I feel that they are working in a similar fashion (and also sound very similar).  The works by these two groups can be described as tabletop RPG and haunted house music.  The sound is often nearly identical to dungeon synth, being fairly simple compositions done with keyboards, and with a focus upon darkness and fantasy.  The reason why I do not include them on the list is that they are often somewhat too orchestral sounding, and I feel that they also lack a certain seriousness that dungeon synth has.  Even though dungeon synth is often "hokey" because of that seriousness, the style of these two artists is hokey in a different sort of way, the intent being more to provide an atmosphere for fun.  And then, there is the simple fact that these artists seem to have no connection or influence from black metal or dungeon synth musicians.  I think it is from black metal that dungeon synth brought the grandiose feelings of "high art," the "No mosh, no core, no trends, no fun" attitude, which I feel these artists lack.  It seems like these artists come strictly from the film and video game soundtrack tradition, while I think dungeon synth arrives somewhere pretty distant from such sounds.  Still, I recommend both of them, as they make for very entertaining listens (and are incredibly useful for things like D&D).

Ulf Söderberg/Sephiroth

I included both of these this time because not only do they have an extremely similar sound, but the same man is behind both of them.  I love these projects.  The atmosphere is earthy and archaic, a ghostly journey into a dark, fantastical, and mysterious past.  It's rare that it ever really has the "dungeon synth sound," since it makes use of tribal-type percussion, many seemingly non-electronic instruments, and samples more reminiscent of world music, not to mention that the production values are much more professional sounding.  But the reason why I include them in this post is because I feel that most of the time the music has an atmosphere and intent that is identical to that of dungeon synth, just with perhaps more of a world and new age touch.  I highly recommend the works of these project to anyone who's interested in this genre.  It is very far from the dungeon synth sound, but I think it is absolutely successful in allowing the listener to escape to a mysterious and beautiful world of fantasy.

Die Verbannten Kinder Evas/Dargaard

I don't consider these groups (and a number of other similar groups) to be dungeon synth because I feel it is less about escape into fantasy, and more about wallowing in sadness.  Also, the sound is simply more along the lines of neo-classical, largely because of the heavy use of clean singing.  I'm not sure if there's a proper genre of this kind of music: dark ambient, darkwave, neo-classical, I don't know.  I just personally feel that this isn't the same sort of thing as dungeon synth.  Still, the connection to black metal, the treading in fantasy moods, and the heavy use of the synthesizer earn these kinds of groups recommendations to those who listen to dungeon synth.  I must admit, I haven't given these artists nearly as much attention as they deserve, so I'd rather not say too much more about it and speak out of turn, but it is certainly important to point out how closely it often comes to the "dungeon sound."

Za Frûmi

This artist utilizes synths for fantasy soundscapes, though the reason that I don't include it on the list is that it is often more along the lines of sound effects and field recording type material, along with dialogue in fictional languages.  When it does come closest to dungeon synth, it seems much more bombastic, orchestral, and even tribal.  Za Frûmi tells various stories, of cults, vampires, orcs, etc.  I'd say that it would be very interesting and perhaps even moving to any fantasy-minded listeners, though to me it really lacks the dungeon feel.  

Interview with Erang

Andrew: First off, what is the meaning behind the name Erang, if there is any?

Erang: Erang has a very personal meaning. It is a person, a lonely person from a long forgotten past and I tell his story through my music. But it is a place as well. A kingdom from my childhood that nobody knows and where I will probably never go back.

Andrew: What country do you live in?  And would you say that your locality has any significant impact on your music?

Erang: At the end of the day, I am just a normal guy so I don’t really want to give details about myself. I don’t want to seem aloof but I think it is better to keep some secrets when it comes to music, especially with Dungeon Synth :  it is never good to know what is hidden behind the magician curtain.
About my locality, again, I don’t think it has any importance nor impact on my music. Of course, it gave me a certain kind of culture, feelings and tools or comfort to create... But when it comes to Erang, my country is in my mind and my land is my imagination. I don’t want to deal with reality...

Andrew: Who are your primary influences, and what are your primary inspirations when making the music of Erang?

Erang: My influences are numerous and varied. In every style there are artists, tracks or songs that I love. I would like to add that I don’t come from Black Metal, even though I very much like a few tracks and artists in this genre as well. My first inspiration to make Erang music really came from the cheap sound of old synth. I love it. It reminds me of old computer or rpg games. I've never been an hardcore gamer and I don’t play anymore today but, again, it strongly deals with nostalgia : the RPG and video games I played in my early years stuck their sound in my head. Then, I discovered few years ago the "ambient" albums and tracks from Burzum (note that I am completely against his political ideologies) and after that, Mortiis era 1. It really gave me the impulse to try to create my own musical world, my own spell...

Andrew: That's very interesting that you had not come from black metal but dove straight into this dungeon style of music.  You say the sound of the cheap old synth was one of your primary drives to create in this style?  Could you tell us anything about what kind of synthesizer(s) you use, or might that also be revealing a bit too much of the magician's craft?

Erang: I use software : a very old and simple one. And my sounds come from every kind of source, as far as I like it. But you are right :  I prefer not to get into technical comment about Dungeon Synth, because it is more about feelings and this is why I like it so much…  To me, it is like “Naive art” in painting : raw and sincere.

Andrew: This theme of hopeless nostalgia, as you mention, attempting to invoke the "kingdom of one's childhood," even though it is almost entirely unattainable, it seems to be a common theme in dungeon synth.  Even though you stated that it's a personal thing for you, do you think that this sense of yearning for what was lost is an intrinsic aspect of this type of music?  Do you get the same feeling when you listen to other artists who make dungeon synth?

Erang: I could not speak about the motivation of other Dungeon Synth artists but definitely I get the same feeling when I listen to the ones I like. In the past, I used to try to listen to lots of music in all genres, always trying to find a new sound to listen to or new experimental artists… just to arrive at the point where I thought : I’m fed up with the art dictatorship of “You have to be modern”... and then I found Dungeon Synth. Now, I just want to be moved by a simple single note of an old synth and feel the music on an emotional level rather than an intellectual one. Approaching art like a child : this is why I feel strongly connected with naive art, just to name it, and amateurish production. Everything around us, in our everyday life, is “ultraprofessionalized” and industrialized. Of course, I don’t want to live (and I couldn’t)  by candlelight and hunting but, at least in art, I need amateurish, handcrafted and sincere sounds. Fuck the music industry.

Andrew: What do you think the balance is between making music for yourself opposed to the audience.  Is the kind of art which is made solely for the artist and released as an afterthought, if at all, somehow more "pure" and "true"?  Do you think you'd continue with Erang if you knew that it would never have very many listeners?

Erang: As far as I release my music and share it with people, I care about their opinion. But not in a way that I would change anything in my music just to please the audience. But every time I get positive feedback from people about my music, it makes me want to carry on to share it and try to reach a lot of people, without compromising myself. I don't want to be famous or have huge amount of money (if that was the case, I will have done another genre than dungeon synth, haha) but I want to share my music with the maximum of people which are interested in this genre and universe. It is a way to communicate my feelings and fantasy... But if nobody were listening to my stuff, I will still do it them just for myself !

Andrew: Are you a spiritual person, any dabbling in religion or the occult?  And do you believe there is anything beyond "conventional reality" that we might have access to, such as an afterlife?

Erang: Wow, it is difficult to answer without being too long... I'll try to do it as short as I can and not being boring. First, I think that spirituality and religion are two things completely separate, in my opinion. Religion is just a human invention, like the wheel. It is a tool and it depends on random historical, geographical and political events. All religions could have been completely different, depends on so many different situations and events that happened in the past. So, in my opinion, it is strange to believe in religions and follow their rules. But on the other hand, there is spirituality which is, to me, basically asking to ourselves this question "is there a reason why we are here and life exists or is it just biological randomness ?"... and I don't have the answer, like everybody. Indeed, I hope that we are more than just intelligent monkeys but I don't have any clue.
About anything beyond "conventional reality" I will answer, again : yes, my imagination. I strongly believe in imagination. To me, The worlds I create inside me are just as important as the food I need to survive.

Andrew: You just released a new album, which is quite fantastic, called "Tome II."  What are your feelings about this album, both in itself and in relation to your first?

Erang: Thanks for the compliment ! The idea of delivering “Tomes” came with the second album. I wanted it to be a bit darker. Also, I tried to draw a storyline between them both. But it is not an obvious scenario, with a track by track story, because I always try to leave blank and space for the listener to create his own fantasy. (the most attentive observers could notice that the “man with no face” in the cover front of the Tome II is the same as in the back cover of the Tome I)

Andrew: So far you've released these two albums through bandcamp, a resource that a quite a few other dungeon synth artists use as well.  Do you feel there are any downsides to this modern approach, or is it a godsend for such an unprofitable style of music?

Erang: Obviously, it is a great opportunity to make me able to share my music. Without computers and internet, I probably wouldn’t have been here, doing this interview and having listeners… On the other hand, I grew up with CD’s (and even vinyl of child stories when I was very young) so it is still important for me, now, to have a CD with booklet, artwork etc. when I really like a band. But I can't afford to release my music on CD… This is why I always try to create a nice artwork for the album, even if it is a jpeg file. And this is why, also, I don’t release my music for free : not to make money but I think that you are always more involved in something when it costs you, even a little (and it not only works for money : when, in life, you make an effort to get something, it often counts more for you, in my opinion). This way, I know that when someone download my music, it means that he sincerely likes it and not that he downloads it just to give it a quick listen and forget it in his mp3 folders... at least I hope, haha !

Andrew: What are the future plans for Erang?

Erang: I’m currently working on Tome III. Maybe it will be the end of the first trilogy and Erang will evolve… or maybe a Tome IV will follow… I don’t already know it, right now.
Besides, I’ve just recently rejoined a new netlabel : Katabaz Records. It is a familial label with a bunch of friends, DIY spirit. They have recently released “This Mortal Night”, an ambient album (with some Dungeon Synth aspect sometimes). Other things are coming soon and I guess they could please Dungeon Synth listeners (pure dungeon synth, epic dungeon synth and some other electronic projects as well, etc…)
Everything is in progress but it takes time (we all have “real” jobs). If you need any information or news, email us at : katabaz.records@gmail.com

Andrew: Thanks very much for your words here.  Do you have any closing thoughts?

Erang: I really and deeply want to thank the writer of this Dungeon Synth Blog for 2 reasons :
1/ Giving me a voice and supporting my work.
2/ Making me discover a lot of great Dungeon Synth artists !

And also, great thanks to all you people who follow my music : your feedback is my reward, really!

The albums of Erang can be streamed for free or purchased for $2 each here: http://erang.bandcamp.com/

Burzum - Dauði Baldrs

 I suppose it's about time that I address this work.  All of us here are undoubtedly well-familiar with this ugly, minimalist, droning record.  In a way, this album is perhaps more fitting for the term "dungeon synth" than any I've reviewed so far, when we consider that not only does it sound exactly like one has been condemned to that damp, cold place, but it was in fact composed and performed by a person who was himself in a dungeon of sorts. 

These tracks are mostly spooky, an atmosphere of gloom, isolation, and despair, which is enhanced by the raw midi tones.  Judging by the music alone, it still seems fascinating to me that this album could've become so well-known, due to the sheer simplicity and repetition.  It is, of course, understandable, considering Burzum's general fame and the hype that was surrounding Varg at the time, and this album as well, being his first "prison album."  In a way I'd say that the hype was a very good thing, because it allowed listeners to explore a very eccentric release that I think most would usually avoid judging on the music alone.  Instead, people listened and attempted to understand, and though I personally do not know that there is too much to "get" here, it still played a powerful role in opening people's minds to what could be done with the dungeon mood.

There are some quite magical moments mixed in with these trudges through desolation, such as Hermoðr á Helferð and Móti Ragnarǫkum. 

This work as a whole could best be described by the term "vampiric."  I certainly don't mean that in the sense of the popular modern notion of vampires, of course, but more along the lines of what it symbolizes: the decayed aristocracy, a noble bloodline turned monstrous by the weight of time.  I feel as if Varg most strongly falls into his persona as "Count Grisnakh" here, the title and blood of a high-born person but with the repugnance and innate evil of an orc.  One can almost picture, especially during tracks such as Bálferð Baldrs and Í Heimr Heljar, a horrific tyrant, limping through a rotting castle, barking orders at subordinates, drunkenly attacking servants, or sometimes just screaming at empty air in his inbred madness.

The mood becomes far more somber in Illa Tiðandi.  It is a song filled with loss.  It feels as if this is a more sober look at just how deeply this once-beautiful existence has been corrupted.  It seems to have fully accepted the hopelessness, but there is beauty nonetheless, if only in a sort of dreamlike remembrance of what must've once been, though can be experienced no longer.  The length of this track is the longest in the album, and I think for good reason, since I feel that it represents the sands of time blowing on, the long wait before life might return to the desert.  It is a mood of not only loss, but acceptance, recognizing that night inevitably comes.

And then there is the track which I feel is the highlight of the album, Móti Ragnarǫkum, which is the rebirth where the previous track was the death.  It is grand and glorious; one sees the towers crumbling, the earth splitting asunder, fires raining from the heavens, and finally senses that the thorough rot is being washed away.  This track might even be the climax of all of Burzum's ambient material, that this decadent modernity which Varg so opposes finally meets its inevitable destruction, so that the life might begin anew without this debilitating disease.

I'm sure many of you have come to this conclusion already, but for its surprising simplicity, this album is quite thought-provoking, and strangely elusive.

Forgotten Dreamscapes - This Place, Where Destiny is Made

This work is crude, like a strange, shamanic-looking figure carved into a cave wall.  It is vague, utilizing extremely short or limited phrases, creating a sense that the life and spirit of that unattainable fantasy is now but an incorporeal, transparent ghost, truly forgotten.  There is little beauty or ugliness here, merely the shell of something that once might've been magnificent, now reduced to near-unrecognizable rubble.  There is a hint of some ancient magic in this scattered, dusty debris, though it has long since been buried by the winds of time.  Perhaps it is as some spot in an ancient desert, where the corners of several pillars are almost imperceptibly surfacing from the sands.

There is not too much I have to say about this work.  It is quite primitive, however it feels like a very honest and genuine attempt at grasping that mysterious realm through music.  In a way it might be an unpolished gem, but so unpolished that the gem lies deep within, with nothing but rock visible, surrounding it.  If it is to be appreciated it would take quite some mental effort by the listener, I think perhaps a bit too much.

Now that said, this feels like an early effort, in the sense that I see definite sincerity in this work, which suggests great potential in the artist.  I look forward to his future works, which I have a feeling will have more depth and beauty.  Not that there is none to be found here.  I think it's quite worth listening to, as really primitive dungeon synth has its own unique charm, allowing more room for the listener to explore his own fantasies, merely providing the seeds for the visions to grow in the dreamer's mind.

The album can be downloaded for free here: http://www.mediafire.com/?wftenfrug4t57ob

Myrrdin - Glomung Ofer se Weald

The lost wisdom seeps out from the depths of the ancient tombs, dark and beautiful.  The only truth lies in the deep fantasies of the imagination.  That is where one will find respite and sanctuary, magic and beauty.   This work by Myrrdin slowly approaches that strange twilight, easing one into the depths of synthetic mystery, until before one realizes, the world around oneself fades into the fantasy realm of the dreaming mind.  It hovers like a ghost of some uncertain dimension, where remembrance of that golden city remains.  Straight-faced, this spirit promises a land beyond an endless river, a land in which streams of sparkling diamonds run freely into the black sea that only the White Ship dares sail.

This is probably an album I should've reviewed quite a while ago, considering that it is relatively new, obscure, and one of my favorites.  Exploring both the antique as well as spacey patches, this work majestically flutters over a dynamic landscape, at some moments quaint and nostalgic, at others deep and mystical.  It is a work that I feel epitomizes the genre, and it is damn-well composed.  Though this album has synths that very much contain the "dungeon synth sound," they are not of the dirty and forlorn variety.  Instead they are rich and magical, having a vintage aspect no doubt, but certainly not a "cheap" sound.  Rather, the timbres have an luxurious quality, as of a strange fabric sold by exotic merchants who traveled from some unknown, distant jungle.

In terms of the composition, this is not one of those oft-listed dungeon synth records that maintains the same several chords for a whole hour.  It is quite varied, contrasting several darker riffs with the more majestic and beautiful ones, making the latter all that much more powerful.  The riffs never linger, yet nor do they depart before their spell has been cast; it wanders at a comfortable pace, allowing the listener to view every enigmatic vista in his own time, but never forcing him to remain and look too deeply.  It is quite easy on the listener, not requiring much work on his part to appreciate the beauty here, and yet I feel that hides a powerful complexity and uniqueness of vision.  This work only expects its listeners to explore the surface encounters of these beautiful images, as is very natural for a mind observing music indirectly, whether as background ambiance or nearing the dream-state.  But that is not to say that there is nothing below that surface, only that those lower and more obscure atmospheres, those "between the notes," so to speak, are delivered subconsciously, and arrive like unremembered dreams.

I sense a Mortiis influence, however that is only vaguely through the atmosphere.  While Mortiis sounds like decadent kingdoms, tyrannical kings, and rotted, undead mages, this sounds more like high magic: vast floating cities and immensely-powerful, benevolent, absent-minded wizards of a great old order that has matured into a trusted council, ruling the kingdom with their mystic wisdom.  Although that picture in my mind could very well be due to the highly imaginative title of the best track on this album, "The Court of the Elder Star-Finders."  This track has a mystery and darkness very much conveying the infinitude of space, and yet acknowledging the intrinsic magic of the obscurely-shining cosmos, which a wise and mighty sorcerer can look to for understanding, of both this world as well as untold secrets of the beyond.  And that is the greatest thing both about this track as well as the album in general, that it conveys utmost mystery.  One feels both that the ultimate answers will be infinitely out of grasp, and yet at the same time that obscure, incomprehensible knowledge, as well as experiences of bizarre and alien vistas, lie right beyond our fingertips.

In short, this is one dungeon synth album that I could confidently recommend to anyone.  I feel that if one doesn't get anything out of "Glomung Ofer se Weald," then most likely this genre is not for them.  Anyways, it is certainly for all of you who have an interest in reading this blog, so if you don't have it already, immediately go to Myrrdin's Bandcamp page where it can be downloaded at a price of your choosing: http://myrrdin.bandcamp.com/album/glomung-ofer-se-weald

Interview with Crow of Lord Lovidicus

Andrew: You just released a new EP, titled "When The Mountain Falls."  Is there anything you can tell us about these new tracks?

Crow: The tracks off the new EP were actually recorded back in the winter of 2011 - 2012. I was originally intending to complete a full album, yet I got sidetracked with my Jotun project. Initially there was a concept to the album; it had a story line and everything about a two headed giant that destroys a village in the mountains and one man escapes where he travels through the nearby forests and finds a sorcerer to aid him. There was more, but that's about as far as the songs go. I decided to finally release it as an EP to signal the return of Lord Lovidicus after a year of inactivity.

Andrew: On the topic of Jotun, though it is not dungeon synth, I imagine a lot of fans of the genre would have an interest in it. I personally find it a bit hard to describe, possibly avant-garde dance music? Could you explain the general concept behind that project?

Crow: I would say the genre of Jotun would be Norse themed electronic/techno music. Although I like the idea of avant-garde because it is pretty innovative. I could see elements of dance music in it, but I didn't really intend them. I'll just say let people decide what the genre is. Anyways, Jotun was more of an escape from the same old Dungeon Synth that I had been writing constantly for almost the past 3 years. I wanted to explore new areas of musical creativity. I think it was a greatly beneficial experience and now, returning to Lord Lovidicus, I believe future releases will be exceptionally improved. Another contributing reason as to why I started up Jotun was because I hadn't incorporated Norse Mythology into my music, and at the time I was listening to a lot of chip tune music, which seems to be a growing techno genre from indie games such as Minecraft (and I play that game addictively). In effect, Jotun has become primarily popular with Minecraft videos on YouTube, especially with my good friend Xisumavoid who did write very nice "Dungeon Synth-esque" music under the name Soulside Eclipse. His project was actually an influence to my early Lord Lovidicus releases, and is definitely worth a listen.

Andrew: Wow, I was not aware of Soulside Eclipse, but giving it a quick listen now, the "Forgotten Conquests" album seems like it's definitely dungeon synth, certainly fitting for the list. The recommendation is much appreciated.
There seems to be a clear nod to RPGs with your project, since "Lord Lovidicus" itself refers to a character from an elder scrolls game.  Would you cite video game music as being a strong influence on your work? 

Crow: Surprisingly, video game music is not a direct influence of Lord Lovidicus. I think on the "Journey to Beleriend" EP there was one song that was directly influenced from Morrowind, but other than that I can only say video game music influences me indirectly. Although, I would say that RPG's in general inspire me, such as the Elder Scrolls series and various 90's and early 2000's games such as Legend of Zelda or Diablo II. However, some of the biggest influences for LL come from books, not video games. The Lord of the Rings series was a huge influence, and I constantly read from the Edda's about Norse Mythology. Musically, the big influences would be Burzum, Summoning, and Mortiis. Especially Mortiis. My friends and I would play Dungeons and Dragons and the background music was always "The Song of a Long and Forgotten Ghost." There is really so much that inspires me, it's hard to put it all into words.

Andrew: What is your usual composition process?  Also what kind of synths do you use?

Crow: When I compose a song I usually have a general idea of the theme beforehand. So I question myself, is this song going to be dark and dungeon like, ambient and ethereal, or adventurous? Once I have a main theme I go straight to recording merely off a whim. This is mainly to get the ideas flowing. I'll record various melodies of synths, then I'll decide which should belong where. I usually like to begin with string synths. It just has a nice generic tone to base everything off of, and from there I branch off each melody with various sounds such as trumpets, timpani drums, tambourines, reed flutes, fiddles, etc. I don't try to limit myself on which sounds to use, although I do discern between which sounds are perfect for LL, and others that most definitely are not. I never name songs before making them, and I think most people can agree that would be an idiotic thing to do, especially if the song just engenders itself before your eyes. After giving it a few listens the name comes, eventually.

Andrew: What kind of keyboard do you use, assuming you're using a physical instrument rather than softsynths?

Crow: I almost always use my Yamaha keyboard (YPT - 220). It has a nice selection of MIDI sounds, I think it's a total of 350. I used to have an old Casio which was used from Windbuchen to Daulu Burz Ishi. When I'm not using my keyboard, I occasionally record acoustic or electric guitar and sometimes use various percussion instruments.

Andrew: What are your thoughts on the naiveté and simplicity in dungeon synth?  Is it important to remain self-taught, and perhaps even "ignorant" musically (by common, modern standards of course), or can intentional minimalism by a "learned" musician still reach that same primitive charm?  And then which of those two categories would you describe yourself as?  

Crow: I don't even think being musically learned or not has anything to do with it. It is more of a philosophical ideal; the notion of simplicity. Although, you can most definitely tell when one is musically learned or not by the sound of their music. I wouldn't consider unlearned musicians bad. They are actually more interesting to hear because of how abstract their composition styles may tend to be. For example, I have a schizophrenic friend who knows nothing about formal musical composition, yet he writes very complex electronic music with abnormal musical modes and time signatures. I would describe myself along the lines as a learned musician, as I have been playing piano since the age of seven and can recite rather difficult classical pieces. I know a good deal of music theory and can read sheet music, a skill that many modern day musicians seem to neglect, which of course is not necessarily a bad thing. However, even though I have the ability to write complex music with fluctuating arpeggios or 7/4 time signatures, why do I keep it simple? It is because simplicity is the fundamental basis of everything. Why write a novel when you can condense those emotions into a single verse of poetry? Simplicity is bliss and leaves so much room for imagination.

Andrew: Being an artist who has so far released all of your material as online downloads, how do you personally feel about the internet in relation to this genre?  Should we still be championing physical music when possible?

Crow: The internet has always been a large part of my life. I don't think there is a day when I pass up the chance to go on my computer. Without the internet, I do not think LL would've nearly gotten as much recognition as it has now. I believe the internet has a similar effect to many new artists, especially in this genre. Perhaps in the 90's and early 2000's, CD's were the preferred medium of musical listening, however, with the advent of the MP3 player and internet file sharing I can easily see old means of musical devices being phased out. A lot of people still love and cherish CD's, Cassette tapes, Vinyl, etc. Personally, I do not care by which means I hear music, nor the quality. The way I see it, the internet is extremely convenient when it comes to circulating music. That's mainly the reason why there are still no physical releases for LL yet. It's convenient for me and it's convenient for my listeners.

Andrew: What is your relation with modern society?  Do you bear any animosity toward it, or is the escapism of your music solely out of a love for fantasy?

Crow: Concerning my avid use of the internet, I find it extremely hard to relate with our society. I can see this being a problem for many others as well considering the social ineptitude correlating with use of technological devices. Although there are more pressing and ethical reasons as to why I am detached from society. I feel as though society has become soft; too innocent. There are outrageous laws of censorship, piracy is a joke, religious peoples around the world become too easily offended, the list could go on forever, yet I take the nihilistic approach and watch in apathetic contempt. Let their folly reckoning be their demise. I'll standby and observe as the Earth burns asunder. Both the love of fantasy and the escapism of my music are my way of fleeing the everyday trivial problems of man. It is to take me to a time, ancient and long forgotten, where I can be at peace with seas of azure, rolling moors, emerald forests, and dungeons of yore.

Andrew: What mindset do you feel is best for listening to dungeon synth, and particularly your music?  Do you find the atmospheres are the most powerful when focusing upon visualization, just daydreaming with it as background music, or maybe even listening as one goes to sleep?

Crow: Personally, the mindset that suits dungeon synth for me is surrealism, or detachment from reality. My mindset while listening to this genre is one that wants to escape the world for a little while and explore lands of creativity. Visualization and imagery are very powerful for me. There are certain associative thoughts that go along with all my music and music I listen to in general. That is probably why listening to this type of music while going to bed is amazing. It gives the chance for you to close your eyes and let the sounds and melodies take you to mystical realms. It certainly makes good background music as well. I guess it really depends on what you like, but I can definitely say imagery is big for me.

Andrew: Do you have any future plans for Lord Lovidicus?

Crow: At the moment I am working on ideas for the next album. I have not recorded anything yet, and unfortunately production may be slow. The only reason for this is because I am in college at the moment which grants me limited time for recording. On top of this, I have been experiencing technical difficulties. I just bought a new headset and whenever I place the mic near my keyboard's speakers it creates this annoying background static. I have no idea how I would fix that physically, yet I've been trying to locate the frequency produced so I can equalize it out, haha. Once I get past that barrier I'll probably start recording some songs.

Andrew: I appreciate you taking the time to respond to my questions. Do you have any final things you'd like to add?

Crow: I'd like to say thanks for the interview; it has been a real pleasure and a great opportunity for me. Best of luck to your blog and all other dungeon synth artists out there. This genre is a true gem.

The albums of both Lord Lovidicus and Jotun can be downloaded for free here: http://www.youtube.com/user/CrowHavenBM