Dungeon Synth

Featuring two stalwarts of the dungeon synth genre, this split also brings together Finland’s foremost purveyors of the resurgent style. DRUADAN FOREST, of course, should require little introduction for those who follow the banner of WEREWOLF RECORDS: in 2019 did mainman V-Khaoz (also of labelmates VARGRAV and GRIEVE) release the staggering atmospheric black metal monolith Dismal Spells From the Dragonrealm, and shared an all-dungeon-synth split album with THE TRUE WERWOLF in 2108. Here, DRUADAN FOREST deliver two epic-length tracks of the purest, most fantastical dungeon synth. Unlike so many two-note/one-loop charlatans, V-Khaoz’ dungeon synth creations are symphonies unto themselves, neither understated nor overstated, with fugue-like compositions revealing a wealth of adventure and mystery equally.

Black Metal

The classic Norwegian black/viking metal material re-issued.

The 1994 Aurora Borealis demo and the 1995 Leve Vikingånden 7″ep presented as one album on jewel case cd and various limited vinyls.

Black Metal

Pure Eisenwinter, some stolen, some new and some old.

17 minutes entertainment will be presented as an album.

Black Metal

Greek black metal from the early to mid-1990s is rightfully one of the most celebrated convergences of time and place in the history of the genre. There are relatively few styles in metal that can be so easily identified as having emerged from such a narrowly-defined context as the archetypal sound that was pioneered most famously by the likes of Rotting Christ and Varathron. Among other less-commonly-referenced bands from the same scene was Elysian Fields, who initially began to garner attention in their country following the circulation of two promo tapes in 1994 and 1995. The unique sound refined in the band’s early development and demonstrated on these tapes soon resulted in their signing to the renowned Unisound Records, which in turn led to the 1995 release of Elysian Fields’ debut album, “Adelain,” a recording which represents both a nod to their aforementioned fellow countrymen as well as an incorporation of other various influences. Although it certainly exhibits primary elements of the black metal immortalized on other Greek albums such as “Thy Mighty Contract” and “His Majesty at the Swamp,” “Adelain” also reflects palpable traits of the death metal exemplified in the early recordings from Sweden’s At the Gates and the hybrid of gothic death/doom of Britain’s My Dying Bride. Above all, the primary difference that one is likely to note between this album and other Greek masterpieces is the more pronounced reliance on somber, melodic passages interspersed among the more aggressive black metal riffs. These passages tend to include piano accompaniment and, more occasionally, spoken-word vocals, very much akin to their implementation in My Dying Bride’s “Turn Loose the Swans.” This characteristic notwithstanding, “Adelain” is anything but feeble. On the contrary, its melodic aspects instead serve to create contrast with and thus accentuate the more primal black metal with which they are melded, all the while showcasing how seemingly disparate elements from various influences can be properly and effectively combined.