Wednesday, May 22, 2019

Francis Roberts Interview

1.For those that have never heard of you before, can you tell us a little bit about yourself and your musical project?

I'm primarily a guitarist. This project is the result of a nosedive into synthesizers, which started as a way to improve my understanding of what kind of parts I could write for one of my bands, King Gorm (https://kinggorm.bandcamp.com/). I started making synthesizer music as a warmup for writing other (mostly rock) stuff, and at some point I just decided to start saving the recordings and posting them online.

2.You have a solo album coming out during the end of May, can you tell us a little bit more about the musical style you went for on the recording?

I had a lot of fun making my first solo album (https://francisroberts.bandcamp.com/album/after-the-storm) and this album was mostly an attempt to do something similar to that. This one was really fun to make, too, so I'll probably keep going. Aside from obvious Dungeon Synth influences, the music is inspired by the music of video games, progressive rock, film scores, and other ambient music. I did all of it in my home studio, and I limited myself to only using hardware instruments this time.

3.I have read that you bring in some of the fantasy and science fiction influences into this musical project that you are not able to do with your rock and metal bands, can you tell us a little bit more about it?

Sure! If you listen to some of my other music (Old Man Wizard's most recent album is a great example) you'll hear that I enjoy making ambient transition tracks between songs. I've done this for other bands, too. I remember playing games from series like Diablo, Final Fantasy, and Castlevania when I was younger, and waiting in a town or a dungeon so I could listen to the music in that area while doing something else. Eventually, my brother and I would start looking for music similar to what we'd find in those types of games, and play it in the background while we had our friends over for Dungeons and Dragons. This album and most of my other solo material is basically designed as background music for that type of situation; I imagine an area or a scene in a tabletop game or a video game, and make music to accompany that vibe or experience.


4.On the album you play a dungeon synth style, most metal musicians that play this style come from more of a black metal background while you come from a completely different metal background, do you have ant black metal influences in your music?

Absolutely. I've never really liked my harsh vocals, so I stopped doing death metal and black metal style songs before I really got far enough to record my bands. Old Man Wizard has a song called “Innocent Hands” (https://oldmanwizard.com/track/innocent-hands-2 ) that is probably the closest I've come to releasing a BM style track. I think I wrote that song after listening to the entire Darkthrone discography or something. I think enough people are doing a great job with both classic and modern styles of BM that I don't feel like I'd have anything meaningful to contribute without blending it with other styles of music.

As far as my taste in black metal goes, I mostly like the classic stuff that is more punk inspired. I tend to find myself coming back to the stuff that's closer to what I guess I'd call proto-black metal, like Venom, Celtic Frost, King Diamond, etc. I like most of the super classic stuff - I mentioned Darkthrone already, but I really do think of Transylvanian Hunger as an untouchable album -  but I also like some of the more corny and “polished” shit too. Immortal put out some fantastic material, and Behemoth is a great example of how super fancy hi-fi production can work with a traditionally lo-fi genre.

5.Can you tell us a little bit more about the artwork that is presented on the album cover?

I'd love to! First of all, I did the art. I think it'll be the first album cover I've ever illustrated, which is very exciting for me. I used to try to save some money by drawing up shirt designs and posters for my bands but until recently I never really felt like I was good enough to put my art on the cover of the actual album. My goal was to draw what looked like an area in a 2D video game if it were illustrated in pen for a children's book. The “guardian beast” thing in the corner is an unabashed ripoff of one of John Bauer's trolls.

The artists I tend to rip off most frequently when I'm practicing are Tove Jansson (famous for inventing and illustrating the Moomins; also did a beautifully simple Finnish edition of The Hobbit), John Bauer (pretty much any classic Swedish fairy tale has a version illustrated by him), Aubrey Beardsley (French artist who was heavily influenced by Japanese ink illustrations; check out his erotica, because it's completely hilarious). There are really too many fantastic illustrators to name here, but the last person I'll mention is Valin Mattheis, who I've hired to do art for Old Man Wizard albums. I'd be lying if I said his work didn't inspire me to draw more, too.

6.With this project you record everything by yourself while you also have plenty of experience playing in actual bands, how would you compare the two?

This is much easier! No rehearsals needed; I'll just record parts as I learn them, and as soon as I have what I feel is a good take, I'll move on. Also, drums are a fucking nightmare to mix, so the post production here is a breeze. Playing in a full band is really fun and rewarding, though, and I've found that there's really no other good way to capture a “live” vibe on a recording. I've tried so much stuff to get that feel from multitracking and at this point I just think it can't be done.

7.You have a live show in November, what can we expect from the stage performance?

That'll depend on whether I drive or fly to Seattle for Dungeon Siege West. If I book a tour around the fest, I'll probably bring some more stuff to put onstage, but if I fly, it'll be minimal; just me and my synths.

8.Are there any touring or show plans past November?

I'm actually doing a last-minute album release show here in San Diego on June 2 at the Tower Bar (one of my favorite small spots to play shows). I'm still deciding whether or not it'll be worth it to book a tour in November. I think I'll do at least a couple of pacific northwest dates; I have a few friends in Portland that have been very supportive of this venture so I'd like to play this music there.

9.On a worldwide level how has the reaction been to your solo music by fans of dungeon synth that have heard it so far?

People seem to like it! The community is quite welcoming. I'm working on new tracks for two different compilation tapes, and I'm making a bunch of new friends as a result. To be honest, I probably wouldn't have made a second DS album if the community wasn't so cool. Supportive people are inspiring.

10.What is going on with your other bands these days?

Old Man Wizard actually has a new album totally written (you might have heard it here first? I don't remember if I posted that publicly anywhere else). We just did two songs from it at a show on Wednesday and so far all of the new songs are a blast to play. We have no plans to record it yet, but I think it might happen sooner than any of us expected.

King Gorm actually has a studio album recorded, mixed, and mastered. It should drop sometime this year, but I don't have the details on that yet. It's my favorite album that I've recorded so far, so I can't wait to share it with everyone.

11.Where do you see yourself heading into as a musician in the future?

I'd like to get more into soundtrack work, specifically for games, and probably even more specifically for fantasy or sci fi games. I'll keep playing in bands, too. What you hear now is probably just a smaller scale version of what I want to be doing.

12.What are some of the bands or musical styles that have had an influence on your music and also what are you listening to nowadays?

I think the biggest influences for most people are the things they “grew up” with as a musician, rather than as a person. So, the stuff that made you feel cool for listening to, because you felt like you “discovered” it rather than having it spoon fed to you from the TV or something. For me, those are bands like King Diamond, Motorhead, Jethro Tull, Queen, and Opeth. Obviously we all dig deeper and the list has grown too long to curate, but those five are probably a great representation of the bands that made me feel like music that I genuinely like could become popular. That, and video game music. I think Final Fantasy Tactics, Final Fantasy VII, Castlevania: Symphony of the Night, Age of Empires, Diablo, and Baldur's Gate were all games that made me realize how cool music was.

Lately, I've been exploring a ton of stuff I missed out on by being a pretentious metalhead when I was younger. For example, my favorite album to come out probably in the last decade is Random Access Memories by Daft Punk. I think that it's on par with Pink Floyd's Dark Side of the Moon as a sort of modern classic. As far as rock and metal, I'm enjoying a lot of the sort of NWOTHM bands here in California like Gygax, Haunt, Hellfire, Great Electric Quest, etc. Again, too many good ones to name, but I have fun listening to bands I can actually afford to go see live.

13.What are some of your non musical interests?

I like making stuff (art, stories, ideas) and I like playing games (video games and tabletop games). I try to go to the archery range sometimes, too. I occasionally read books and watch video reviews of music and studio equipment. I guess it's somewhat musical, but I spend a lot of time nerding out on signal routing and optimizing equipment that I use to make music. I like computer programming but I don't really make time for it.

14.Before we wrap up this interview, do you have any final words or thoughts?

I'm just happy that I finished another album, and people care enough to buy it or talk about it. I'm having lots of fun making this stuff, and I hope it ends up on somebody's tabletop gaming playlist. Thanks for your interest! 

Sunday, May 19, 2019

Neraterrae 2019 Interview

1.Can you give us an update on what has been going on with the musical project since the recording and release of the new album?
“The Substance of Perception” came out on April 26th via Cyclic Law, after over two years of unceasing work. Did I take a break from producing music since I completed the record and forwarded it to the label? Of course not. Basically I’ve been working on the follow up (which will be out in 2020) since then.
Apart from that, right after the album release, a video was realized by SMI Video for the track “Shadows of Regret” (featuring Northaunt). You can watch it here: https://www.youtube.com/watch?v=i1dxxhqRCFs
I’m actually making up my mind about the next videoclip too.

2.Recently you have released a new album, how would you describe your musical progress on this recording from previous releases?
It’s been long journey, I feel like I’ve learned a lot throughout the process even though I still have to learn much.
I approached the music differently and I “watched” at it from other perspectives.
I think the tracks sound more immersive than ever, they have a strong evocative feel, and they have a strong character too.
Many techniques were adopted both mixing and mastering wise and what matters the most is that I’m happy with the results, and people seem to be enjoying the album too, which makes it all way gratifying.

3.While all of the earlier releases where instrumental, you added some spoken words and vocals on the new album, can you tell us a little bit more about it?
True, there are some vocals on this record.
You can clearly hear Alexey Tegin’s incomparabile voice on the second track “To Reveal the Unseen”, for example; well, that vocal line was recorded live, one take straight, no editing at all was made, I just treated it a bit in post-production, and the result is mysterious and beautiful.
Also you can notice the eerie voice of Treha Sektori on tracks 3 “Becoming the Nightmare” and 5 “That Which Shall Not Be Witnessed”. I’ve always been a fan of Treha Sektori’s Dehn Sora’s music visions, his unique style and language (yes, that’s his own language) are so original and inspiring and it was just great to have him part of the album.
Some spoken passages can be also heard on track 1 “Shadows of Regret”; that was Northaunt’s idea, which I found very intriguing and I think it gives the song an interesting nuance.

4.How would you describe the artwork that is presented on the new album cover?
The artwork for “The Substance of Perception” was realized by Nihil and Daria Endresen, and let me say that they’ve done a fantastic job, I couldn’t be happier about it. It perfectly fits the overall feel of the music and its theme. I find it to be evocative, a work of beauty enshrouded in mellow obscurity.
The limited edition CD comes in a stunning 6 panels digipak version, you’ve got to see that.

5.On the new album you also had some collaborations, can you tell us a little bit more about the musicians and musical projects that where a part of your new album?
Of course, “The Substance of Perception” features: (alphabetical order) Alexey Tegin from Phurpa, Flowers For Bodysnatchers, Infinexhuma, New Risen Throne, Northaunt, Taphephobia, Treha Sektori, Ugasanie, Xerxes The Dark.
The interesting part of the collaborations is that they were born in such a natural way; as I was almost done with the record, I asked these awesome people who I highly esteem to check it and to give me a feedback, suggestions and so on. Then it all happened. Musically speaking, no particular directions were given, not even regarding the theme of the record, I wanted all the people involved to feel free to express themselves.

6.The new album was also released on 'Cyclic Law', how did you get in contact with this label?
Right before finishing and mastering the album I started to look around label wise; the first-and-only label I sent an email to was Cyclic Law, I explained them what I was working on, they showed interest and asked me to let them listen to what I had so far, so I sent them the material, it was approved…and that’s pretty much it.

7.On a worldwide level how has the reaction been to your fans with the newer music?
I’ve been getting positive feedback from literally all around the world; I got messages and emails from people in Japan, Canada, Russia, South America, people I didn’t know and never spoken to before. Plus, I’ve received some really enthusiastic words from some of my favorite artists about, which is great.

8.What is going on with 'Alma Flua' these days?
We’re on hiatus, each one of us is working on personal projects. We’ll be back, hopefully, someday.

9.What are some of the bands or musical artists you are currently listening to nowadays?
Uhm, there are many. Some new music like: “Alive with Scars” by Flowers For Bodysnatchers, which is great; Bjärgö’s “Återstoden” ; “Exoplanetary” by Ruptured World, which is a phenomenal record with a very strong cinematic feel; “Ghosts on Broken Pavement” by Mount Shrine; “Diminution” by Leila Abdul-Rauf, a very diverse and evocative album; “Vulner” by The Nent, which is intriguing.
Of course I keep listening to what I consider some of the best Ambient/Dark Ambient (and related) records too (not strictly new works): “Ur Djupan Dal” by Atrium Carceri & Herbst9; “Black Corner Den” by Atrium Carceri & Cities Last Broadcast; “Endurance” and “Thirty” by Irezumi; “Opalescent” by Jon Hopkins; “Ava” and “Be Left to Oneself” by Keosz; “Beyond”, “Dark Matter” and “The Dark Places of the Earth” by Lustmord; “Human Stasis Habitat” by Phelios; “Nihtes Niht” by Troum & Aidan Baker; “Call of the North” and “Eye of Tunguska” by Ugasanie; plus Ulver, Ulver and some more Ulver.
Apart from the more Ambient/Electronic field, I’ve been listening to Death Cab For Cutie’s “Thank You for Today”, “Kintsugi”, “Codes and Keys”, “Narrow Stairs” and “Plans” for quite a lot.
Also, during the last week I’ve been spinning: Septicflesh’s “Sumerian Daemon”; “Spiritual Black Dimensions”, “Enthrone Darkness Triumphant” and “Puritanical Euphoric Misanthropia” by Dimmu Borgir; Now In Colour’s self-titled album and a lot of Steven Wilson’s solo works.

10.Before we wrap up this interview, do you have any final words or thoughts?
Thanks for your time and your interest towards my music, much appreciated.
If you haven’t bought or listened to “The Substance of Perception” yet, you can find it at https://www.cycliclaw.com/releases/neraterr-the-substance-of-perception-cd-138th-cycle or https://neraterrae.bandcamp.com/releases

Forest Of Thorns/Dornwald Records/2019 Compilation Review


  This  is  a  review  of  a  compilation  from  Dornwald  Records  called  "A  Forest Of  Thorns"  which  was  released in  2019  and  consists  of  dungeon  synth,  dark  ambient,  experimental,  drone  and  industrial  artists  and  we  will  review  the  tracks  one  by  one.

  L'Egarement  D'Esprit  brings  us  "That  Last  Summer"  which  starts  out  with  some  field  recordings  and  ambient  soundscapes  while  the  music  also  gets  very  experimental  at  times  as  well  as  adding  in  some  clean  vocals  along  with  some  drones,  1940's  music  samples  and  programmed  also  being  added  into  some  parts  of  the  song.

 The  Ummo  brings  us  "Hypnoza  Barneyho  Hilla"  which  starts  out  with  some  soundscapes  and  spoken  word  samples  before  adding in  some  dark  ambient  style  synths  and  after  awhile  programmed  beats  are  added  into  the  track  as  well  as  the  music  also  getting  more  experimental.

  nSanders  brings  us  "Drowning"  which  starts  out  with  some  industrial  style  beats  along  with  some  drum  programming  a  few  seconds  later  while  also  mixing  in  some  elements  of  dark  ambient.

  Humanfobia  brings  us  "The  Ghost  Of  Rebeca  Matte  (Sound  collage  Mix)"  which  starts  out  with  some  ritualistic  sounds  mixed  in  with  some  dark  ambient  elements  as  well  as  capturing  the  atmosphere  of  a  horror  movie  soundtrack  along  with  some  programmed  beats  and  atmospheric  drones  also  being  used  at  times,  at  touches  you  can  also  hear  a  touch  of  noise  and  industrial.

  com.sound.field  brings  us  "On  The  Entropy  Of  Sound"  which  starts  out  with  some  u.f.o  orientated  soundscapes  which  also  gives  the  music  more  of  an  avant  garde  feeling  and  the  music  also  mixes  in  elements  of  experimental  noise.

 Giovanni  Leonardi  brings  us  "The  Breath  Of  The  Dying  Earth"  which  starts  out  with  some  field  recordings  while  the  song  is  also  long  and  epic  in  length  and  after  awhile  experimental  and  avant  garde  elements  are  added into  the  track. 

  Valerio  Orlandini  brings  us  "Modern  World  Understatement"  which  starts  out  with  some  programmed  beats  and  industrial  elements  while  also  adding  in  a  touch  of  martial  at  times  and  as  the  song  progresses  synths  are  added  into  the  music.

  Cameraoscura  brings  us  "Megiddo"  which  starts  out  with  some  atmospheric  sounding  drones  along  with  some  programmed  beats  a  few  seconds  later  as  well  as  some  voices  also  being  added  into  the  background  and  the  music  also  adds  in  ambient  style  synths.

  Pavor  Nocturnus  brings  us  "Bassoprofond0)))"  which  starts  out  with  some  atmospheric  sounding  drones  and  ritualistic  field  recordings  and  after  awhile  programmed  beats  are  also  added  into  the  music.

  Hermith  brings  us  "L'Autre  Monde"  which  starts  out  with  some  nature  sounds  and  clean  vocals  are  added  into  the  track  a  few  seconds  later  before  adding  in  ambient  style  synths  and  ritualistic  voices  as  well  as  some  programmed  beats  and  the  song  is  long  and  epic  in  length  and  the  music  also  incorporates  elements  of  dungeon  synth.

  Citadel  Swamp  brings  us  "Beyond  Horizons  West"  which  starts  out  with  some  atmospheric  soundscapes  while  the  song  is  very  long  and  epic  in  length  along  with  the  music  also  incorporating  elements  of  dark  ambient  as  well  as  some  programmed  beats.

  Northwind  brings  us  "Tunglsljosi"  with  some  programmed  beats  and  synths  which  bring  in  a  variety  of  many  different  sounding  keys  and  also  mixes  in  elements  of dark  ambient  and  dungeon  synth  along  with  the  track  being  very  long  and  epic  in  length.

  Poetry  Of  Thorns  brings  us  "Foundations"  which  starts  out  with  some  atmospheric  sounding  drones  and  dark  ambient  style  synths  while  the  track  is  also  very  long  and  epic  in  length  along  with  the  music  also  capturing  a  sci-fi  orientated  atmosphere  at  times.

  Anamnesis  brings  us  "Cold  Endless  Void"  which  starts  out  with  some  atmospheric  ambient  sounding  synths  while  the  track  is  also  long  an d epic  in  length  and  the  synths  also  bring  in  a  variety  of  many  different  sounding  keys.

  CrAwE  brings  us  "EmotionalSupportPeacock"  which  starts  out  with  some  ambient  style  synths  while  the  track  is  long  and  epic  in  length  along  with  the  song  also  getting  more  diverse  as  time  passes  on  by..

  Vision  Eternel  closes  the  compilation  with  Moments  Of  Absence"  with  some  atmospheric  synths  which  also  takes  the  music  into  more  of  a  dark  ambient  direction  along  with  the  track  being  very  long  an d epic  in  length  and  as  the  song  progresses  the  synths  also  bring  in  a  variety  of  many  different  sounding  keys.

  In conclusion  I  feel  this  is  a  very  great  sounding  compilation  and  I  would  recommend  it  to  all  fans  of  dungeon  synth,  dark  ambient,  experimental,  drone  and  industrial.  8  out  of  10.

 https://dornwaldrec.bandcamp.com

 

  

Saturday, May 18, 2019

Wyvernsnout/Voyages/2019 Full Length Review


  Wyvernsnout  are  a  musical  project  from  France  that  plays  dungeon  synth  and  this  is  a  review  of  their  self  released  2019  album  "Voyages".

  Dark  sounding  synths  start  off  the  album  and  they  are  mostly  rooted  in  the  dungeon  synth  musical  style.  Voices  are  also  added  into  some  parts  of  the  music  while  programmed  beats  are  also  utilized  quite  a  bit  throughout  the  recording  and  some  of  the  tracks  are  also  very  short  in  length.

  All  of  the  tracks sound  very  different  from  each  other  while  the  synths  also  bring  in  a  variety  of  many  different  sounding  keys  which  also  makes  the  music  more  diverse  sounding.  All  of  the  songs  are  instrumentals  as  well  as  bringing  in  a  great  amount  of  dark  ambient  elements  and  as  the  album  progresses  some  of  the  tracks  also  start  getting  more  long  and  epic  in  length  and  the  album  closes  with  some  Ulver,  Mortiis  and  Summoning  covers  which  also  shows  guitars  being  introduced  onto  the  recording.

  Wyvernsnout  plays  a  style  of  dungeon  synth  that  goes  back  to  the  90's  era  of  the  genre  while  also  showing  an  influence  of  black  metal  as  well  as  keeping  everything  instrumental  and  the  production  sounds  very  dark.

  In  my  opinion  Wyvernsnout  are  a  very  great  sounding  dungeon  synth  project  and  if  you  are  a  fan  of  this  musical  genre,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "La  Chose  Cachee  dans  I'Ombre"  "La  Montagne  Noir" "Mariage  Tribal"and  "Land  Of  The  Dead".  8  out  of  10.

 https://wyvernsnout.bandcamp.com/album/voyages

Francis Roberts/Guardian Beast Sleeps/Akashic Envoy Records/2019 Full Length Review


  Francis  Roberts  is  a  solo  artist  from  San  Diego,  California  that  plays  a  mixture  of  dungeon  synth,  dark  ambient  and  neo-classical  and  this  is  a  review  of  his  2019  album  'Guardian  Beast  Sleeps"  which  will  be  released  on  May  31st  by  Akashic  Envoy  Records.

  Synths  start  off  the  album  and  also  add  elements  of  dungeon  synth  onto  the  recording  that  go  back  to  the  early  90's Norwegian era.  Programmed  beats  are  also  used  quite  a  bit  throughout  the  recording  along  with  some  bell  sounds  also  being  utilized  at  times  as  well  as  the  tracks  also  mixing  in  elements  of  dark  ambient.

  The  synths  also  bring  in  a  variety  of  many  different  sounding  keys  which  also  gives  the  music  a  lot  more  diversity.  Touches  of  neo-classical  are  also  added  into  some  parts  of  the  recording  while  also  being  mixed  in  with  a  more  modern  musical  style  along  with  all  of  the  songs  sounding  very  different  from  each  other  and  most  of  the  tracks  stick  to  an  instrumental  musical  direction  except  for  the  closing  track  that  adds  in  some  clean  vocals.

  Francis  Roberts  plays  a  musical  style  that  takes  dungeon  synth,  dark  ambient  and  neo-classical  and  mixes  them  together  to  create  a  sound  of  his  own  while  also  keeping  most  of  the  music  instrumental  and  the  production  sounds  very  dark.

  In  my  opinion  Francis  Roberts  is  a  very  great  sounding  mixture  of  dungeon  synth,  dark  ambient  and  neo  classical  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  solo  project.  RECOMMENDED  TRACKS  INCLUDE  "Guardian  Beast  Sleeps"  "Time  Stops  Tomorrow"  "Waiting  For  Nothing"  and  "Luminous  Eyes".  8  out  of  10.

https://francisroberts.bandcamp.com

    

Kael Satan/Live At Dungeonfest/2019 EP Review


  Kael  Satan  are  a  solo  project  from  the  United  Kingdom  that  plays  a  very  raw,  depressive  and  suicidal  form  of  dungeon  synth  and  this  is  a  review  of  his  self  released  2019 ep  "Live  At  Dungeonfest".

  Synths  start  off  the  ep  and  are  done  in  more  of  an  old  school  dungeon  synth  style  while  you  can  also  hear  some  influences  of  black  metal  on  the recording.  Programmed  beats  are  also  utilized  quite  a  bit  throughout  the  recording  along  with  most  of  the  tracks  being  short  in  length  and  being mostly  instrumental  as  well  as  each  song  being  different  from  each  other,  dsbm  vocals  can  also  be  heard  on  the  closing  track.

  Kael  Satan  plays  a  style  of  dungeon  synth  that  goes  back  to  the  early  days  of  the  genre  while  also  mixing  in  influences  from the  more  depressive  and  suicidal  side  of  black  metal  a  and  the  production  sounds  very  dark  along  with  all  of  the  songs  being  recorded  live. 

  In  my  opinion  Kael  Satan  are  a  very  great  sounding  raw,  depressive  and  suicidal  dungeon  synth  project  and  if  you  are  a  fan  of  this  musical  genre,  you  should  check  out  this  ep.  RECOMMENDED  TRACK  "A  Lament  For  the  Forgotten  Wilderness".  8  out  of  10.

https://kaelsatan666.bandcamp.com/releases

Trollkjerring/Whistle And I'll Come To You/Pacific Threnodies/2019 Full Length Review


  Trollkjerring  are  a  solo  project  from  California  that  plays  a  mixture  of  dungeon  synth,  drone  and  blackened  neo-classical  and  this  is  a  review  of  his  2019  album  "Whistle  And  I'll  Come  To  You"  which  was  released  by  Pacific  Threnodies.

  Spoken  word  samples  start  off  the  album  which  also  gives  the  music  more  of  a  poetic  feeling  along  with  some  atmospheric  sounding  drones  being  added  onto  the  recording  a  few  seconds  later.  After  the  intro  ambient  style  synths  are  added  into  the  music  and  takes  the  album  into  more  of  a  dungeon  synth  direction.

  At  times  the  music  also  captures  the  atmosphere  of  depressive  black  metal  without  using  any  extreme  vocals  and  heavy  musical  instruments.  All  of  the  tracks  sound  very  different  from  each  other  while  the  synths  also  add  in  a  variety  of  many  different  sounding  keys  which  also  brings  elements  of  neo-classical  onto  the  recording as  well  as  most  of  the  tracks  being  instrumentsl.

  Trollkjerring  plays  a  musical  style  that  takes  dungeon  synth,  dark  ambient,  drone  and  neo-classical  and  mixes  them  together  with  a  touch  of  depressive  black  metal  to  create  a  sound  of  his  own  and  the  production  sounds  very  dark.

  In  my  opinion  Trollkjerring  is  a  very  great  sounding  mixture  of  dungeon  synth,  drone,  dark  ambient  and  neo-classical  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out t his  solo  project.  RECOMMENDED  TRACKS  INCLUDE  "My  Enslavement  To  her  Green  Eyes"  and  "I  Feel  Locked  Out".  8  out  of  10.

https://pacificthrenodies.bandcamp.com/album/whistle-and-ill-come-to-you-under-the-weeping-cherry-tree